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472cm",[71,45],5479,37,{"id":114,"slug":115,"title":116,"dynasty":117,"author":118,"museum":119,"description":120,"tags":121,"thumbUrl":126,"material":127,"size":127,"collection":127,"collections":128,"showCount":129,"zanCount":130,"manualWeight":48,"mainColor":49},238127,"luo-shen-fu-tu-juan-song-mo-gu-kai-zhi-238127","洛神赋图卷（宋摹）","晋","顾恺之","藏地不详","此作以辞赋为魂，以丹青为骨，将人神相恋的缱绻与别离的怅惋缓缓铺展。以山石林木为天然段落，串联起相遇、慕恋、惜别全程。\n笔下洛神衣袂翩跹，凌波顾盼间尽是柔婉仙姿，曹植凝睇神伤，将求而不得的怅惘藏于眉目。线条如春蚕吐丝，清劲连绵；设色古雅沉静，晕染细腻雅致，虽经摹写，仍留存晋人飘逸高古的气韵，把辞赋里的浪漫诗意落于绢素，让纸上风月跨越岁月，将这段人神殊途的遗憾永远定格。",[24,25,26,122,29,123,28,101,66,67,103,124,62,7,61,125,63,106],"临摹","白描","美人","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc559154b02942ebb93772f3f28818bda.jpg","",[],3737,24,{"id":132,"slug":133,"title":134,"dynasty":80,"author":81,"museum":135,"description":136,"tags":137,"thumbUrl":138,"material":139,"size":140,"collection":71,"collections":141,"showCount":142,"zanCount":5,"manualWeight":48,"mainColor":75},218995,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-218995","富春山居图-无用师卷","台北故宫博物院","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,25,26,59,65,7,34,64,61,62,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c3aaea3b2aafed20e97198b6d6d088.jpg","绢本,设色","横636.9公分，高33公分",[71],3513,{"id":144,"slug":145,"title":146,"dynasty":54,"author":55,"museum":135,"description":147,"tags":148,"thumbUrl":151,"material":69,"size":152,"collection":71,"collections":153,"showCount":154,"zanCount":155,"manualWeight":48,"mainColor":75},214743,"ye-zuo-tu-shen-zhou-214743","夜坐图","这幅夜行女子的画是沈周的生活自画像。在画的上部有一段文字，记录了他的生活，讲述了他如何在半夜突然醒来，当时雨后初晴，月亮倒映在他的窗口。风声、狗声、鼓声渐渐传来，钟声也从黎明传来。沈周经常在晚上看书，但他总是要到第二晚才休息，思绪都在文字里，所以听不到也看不到什么，但这次他感到了冥想的力量。图意即绘夜坐之事，时年六十六岁。",[24,25,149,59,7,67,66,101,65,125,64,150,60],"立轴","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff82bcb280b365901496be3ff0f122b.jpg","84.8x21.8",[71],3007,20,{"id":157,"slug":158,"title":159,"dynasty":80,"author":160,"museum":161,"description":162,"tags":163,"thumbUrl":168,"material":169,"size":127,"collection":71,"collections":170,"showCount":171,"zanCount":172,"manualWeight":48,"mainColor":75},214578,"shan-shui-ce-wang-meng-214578","山水册","王蒙","私人收藏","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,25,59,65,164,7,165,64,166,167],"册","树","水面","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017e23e37e6af2045b33457918225dce.jpg","纸本,水墨",[71],2834,13,{"id":174,"slug":175,"title":176,"dynasty":177,"author":178,"museum":20,"description":179,"tags":180,"thumbUrl":185,"material":139,"size":186,"collection":44,"collections":187,"showCount":188,"zanCount":189,"manualWeight":48,"mainColor":75},214261,"yong-zheng-di-xing-le-tu-yi-ming-214261","雍正帝行乐图","清","佚名","雍正帝行乐图是一幅作者不详的清代画作。这幅画作描绘了雍正帝在行乐时的场景。\n\n在这幅画作中，画家巧妙地捕捉了雍正帝在行乐时的气质。他用浓墨重彩的画法，勾勒出了雍正帝的容貌。他还用细腻的线条勾勒出了雍正帝的衣着和配饰，让人感受到了雍正帝的尊贵气质。\n\n此外，画家在这幅画作中还描绘了雍正帝行乐时的场景。他用色彩丰富的画法，描绘了雍正帝行乐时的景象。这些景色与雍正帝的尊贵气质形成了鲜明的对比，让人感受到了雍正帝在行乐时的辉煌景象。",[23,24,28,29,103,181,7,182,183,37,184],"龙","悬崖","波浪","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fd4e631a84421cc17c1546ad52fc90.jpg","34.9x31",[44],2811,8,{"id":191,"slug":192,"title":193,"dynasty":18,"author":194,"museum":135,"description":195,"tags":196,"thumbUrl":209,"material":87,"size":210,"collection":42,"collections":211,"showCount":213,"zanCount":214,"manualWeight":48,"mainColor":49},221389,"xi-shan-xing-lv-tu-fan-kuan-221389","溪山行旅图","范宽","该画作描绘的是典型的北国景色，树叶间有“范宽”二字题款。图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。山阴道中，从右至左行来一队旅客，四头骡马载着货物正艰难地跋涉着。",[23,24,197,149,65,198,7,64,199,34,200,201,60,37,202,203,204,205,206,207,208],"水墨画","雨点皴","瀑布","行旅","溪流","山路","驮队","雾气","巨峰","丛林","涧水","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7fc9271bce677ed74b29dfb9421e4d.jpg","纵206.3厘米，横103.3厘米",[42,71,212],"水墨画精选",2630,15,{"id":216,"slug":217,"title":218,"dynasty":177,"author":219,"museum":220,"description":221,"tags":222,"thumbUrl":224,"material":225,"size":226,"collection":71,"collections":227,"showCount":228,"zanCount":229,"manualWeight":48,"mainColor":75},222671,"tao-hua-yuan-tu-huang-shen-222671","桃花源图","黄慎","安徽省博物馆","内容乃据晋代陶渊明（365年～427年）文记《桃花源》之意绘制：开卷水天浩渺，烟笼沙洲。空中云积层岩，绝壁苍藤盘结。山麓碎石堆积成岗，延至奔溪冲折的山坳。洞口篷船空陈，艄公弃舟入洞。继而豁然开朗，进入桃花仙界：只见断岩亘空，桃林夹立。山谷幽深，水帘披挂。越过绵延起伏的山峦，于山角屏壁之后隐现桃源村落。村口札栅栏木门，有黄狗护院看守。村内环境幽雅，屋宇整洁，亭阁耸立，大道平坦。鸡犬呜跳嬉戏，幼童倚门张望。行人驻足寒暄，村民各司其事。妇女洒扫庭厨，牧童村外放牛。林后村舍相属，村外阡陌纵横。远处石桥如虹，通向无垠野地。村口场基之上，部分村民纷涌而至，前来迎接不速之客～捕渔翁。作者通过赞颂的笔调对传说中世外桃源美景进行理想化的描绘，从而寄托了自己不耐人间烟火、向往逃俗离垢的厌世情结。\n图后另纸附作者草书节录《桃花源记》及作者自撰五言诗一段：“……赢氏乱天纪，贤者避其世。黄绮之南山，伊人亦云逝。往迹浸复湮，来径遂芜废。相命肆农耕，日人从所憩，桑竹垂余阴，菽稷随时艺春蚕取长丝，秩熟靡王税，荒路暖交通，鸡犬亘鸣犬。俎豆犹古法，衣裳无以制，音孺纵行歌，班白观游诣，草荣识节和，木衰知风励。虽无纪历志，四时自成岁。怡然有馀乐，于何劳智慧，奇踪隐五百，一朝敝神界，凉薄既异源，旋复还幽蔽。借问游方士，焉测尘嚣外。愿言蹑轻风，高举寻吾契。乾隆甲申冬月镓，黄慎。”\n此图打破了传统人物画代代相承的铁线、兰叶、行云流水等“十人描法”限制而汲取南宁梁楷阔笔写意和明初渐派水墨人物草廊疾写的技法，结合坚实的运笔根度和写真基础，完全从塑造客观对象、具体特征的需要上出发，灵活地运用各种描法及草书的笔意趣味，下笔或渺如鸿毛飘落，或重似泰山坠石，时而中锋勾写、精刻细划，时而侧笔拖扫、意到笔略。描绘人物则造型轩昂，体态准确详写神略写貌、垂与意略写形，达到神情兼备、谈谐含蓄的境界。如此在技法上既超越了前辈梁楷过于简逸的现实之感，也克服了浙派人物空疏草率的缺点，在气音上则避免了“有其形音不生，得其气位不稳”的画工之弊；一扫文人雅士冲和溱远、颓唐纤比的陋习，使中国人物画的现实主义传统得到了很好的发展。图中岩石的画法则有元代倪瓒横折带皴法而层次更显丰富豪迈。寓清代袁江之骷髅皱而愈加凝炼劲爽。树法四面有枝，出于李成而极尽变化展姿，造型奇崛郁勃，精神发越外拓。作为衬景的山水，虚实远近安排有序、屋舍舟桥精工细写，比例视赏合理，令观者有身临其境之感。全图气息纯朴鲜活，风格洒俊逸，线条粗简活脱，时现枯笔飞白。色彩明丽润泽，气息纯朴鲜活。仿佛一帖墨酣笔畅的抒情草书。体现了黄慎作为职业画家，在造型的真实感上所具有超越其他同代画家的成就，具有士气而兼作家之气。",[23,24,26,59,28,223,67,7,102,103,104,62,34],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6764b259026e1ccc2432d776735ad2.jpg","纸本设色","纵38厘米，横349厘米",[71,45],2497,26,{"id":231,"slug":232,"title":233,"dynasty":18,"author":234,"museum":135,"description":235,"tags":236,"thumbUrl":242,"material":243,"size":244,"collection":42,"collections":245,"showCount":246,"zanCount":247,"manualWeight":48,"mainColor":49},221288,"zao-chun-tu-guo-xi-221288","早春图","郭熙","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,25,59,65,237,7,64,34,61,199,37,238,239,240,201,241],"三远法","山峦","岩石","苔点","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分",[42,71,212],2376,17,{"id":249,"slug":250,"title":251,"dynasty":80,"author":81,"museum":135,"description":83,"tags":252,"thumbUrl":253,"material":87,"size":254,"collection":71,"collections":255,"showCount":256,"zanCount":257,"manualWeight":48,"mainColor":75},220766,"fu-chun-shan-ju-tu-huang-gong-wang-220766","富春山居图",[23,24,26,25,59,65,7,61,62,34,64,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa873bf9c7d320f1bd285caf802d29cd8.jpg","画卷已经被火烧成一大一小两段，原卷首小段经过修补后称为“剩山图”，横51.4公分，高31.8公分，占原画1\u002F14，后段画幅较长，称为“无用师卷”，横636.9公分，高33公分，占原画12\u002F14",[71,212],2315,28,{"id":259,"slug":260,"title":261,"dynasty":54,"author":55,"museum":20,"description":262,"tags":263,"thumbUrl":265,"material":69,"size":266,"collection":71,"collections":267,"showCount":268,"zanCount":269,"manualWeight":48,"mainColor":75},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,24,25,26,59,65,122,66,67,101,7,264,34,61,238,37,62],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纵36.8厘米，横855厘米",[71],1987,11,{"id":271,"slug":272,"title":273,"dynasty":18,"author":274,"museum":275,"description":276,"tags":277,"thumbUrl":279,"material":169,"size":280,"collection":71,"collections":281,"showCount":282,"zanCount":283,"manualWeight":48,"mainColor":75},214316,"mo-tang-dai-lu-hong-cao-tang-shi-zhi-tu-li-gong-lin-214316","摹唐代卢鸿草堂十志图","李公麟","日本大阪市立美术馆","这两幅画在构图、风格和笔触上都有密切的联系，但人物的比例缩小了，放在更合理的自然空间里，而山水、树木和岩石的表现则更符合宋（或金）代的风格，在一定程度上反映了李公麟对卢鸿原作的临摹所产生的不同面貌。虽然这三幅画的具体临摹时间和具体制作时间还有待学者们进一步研究，但《草堂西施图》无疑在中国绘画史上占有很高的重要地位，因为它是中国文人隐居生活的经典形象，历来被人观赏、模仿和解读。大阪藏品的制作时间可能早于上述紫禁城画卷，晚于台北画卷，因为它与辽宁省博物馆收藏的北宋张继的《白莲社》画作比较接近。",[23,24,26,59,122,65,66,101,7,34,64,199,201,103,278],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccf5a7742967237a6a52cd2eb0fe914.jpg","30.3x867.2",[71],1944,14,{"id":285,"slug":286,"title":287,"dynasty":18,"author":288,"museum":135,"description":289,"tags":290,"thumbUrl":291,"material":292,"size":293,"collection":42,"collections":294,"showCount":295,"zanCount":296,"manualWeight":48,"mainColor":75},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,100,24,25,26,59,65,7,64,34,60,61,62,106,63,37,201,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[42,71,212],1772,19,{"id":298,"slug":299,"title":300,"dynasty":177,"author":301,"museum":20,"description":302,"tags":303,"thumbUrl":306,"material":40,"size":307,"collection":308,"collections":309,"showCount":310,"zanCount":283,"manualWeight":48,"mainColor":49},222795,"yong-zheng-shi-er-yue-ling-yuan-ming-yuan-xing-le-tu-zhi-san-yue-shang-tao-lang-shi-ning-222795","雍正十二月令圆明园行乐图之三月赏桃","郎世宁","雍正十二月行乐图轴是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季12个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。从描绘的景物判断，表现的对象应为圆明园。画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[23,24,28,29,304,103,104,7,102,34,305],"界画","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","纵188.2厘米，横102.2厘米","花鸟画精选",[308,45],1764,{"id":312,"slug":313,"title":314,"dynasty":80,"author":315,"museum":20,"description":316,"tags":317,"thumbUrl":323,"material":40,"size":324,"collection":71,"collections":325,"showCount":326,"zanCount":327,"manualWeight":48,"mainColor":49},221795,"chun-shan-tu-juan-shang-qi-221795","春山图卷","商琦","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[23,24,100,25,26,28,65,7,318,319,34,37,239,320,321,322],"山","水","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","纵39.6厘米，横214.5厘米",[71,45],1751,16,{"id":329,"slug":330,"title":193,"dynasty":18,"author":194,"museum":135,"description":331,"tags":332,"thumbUrl":336,"material":337,"size":338,"collection":127,"collections":339,"showCount":340,"zanCount":172,"manualWeight":48,"mainColor":49},287579,"xi-shan-xing-lv-tu-fan-kuan-287579","该图主体部分为巍峨高耸的山体，高山仰止，壮气夺人。山顶丛林茂盛，山谷深处一瀑如线，飞流百丈。山峰下巨岩突兀，林木挺直。画面前景溪水奔流，山径上一队运载货物的商旅缘溪行进，为幽静的山林增添了生气。",[100,24,25,149,59,65,7,64,61,199,333,334,335],"古树","古道","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e846606ac903e66fdd1eda93147a0.jpg","未知","纵长206.3公分，横宽103.3公分",[],1669,{"id":342,"slug":343,"title":344,"dynasty":80,"author":160,"museum":56,"description":345,"tags":346,"thumbUrl":348,"material":349,"size":350,"collection":71,"collections":351,"showCount":352,"zanCount":327,"manualWeight":48,"mainColor":75},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,25,59,65,149,7,64,199,34,347,201,37,101,66,67],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[71,212],1622,{"id":354,"slug":355,"title":356,"dynasty":54,"author":55,"museum":135,"description":357,"tags":358,"thumbUrl":359,"material":292,"size":360,"collection":71,"collections":361,"showCount":362,"zanCount":363,"manualWeight":48,"mainColor":49},222104,"lu-shan-gao-tu-shen-zhou-222104","庐山高图","此图描绘的是庐山的景象，画中有白云、杂树、石阶、小路以及人物等。这幅图在技法上借鉴元代画家王蒙的笔意，笔法稳健，气势雄沉，具有强烈的节奏感和力量感。山峰多用解索皴，皴染厚重灵动；中段山峦则用折带皴，皴笔精细，墨色较淡，表现出崖壁的险峻。左边崖壁先匀后皴，墨色较重，并以焦墨密点，显得苍郁幽深。",[23,24,7,59,65,149,318,199,61,165,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","纵193.8 公分，横98.1 公分",[71,212],1546,18,{"id":365,"slug":366,"title":367,"dynasty":54,"author":368,"museum":369,"description":370,"tags":371,"thumbUrl":374,"material":375,"size":376,"collection":127,"collections":377,"showCount":378,"zanCount":172,"manualWeight":48,"mainColor":379},222601,"qiu-shan-yu-yin-tu-lan-ying-222601","秋山渔隐图","蓝瑛","天津博物馆","绘乡间田园景色，远处山峰高耸，山脚下农舍排列整齐，栅栏四周树木环绕；近处河面上二只棚船停泊，船尾两人对坐而谈；岸上古木黝黑挺直，深秋季节中树叶凋零。纵观整幅，山水人家，古木船只，皆赋诗情画意。",[23,24,28,7,65,372,125,62,103,64,35,61,373,264],"枯树","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc1ad696df861ebcdfbf4523c6d8135.jpg","纸本，设色","139.5x45cm",[],1533,"F48FB1",{"id":381,"slug":382,"title":383,"dynasty":54,"author":96,"museum":369,"description":384,"tags":385,"thumbUrl":387,"material":388,"size":389,"collection":71,"collections":390,"showCount":378,"zanCount":214,"manualWeight":48,"mainColor":49},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,25,149,27,28,29,7,103,104,60,34,64,37,278,38,238,201,386],"仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 设色","纵175厘米，横66.7厘米",[71,45],{"id":392,"slug":393,"title":394,"dynasty":177,"author":395,"museum":396,"description":397,"tags":398,"thumbUrl":401,"material":69,"size":402,"collection":71,"collections":403,"showCount":404,"zanCount":405,"manualWeight":48,"mainColor":75},214892,"shan-shui-tu-ce-shi-tao-214892","山水图册","石涛","大英博物馆","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,59,65,164,7,104,34,399,400,101],"远岫","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc4335799b8ab6338748c15eda11ad45.jpg","20.3x27.5cm",[71],1469,6,{"id":407,"slug":408,"title":409,"dynasty":54,"author":410,"museum":275,"description":411,"tags":412,"thumbUrl":414,"material":169,"size":415,"collection":71,"collections":416,"showCount":417,"zanCount":418,"manualWeight":48,"mainColor":75},214259,"song-yan-xiao-si-tu-dai-jin-214259","松岩萧寺图","戴进","松岩萧寺图是明代画家戴进的一幅代表作。这幅画作描绘了萧寺的生活场景。\n\n在这幅画作中，戴进巧妙地捕捉了萧寺的生活状态。他用浓墨重彩的画法，勾勒出了萧寺的宏伟建筑。他还用细腻的线条勾勒出了萧寺内僧人修行的场景，让人感受到了萧寺内的宁静和谐。\n\n此外，戴进在这幅画作中还描绘了萧寺周围的景色。他用色彩丰富的画法，描绘了萧寺周围的山川和河流。这些景色与萧寺的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n松岩萧寺图是一幅能够唤起人们对萧寺的崇敬之情的画作。它展示了戴进的艺术才华，也是一幅能够让人们感受到明朝文化魅力的画作。",[23,24,59,7,65,413,64,104,60,61,106],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dadaa3dad497961e69e4dc516458e91.jpg","227x51.5",[71],1383,10,{"id":420,"slug":421,"title":422,"dynasty":54,"author":423,"museum":424,"description":425,"tags":426,"thumbUrl":428,"material":139,"size":429,"collection":44,"collections":430,"showCount":431,"zanCount":327,"manualWeight":48,"mainColor":379},214294,"xiang-shan-jiu-lao-tu-xie-huan-214294","香山九老图","谢环","美国克利夫兰艺术博物馆","谢环（1830-1888）是清代著名的画家，他的《山九老图》是其代表作之一。\n\n《山九老图》描绘了九位老僧依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出九位老僧与山林的和谐关系。谢环在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《山九老图》被认为是谢环画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《山九老图》也是收藏家们青睐的经典之作。",[23,24,25,26,29,28,103,7,63,165,64,427],"仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e446d85f920ac135920733919a6fd0a.jpg","29.4x148.2",[44],1379,{"id":433,"slug":434,"title":435,"dynasty":54,"author":96,"museum":135,"description":436,"tags":437,"thumbUrl":439,"material":139,"size":440,"collection":71,"collections":441,"showCount":442,"zanCount":269,"manualWeight":48,"mainColor":49},216757,"shang-lin-tu-juan-chou-ying-216757","上林图卷","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[23,24,25,26,27,28,29,304,7,103,104,34,31,438,64,38],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","44.8x1208",[71],1347,{"id":444,"slug":445,"title":446,"dynasty":177,"author":301,"museum":135,"description":447,"tags":448,"thumbUrl":453,"material":454,"size":455,"collection":308,"collections":456,"showCount":457,"zanCount":458,"manualWeight":48,"mainColor":49},222779,"bai-jun-tu-lang-shi-ning-222779","百骏图","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[23,29,28,26,449,335,34,31,450,103,451,7,452,201],"中西合璧","草地","帐篷","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","绢本设色","纵102厘米，横813厘米",[308,45],1291,7,{"id":460,"slug":461,"title":193,"dynasty":18,"author":234,"museum":161,"description":462,"tags":463,"thumbUrl":464,"material":139,"size":127,"collection":71,"collections":465,"showCount":466,"zanCount":458,"manualWeight":48,"mainColor":49},218625,"xi-shan-xing-lv-tu-guo-xi-218625","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[100,24,25,26,28,65,59,7,64,34,61,62,103,334,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg",[71],1280,{"id":468,"slug":469,"title":470,"dynasty":18,"author":178,"museum":20,"description":471,"tags":472,"thumbUrl":474,"material":139,"size":475,"collection":42,"collections":476,"showCount":477,"zanCount":418,"manualWeight":48,"mainColor":75},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,25,26,122,123,28,29,66,67,473,101,103,124,7,62,104,61,34],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[42],1270,{"id":479,"slug":480,"title":481,"dynasty":54,"author":96,"museum":135,"description":482,"tags":483,"thumbUrl":484,"material":139,"size":485,"collection":71,"collections":486,"showCount":487,"zanCount":488,"manualWeight":48,"mainColor":49},214746,"bao-hui-tang-chou-ying-214746","宝绘堂","这是王诜和苏轼欣赏书画的一个场景。画面以蓝色和绿色为基调，远处山峰高耸，山脚下桃花灼灼，不远处的房子里聚集着几个人，其中几个人正坐在桌前研究画卷。",[24,27,28,29,7,103,104,63,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691070a2939592e5e3866e2392e29bbe.jpg","188.8x99.3",[71],1260,9,{"id":490,"slug":491,"title":492,"dynasty":54,"author":55,"museum":119,"description":493,"tags":494,"thumbUrl":497,"material":127,"size":127,"collection":71,"collections":498,"showCount":499,"zanCount":500,"manualWeight":48,"mainColor":75},237922,"shen-zhou-shan-shui-zhou-shen-zhou-237922","沈周山水轴","疏树数株，笔法中锋劲挺。后两峰并列，中有一坞系黏，左侧後方又延一峰，不施皴擦只以墨染，远峰亦以墨略勾勒淡烘染。通幅皴山画树，用笔疏朗，与黄公望名迹「富春山居」图卷有若干契合处；而大片水墨烘染山石则似又自米芾（1501-1107）出。自题云“米不米，黄不黄，淋漓水墨馀清苍。”落笔布墨间，盖心有所寄故能从腕底陶融调匀，蜕化而成。 年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[24,59,149,7,65,62,495,34,238,61,239,496],"蓑笠","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg",[71,212],1229,4,{"id":502,"slug":503,"title":504,"dynasty":54,"author":55,"museum":396,"description":505,"tags":506,"thumbUrl":509,"material":139,"size":127,"collection":71,"collections":510,"showCount":511,"zanCount":512,"manualWeight":48,"mainColor":49},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[23,24,59,28,65,149,7,60,61,63,413,64,104,507,508],"幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg",[71],1176,12,{"id":514,"slug":515,"title":516,"dynasty":54,"author":55,"museum":517,"description":518,"tags":519,"thumbUrl":521,"material":349,"size":522,"collection":71,"collections":523,"showCount":524,"zanCount":488,"manualWeight":48,"mainColor":75},220067,"hu-qiu-shi-er-jing-tu-ce-shen-zhou-220067","虎丘十二景图册","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,59,28,304,164,7,104,520,60,61,62,103,34,63],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","31.1×40.2cmx12",[71],1160,{"id":526,"slug":527,"title":528,"dynasty":177,"author":529,"museum":20,"description":530,"tags":531,"thumbUrl":536,"material":537,"size":127,"collection":127,"collections":538,"showCount":539,"zanCount":405,"manualWeight":48,"mainColor":75},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,25,26,122,59,28,7,65,66,67,64,34,61,60,63,35,167,103,201,532,347,533,534,535],"峭壁","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,{"id":541,"slug":542,"title":543,"dynasty":54,"author":55,"museum":20,"description":544,"tags":545,"thumbUrl":546,"material":375,"size":547,"collection":71,"collections":548,"showCount":549,"zanCount":550,"manualWeight":48,"mainColor":75},233832,"wo-you-tu-ce-qiu-shan-du-shu-shen-zhou-233832","卧游图册－秋山读书","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,25,164,59,7,103,125,64,61,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纵27.8厘米，横37.3厘米",[71,308,45],1120,5,{"id":552,"slug":553,"title":554,"dynasty":177,"author":555,"museum":556,"description":557,"tags":558,"thumbUrl":560,"material":139,"size":561,"collection":71,"collections":562,"showCount":563,"zanCount":405,"manualWeight":48,"mainColor":49},214434,"xiu-yuan-tu-wang-yun-214434","休园图","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,25,26,28,29,304,7,103,104,60,34,64,559],"庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[71],1111,{"id":565,"slug":566,"title":567,"dynasty":80,"author":568,"museum":135,"description":569,"tags":570,"thumbUrl":572,"material":69,"size":573,"collection":71,"collections":574,"showCount":575,"zanCount":405,"manualWeight":48,"mainColor":75},221745,"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","朱叔重","主题与关键字：春景、杨柳、江河、湖海、高士（士人、隐士）、寒林．枯树、竹、房舍、茅草屋、溪涧、湍泉、松、桥、篱笆、围墙。\n录入：石渠宝笈续编（宁寿宫），第五册，2765页 ；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[23,24,28,7,65,149,571,60,61,347,64,34,101],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[71,45],1069,{"id":577,"slug":578,"title":579,"dynasty":54,"author":580,"museum":135,"description":581,"tags":582,"thumbUrl":584,"material":69,"size":585,"collection":71,"collections":586,"showCount":587,"zanCount":172,"manualWeight":48,"mainColor":75},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,24,25,149,28,29,67,7,103,583,60,61,101,64,34],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[71],1044,{"id":589,"slug":590,"title":591,"dynasty":18,"author":592,"museum":424,"description":593,"tags":594,"thumbUrl":595,"material":596,"size":597,"collection":44,"collections":598,"showCount":599,"zanCount":488,"manualWeight":48,"mainColor":49},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,100,24,25,26,59,28,65,7,103,104,60,61,34,63,105,35,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4",[44],1013,{"id":601,"slug":602,"title":603,"dynasty":18,"author":604,"museum":20,"description":605,"tags":606,"thumbUrl":608,"material":40,"size":609,"collection":42,"collections":610,"showCount":611,"zanCount":189,"manualWeight":48,"mainColor":49},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[23,24,149,59,28,65,7,103,104,64,334,63,201,607,125,34],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","纵192.5厘米，横111厘米",[42,71,212],995,{"id":613,"slug":614,"title":615,"dynasty":80,"author":616,"museum":135,"description":617,"tags":618,"thumbUrl":619,"material":169,"size":620,"collection":71,"collections":621,"showCount":622,"zanCount":500,"manualWeight":48,"mainColor":75},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[23,24,25,59,7,65,199,61,239,583,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","本幅 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《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[23,24,59,26,65,7,62,34,37,64,199,167,707,103],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","50*1165cm",[71,212],871,3,{"id":714,"slug":715,"title":716,"dynasty":18,"author":717,"museum":119,"description":718,"tags":719,"thumbUrl":723,"material":59,"size":724,"collection":71,"collections":725,"showCount":726,"zanCount":189,"manualWeight":48,"mainColor":49},218544,"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","米芾","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[24,26,59,65,7,167,720,37,31,721,722,85,238,34,60,66,101],"近树","小舟","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[71,42],865,{"id":728,"slug":729,"title":730,"dynasty":177,"author":395,"museum":119,"description":731,"tags":732,"thumbUrl":735,"material":736,"size":737,"collection":212,"collections":738,"showCount":739,"zanCount":712,"manualWeight":48,"mainColor":75},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，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《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,24,25,26,59,65,733,630,734,7,413,66,67,101],"枯木","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米",[212],845,{"id":741,"slug":742,"title":743,"dynasty":18,"author":744,"museum":20,"description":745,"tags":746,"thumbUrl":747,"material":454,"size":748,"collection":42,"collections":749,"showCount":750,"zanCount":512,"manualWeight":48,"mainColor":49},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,26,27,28,29,65,7,60,61,63,34,238,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","24cmx254cm",[42,71,45],840,{"id":752,"slug":753,"title":754,"dynasty":18,"author":19,"museum":20,"description":21,"tags":755,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":757,"showCount":758,"zanCount":418,"manualWeight":48,"mainColor":49},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[23,24,100,25,26,27,28,29,65,7,238,31,60,34,722,756,37,38],"舟船",[42,44,45],809,{"id":760,"slug":761,"title":762,"dynasty":18,"author":194,"museum":369,"description":763,"tags":764,"thumbUrl":767,"material":388,"size":768,"collection":42,"collections":769,"showCount":770,"zanCount":458,"manualWeight":48,"mainColor":49},221395,"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","《雪景寒林图》描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[23,24,25,7,65,59,149,765,766,64,34,319,63],"雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","纵193.5厘米 横160.3厘米",[42,71,212],800,{"id":772,"slug":773,"title":774,"dynasty":18,"author":775,"museum":776,"description":777,"tags":778,"thumbUrl":779,"material":87,"size":780,"collection":42,"collections":781,"showCount":782,"zanCount":488,"manualWeight":48,"mainColor":49},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,24,100,7,59,65,149,104,60,61,199,372,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[42,71,212],792,{"id":784,"slug":785,"title":786,"dynasty":54,"author":787,"museum":119,"description":788,"tags":789,"thumbUrl":792,"material":139,"size":793,"collection":44,"collections":794,"showCount":795,"zanCount":172,"manualWeight":48,"mainColor":49},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,25,26,28,29,304,103,104,7,34,60,61,756,722,64,438,559,790,413,791,31,238,278],"人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[44,45],775,{"id":797,"slug":798,"title":799,"dynasty":54,"author":55,"museum":704,"description":800,"tags":801,"thumbUrl":802,"material":803,"size":804,"collection":71,"collections":805,"showCount":806,"zanCount":712,"manualWeight":48,"mainColor":75},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[23,24,25,149,59,65,66,67,101,7,63,103,125,318,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[71],763,{"id":808,"slug":809,"title":810,"dynasty":811,"author":812,"museum":20,"description":813,"tags":814,"thumbUrl":817,"material":87,"size":818,"collection":71,"collections":819,"showCount":806,"zanCount":283,"manualWeight":48,"mainColor":49},221154,"xiao-xiang-tu-dong-yuan-221154","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。",[23,24,25,26,7,59,28,815,31,34,816,62,103,37],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[71,212],{"id":821,"slug":822,"title":823,"dynasty":54,"author":410,"museum":135,"description":824,"tags":825,"thumbUrl":827,"material":87,"size":828,"collection":71,"collections":829,"showCount":830,"zanCount":405,"manualWeight":48,"mainColor":49},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,24,25,149,28,7,103,104,60,61,413,64,165,826,63],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[71,212],752,{"id":832,"slug":833,"title":834,"dynasty":54,"author":96,"museum":135,"description":835,"tags":836,"thumbUrl":837,"material":139,"size":838,"collection":71,"collections":839,"showCount":840,"zanCount":512,"manualWeight":48,"mainColor":49},218389,"chun-shan-yin-shang-zhou-chou-ying-218389","春山吟赏轴","此图绘溪山胜景，高士游春。虽是青绿之作，不见富贵，唯有逸气绕耳目，学赵伯驹，仇英得其韵矣。",[24,149,28,29,65,7,103,63,165,199,201,64,104,571],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","157.5x63.2公分",[71],732,{"id":842,"slug":843,"title":844,"dynasty":54,"author":55,"museum":650,"description":845,"tags":846,"thumbUrl":847,"material":596,"size":848,"collection":71,"collections":849,"showCount":850,"zanCount":500,"manualWeight":48,"mainColor":49},219903,"shan-ju-du-shu-tu-shen-zhou-219903","山居读书图","沈周（1427—1509），字启南，号石田，自称白石翁，江苏苏州人。山水少承家法，凡宋元名手，皆能变化出入，而独于董源、巨然、李成尤得心印。中年以黄公望为宗，晚乃醉心吴镇、倪瓒。四十以前画盈尺小景，四十后始拓为大幅。其画以水墨山水为艺林绝品，浅绛者次之，其大设色者尤妙，但存世稀少。人物、花鸟，无一不入神品。本幅即为仿倪之作，笔法遒劲，风格萧疏。",[24,25,149,59,65,66,101,7,165,630,64,35,61,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","纵116.6厘米 横28.8厘米",[71],708,{"id":852,"slug":853,"title":854,"dynasty":18,"author":604,"museum":161,"description":855,"tags":856,"thumbUrl":857,"material":139,"size":127,"collection":308,"collections":858,"showCount":859,"zanCount":712,"manualWeight":48,"mainColor":49},218621,"han-jiang-du-diao-tu-ma-yuan-218621","寒江独钓图","寒江浩渺，孤舟一叶浮于烟波间。渔翁披蓑戴笠，垂纶独钓，孑然身影似与天地融为一体。近景枯树虬枝如铁，劲挺笔触勾勒出冬日萧瑟；山石以斧劈皴皴擦，棱角分明，冷峻刚硬，与江面空濛形成鲜明对照。画面大片留白，若皑皑白雪覆江天，又似寒雾弥漫四野，将“空”与“寂”推至极致。寥寥数笔，于极简中藏丰盈，孤寂里见超脱。水墨留白之妙尽显，观者于冷寂意境中，可感那份遗世独立的悠然旷达，仿佛听见寒江之上的风，拂过枯枝，掠过孤舟，漾开一圈圈清寂的涟漪。",[23,24,100,149,59,65,7,62,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2e94c6e14b8cb3f8a3e897c8b3b89c.jpg",[308],696,{"id":861,"slug":862,"title":863,"dynasty":864,"author":865,"museum":20,"description":866,"tags":867,"thumbUrl":868,"material":337,"size":869,"collection":127,"collections":870,"showCount":871,"zanCount":269,"manualWeight":48,"mainColor":49},288294,"you-chun-tu-zhan-zi-qian-288294","游春图","隋","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[100,24,25,27,28,7,103,102,61,334,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7523abe5a9b1378dd5dd5ceda1a3ea.jpg","43×80.5cm",[],691,{"id":873,"slug":874,"title":875,"dynasty":80,"author":81,"museum":20,"description":876,"tags":877,"thumbUrl":879,"material":69,"size":880,"collection":71,"collections":881,"showCount":882,"zanCount":500,"manualWeight":48,"mainColor":49},218531,"kuai-xue-shi-qing-tu-huang-gong-wang-218531","快雪时晴图","《快雪时晴图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。 画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[23,24,25,26,59,65,7,64,34,878,67,101],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[71,45],675,{"id":884,"slug":885,"title":886,"dynasty":80,"author":887,"museum":119,"description":888,"tags":889,"thumbUrl":892,"material":127,"size":127,"collection":127,"collections":893,"showCount":894,"zanCount":512,"manualWeight":48,"mainColor":75},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","赵孟頫","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n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。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,25,26,28,59,65,101,67,66,7,318,165,35,31,33,890,85,891],"芦苇","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":896,"slug":897,"title":898,"dynasty":18,"author":899,"museum":119,"description":900,"tags":901,"thumbUrl":902,"material":87,"size":903,"collection":42,"collections":904,"showCount":905,"zanCount":712,"manualWeight":48,"mainColor":49},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,100,24,25,164,27,28,65,7,60,34,64,61,278,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[42,71,45],664,{"id":907,"slug":908,"title":909,"dynasty":54,"author":55,"museum":135,"description":910,"tags":911,"thumbUrl":912,"material":69,"size":913,"collection":71,"collections":914,"showCount":915,"zanCount":712,"manualWeight":48,"mainColor":75},214745,"shan-shui-tu-shen-zhou-214745","山水图","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[24,25,149,59,65,101,66,67,7,125,60,61,150,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[71],653,{"id":917,"slug":918,"title":919,"dynasty":54,"author":55,"museum":20,"description":920,"tags":921,"thumbUrl":923,"material":924,"size":925,"collection":44,"collections":926,"showCount":928,"zanCount":550,"manualWeight":48,"mainColor":75},236332,"shen-zhou-liu-yin-zuo-diao-tu-zhou-shen-zhou-236332","沈周柳荫坐钓图轴","本幅自题五绝诗：“树根容我坐，八座未云安。芸屦春泥湿，荷衣晓露干。沈周。”钤“寄傲”印、“启南”印。图中画岩崖危耸，春湖柳溪，湖边老翁垂纶，神态安逸。作品布景自然，用笔苍润，设色以浅绛、花青为主，清淡秀冶，兼得天趣与人意之美。此作表现了沈周晚年的典型面貌，根据本幅所钤“墨林山人”、“项叔子”、“项元汴印”等鉴藏印，可知作品曾经明末收藏家项元汴收藏。",[24,149,59,65,7,571,103,922,64,61],"坐钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26e450d5af93a3a1c5b03a1c08feb02.jpg","绫本，设色","纵136.3厘米，横23.6厘米",[44,212,927],"书法精选",649,{"id":930,"slug":931,"title":932,"dynasty":811,"author":933,"museum":119,"description":934,"tags":935,"thumbUrl":936,"material":337,"size":937,"collection":127,"collections":938,"showCount":939,"zanCount":405,"manualWeight":48,"mainColor":940},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[100,24,25,149,59,65,7,64,60,61,104,372,334,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg","Xcm*Xcm",[],641,"37474F",{"id":942,"slug":943,"title":944,"dynasty":54,"author":945,"museum":135,"description":946,"tags":947,"thumbUrl":948,"material":243,"size":949,"collection":44,"collections":950,"showCount":951,"zanCount":550,"manualWeight":48,"mainColor":49},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","唐寅","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,25,26,28,7,373,61,62,63,34,64,347,103,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","纵29.4cm，横351cm",[44,45],633,{"id":953,"slug":954,"title":159,"dynasty":54,"author":55,"museum":135,"description":955,"tags":956,"thumbUrl":957,"material":225,"size":958,"collection":71,"collections":959,"showCount":960,"zanCount":961,"manualWeight":48,"mainColor":49},222101,"shan-shui-ce-shen-zhou-222101","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,24,100,25,164,59,65,7,125,61,495,373,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","37.4x58.8",[71,212],623,1,{"id":963,"slug":964,"title":965,"dynasty":811,"author":899,"museum":135,"description":966,"tags":967,"thumbUrl":968,"material":87,"size":969,"collection":127,"collections":970,"showCount":971,"zanCount":500,"manualWeight":48,"mainColor":49},231954,"kuang-lu-tu-jing-hao-231954","匡庐图","全幅用水墨画出，画法皴染兼备，充分发挥了水墨画的长处。画幅上部危峰重叠，高耸入云，山巅树木丛生，山崖间飞瀑直泻而下，大有“银河落九天”之势。山腰密林之中深藏一处院落，从院落之中一路下山，山道蜿蜒盘旋，道旁溪流宛转曲折，最后注入山下湖中。山脚水边，巨石耸立，村居房舍掩映于密林之中。水上有渔人撑船，不远的坡旁路上，有一人正赶着毛驴慢行。画中只有两人，人物在画中只作为陪衬。其中有宋高宗所书“荆浩真迹神品”六个字，一般认为是其真迹。\n此画画中绝磴悬崖，平麓云林，虽看不出具体皴法。但笔墨间表现出了山的雄伟气势，烟岚的深远缥缈，比唐代山水大大前进了一步。\n图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[24,25,149,7,59,65,238,199,34,239,37,201,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米",[],621,{"id":973,"slug":974,"title":975,"dynasty":117,"author":118,"museum":704,"description":976,"tags":977,"thumbUrl":980,"material":87,"size":981,"collection":71,"collections":982,"showCount":983,"zanCount":488,"manualWeight":48,"mainColor":49},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,25,26,29,28,103,124,978,7,34,979,106,63,101,66,67,473,100],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[71,45],613,{"id":985,"slug":986,"title":987,"dynasty":54,"author":55,"museum":161,"description":988,"tags":989,"thumbUrl":990,"material":139,"size":991,"collection":71,"collections":992,"showCount":993,"zanCount":500,"manualWeight":48,"mainColor":49},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[100,24,25,149,59,65,122,7,64,34,35,60,61,199,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[71],606,{"id":995,"slug":996,"title":909,"dynasty":80,"author":997,"museum":135,"description":998,"tags":999,"thumbUrl":1000,"material":169,"size":1001,"collection":71,"collections":1002,"showCount":1003,"zanCount":550,"manualWeight":48,"mainColor":49},214249,"shan-shui-tu-cao-zhi-bai-214249","曹知白","两棵松树相向而立，树枝向下延伸呈蟹爪状，是北宋时期李成和郭熙的典型画风。这幅画浓淡相间，尤其是在远处的山峰之间，淡墨层层渲染，云层模糊不清，似有似无。",[23,100,24,59,65,7,125,64,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57a8f96ed896461c7ff36507601cb6a.jpg","68.1x34.3",[71],602,{"id":1005,"slug":1006,"title":1007,"dynasty":18,"author":274,"museum":135,"description":1008,"tags":1009,"thumbUrl":1010,"material":169,"size":1011,"collection":44,"collections":1012,"showCount":1013,"zanCount":712,"manualWeight":48,"mainColor":75},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,25,26,123,7,104,60,61,63,34,103,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[44],600,{"id":1015,"slug":1016,"title":909,"dynasty":80,"author":616,"museum":135,"description":1017,"tags":1018,"thumbUrl":1020,"material":169,"size":1021,"collection":71,"collections":1022,"showCount":1023,"zanCount":550,"manualWeight":48,"mainColor":75},218740,"shan-shui-tu-ni-zan-218740","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,100,24,25,149,59,65,1019,7,64,199,61,34,62,495],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[71],579,{"id":1025,"slug":1026,"title":1027,"dynasty":177,"author":178,"museum":20,"description":1028,"tags":1029,"thumbUrl":1033,"material":40,"size":307,"collection":44,"collections":1034,"showCount":1035,"zanCount":712,"manualWeight":48,"mainColor":49},236166,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,28,29,304,1030,7,104,583,106,1031,64,103,1032],"行乐图","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg",[44,45],568,{"id":1037,"slug":1038,"title":1039,"dynasty":18,"author":274,"museum":673,"description":1040,"tags":1041,"thumbUrl":1043,"material":169,"size":1044,"collection":42,"collections":1045,"showCount":1046,"zanCount":961,"manualWeight":48,"mainColor":75},214884,"lian-she-tu-li-gong-lin-214884","莲社图","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,100,24,25,26,123,28,1042,103,7,34,63,264,66,473,67,101],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[42],566,{"id":1048,"slug":1049,"title":1050,"dynasty":1051,"author":1052,"museum":1053,"description":1054,"tags":1055,"thumbUrl":1056,"material":337,"size":937,"collection":127,"collections":1057,"showCount":1058,"zanCount":405,"manualWeight":48,"mainColor":49},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","唐","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[23,100,24,149,27,28,29,7,104,62,103,61,583,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg",[],556,{"id":1060,"slug":1061,"title":1062,"dynasty":18,"author":234,"museum":20,"description":1063,"tags":1064,"thumbUrl":1065,"material":1066,"size":1067,"collection":42,"collections":1068,"showCount":1069,"zanCount":550,"manualWeight":48,"mainColor":49},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[23,24,100,25,26,59,65,7,264,372,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[42,71,212],555,{"id":1071,"slug":1072,"title":1073,"dynasty":80,"author":160,"museum":20,"description":1074,"tags":1075,"thumbUrl":1076,"material":632,"size":1077,"collection":71,"collections":1078,"showCount":1079,"zanCount":1080,"manualWeight":48,"mainColor":75},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,24,25,149,59,65,7,34,64,61,37,35,101,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纵118.1厘米，横36.2厘米",[71,212],552,2,{"id":1082,"slug":1083,"title":1084,"dynasty":18,"author":1085,"museum":20,"description":1086,"tags":1087,"thumbUrl":1088,"material":454,"size":1089,"collection":42,"collections":1090,"showCount":1091,"zanCount":488,"manualWeight":48,"mainColor":49},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,24,25,26,27,28,7,64,34,31,104,722,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[42,308,45],551,{"id":1093,"slug":1094,"title":1095,"dynasty":54,"author":1096,"museum":20,"description":1097,"tags":1098,"thumbUrl":1100,"material":632,"size":1101,"collection":71,"collections":1102,"showCount":1103,"zanCount":961,"manualWeight":48,"mainColor":75},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,25,100,149,28,7,65,1099,318,319,583,60,201,239,34,167,37],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[71,45],549,{"id":1105,"slug":1106,"title":1107,"dynasty":177,"author":301,"museum":20,"description":1108,"tags":1109,"thumbUrl":1111,"material":40,"size":1112,"collection":44,"collections":1113,"showCount":1114,"zanCount":961,"manualWeight":48,"mainColor":75},222723,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-222723","乾隆皇帝大阅图轴","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[23,149,29,28,103,335,7,629,1110],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ee2f5e76e9f30efbdf7e15fcadde66.jpg","纵332.5厘米，横232厘米",[44],548,{"id":1116,"slug":1117,"title":909,"dynasty":54,"author":96,"museum":396,"description":1118,"tags":1119,"thumbUrl":1121,"material":139,"size":1122,"collection":71,"collections":1123,"showCount":1114,"zanCount":961,"manualWeight":48,"mainColor":49},218370,"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[23,24,100,29,28,65,7,34,239,103,61,1120],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[71,44,45],{"id":1125,"slug":1126,"title":1127,"dynasty":80,"author":887,"museum":135,"description":1128,"tags":1129,"thumbUrl":1130,"material":139,"size":1131,"collection":44,"collections":1132,"showCount":1133,"zanCount":550,"manualWeight":48,"mainColor":49},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[23,24,25,26,123,28,103,125,7,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[44],533,{"id":1135,"slug":1136,"title":639,"dynasty":811,"author":1137,"museum":119,"description":1138,"tags":1139,"thumbUrl":1141,"material":337,"size":937,"collection":127,"collections":1142,"showCount":1143,"zanCount":405,"manualWeight":48,"mainColor":49},289890,"wan-he-song-feng-tu-ju-ran-289890","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,100,24,59,7,149,65,583,199,61,60,104,238,1140],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":1145,"slug":1146,"title":1147,"dynasty":18,"author":178,"museum":704,"description":1148,"tags":1149,"thumbUrl":1150,"material":139,"size":127,"collection":44,"collections":1151,"showCount":1152,"zanCount":500,"manualWeight":48,"mainColor":49},214860,"mo-gu-kai-zhi-luo-shen-fu-tu-di-er-juan-yi-ming-214860","摹顾恺之洛神赋图（第二卷）","摹顾恺之洛神赋图（第二卷）是宋朝佚名画家的一幅作品。这幅画描绘了洛神，她是中国神话中的一位美丽的仙女，被认为是花的化身。洛神赋图是一组描绘洛神的图画，可能是以绘画的形式来记录洛神的故事。这幅画的风格典雅，线条流畅，色彩明快，极富表现力。",[23,122,24,26,123,28,103,181,756,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e06b4414fc9a2b292ec17325cf42bd.jpg",[44],522,{"id":1154,"slug":1155,"title":1156,"dynasty":1051,"author":1157,"museum":119,"description":1158,"tags":1159,"thumbUrl":1161,"material":139,"size":127,"collection":71,"collections":1162,"showCount":1163,"zanCount":189,"manualWeight":48,"mainColor":49},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,100,24,26,28,7,765,372,106,62,64,31,34,878,1160],"小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[71],519,{"id":1165,"slug":1166,"title":1167,"dynasty":80,"author":616,"museum":135,"description":1168,"tags":1169,"thumbUrl":1170,"material":169,"size":1171,"collection":71,"collections":1172,"showCount":1173,"zanCount":712,"manualWeight":48,"mainColor":75},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，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此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，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。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[23,24,25,149,59,7,65,63,372,264,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[71,212],518,{"id":1175,"slug":1176,"title":1177,"dynasty":18,"author":178,"museum":119,"description":1178,"tags":1179,"thumbUrl":1180,"material":139,"size":1181,"collection":42,"collections":1182,"showCount":1173,"zanCount":961,"manualWeight":48,"mainColor":49},214257,"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[23,100,24,25,149,304,28,7,104,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[42],{"id":1184,"slug":1185,"title":1186,"dynasty":80,"author":160,"museum":135,"description":1187,"tags":1188,"thumbUrl":1189,"material":69,"size":1190,"collection":71,"collections":1191,"showCount":1192,"zanCount":961,"manualWeight":48,"mainColor":75},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[24,25,149,59,28,7,61,34,64,199,103,65,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[71],512,{"id":1194,"slug":1195,"title":1196,"dynasty":811,"author":899,"museum":119,"description":1197,"tags":1198,"thumbUrl":1199,"material":337,"size":937,"collection":127,"collections":1200,"showCount":1201,"zanCount":405,"manualWeight":48,"mainColor":940},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[100,24,25,149,59,7,65,238,199,34,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,{"id":1203,"slug":1204,"title":1205,"dynasty":54,"author":55,"museum":704,"description":1206,"tags":1207,"thumbUrl":1208,"material":349,"size":1209,"collection":127,"collections":1210,"showCount":1211,"zanCount":712,"manualWeight":48,"mainColor":75},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[23,24,25,59,65,67,66,101,7,63,103,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":1213,"slug":1214,"title":1215,"dynasty":54,"author":96,"museum":135,"description":1216,"tags":1217,"thumbUrl":1218,"material":69,"size":1219,"collection":71,"collections":1220,"showCount":1221,"zanCount":550,"manualWeight":48,"mainColor":75},218534,"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[24,29,28,27,304,7,104,64,34,278,826,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纵 66.8 公分 横37.6 公分",[71],501,{"id":1223,"slug":1224,"title":1225,"dynasty":54,"author":580,"museum":135,"description":1226,"tags":1227,"thumbUrl":1228,"material":69,"size":1229,"collection":71,"collections":1230,"showCount":1231,"zanCount":405,"manualWeight":48,"mainColor":75},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,24,25,149,28,7,103,67,101,29,65,318,583,63,61,60,165,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[71,212],498,{"id":1233,"slug":1234,"title":1235,"dynasty":811,"author":812,"museum":97,"description":1236,"tags":1237,"thumbUrl":1240,"material":169,"size":1241,"collection":71,"collections":1242,"showCount":1231,"zanCount":550,"manualWeight":48,"mainColor":49},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,100,24,25,26,59,65,7,1238,34,238,37,62,61,1239,63],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[71,212],{"id":1244,"slug":1245,"title":1246,"dynasty":54,"author":96,"museum":424,"description":1247,"tags":1248,"thumbUrl":1250,"material":139,"size":1251,"collection":44,"collections":1252,"showCount":1253,"zanCount":961,"manualWeight":48,"mainColor":75},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,26,25,29,28,304,7,103,104,63,60,61,630,34,64,559,1249],"花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[44],497,{"id":1255,"slug":1256,"title":1257,"dynasty":1258,"author":1259,"museum":135,"description":1260,"tags":1261,"thumbUrl":1264,"material":139,"size":1265,"collection":44,"collections":1266,"showCount":1267,"zanCount":405,"manualWeight":48,"mainColor":49},220434,"liu-chao-liang-zhang-seng-yao-xue-shan-hong-shu-tu-zhang-seng-yao-220434","六朝梁张僧繇雪山红树图","南北朝","张僧繇","全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。",[24,25,149,28,7,1262,1263,60,335,103,64,34],"雪山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd533a6eb07070436caaa6f33827a741c.jpg","118x60.8",[44,45],493,{"id":1269,"slug":1270,"title":1271,"dynasty":54,"author":1272,"museum":161,"description":1273,"tags":1274,"thumbUrl":1275,"material":169,"size":1276,"collection":71,"collections":1277,"showCount":1278,"zanCount":500,"manualWeight":48,"mainColor":75},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[23,24,25,7,59,65,149,318,165,103,63,61,264,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[71],484,{"id":1280,"slug":1281,"title":1282,"dynasty":18,"author":234,"museum":135,"description":1283,"tags":1284,"thumbUrl":1287,"material":243,"size":1288,"collection":42,"collections":1289,"showCount":1290,"zanCount":712,"manualWeight":48,"mainColor":49},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,100,24,25,149,59,7,104,60,1285,200,1286,101,122,65],"村居","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[42,71,212],472,{"id":1292,"slug":1293,"title":1294,"dynasty":177,"author":395,"museum":56,"description":1295,"tags":1296,"thumbUrl":1297,"material":169,"size":1298,"collection":71,"collections":1299,"showCount":1300,"zanCount":712,"manualWeight":48,"mainColor":49},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[23,24,59,65,149,7,199,583,64,35,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[71,212],469,{"id":1302,"slug":1303,"title":1304,"dynasty":54,"author":1305,"museum":135,"description":1306,"tags":1307,"thumbUrl":1308,"material":169,"size":1309,"collection":71,"collections":1310,"showCount":1311,"zanCount":500,"manualWeight":48,"mainColor":75},214297,"kan-shu-tu-wang-fu-214297","勘书图","王绂","王绂的画风继承了元代文人画的传统，强调笔墨的情感和趣味，是明代中期吴门画派的先驱。这是一幅画，画的是溪边的一座桥，三棵树挺立着，在树木和石头之间有一个栅栏和一个小屋，还有一个隐士坐在一个开放的亭子里看书。笔法优雅，墨色丰富，是即兴创作的杰作。",[23,24,149,7,59,65,318,319,165,239,60,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[71],468,{"id":1313,"slug":1314,"title":1315,"dynasty":54,"author":55,"museum":20,"description":1316,"tags":1317,"thumbUrl":1318,"material":225,"size":1319,"collection":71,"collections":1320,"showCount":1321,"zanCount":405,"manualWeight":48,"mainColor":75},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","此作曾在康熙年间被高士奇收藏，并著录于其《江村消夏录》。该作描绘万物竞发、重峦叠嶂、云蒸霞蔚、春水泛漾的春天景象。画面清新雅致，刻画细腻，具有元人画的风格。\n但此作历来有真伪之辩。《春云叠嶂图》的整体风格，似有些米家元素，虽同样横点干皴，但山峦单一，林木呆板，与沈周其他仿米真迹如《西山雨观图》相去甚远，完全不符沈周任何时期的书风。但究其题识，又非一般人所能书之。",[23,24,59,149,7,979,64,34,61,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纵152.2厘米，横43.2厘米",[71,212],463,{"id":1323,"slug":1324,"title":1325,"dynasty":54,"author":55,"museum":1326,"description":1327,"tags":1328,"thumbUrl":1330,"material":69,"size":1331,"collection":71,"collections":1332,"showCount":1333,"zanCount":550,"manualWeight":48,"mainColor":75},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[23,24,25,26,28,65,7,62,103,347,1329,34,61,64,373],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[71,45],460,{"id":1335,"slug":1336,"title":1337,"dynasty":18,"author":178,"museum":396,"description":1338,"tags":1339,"thumbUrl":1340,"material":139,"size":1341,"collection":71,"collections":1342,"showCount":1343,"zanCount":550,"manualWeight":48,"mainColor":49},218620,"luo-shen-fu-tu-yi-ming-218620","洛神赋图","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[23,26,29,28,103,7,181,978,979,34,64,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daa44aeeabdd0261586d0876b40f8f4.jpg","53.7x832.8",[71,42],458,{"id":1345,"slug":1346,"title":1347,"dynasty":54,"author":580,"museum":56,"description":1348,"tags":1349,"thumbUrl":1350,"material":139,"size":127,"collection":44,"collections":1351,"showCount":1352,"zanCount":550,"manualWeight":48,"mainColor":379},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,24,25,26,28,7,103,34,347,583,66,67,101,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[44,71],452,{"id":1354,"slug":1355,"title":1356,"dynasty":18,"author":592,"museum":20,"description":1357,"tags":1358,"thumbUrl":1359,"material":139,"size":1360,"collection":71,"collections":1361,"showCount":1362,"zanCount":550,"manualWeight":48,"mainColor":49},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[23,24,25,26,59,28,7,534,61,64,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","24.7x112.3cm",[71],445,{"id":1364,"slug":1365,"title":1366,"dynasty":177,"author":395,"museum":56,"description":1367,"tags":1368,"thumbUrl":1370,"material":69,"size":1371,"collection":44,"collections":1372,"showCount":1373,"zanCount":550,"manualWeight":48,"mainColor":75},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,100,24,25,26,28,65,103,7,60,61,165,734,1369],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[44,45],443,{"id":1375,"slug":1376,"title":1377,"dynasty":80,"author":160,"museum":161,"description":162,"tags":1378,"thumbUrl":1379,"material":169,"size":127,"collection":127,"collections":1380,"showCount":1381,"zanCount":48,"manualWeight":48,"mainColor":75},214577,"shan-shui-ce-2-wang-meng-214577","山水册-2",[100,24,25,164,59,65,7,125,64,167,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff325b98c3fa5098a784a9932e0c4b3b3.jpg",[],442,{"id":1383,"slug":1384,"title":1385,"dynasty":80,"author":160,"museum":161,"description":1386,"tags":1387,"thumbUrl":1390,"material":169,"size":1391,"collection":71,"collections":1392,"showCount":1393,"zanCount":500,"manualWeight":48,"mainColor":75},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[24,100,25,1388,59,65,7,34,1389,63,60,61,64,37,826,38],"山水画","秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[71],438,{"id":1395,"slug":1396,"title":1397,"dynasty":18,"author":775,"museum":119,"description":1398,"tags":1399,"thumbUrl":1403,"material":337,"size":937,"collection":127,"collections":1404,"showCount":1405,"zanCount":500,"manualWeight":48,"mainColor":49},283686,"du-bei-ke-shi-tu-li-cheng-283686","读碑窠石图","图中残碑上应有小字二行，一书“李成画树石”，一书“王晓补人物”，但现存此图中已无此二行小字，所以一说为摹本。《读碑窠石图》为双拼绢绘制的大幅山水画，表现冬日田野上，一位骑骡的老人正停驻在一座古碑前观看碑文，近处陂陀上 生长着木叶尽脱的寒树。此画取景集中，以枯树、石碑和人物构成画面的主体，颇有荒寒冷寂的气氛。树枝以细线勾勒，再用墨染，枝干皆作“蟹爪”状，纵横交错，有苍劲之感。坡石为侧笔所绘的圆润而少有皴擦的线条构成，此为后世称之的“卷云皴”。枯树与石碑的组合，强化了幽凄惨澹的环境气氛，暗示出对遥远历史中那辉煌繁华往事的追忆。",[100,24,59,7,372,264,103,65,1400,1401,1402],"荒寒","孤寂","读碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1d93dc2ab3cb636e2aed48546013ef.jpg",[],435,{"id":1407,"slug":1408,"title":1409,"dynasty":80,"author":1410,"museum":20,"description":1411,"tags":1412,"thumbUrl":1413,"material":1066,"size":1414,"collection":44,"collections":1415,"showCount":1416,"zanCount":712,"manualWeight":48,"mainColor":75},220778,"yu-fu-tu-wu-zhen-220778","渔父图","吴镇","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[23,24,25,59,65,7,62,495,165,61,64,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","纵84.7厘米，横29.7厘米",[44,212],434,{"id":1418,"slug":1419,"title":1420,"dynasty":80,"author":160,"museum":135,"description":1421,"tags":1422,"thumbUrl":1423,"material":349,"size":1424,"collection":71,"collections":1425,"showCount":1426,"zanCount":961,"manualWeight":48,"mainColor":49},220815,"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[23,24,149,59,7,65,64,34,60,61,63,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 211.1x34.4公分、全幅 67.5公分",[71,212],431,{"id":1428,"slug":1429,"title":1430,"dynasty":811,"author":812,"museum":135,"description":1431,"tags":1432,"thumbUrl":1437,"material":243,"size":1438,"collection":71,"collections":1439,"showCount":1440,"zanCount":1080,"manualWeight":48,"mainColor":49},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,24,100,25,149,7,28,815,34,64,31,85,103,238,38,201,1433,1434,1435,454,1436,65],"民居","自然景观","传统技法","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","纵156厘米，横160厘米",[71,212],422,{"id":1442,"slug":1443,"title":1444,"dynasty":80,"author":81,"museum":650,"description":1445,"tags":1446,"thumbUrl":1448,"material":169,"size":1449,"collection":71,"collections":1450,"showCount":1451,"zanCount":550,"manualWeight":48,"mainColor":75},218260,"shui-ge-qing-you-tu-huang-gong-wang-218260","水阁清幽图","《水阁清幽图》画的是深山隐居之景。整幅画可分为远近两部分，景物以云气间隔。近景描绘一山间溪流从远处密林中涓涓而来，溪口有三座房子，房前有平台。溪流两岸，坡石层叠，树木成林，葱郁茂盛。山谷之间，云气弥漫，其后远景中一主峰耸立，形状如蹲似踞，两旁低峰回护，前伸山顶平台，使远近之景相互呼应。\n《水阁清幽图》画面右上角署款“大痴道人平阳黄公望画于云间客舍，时年八秩有一”，钤“黄氏子久”白文方印和“一峰道人”朱文方印。画面右侧另钤有梁清标“苍岩子”“蕉林居士”鉴藏印，右上有王时敏“西田”朱文印和王撰“颛菴”印及“董光裕印”白文方印各一枚。",[24,25,59,65,149,7,318,319,34,1447,35,61],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25bba667d059525d84d5bfdaa9f9e2d.jpg","纵104.5厘米，横67.3厘米",[71],421,{"id":1453,"slug":1454,"title":1455,"dynasty":80,"author":160,"museum":135,"description":1456,"tags":1457,"thumbUrl":1459,"material":292,"size":1460,"collection":71,"collections":1461,"showCount":1462,"zanCount":500,"manualWeight":48,"mainColor":75},220816,"qiu-shan-cao-tang-tu-zhou-wang-meng-220816","秋山草堂图轴","1308－1385元画家。字叔明，号香光居士，湖州（今浙江吴兴）人。外祖父赵孟頫、外祖母管道升、舅父赵雍、表弟赵彦徵都是元代著名画家。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。王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。\n“王叔明画，从赵文敏风韵中来。……泛滥唐宋诸名家，而从董源、王维为宗，故其纵逸多姿，往往出文敏规格之外”。王蒙的画法，善变而多巧妙，喜画重山复岭之繁景，常用解索皴和焦墨点苔。所写山林树木，苍郁茂密而具有浑远的空间感。《秋山草堂图》画高山崇岭，茂树清淡，山脚草堂临水，水际荻花萧瑟堂内隐者怡然自得。表现出江南自然山川的湿润，创造出蓊郁深秀、浑厚华兹的境界。",[23,24,59,28,65,149,7,165,1458,61,62,60,372,101],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f99ee1ba33b0552bd4f03b90e05f53.jpg","123.3×54.8",[71,212],412,{"id":1464,"slug":1465,"title":909,"dynasty":18,"author":1466,"museum":135,"description":1467,"tags":1468,"thumbUrl":1469,"material":139,"size":1470,"collection":71,"collections":1471,"showCount":1462,"zanCount":1080,"manualWeight":48,"mainColor":49},214668,"shan-shui-tu-guo-zhong-shu-214668","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[24,100,7,106,62,373,372,125,61,238,150,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[71],{"id":1473,"slug":1474,"title":1475,"dynasty":54,"author":55,"museum":20,"description":1476,"tags":1477,"thumbUrl":1479,"material":375,"size":1480,"collection":71,"collections":1481,"showCount":1482,"zanCount":500,"manualWeight":48,"mainColor":75},222098,"jing-jiang-song-bie-tu-shen-zhou-222098","京江送别图","此图引首为王时敏题隶书“名迹貽徽”。本幅款署“沈周”。钤“启南”。后幅有沈周自题跋文，述作此图原由。另有明代文林书“送吳敘州之任序”、祝允明书“敘州府太守吳公詩序”及多家跋文。\n据《吴梅村先生集》考，此图成于明弘治四年(1491年)辛亥三月，沈周时年65岁。图中描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。吴愈是沈周的朋友，文徵明的岳丈，任所叙州，地处今四川宜宾。画面中主人乘舟远去，众人在岸边长揖作别。此时江南正是杨柳葱郁、山桃烂漫、风光无限之时。作者借描绘江南秀色流露出依依惜别之情，寄情于景，情景交融。远山以粗笔披麻皴法出之，墨色浓重滋润，线条苍秀，反映了沈周成熟的画风。",[23,24,197,65,26,7,62,103,34,60,61,1478],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97856aac11363d716cd5b6de3f3eb0bf.jpg","纵28厘米，横159厘米",[71,45],411,{"id":1484,"slug":1485,"title":1486,"dynasty":18,"author":744,"museum":20,"description":1487,"tags":1488,"thumbUrl":1489,"material":40,"size":1490,"collection":42,"collections":1491,"showCount":1492,"zanCount":189,"manualWeight":48,"mainColor":49},221541,"si-jing-shan-shui-tu-quan-juan-liu-song-nian-221541","四景山水图全卷","此卷图画分为四段，分别绘春、夏、秋、冬四时景象。\n第一幅，踏青，春花烂漫，杨柳葱翠；\n第二幅，纳凉，夏木浓荫，碧荷点点；\n第三幅，观山，秋高气爽，霜叶尽染；\n第四幅，赏雪，山裹银装，万籁俱寂。\n画面以人物活动为中心，结合界画技法，精心构建庭院台榭等建筑，工整精巧，或富丽，或古朴。山石以小斧劈皴法出之，苍逸劲健，行笔设色严谨而注重法度，画中人物虽小而形神完备。整幅作品面貌古朴，笔法精严，极富南宋画院作品的特色。临安（今浙江杭州）作为南宋都城所在，高官显贵们的庭园别墅建造甚多，刘松年身为画院画家，长年生活其间，描绘起来自然得心应手。此图立意于表现士绅官僚优裕闲适的生活，画家的注意力从山川自然的野韵转移到人工营造修饰的景物，这种题材风格的转变，从侧面反映出南宋时期，一大批无心复国的官僚们，专注于享乐的生活态度。正如诗云：“暖风薰得游人醉，只把杭州作汴州”。",[23,24,26,29,28,7,63,104,60,61,103,64,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa115d24c28f3208afa166893f49c7a.jpg","纵40厘米，横69厘米",[42,71,212],409,{"id":1494,"slug":1495,"title":1496,"dynasty":18,"author":604,"museum":1497,"description":1498,"tags":1499,"thumbUrl":1501,"material":139,"size":1502,"collection":42,"collections":1503,"showCount":1504,"zanCount":712,"manualWeight":48,"mainColor":49},218630,"song-yan-guan-pu-tu-ma-yuan-218630","松岩观瀑图","上海龙美术馆","一个高士酒后半躺在一棵松树下，山上的树干虬结，树枝斜向伸展，长长的、稀疏的树叶自由伸展，在用大笔画渲染的树木和岩石之间，充满了生命力。",[23,100,24,25,7,59,28,103,413,1500,199,61,264,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伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[23,24,25,28,103,583,64,34,1521,1522,65,29,7],"童子","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[44],402,{"id":1528,"slug":1529,"title":1530,"dynasty":18,"author":604,"museum":161,"description":1531,"tags":1532,"thumbUrl":1533,"material":139,"size":1534,"collection":42,"collections":1535,"showCount":1536,"zanCount":1080,"manualWeight":48,"mainColor":75},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,100,24,25,164,304,28,65,7,104,583,167,64,34,37,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[42,71],397,{"id":1538,"slug":1539,"title":1540,"dynasty":80,"author":1541,"museum":1542,"description":1543,"tags":1544,"thumbUrl":1545,"material":225,"size":1546,"collection":71,"collections":1547,"showCount":1548,"zanCount":961,"manualWeight":48,"mainColor":49},221810,"song-xuan-chun-ai-tu-zhou-zhang-yu-221810","松轩春霭图轴","张羽","美国大都会艺术博物馆","此图表现了春山“纵使晴明天雨色，入云深处亦沾衣”的意态。近景处坡石曲折，树林阴翳，一湾溪水逶迤而过，茅舍数椽隐于林中，静谧无人；中景山腰白云缭绕，亭台楼阁闪现其间；远景画一主峰突兀，山色浓重浑然。山石的结构以披麻皴勾写，层次丰富，脉络井然；山体以米氏横点层层积染，并以墨点和色点相互交错。尤其是主峰的刻画，丰富而充满生机，能与高克恭相媲美。全图笔调粗放，墨色氤氲，青、蓝、墨、赭，融合于一片春色之中。",[23,24,25,149,59,28,7,583,37,238,34,65,64,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纵91.5cm，横31.5cm",[71,45],396,{"id":1550,"slug":1551,"title":1552,"dynasty":18,"author":288,"museum":135,"description":1553,"tags":1554,"thumbUrl":1556,"material":596,"size":1557,"collection":71,"collections":1558,"showCount":1548,"zanCount":1080,"manualWeight":48,"mainColor":49},214723,"shan-ju-liu-ke-tu-xia-gui-214723","山居留客图","该图像描绘了一块有云的岩石和一座延伸到水面的长桥。在一棵老松树下面，两个老人在森林里的房子里休息和喝酒，一个孩子和一个老妇人在治疗设备，一个仆人在担架上睡觉，一个人拿着一把古筝。这幅画的风格与明代画院的风格接近，怀疑这幅画不是真迹。山石都是用斧头凿出来的，笔法轻柔，通常用侧锋，以获得力道，但细腻和克制的程度有点欠缺，可能是出自明人模仿夏圭的风格。",[24,25,100,149,1555,59,65,7,125,104,60,103,61],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687bcb8647a4f89cd2f269b229f4d848.jpg","164.7x102.8",[71,44],{"id":1560,"slug":1561,"title":1562,"dynasty":18,"author":1085,"museum":135,"description":1563,"tags":1564,"thumbUrl":1565,"material":139,"size":1566,"collection":71,"collections":1567,"showCount":1568,"zanCount":1080,"manualWeight":48,"mainColor":75},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","仙山楼阁图","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,24,25,149,27,28,29,304,7,104,34,37,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[71],388,{"id":1570,"slug":1571,"title":1572,"dynasty":18,"author":234,"museum":1542,"description":1573,"tags":1574,"thumbUrl":1575,"material":1576,"size":1577,"collection":42,"collections":1578,"showCount":1579,"zanCount":405,"manualWeight":48,"mainColor":49},221289,"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","此画描绘了河流两岸树色平远的景色。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。 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。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。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。",[23,24,59,26,7,63,372,264,62,103,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[42,71,212],387,{"id":1581,"slug":1582,"title":1583,"dynasty":80,"author":160,"museum":20,"description":1584,"tags":1585,"thumbUrl":1587,"material":375,"size":1588,"collection":71,"collections":1589,"showCount":1590,"zanCount":1080,"manualWeight":48,"mainColor":75},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,100,24,25,149,28,65,7,103,335,1586,60,61,583,239,202,35,101],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[71,45],385,{"id":1592,"slug":1593,"title":1594,"dynasty":811,"author":1137,"museum":135,"description":1595,"tags":1596,"thumbUrl":1597,"material":139,"size":1598,"collection":71,"collections":1599,"showCount":1590,"zanCount":961,"manualWeight":48,"mainColor":49},219910,"qiu-shan-wen-dao-tu-ju-ran-219910","秋山问道图","《秋山问道图》是一幅秋景山水画，以立幅构图画重重叠起的山峦，下部清澈的溪水，曲折的小路通向山中，山坳处茅舍数间，屋中有二人对坐，境界清幽。",[23,24,100,59,65,149,7,318,165,305,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4122bb46b9b23056909f68c43afe04b.jpg","横77.2厘米，纵165.2厘米",[71],{"id":1601,"slug":1602,"title":1603,"dynasty":18,"author":775,"museum":704,"description":1604,"tags":1605,"thumbUrl":1607,"material":139,"size":1608,"collection":308,"collections":1609,"showCount":1590,"zanCount":712,"manualWeight":48,"mainColor":49},216925,"han-ya-tu-li-cheng-216925","寒鸦图","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,100,24,25,26,59,65,372,125,106,1606,878,7,264,101,66,67],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[308],{"id":1611,"slug":1612,"title":1613,"dynasty":54,"author":55,"museum":776,"description":1614,"tags":1615,"thumbUrl":1620,"material":349,"size":1621,"collection":71,"collections":1622,"showCount":1623,"zanCount":961,"manualWeight":48,"mainColor":75},222114,"zhang-li-yuan-tiao-tu-shen-zhou-222114","杖藜远眺图","为一幅充满诗意的小景之作。左下方的白云草草勾出，稍加淡墨渲染，便有徐缓飘荡之态。山石皱纹和林木屋宇，点画随意，干湿浓淡，浑然一体。远山则用整块淡墨。这样，近景见笔而实，远山见墨而虚。虚实结合，有空灵深远之感。画中人物登高杖藜眺望，意境引入青山尽头，白云深处。题识：“白云如带束山腰 ，石磴飞空细路遥。独倚杖藜舒眺望，欲因鸣涧答吹箫。",[23,24,59,7,104,64,1616,1617,103,1618,101,65,1619],"林木","白云","杖藜","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纵38厘米，横59厘米",[71,212],383,{"id":1625,"slug":1626,"title":1627,"dynasty":54,"author":96,"museum":119,"description":1628,"tags":1629,"thumbUrl":1633,"material":337,"size":937,"collection":127,"collections":1634,"showCount":1635,"zanCount":961,"manualWeight":48,"mainColor":49},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,26,122,29,27,28,7,103,335,334,60,238,1630,1631,1632],"历史画","侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg",[],380,{"id":1637,"slug":1638,"title":1639,"dynasty":54,"author":96,"museum":161,"description":1640,"tags":1641,"thumbUrl":1644,"material":139,"size":1645,"collection":44,"collections":1646,"showCount":1647,"zanCount":405,"manualWeight":48,"mainColor":49},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,25,164,29,28,304,27,7,103,104,63,61,62,60,106,125,1642,1643,334,124,264],"夕阳","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[44],376,{"id":1649,"slug":1650,"title":1651,"dynasty":54,"author":1652,"museum":119,"description":1653,"tags":1654,"thumbUrl":1656,"material":127,"size":127,"collection":71,"collections":1657,"showCount":1658,"zanCount":48,"manualWeight":48,"mainColor":75},221983,"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文徴明","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,28,104,334,7,318,319,165,1655,36,59,223,149,349],"房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[71,212],375,{"id":1660,"slug":1661,"title":1662,"dynasty":54,"author":178,"museum":396,"description":1663,"tags":1664,"thumbUrl":1665,"material":69,"size":127,"collection":71,"collections":1666,"showCount":1658,"zanCount":1080,"manualWeight":48,"mainColor":75},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,25,59,28,164,7,62,106,125,264,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[71],{"id":1668,"slug":1669,"title":1670,"dynasty":177,"author":395,"museum":119,"description":1671,"tags":1672,"thumbUrl":1675,"material":127,"size":127,"collection":71,"collections":1676,"showCount":1677,"zanCount":712,"manualWeight":48,"mainColor":75},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[23,24,25,164,59,28,65,7,62,1673,1674,64,34,166,101],"帆船","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[71,45],374,{"id":1679,"slug":1680,"title":1681,"dynasty":54,"author":410,"museum":82,"description":1682,"tags":1683,"thumbUrl":1685,"material":454,"size":1686,"collection":71,"collections":1687,"showCount":1688,"zanCount":961,"manualWeight":48,"mainColor":49},222032,"chun-geng-tu-zhou-dai-jin-222032","春耕图轴","这幅气度恢宏的作品取法两宋郭熙、李唐诸辈，笔法苍润，风格遒劲。形则春耕，实为寄寓淡淡哀愁与希望。其心志高远，胸怀宽壑，借春耕这一生活化的语言表达对社稷繁荣安定的渴望。画中一旁孤独思忖的老者，面对湍湍逝去的溪水，显出无奈寂寞的神情，俨然作者自身的写照。\n不知桥上玩耍的孩童，能否传承老者衣钵，以慰心志！ 此图由钱镜塘先生捐赠，该画上堂为沪上鉴定大家吴湖帆先生题鉴，下有钱镜塘先生亲笔跋文。",[23,24,25,149,7,103,1586,60,61,165,65,28,1684],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80401d4a9b5750d8677ebf9efd74019.jpg","144.2×105.1cm",[71,45],371,{"id":1690,"slug":1691,"title":1692,"dynasty":54,"author":1096,"museum":20,"description":1693,"tags":1694,"thumbUrl":1696,"material":1697,"size":1698,"collection":71,"collections":1699,"showCount":1688,"zanCount":48,"manualWeight":48,"mainColor":75},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","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。",[23,100,24,25,1388,65,28,59,1019,7,583,64,31,1586,34,167,720,201,1695,37,1120],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[71,45],{"id":1701,"slug":1702,"title":1703,"dynasty":177,"author":1704,"museum":135,"description":1705,"tags":1706,"thumbUrl":1708,"material":139,"size":1709,"collection":71,"collections":1710,"showCount":1688,"zanCount":961,"manualWeight":48,"mainColor":75},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[100,24,25,149,28,7,65,122,101,30,37,34,583,239,1707,238,38],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[71],{"id":1712,"slug":1713,"title":1714,"dynasty":80,"author":1715,"museum":20,"description":1716,"tags":1717,"thumbUrl":1718,"material":375,"size":1719,"collection":71,"collections":1720,"showCount":1721,"zanCount":189,"manualWeight":48,"mainColor":49},221710,"shan-ju-tu-qian-xuan-221710","山居图","钱选","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[23,100,24,25,26,27,28,29,65,66,101,7,318,319,165,583,60,61,35,62,264,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[71,45],368,{"id":1723,"slug":1724,"title":1725,"dynasty":811,"author":812,"museum":1542,"description":1726,"tags":1727,"thumbUrl":1728,"material":87,"size":1729,"collection":71,"collections":1730,"showCount":1731,"zanCount":961,"manualWeight":48,"mainColor":49},221159,"xi-an-tu-dong-yuan-221159","溪岸图","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,25,7,65,815,59,28,239,34,61,199,63,167,720,201,238,38,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[71,212],366,{"id":1733,"slug":1734,"title":1735,"dynasty":54,"author":55,"museum":673,"description":1736,"tags":1737,"thumbUrl":1739,"material":139,"size":1740,"collection":71,"collections":1741,"showCount":1742,"zanCount":961,"manualWeight":48,"mainColor":49},219436,"chun-xi-mi-ju-tu-shen-zhou-219436","春溪觅句图","画面中山峰巍峨，峭壁如削，墨色皴染间尽显苍劲之势。松枝虬劲，枝叶繁茂，与嶙峋山石相映成趣。近景处，文人拄杖而立，衣袂飘飘，似于春溪之畔凝思觅句。山间云雾轻笼，流水潺潺，松涛与泉声相和，营造出清幽雅致的意境。笔墨苍润浑厚，线条灵动，将自然之美与文人的诗意情怀融为一体，尽显吴门画派的雅致风骨，观者仿佛能随画中人步入山林，感受那份远离尘嚣的宁静与悠然。",[24,25,149,59,65,7,103,583,1738,64,201,533],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57fb947c644f27d6774a57fced47050.jpg","横54.5纵162cm",[71],359,{"id":1744,"slug":1745,"title":1746,"dynasty":18,"author":1747,"museum":1748,"description":1749,"tags":1750,"thumbUrl":1751,"material":1752,"size":127,"collection":71,"collections":1753,"showCount":1742,"zanCount":712,"manualWeight":48,"mainColor":75},219195,"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","牧溪","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[23,1555,24,100,26,59,7,62,125,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本",[71,42],{"id":1755,"slug":1756,"title":1757,"dynasty":54,"author":96,"museum":135,"description":1758,"tags":1759,"thumbUrl":1760,"material":292,"size":1761,"collection":71,"collections":1762,"showCount":1763,"zanCount":550,"manualWeight":48,"mainColor":75},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[23,24,25,149,304,29,28,7,104,64,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","110.5x42.1",[71,45],351,{"id":1765,"slug":1766,"title":863,"dynasty":864,"author":865,"museum":20,"description":1767,"tags":1768,"thumbUrl":1769,"material":87,"size":1770,"collection":927,"collections":1771,"showCount":1772,"zanCount":500,"manualWeight":48,"mainColor":75},221049,"you-chun-tu-zhan-zi-qian-221049","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,24,25,26,27,28,7,103,104,60,61,106,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。",[927],350,{"id":1774,"slug":1775,"title":134,"dynasty":80,"author":81,"museum":135,"description":83,"tags":1776,"thumbUrl":1781,"material":87,"size":140,"collection":71,"collections":1782,"showCount":1783,"zanCount":1080,"manualWeight":48,"mainColor":75},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767",[23,24,25,26,59,65,7,62,61,34,1777,238,60,1778,816,264,347,37,1779,1780],"江","渔舟","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg",[71,212],349,{"id":1785,"slug":1786,"title":1787,"dynasty":177,"author":178,"museum":135,"description":1788,"tags":1789,"thumbUrl":1793,"material":139,"size":1794,"collection":71,"collections":1795,"showCount":1796,"zanCount":48,"manualWeight":48,"mainColor":49},218493,"fang-zhao-meng-fu-que-hua-qiu-se-tu-yi-ming-218493","仿赵孟頫鹊华秋色图","平野旷远，秋气澹然。疏林错落于汀渚间，枯藤缀红，苍松凝翠，枝桠横斜藏萧瑟之韵；浅滩细草萋萋，水鸟翩跹，添野趣几分。左畔圆丘如覆，右峰尖峭似锥，淡墨晕染出层峦之态，远岫含烟，空蒙悠远。笔墨承古意，设色雅淡，将秋郊的旷疏与静谧凝于绢素。画面空灵澄澈，无喧嚣之扰，尽显宋元山水的悠然之境，似可闻风过林梢、水鸟轻啼，令人心驰神往。",[23,24,25,100,26,122,28,65,7,34,1790,890,1791,1792,372],"平野","孤山","红叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76414e091a2fe78c9e55723e023ebb19.jpg","28.7x146cm",[71],346,{"id":1798,"slug":1799,"title":1800,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":1803,"thumbUrl":1804,"material":349,"size":1805,"collection":71,"collections":1806,"showCount":1807,"zanCount":961,"manualWeight":48,"mainColor":75},220330,"huang-shan-tu-ce-hong-ren-220330","黄山图册","弘仁","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,25,164,28,7,413,264,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a28d1fd70bd633868d57292ab972da0.jpg","21.5x18.3厘米",[71],344,{"id":1809,"slug":1810,"title":1811,"dynasty":811,"author":812,"museum":1812,"description":1813,"tags":1814,"thumbUrl":1817,"material":596,"size":1818,"collection":212,"collections":1819,"showCount":1820,"zanCount":1080,"manualWeight":48,"mainColor":940},219166,"han-lin-zhong-ting-tu-dong-yuan-219166","寒林重汀图","日本兵库县黑川文学院","此图皴笔粗,苔点则兼用渴笔、焦黑、乱锋为素的空处相掩映,黑白对比变化多端。垂柳分列面相之,而运笔迅疾,力量饱满。除长披麻外,复于岸之顾盼,村舍延,远景近景连成一片。此画技法高超,阴面以碎笔打点,或聚或散,不仅线、点的墨色和乃难得的绝世佳作。",[23,24,59,28,65,7,766,816,1815,34,35,60,1816],"水域","平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d474576e331ddcfa77cd48b6650a19.jpg","纵181.5、横116.5厘米",[212],343,{"id":1822,"slug":1823,"title":1824,"dynasty":177,"author":1825,"museum":56,"description":1826,"tags":1827,"thumbUrl":1828,"material":69,"size":1829,"collection":71,"collections":1830,"showCount":1831,"zanCount":550,"manualWeight":48,"mainColor":75},214612,"shan-shui-san-ye-wang-jian-214612","山水散页","王鉴","王鉴（1598-1677），明末清初画家。字玄照，后改字元照、圆照、元炤，号湘碧，自称染香庵主，江苏太仓人。王世贞孙。与王时敏为子侄行，因年岁相若，互相砥砺。家藏名迹亦相埒。工画山水，受董其昌影响，追踵董源、巨然，多拟仿宋元诸家，善于青绿设色，皴染兼长。风格华润，纤不伤雅，但较平实。当时和王时敏被推为画坛领袖。后人把他与王时敏、王翚、王原祁合称“四王”，加吴历、恽寿平亦称“清六家”。",[24,100,25,28,27,65,7,318,319,165,37,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879022b3487ec1ad455bfe24af31707a.jpg","纵34.8厘米，横29.9厘米",[71],342,{"id":1833,"slug":1834,"title":1835,"dynasty":54,"author":55,"museum":119,"description":1836,"tags":1837,"thumbUrl":1838,"material":225,"size":127,"collection":127,"collections":1839,"showCount":1840,"zanCount":1080,"manualWeight":48,"mainColor":75},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,100,24,25,26,59,28,7,61,63,103,62,64,65,630,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":1842,"slug":1843,"title":1844,"dynasty":54,"author":55,"museum":119,"description":1845,"tags":1846,"thumbUrl":1847,"material":337,"size":937,"collection":127,"collections":1848,"showCount":1849,"zanCount":1080,"manualWeight":48,"mainColor":49},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,100,24,149,27,28,7,60,61,125,64,103,334,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":1851,"slug":1852,"title":1853,"dynasty":54,"author":410,"museum":135,"description":1854,"tags":1855,"thumbUrl":1857,"material":87,"size":1858,"collection":71,"collections":1859,"showCount":1849,"zanCount":48,"manualWeight":48,"mainColor":49},222033,"chun-han-tu-dai-jin-222033","春酣图","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,100,7,28,65,103,583,60,61,62,125,1856,64,37,200,373],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[71,45],{"id":1861,"slug":1862,"title":233,"dynasty":18,"author":234,"museum":135,"description":235,"tags":1863,"thumbUrl":1864,"material":1865,"size":244,"collection":127,"collections":1866,"showCount":1867,"zanCount":961,"manualWeight":48,"mainColor":49},231408,"zao-chun-tu-guo-xi-231408",[23,24,100,25,149,59,28,65,7,238,239,34,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,{"id":1869,"slug":1870,"title":1871,"dynasty":177,"author":1872,"museum":1542,"description":1873,"tags":1874,"thumbUrl":1877,"material":127,"size":127,"collection":71,"collections":1878,"showCount":1879,"zanCount":961,"manualWeight":48,"mainColor":75},222627,"shui-mo-shan-shui-gong-xian-222627","水墨山水","龚贤","这组作品画风浑厚沉郁，秀气灵动。作者采用积墨法，用润墨一点点积累。墨色中留有空间，使画面极富层次感。独特的构图更是带给读者耳目一新的感觉。龚贤，明末清初著名画家，金陵八大家之一，早年曾参加复社活动，明末战乱时漂泊流离，生活清苦。他工诗文，善行草，著有《香草堂集》。",[23,100,24,25,59,7,1875,238,34,63,239,1876],"积墨法","层次感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35053c93def9c553bcb519e4e19a558e.jpg",[71,212],335,{"id":1881,"slug":1882,"title":1883,"dynasty":18,"author":604,"museum":776,"description":1884,"tags":1885,"thumbUrl":1887,"material":349,"size":1888,"collection":42,"collections":1889,"showCount":1890,"zanCount":712,"manualWeight":48,"mainColor":49},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,24,25,59,28,26,65,7,103,62,630,335,61,1886,239,34,373],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[42,71,45],334,{"id":1892,"slug":1893,"title":1894,"dynasty":54,"author":1096,"museum":56,"description":1895,"tags":1896,"thumbUrl":1898,"material":69,"size":127,"collection":71,"collections":1899,"showCount":1900,"zanCount":500,"manualWeight":48,"mainColor":75},214656,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,164,28,65,67,66,101,7,318,319,165,734,37,167,1897,34],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg",[71],333,{"id":1902,"slug":1903,"title":1904,"dynasty":80,"author":1905,"museum":20,"description":1906,"tags":1907,"thumbUrl":1908,"material":454,"size":1909,"collection":71,"collections":1910,"showCount":1911,"zanCount":961,"manualWeight":48,"mainColor":49},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,24,25,149,29,28,65,7,62,103,104,34,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[71,212],332,{"id":1913,"slug":1914,"title":1915,"dynasty":54,"author":96,"museum":673,"description":1916,"tags":1917,"thumbUrl":1918,"material":139,"size":1919,"collection":127,"collections":1920,"showCount":1921,"zanCount":48,"manualWeight":48,"mainColor":49},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2","清人绘，款仇英",[24,25,164,29,28,103,335,60,61,7,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg","18.5*38",[],331,{"id":1923,"slug":1924,"title":394,"dynasty":177,"author":1925,"museum":161,"description":1926,"tags":1927,"thumbUrl":1928,"material":69,"size":127,"collection":71,"collections":1929,"showCount":1930,"zanCount":961,"manualWeight":48,"mainColor":75},214378,"shan-shui-tu-ce-zhu-da-214378","朱耷","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[23,24,59,164,65,101,7,64,372,1815,62,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg",[71],324,{"id":1932,"slug":1933,"title":1934,"dynasty":177,"author":1825,"museum":20,"description":1935,"tags":1936,"thumbUrl":1937,"material":139,"size":1938,"collection":71,"collections":1939,"showCount":1940,"zanCount":961,"manualWeight":48,"mainColor":49},214365,"fang-ju-ran-shan-shui-wang-jian-214365","仿巨然山水","王鉴（1792-1867）是清代著名的画家，他的作品《仿巨然山水》是其代表作之一。\n\n《仿巨然山水》描绘了一幅山水画面，王鉴在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。王鉴在《仿巨然山水》中仿照了巨然（元代画家）的山水画风，并加以提升，使作品更具艺术性。\n\n《仿巨然山水》被认为是王鉴写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仿巨然山水》也是收藏家们青睐的经典之作。\n\n王鉴的《仿巨然山水》不仅是一幅精美的画作，更是一首关于自然之美的诗篇。在这幅画作中，王鉴巧妙地运用了水墨画的技法，勾勒出山水的层次感和自然的秀美。作品中的山川、树木、花卉都表现出了自然界的细腻与丰富，使观者感受到大自然的魅力。",[23,24,149,122,65,28,7,318,319,199,34,63,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[71],319,{"id":1942,"slug":1943,"title":1944,"dynasty":18,"author":274,"museum":135,"description":1945,"tags":1946,"thumbUrl":1948,"material":169,"size":1011,"collection":71,"collections":1949,"showCount":1950,"zanCount":961,"manualWeight":48,"mainColor":75},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,100,26,123,29,59,7,64,34,199,103,1947,60,61,535,201,239],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg",[71],318,{"id":1952,"slug":1953,"title":1954,"dynasty":80,"author":160,"museum":161,"description":162,"tags":1955,"thumbUrl":1956,"material":169,"size":127,"collection":127,"collections":1957,"showCount":1958,"zanCount":48,"manualWeight":48,"mainColor":75},214576,"shan-shui-ce-3-wang-meng-214576","山水册-3",[100,24,59,65,164,7,34,1586,61,1695,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef6f289b0869c501494295442e78b88.jpg",[],317,{"id":1960,"slug":1961,"title":909,"dynasty":80,"author":1962,"museum":135,"description":1963,"tags":1964,"thumbUrl":1965,"material":169,"size":1966,"collection":71,"collections":1967,"showCount":1958,"zanCount":961,"manualWeight":48,"mainColor":49},214248,"shan-shui-tu-sheng-mao-214248","盛懋","岸畔枯树疏柳，枝桠虬曲如篆，垂丝轻拂似诉。一舟横卧矶边，舱内人影半隐，或凭舷观水，或抱膝沉思，将天地的空阔收于方寸之间。笔墨兼工带写，山石皴染沉稳，草木勾勒灵动，枯润相生间晕开元人特有的清旷之气。无繁复景致，却以极简构图载起无尽悠远——是独处的安然，亦是与自然对谈的从容。整幅画如淡茶一盏，初看寻常，细品则唇齿留甘，心魂被那无声静谧轻轻包裹，顿觉尘嚣远遁，胸臆渐宽。山石的沉稳与草木的灵动交织，枯笔的苍劲与湿墨的柔润相映，每一处线条都藏着对天地的敬畏，每一抹晕染都浸着对心境的描摹，于简淡中见深致，于静默里藏深情。",[23,80,24,25,149,59,65,7,62,125,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a77d5c354804d75fd535e1b40cf2362.jpg","67.1x33.5",[71],{"id":1969,"slug":1970,"title":1971,"dynasty":80,"author":160,"museum":161,"description":162,"tags":1972,"thumbUrl":1973,"material":169,"size":127,"collection":127,"collections":1974,"showCount":1975,"zanCount":961,"manualWeight":48,"mainColor":75},214569,"shan-shui-ce-8-wang-meng-214569","山水册-8",[24,59,28,65,164,7,583,347,238,305,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa979705b9e03b4cc5259e511244f05ad.jpg",[],316,{"id":1977,"slug":1978,"title":1979,"dynasty":18,"author":194,"museum":396,"description":1980,"tags":1981,"thumbUrl":1982,"material":139,"size":1983,"collection":42,"collections":1984,"showCount":1985,"zanCount":961,"manualWeight":48,"mainColor":49},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","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。",[23,100,24,25,26,7,878,65,59,28,318,734,165,372,583,765,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[42,71],315,{"id":1987,"slug":1988,"title":1989,"dynasty":80,"author":1990,"museum":161,"description":1991,"tags":1992,"thumbUrl":1994,"material":596,"size":1995,"collection":71,"collections":1996,"showCount":1985,"zanCount":1080,"manualWeight":48,"mainColor":49},214732,"zhu-lin-mao-she-tu-guan-dao-sheng-214732","竹林茅舍图","管道升","管道升（公元665-744）是中国元代著名画家，代表作品有《竹林茅舍图》。《竹林茅舍图》是管道升的杰作之一，也是他最著名的作品之一。该画作描绘了一幅荒凉的竹林山水画，画中的茅舍与周围的竹林形成了鲜明的对比。画面中的茅舍虽然很小，但却被描绘得格外细腻，使得整幅画充满了生动的气息。管道升的《竹林茅舍图》被誉为元代山水画的巅峰之作，具有极高的艺术价值。",[23,24,25,59,1993,7,630,347,60,65,64,826],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","26x44cm",[71],{"id":1998,"slug":19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:2146,"material":2147,"size":2148,"collection":71,"collections":2149,"showCount":2150,"zanCount":500,"manualWeight":48,"mainColor":75},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[23,100,24,25,2145,1019,59,65,7,583,64,1616,238,223],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纸本水墨","纵154厘米，横60.39厘米",[71,45],290,{"id":2152,"slug":2153,"title":2154,"dynasty":18,"author":2155,"museum":2156,"description":2157,"tags":2158,"thumbUrl":2159,"material":139,"size":2160,"collection":71,"collections":2161,"showCount":2162,"zanCount":458,"manualWeight":48,"mainColor":75},218391,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-218391","潇湘八景-江天暮雪","王洪","美国普林斯顿大学美术馆","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。",[23,24,100,25,59,65,7,165,37,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","90.7×23.4厘米",[71],286,{"id":2164,"slug":2165,"title":2166,"dynasty":1051,"author":178,"museum":20,"description":2167,"tags":2168,"thumbUrl":2171,"material":139,"size":2172,"collection":71,"collections":2173,"showCount":2162,"zanCount":48,"manualWeight":48,"mainColor":49},214258,"gong-yuan-tu-yi-ming-214258","宫苑图","宫苑图是一幅作者不详的唐代画作。这幅画作描绘了唐朝皇宫的生活。\n\n在这幅画作中，画家巧妙地捕捉了唐朝皇宫的繁华景象。他用浓墨重彩的画法，勾勒出了皇宫的宏伟建筑。他还用细腻的线条勾勒出了皇宫中各种活动的场面，让人感受到了唐朝皇宫的繁荣景象。\n\n此外，画家在这幅画作中还描绘了皇宫周围的景色。他用色彩丰富的画法，描绘了皇宫周围的山川和河流。这些景色与皇宫的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n总之，宫苑图是一幅精美的画作，描绘了唐朝皇宫的生活。它让我们感受到了唐朝皇宫的繁荣景象，也让我们感受到了唐朝文化的魅力。",[23,100,24,25,28,304,104,7,2169,103,2170],"宫苑","繁华","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f47a53857a3fc4ab82d75a1dd20f08.jpg","162.5×83.7",[71],{"id":2175,"slug":2176,"title":1095,"dynasty":177,"author":2177,"museum":556,"description":2178,"tags":2179,"thumbUrl":2180,"material":169,"size":127,"collection":71,"collections":2181,"showCount":2182,"zanCount":961,"manualWeight":48,"mainColor":75},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[24,59,65,122,25,101,67,7,264,61,238,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[71],285,{"id":2184,"slug":2185,"title":2186,"dynasty":177,"author":395,"museum":119,"description":2187,"tags":2188,"thumbUrl":2189,"material":127,"size":127,"collection":127,"collections":2190,"showCount":2191,"zanCount":48,"manualWeight":48,"mainColor":75},229001,"jin-ling-sheng-ji-tu-ce-zhang-da-qian-ti-zhen-shi-tao-229001","金陵胜迹图册(张大千题)帧","此帧以淡赭晕染危崖，笔意简括古拙，衬出峭壁高峙之态。崖巅楼宇寥寥数笔，凭栏人影幽然，衬出山巅阒寂清旷。枯淡墨色点苔绘木，苍劲松灵，淡墨扫出空蒙天色，与赭色崖身相映，冷逸出尘。\n\n配行书题诗，诗书与画境相融，笔墨间浸透着清冷禅意，将冬初山阁清寂之景，与幽人寄怀合而为一，于尺幅间尽绘高旷出尘之致，尽显纵逸灵动的笔底才情，把山巅初消寒意的雅趣，晕染得淡远空灵，韵致悠长。",[23,100,24,25,164,28,65,101,66,7,104,165,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddb8b7cfbb4648cbf6458bf7f8aaa0.jpg",[],284,{"id":2193,"slug":2194,"title":2195,"dynasty":80,"author":160,"museum":161,"description":162,"tags":2196,"thumbUrl":2197,"material":169,"size":127,"collection":127,"collections":2198,"showCount":2199,"zanCount":48,"manualWeight":48,"mainColor":75},214571,"shan-shui-ce-6-wang-meng-214571","山水册-6",[24,25,164,59,65,7,125,630,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a5c5bcdebd737e04aa98f91fe3ade1.jpg",[],283,{"id":2201,"slug":2202,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":2205,"thumbUrl":2206,"material":349,"size":2207,"collection":71,"collections":2208,"showCount":2209,"zanCount":712,"manualWeight":48,"mainColor":75},234083,"wu-zhong-shan-shui-ce-shen-zhou-234083","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,25,164,59,7,67,101,65,63,61,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[71],282,{"id":2211,"slug":2212,"title":1714,"dynasty":18,"author":2213,"museum":135,"description":2214,"tags":2215,"thumbUrl":2217,"material":139,"size":2218,"collection":42,"collections":2219,"showCount":2209,"zanCount":48,"manualWeight":48,"mainColor":75},218931,"shan-ju-tu-yan-su-218931","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[23,24,25,28,65,7,2216,64,34,61,533,239,150,38],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[42,71],{"id":2221,"slug":2222,"title":2223,"dynasty":177,"author":1925,"museum":161,"description":2224,"tags":2225,"thumbUrl":2226,"material":169,"size":127,"collection":308,"collections":2227,"showCount":2209,"zanCount":961,"manualWeight":48,"mainColor":75},216365,"hua-niao-ce-zhu-da-216365","花鸟册","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,25,164,59,7,372,264,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[308],{"id":2229,"slug":2230,"title":2231,"dynasty":177,"author":395,"museum":161,"description":2232,"tags":2233,"thumbUrl":2235,"material":69,"size":2236,"collection":308,"collections":2237,"showCount":2209,"zanCount":961,"manualWeight":48,"mainColor":75},214566,"mo-zui-za-hua-tu-ce-shi-tao-214566","墨醉杂画图册","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,100,24,25,164,59,28,7,103,264,571,2234],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe201a3420f1c56b81b5ab47c63b832a.jpg","纵51.4厘米，横35.4厘米",[308],{"id":2239,"slug":2240,"title":2241,"dynasty":18,"author":604,"museum":135,"description":2242,"tags":2243,"thumbUrl":2244,"material":69,"size":2245,"collection":71,"collections":2246,"showCount":2247,"zanCount":712,"manualWeight":48,"mainColor":75},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,100,25,26,59,28,65,7,64,34,61,62,60,63,106,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[71,45],280,{"id":2249,"slug":2250,"title":2251,"dynasty":54,"author":96,"museum":704,"description":2252,"tags":2253,"thumbUrl":2254,"material":454,"size":2255,"collection":71,"collections":2256,"showCount":2257,"zanCount":458,"manualWeight":48,"mainColor":49},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,25,100,26,27,28,29,7,60,61,104,63,630,34,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[71,45],279,{"id":2259,"slug":2260,"title":2261,"dynasty":177,"author":2017,"museum":369,"description":2262,"tags":2263,"thumbUrl":2265,"material":87,"size":2266,"collection":308,"collections":2267,"showCount":2257,"zanCount":189,"manualWeight":48,"mainColor":75},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[23,24,25,26,28,7,65,34,2264,61,62,60,64,63],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 57.6cm",[308,45],{"id":2269,"slug":2270,"title":2271,"dynasty":2272,"author":2273,"museum":2274,"description":2275,"tags":2276,"thumbUrl":2278,"material":349,"size":2279,"collection":127,"collections":2280,"showCount":2257,"zanCount":48,"manualWeight":48,"mainColor":75},220478,"jiang-shan-ru-ci-duo-jiao-tu-fu-bao-shi-220478","江山如此多娇图","民国","傅抱石","北京人民大会堂","这幅作品以全景视角铺展山河盛景，云海翻涌间，群峰若隐若现如苍龙腾跃于天地间，右侧近景山峦沉稳苍劲，古松虬枝挺拔，稳稳锚定画面重心。暖调霞光晕染穹宇，赤日高悬天际，将流云远山晕化作鎏金暖色，泼墨晕染与精细勾勒兼用，既带着传统山水画的空灵悠远，又以宏阔格局尽显山河的雄浑壮阔。笔墨之间满怀着对神州大地的热忱礼赞，将山河的厚重底蕴与东方诗意熔铸尺幅间，尽显吞吐天地的泱泱气度，让观者于画中窥见万里山河的磅礴生机。",[23,24,28,65,7,318,37,2277,34,59],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da411854c3290546e3eecb3a5aa3288.jpg","纵6.5米，横9米",[],{"id":2282,"slug":2283,"title":2284,"dynasty":80,"author":160,"museum":161,"description":162,"tags":2285,"thumbUrl":2286,"material":169,"size":127,"collection":127,"collections":2287,"showCount":2288,"zanCount":48,"manualWeight":48,"mainColor":75},214570,"shan-shui-ce-7-wang-meng-214570","山水册-7",[24,100,25,164,59,65,7,125,607,62,64,63,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7721b1ffd15bca0c3f537a750918a292.jpg",[],278,{"id":2290,"slug":2291,"title":394,"dynasty":177,"author":2292,"museum":135,"description":2293,"tags":2294,"thumbUrl":2295,"material":2296,"size":127,"collection":71,"collections":2297,"showCount":2298,"zanCount":961,"manualWeight":48,"mainColor":75},220968,"shan-shui-tu-ce-dai-xi-220968","戴熙","戴熙山水木石，所作笔调清雅，墨色腴润，颇得江浙山川韵致。虽然也是从王翚一路入手，却能别出心裁。加上清末考据与金石学的兴盛，戴熙也融入了倡导碑学的潮流，在绘画中吸取了书法篆刻的长处，以金石入画，形成了一种极其微妙的、富有创造性的绘画风格。他的山水画用笔扎实，笔笔有入木三分之感，山岚河川也由于厚重的墨笔而罩上了老成的色调，形成了画面空旷的意境。",[23,24,59,65,164,25,7,318,319,34,35,239,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f484b706b2fa645c1a92dd87054aad.jpg","水墨纸本",[71,212],276,{"id":2300,"slug":2301,"title":2302,"dynasty":80,"author":160,"museum":135,"description":2303,"tags":2304,"thumbUrl":2305,"material":292,"size":2306,"collection":71,"collections":2307,"showCount":2308,"zanCount":961,"manualWeight":48,"mainColor":75},220810,"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[23,24,25,149,59,7,413,103,61,64,347,65,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[71,45],274,{"id":2310,"slug":2311,"title":2312,"dynasty":177,"author":395,"museum":704,"description":2313,"tags":2314,"thumbUrl":2316,"material":169,"size":2317,"collection":71,"collections":2318,"showCount":2319,"zanCount":712,"manualWeight":48,"mainColor":49},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,24,25,149,59,65,7,2315,64,61,37,63,34,264,101],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[71],273,{"id":2321,"slug":2322,"title":1883,"dynasty":54,"author":96,"museum":396,"description":2323,"tags":2324,"thumbUrl":2335,"material":139,"size":2336,"collection":44,"collections":2337,"showCount":2319,"zanCount":1080,"manualWeight":48,"mainColor":49},219566,"xi-yuan-ya-ji-tu-chou-ying-219566","层叠奇峰拔地而起，晕染出幽寂高远的山境，霜林点丹、佳木凝翠，清溪蜿蜒穿绕岩谷。林麓间亭台隐现，雅集之人或立谈论艺，或执卷沉吟，侧旁侍童恭谨随侍，右下角二童煎茶添趣，将文人林下雅聚的闲逸意趣尽数铺陈。\n画作工细妍雅，设色清丽古润，以院体精工勾勒人物神态衣袂，又以文人画的萧散意韵晕染山水林泉，复刻出雅集的风流意气，将古今文人心心念念的林下清欢，凝于绢素之上，尽显古雅悠然的中式意趣。",[23,24,100,28,29,7,2325,2326,2327,2328,722,2329,2330,2331,2332,2333,2334],"奇峰","霜林","佳木","清溪","文人雅集","侍童","煎茶","闲逸意趣","古雅悠然","林下雅聚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0809efd85a8a77ee96ecfd1cf70ae5e.jpg","纵127.90横54厘米",[44,45],{"id":2339,"slug":2340,"title":2341,"dynasty":80,"author":81,"museum":135,"description":2342,"tags":2343,"thumbUrl":2344,"material":596,"size":127,"collection":71,"collections":2345,"showCount":2346,"zanCount":961,"manualWeight":48,"mainColor":75},219479,"ji-gu-tu-hui-ce-shan-shui-tu-huang-gong-wang-219479","集古图绘册 山水图","此作用笔简淡松灵，以披麻皴慢写江南山峦，墨色干湿互济，晕染出峰峦浑厚苍润的质感。平缓坡峦间，杂木错落萧疏，枝桠以枯笔勾勒，尽显清秋疏朗之态。江畔茅舍临水而栖，静水无澜，铺陈出林泉幽寂的空阔意境。\n\n画面右上题跋与山水相映成趣，诗画交融，以笔墨寄寓林泉之志，褪去雕琢刻画之迹，直抒胸中丘壑，尽显文人山水简淡悠远的意韵，藏万千丘壑于浅淡之间，尽得元人山水萧散简远的风神。",[24,59,164,65,7,165,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378b06d34e0b7e450bf7a6cb0c9d4047.jpg",[71],270,{"id":2348,"slug":2349,"title":2350,"dynasty":18,"author":2351,"museum":119,"description":2352,"tags":2353,"thumbUrl":2354,"material":139,"size":2355,"collection":71,"collections":2356,"showCount":2357,"zanCount":712,"manualWeight":48,"mainColor":49},218542,"qing-lv-shan-shui-tu-wang-shen-218542","青绿山水图","王诜","绢本之上，青绿设色古雅沉静。石青与石绿随山石肌理晕染，既有郭熙山水的雄健气势，又含文人画的清逸韵致。近处山石皴染结合，松枝苍劲挺拔；山间云雾淡墨轻扫，牵起远近峰峦呼应，营造深远空间感。林麓间隐现的小屋，与葱茏草木相映，藏着古人林泉高致的向往。古朴绢色衬出岁月沉淀的温润，自然山水的雄浑与文人情怀的雅致在此相融共生，尽显北宋青绿山水的独特韵味。",[24,25,27,28,65,7,238,34,64,201,278,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa963a4c7fe39c603be18f16b97851252.jpg","93x36",[71],268,{"id":2359,"slug":2360,"title":2361,"dynasty":54,"author":945,"museum":161,"description":2362,"tags":2363,"thumbUrl":2364,"material":69,"size":2365,"collection":71,"collections":2366,"showCount":2357,"zanCount":1080,"manualWeight":48,"mainColor":49},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[24,149,7,28,65,318,165,63,199,61,239,583,322,533,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[71],{"id":2368,"slug":2369,"title":2370,"dynasty":80,"author":160,"museum":161,"description":162,"tags":2371,"thumbUrl":2372,"material":169,"size":127,"collection":127,"collections":2373,"showCount":2357,"zanCount":961,"manualWeight":48,"mainColor":75},214575,"shan-shui-ce-4-wang-meng-214575","山水册-4",[24,59,65,164,7,125,607,264,335,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5504fc38b09d31f62673a31f0f0e94.jpg",[],{"id":2375,"slug":2376,"title":2377,"dynasty":54,"author":96,"museum":2378,"description":2379,"tags":2380,"thumbUrl":2383,"material":375,"size":2384,"collection":71,"collections":2385,"showCount":2386,"zanCount":712,"manualWeight":48,"mainColor":75},222206,"feng-xi-chui-diao-tu-zhou-chou-ying-222206","枫溪垂钓图轴","湖南省博物馆","此图画工细而见气势，反映了仇英的山水画的典型风格。\n画面展示了深秋辽阔的山川郊野的壮丽景色，远处楼阁隐现于山间的丛林和流动的云雾中；中景处层峦叠嶂；近景为红枫映掩的溪江上，身着素色朝服的士大夫在轻舟上静坐垂钓。\n画面高嶂巨壁，丘壑深远，笔墨健劲纯熟，设色古朴，采取传统的皴、擦、点、染相结合，使画幅气势雄阔，景致迷人，予人以心旷神怡之感。\n此图题跋印鉴较多。\n画首有清 的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[23,24,29,28,65,149,7,2381,31,62,103,64,373,34,2382],"枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[71,45],267,{"id":2388,"slug":2389,"title":2390,"dynasty":18,"author":2391,"museum":673,"description":2392,"tags":2393,"thumbUrl":2395,"material":169,"size":2396,"collection":44,"collections":2397,"showCount":2386,"zanCount":500,"manualWeight":48,"mainColor":75},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,100,24,25,26,123,59,103,35,34,7,335,101,2394],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 x 436.2",[44,927],{"id":2399,"slug":2400,"title":2401,"dynasty":54,"author":55,"museum":20,"description":2402,"tags":2403,"thumbUrl":2404,"material":375,"size":2405,"collection":127,"collections":2406,"showCount":2407,"zanCount":712,"manualWeight":48,"mainColor":75},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,25,26,59,28,65,7,238,34,413,61,64,63,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":2409,"slug":2410,"title":2411,"dynasty":18,"author":887,"museum":20,"description":2412,"tags":2413,"thumbUrl":2415,"material":2416,"size":2417,"collection":42,"collections":2418,"showCount":2419,"zanCount":500,"manualWeight":48,"mainColor":49},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[23,100,24,25,149,28,29,413,103,7,2414,305,34,1522],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","设色,绢本","纵123.6厘米、横60.4厘米",[42],265,{"id":2421,"slug":2422,"title":909,"dynasty":80,"author":1962,"museum":135,"description":2423,"tags":2424,"thumbUrl":2425,"material":2426,"size":2427,"collection":71,"collections":2428,"showCount":2429,"zanCount":1080,"manualWeight":48,"mainColor":49},221755,"shan-shui-tu-sheng-mao-221755","元代盛懋《山水图》，盛懋 ，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,25,28,65,7,125,62,319,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[71,45],264,{"id":2431,"slug":2432,"title":2433,"dynasty":18,"author":2434,"museum":119,"description":2435,"tags":2436,"thumbUrl":2437,"material":337,"size":937,"collection":127,"collections":2438,"showCount":2439,"zanCount":458,"manualWeight":48,"mainColor":75},288524,"xiao-xiang-qi-guan-tu-mi-you-ren-288524","潇湘奇观图","米友仁","《潇湘奇观图》用淋漓水墨画江上云山、云雾变幻的奇境，山峰、江水、树木并未作具体细致的描写，追求的是苍茫雨雾中自然界的特殊韵致。\n《潇湘奇观图》的画法用泼墨又参加积墨、破墨，使墨气淋漓，氤蕴浑厚。笔法甚少勾勒，而信笔横点，积点成山，藏锋其内，与墨浑然结合。树法似草，但与画面浑然一体。",[23,100,24,26,59,7,37,34,150,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99980652bf55d8e34d046ae41cea3fe6.jpg",[],262,{"id":2441,"slug":2442,"title":2443,"dynasty":80,"author":160,"museum":135,"description":2444,"tags":2445,"thumbUrl":2447,"material":139,"size":2448,"collection":71,"collections":2449,"showCount":2439,"zanCount":961,"manualWeight":48,"mainColor":49},218657,"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[23,24,25,149,59,65,7,318,583,2446,34,64,201],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[71],{"id":2451,"slug":2452,"title":909,"dynasty":54,"author":2453,"museum":673,"description":2454,"tags":2455,"thumbUrl":2456,"material":169,"size":2457,"collection":71,"collections":2458,"showCount":2439,"zanCount":48,"manualWeight":48,"mainColor":75},214298,"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[23,24,25,26,59,65,7,34,64,37,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[71],{"id":2460,"slug":2461,"title":2462,"dynasty":18,"author":194,"museum":135,"description":2463,"tags":2464,"thumbUrl":2465,"material":87,"size":2466,"collection":42,"collections":2467,"showCount":2468,"zanCount":48,"manualWeight":48,"mainColor":49},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,100,24,25,149,65,59,7,318,765,372,104,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[42,71,212],259,{"id":2470,"slug":2471,"title":2472,"dynasty":54,"author":96,"museum":135,"description":2473,"tags":2474,"thumbUrl":2475,"material":69,"size":2476,"collection":71,"collections":2477,"showCount":2478,"zanCount":961,"manualWeight":48,"mainColor":75},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[100,24,25,149,29,28,304,7,104,583,60,61,103,64,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[71],257,{"id":2480,"slug":2481,"title":854,"dynasty":18,"author":194,"museum":135,"description":2482,"tags":2483,"thumbUrl":2485,"material":87,"size":127,"collection":42,"collections":2486,"showCount":2487,"zanCount":961,"manualWeight":48,"mainColor":49},218922,"han-jiang-du-diao-tu-fan-kuan-218922","枯树虬枝如铁，在寒风中伸展筋骨，枝桠间似凝着霜雪的清冷。江面浩渺无垠，水波敛去喧嚣，只留一片沉静褐调，将天地空旷铺展到极致。孤舟一叶，钓者独倚，身影与舟楫融入江天，仿佛与自然达成无声默契。笔触简练却含深意，线条勾勒景物骨韵，色调晕染冬日萧寒。没有繁复铺陈，仅以极简元素，便营造出“天地一孤舟”的寂寥与超脱——那是文人心中对宁静的向往，是喧嚣外的片刻澄明，千年后仍能让观者触摸到穿透时光的静谧安然。",[23,24,59,2484,7,62,495,125,65,1777],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ef92a86d76f6756a5cc670fe8e2a88.jpg",[42],256,{"id":2489,"slug":2490,"title":2491,"dynasty":177,"author":2492,"museum":119,"description":2493,"tags":2494,"thumbUrl":2495,"material":225,"size":2496,"collection":71,"collections":2497,"showCount":2498,"zanCount":48,"manualWeight":48,"mainColor":75},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[100,24,25,122,28,65,7,199,583,64,201,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[71,212],255,{"id":2500,"slug":2501,"title":2502,"dynasty":18,"author":194,"museum":2503,"description":1980,"tags":2504,"thumbUrl":2506,"material":225,"size":2507,"collection":42,"collections":2508,"showCount":2498,"zanCount":961,"manualWeight":48,"mainColor":49},221415,"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆",[23,24,25,149,28,65,7,413,2505,64,34],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","193.1x74.4 厘米",[42,71,45],{"id":2510,"slug":2511,"title":2512,"dynasty":80,"author":616,"museum":56,"description":2513,"tags":2514,"thumbUrl":2516,"material":169,"size":2517,"collection":71,"collections":2518,"showCount":2519,"zanCount":712,"manualWeight":48,"mainColor":75},220082,"guai-shi-cong-huang-tu-ni-zan-220082","怪石丛篁图","怪石丛篁图轴，这一幅系倪瓒60 岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[24,59,7,149,65,2515,630,199,63,34,64],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[71],254,{"id":2521,"slug":2522,"title":2523,"dynasty":54,"author":2524,"museum":56,"description":2525,"tags":2526,"thumbUrl":2528,"material":69,"size":2529,"collection":71,"collections":2530,"showCount":2519,"zanCount":1080,"manualWeight":48,"mainColor":75},214674,"san-jue-tu-yao-shou-214674","三绝图","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,25,28,59,7,103,583,2527,305,373,167,166],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 厘米 横48.3 厘米",[71],{"id":2532,"slug":2533,"title":2534,"dynasty":18,"author":2535,"museum":1542,"description":2536,"tags":2537,"thumbUrl":2539,"material":454,"size":2540,"collection":42,"collections":2541,"showCount":2542,"zanCount":48,"manualWeight":48,"mainColor":49},221189,"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","马麟","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[24,100,25,2538,28,65,7,583,125,63,101],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[42,71,212],252,{"id":2544,"slug":2545,"title":2546,"dynasty":80,"author":160,"museum":119,"description":2547,"tags":2548,"thumbUrl":2550,"material":337,"size":937,"collection":127,"collections":2551,"showCount":2552,"zanCount":48,"manualWeight":48,"mainColor":49},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,100,24,59,7,149,65,64,34,104,60,61,63,101,66,2549],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":2554,"slug":2555,"title":2556,"dynasty":1051,"author":1157,"museum":119,"description":2557,"tags":2558,"thumbUrl":2560,"material":337,"size":937,"collection":127,"collections":2561,"showCount":2562,"zanCount":712,"manualWeight":48,"mainColor":49},289005,"wang-chuan-tu-wang-wei-289005","辋川图","《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。",[23,100,24,26,1388,28,65,7,104,34,31,62,2216,2559,150,238],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":2564,"slug":2565,"title":875,"dynasty":80,"author":81,"museum":20,"description":2566,"tags":2567,"thumbUrl":2568,"material":349,"size":880,"collection":71,"collections":2569,"showCount":2562,"zanCount":48,"manualWeight":48,"mainColor":75},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,24,25,26,59,7,65,66,101,318,765,372,239,1674,533,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg",[71,212],{"id":2571,"slug":2572,"title":2573,"dynasty":18,"author":604,"museum":135,"description":2574,"tags":2575,"thumbUrl":2576,"material":139,"size":2577,"collection":71,"collections":2578,"showCount":2562,"zanCount":550,"manualWeight":48,"mainColor":49},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[24,25,149,59,28,65,7,583,125,103,60,1643,64,37,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[71],{"id":2580,"slug":2581,"title":2582,"dynasty":177,"author":1801,"museum":119,"description":2583,"tags":2584,"thumbUrl":2585,"material":127,"size":2586,"collection":71,"collections":2587,"showCount":2588,"zanCount":48,"manualWeight":48,"mainColor":75},238025,"hong-ren-shan-shui-tu-ce-hong-ren-238025","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[24,25,164,59,65,7,264,60,35,165,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9315c7f3e025c62edc1ed00bd692088d.jpg","50×36",[71,45],249,{"id":2590,"slug":2591,"title":2592,"dynasty":54,"author":1096,"museum":20,"description":2593,"tags":2594,"thumbUrl":2596,"material":1697,"size":2597,"collection":71,"collections":2598,"showCount":2599,"zanCount":48,"manualWeight":48,"mainColor":75},220909,"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,100,24,25,164,59,65,7,318,165,37,239,2595],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纵26.3厘米，横25.5厘米",[71,212],248,{"id":2601,"slug":2602,"title":2603,"dynasty":54,"author":55,"museum":20,"description":694,"tags":2604,"thumbUrl":696,"material":349,"size":225,"collection":71,"collections":2605,"showCount":2599,"zanCount":961,"manualWeight":48,"mainColor":75},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,25,26,7,1019,59,28,65,67,66,64,34,61,60,62,63],[71],{"id":2607,"slug":2608,"title":2609,"dynasty":54,"author":1096,"museum":396,"description":2610,"tags":2611,"thumbUrl":2613,"material":169,"size":2614,"collection":71,"collections":2615,"showCount":2599,"zanCount":48,"manualWeight":48,"mainColor":75},219732,"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","以淡墨晕染层叠山峦，留白铺就出空寂清灵的幽远氛围。近景苍松虬曲古拙，扎根嶙峋怪石，枝干舒展自带灵动生机。中景幽谷藏村居，流泉蜿蜒穿林而过，山林郁秀空灵。\n\n以干笔皴擦勾勒山石肌理，淡墨晕出山岚氤氲，笔墨简淡却意蕴悠长，尽显文人画萧散简远之趣。题诗与画面浑然相融，诗画一体，寄寓着林泉高致的隐逸情怀，整体格调清润雅致，将笔墨意趣与山水意境相融，尽显通透疏朗的超然意态，是文人山水的绝佳范本。",[23,24,25,59,65,149,7,318,734,413,165,2612],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[71,212],{"id":2617,"slug":2618,"title":2619,"dynasty":177,"author":2620,"museum":20,"description":2621,"tags":2622,"thumbUrl":2623,"material":139,"size":2624,"collection":45,"collections":2625,"showCount":2626,"zanCount":1080,"manualWeight":48,"mainColor":49},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","汉宫春晓图","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,100,304,28,29,7,104,60,61,63,34,64,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[45],247,{"id":2628,"slug":2629,"title":2630,"dynasty":54,"author":1096,"museum":135,"description":2631,"tags":2632,"thumbUrl":2633,"material":736,"size":2634,"collection":71,"collections":2635,"showCount":2636,"zanCount":712,"manualWeight":48,"mainColor":75},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,100,24,25,149,59,65,122,1019,7,34,64,35,31,167,720,372,583,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","96.3 x 44.8cm",[71,212],246,{"id":2638,"slug":2639,"title":2640,"dynasty":54,"author":2641,"museum":135,"description":2642,"tags":2643,"thumbUrl":2644,"material":69,"size":2645,"collection":71,"collections":2646,"showCount":2636,"zanCount":961,"manualWeight":48,"mainColor":75},214588,"xi-shan-xie-sheng-ce-yun-shan-xian-ge-bian-wen-yu-214588","溪山写胜册-云山仙阁","卞文瑜","卞文瑜是一位著名的明代画家，他的作品《溪山写胜册-云山仙阁》是一幅非常珍贵的古代中国山水画。\n\n这幅画的构图十分精巧，将整幅画分成上下两部分，上部为云山仙阁，下部为溪流和山峦。画中的云山仙阁高耸入云，状如玉龙，气势磅礴。下方的溪流清澈可见底，水流蜿蜒曲折，流动自然。山峦远近错落有致，山川相连，给人以深远的视觉冲击。\n\n卞文瑜在这幅画中运用了自然之美的理念，将自然与人文相结合，创造出了一幅充满生机和美感的画作。他运用了细腻的笔法和柔和的色彩，使得整幅画面看起来非常自然和舒适。\n总的来说，《溪山写胜册-云山仙阁》是一幅优秀的古代中国山水画，值得珍藏。",[24,25,164,28,7,304,104,60,372,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c88df2db3b86f6fbad65788ffbd4776.jpg","24.8x41.3cm",[71],{"id":2648,"slug":2649,"title":435,"dynasty":18,"author":1085,"museum":135,"description":2650,"tags":2651,"thumbUrl":2652,"material":139,"size":2653,"collection":71,"collections":2654,"showCount":2655,"zanCount":550,"manualWeight":48,"mainColor":49},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[23,24,25,26,27,28,7,103,104,34,106,64,238,38,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[71],244,{"id":2657,"slug":2658,"title":2659,"dynasty":54,"author":410,"museum":20,"description":2660,"tags":2661,"thumbUrl":2662,"material":139,"size":2663,"collection":71,"collections":2664,"showCount":2655,"zanCount":712,"manualWeight":48,"mainColor":49},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,100,25,149,28,65,7,103,583,64,347,1738,61,63,202,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[71],{"id":2666,"slug":2667,"title":2668,"dynasty":18,"author":234,"museum":56,"description":2669,"tags":2670,"thumbUrl":2672,"material":596,"size":2673,"collection":71,"collections":2674,"showCount":2675,"zanCount":1080,"manualWeight":48,"mainColor":49},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[23,100,24,25,149,59,65,7,239,34,167,2671],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 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从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,27,28,7,65,122,164,60,61,63,165,64,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[71],{"id":2761,"slug":2762,"title":2763,"dynasty":80,"author":616,"museum":135,"description":2764,"tags":2765,"thumbUrl":2766,"material":169,"size":2767,"collection":71,"collections":2768,"showCount":2769,"zanCount":1080,"manualWeight":48,"mainColor":75},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[24,25,149,59,7,63,165,630,734,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[71,212],236,{"id":2771,"slug":2772,"title":2773,"dynasty":177,"author":395,"museum":20,"description":2774,"tags":2775,"thumbUrl":2776,"material":349,"size":2777,"collection":71,"collections":2778,"showCount":2779,"zanCount":961,"manualWeight":48,"mainColor":75},233123,"yuan-ji-shan-shui-ce-shi-tao-233123","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,223,28,59,164,65,7,583,63,103,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123c2863fe8464093b6bc302b984f3bf.jpg","纵33.2cm，横22.8cm",[71,45],235,{"id":2781,"slug":2782,"title":2783,"dynasty":177,"author":2075,"museum":369,"description":2076,"tags":2784,"thumbUrl":2785,"material":69,"size":2079,"collection":71,"collections":2786,"showCount":2779,"zanCount":1080,"manualWeight":48,"mainColor":75},219994,"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春",[24,25,59,7,65,318,319,165,60,305,278,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg",[71],{"id":2788,"slug":2789,"title":2790,"dynasty":18,"author":234,"museum":2791,"description":2792,"tags":2793,"thumbUrl":2794,"material":139,"size":2795,"collection":71,"collections":2796,"showCount":2797,"zanCount":961,"manualWeight":48,"mainColor":49},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[23,24,25,7,59,65,149,64,34,35,61,167,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[71],234,{"id":2799,"slug":2800,"title":909,"dynasty":18,"author":604,"museum":2801,"description":2802,"tags":2803,"thumbUrl":2804,"material":139,"size":2805,"collection":42,"collections":2806,"showCount":2797,"zanCount":48,"manualWeight":48,"mainColor":49},218658,"shan-shui-tu-ma-yuan-218658","维多利亚和阿尔伯特博物馆","虬枝如屈铁，斜出嶙峋崖壁，枯枝疏朗间透着苍劲风骨，垂悬的藤蔓似牵一缕寒烟。山石以斧劈皴斫出棱角分明，刚硬笔触衬得崖岸陡峭。远景以淡墨晕染，山峦隐现于虚渺雾霭，近景石畔或有幽人凭栏，小景点染更显天地空阔。边角构图不逐满幅，留白处藏尽清寂萧瑟，恰是宋人山水的空灵之境。笔底丘壑虽只一角，却以简驭繁、以小见大，藏无尽江山意趣，尽显马远山水的独特韵味——于有限画面中，铺展无限悠远的诗意与哲思，让人于尺幅间窥见宋人的山水情怀与审美境界。",[24,2484,59,65,7,125,64,61,62,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82362b63dc9e0b444518f5ec9c4176a.jpg","25.5x25.7",[42],{"id":2808,"slug":2809,"title":2810,"dynasty":80,"author":160,"museum":135,"description":2811,"tags":2812,"thumbUrl":2814,"material":69,"size":2815,"collection":71,"collections":2816,"showCount":2797,"zanCount":1080,"manualWeight":48,"mainColor":49},218134,"dong-shan-cao-tang-tu-wang-meng-218134","东山草堂图","此幅系王蒙三十六岁（1343年）作。隔水茅堂，背山重叠，磊石、布屋、开湖，形制皆偏向于方。通幅用笔，皆切实而稳厚。树干钩藤，山间苔点，极细微处，均无轻纵之笔，别有一种稳重苍郁意象。后人中如沈周，得力于此者甚多。",[23,24,59,7,65,64,34,1458,278,2813,201],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8557e18d738285b863560f57991f9e.jpg","111.4x61cm",[71],{"id":2818,"slug":2819,"title":2820,"dynasty":177,"author":1825,"museum":135,"description":2821,"tags":2822,"thumbUrl":2823,"material":169,"size":127,"collection":212,"collections":2824,"showCount":2825,"zanCount":961,"manualWeight":48,"mainColor":75},219381,"fang-ni-zan-shan-shui-tu-wang-jian-219381","仿倪瓒山水图","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。",[24,25,149,59,122,101,65,7,372,264,166,167,720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4001801727356342fc3315fc815e7f6e.jpg",[212],233,{"id":2827,"slug":2828,"title":2829,"dynasty":18,"author":592,"museum":135,"description":2830,"tags":2831,"thumbUrl":2834,"material":87,"size":2835,"collection":42,"collections":2836,"showCount":2837,"zanCount":1080,"manualWeight":48,"mainColor":49},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,100,26,7,65,28,64,34,2832,61,199,2833,167,707,38],"渔船","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[42,71,212],232,{"id":2839,"slug":2840,"title":2841,"dynasty":54,"author":2842,"museum":119,"description":2843,"tags":2844,"thumbUrl":2846,"material":375,"size":127,"collection":127,"collections":2847,"showCount":2848,"zanCount":48,"manualWeight":48,"mainColor":49},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,25,26,122,28,59,65,7,34,64,60,61,62,63,103,347,167,707,532,38,2845],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":2850,"slug":2851,"title":2852,"dynasty":54,"author":1096,"museum":135,"description":2853,"tags":2854,"thumbUrl":2857,"material":169,"size":2858,"collection":71,"collections":2859,"showCount":2848,"zanCount":1080,"manualWeight":48,"mainColor":75},214589,"zhou-xing-shi-jing-jiang-an-wang-shan-dong-qi-chang-214589","舟行十景-江岸望山","董其昌是明代著名画家，他的《舟行十景》系列画作中的《江岸望山》是一幅以山水为主题的画作。这幅画中，董其昌绘制了一条河流，河流两岸绿树成荫，清新的水面上划着许多小船，画面中央是一座山峰，山峰高耸入云，周围是葱郁的森林。董其昌在画中运用了自然透视法，使得这幅画呈现出浓郁的立体感。同时，董其昌还细致地描绘了河流两岸的居民生活，使得这幅画不仅有美好的山水风光，还有丰富的人文内涵。",[100,24,59,7,65,164,318,165,2855,2856,101],"江水","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff107ac474552fe8a646073313322cb10.jpg","28.8x17.7cm",[71],{"id":2861,"slug":2862,"title":2863,"dynasty":80,"author":160,"museum":161,"description":162,"tags":2864,"thumbUrl":2865,"material":69,"size":127,"collection":127,"collections":2866,"showCount":2848,"zanCount":48,"manualWeight":48,"mainColor":75},214573,"shan-shui-ce-5-wang-meng-214573","山水册-5",[24,25,164,59,65,7,125,64,37,60,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06954314220392a3ccc54c83599ff836.jpg",[],{"id":2868,"slug":2869,"title":2870,"dynasty":177,"author":1872,"museum":119,"description":2871,"tags":2872,"thumbUrl":2873,"material":632,"size":2874,"collection":71,"collections":2875,"showCount":2876,"zanCount":1080,"manualWeight":48,"mainColor":75},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,100,24,25,26,59,65,7,318,734,165,979,199,201,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[71,212],229,{"id":2878,"slug":2879,"title":2880,"dynasty":177,"author":395,"museum":119,"description":2881,"tags":2882,"thumbUrl":2883,"material":127,"size":127,"collection":127,"collections":2884,"showCount":2885,"zanCount":550,"manualWeight":48,"mainColor":75},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,24,25,26,59,223,65,67,66,101,7,238,31,34,264,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],228,{"id":2887,"slug":2888,"title":1979,"dynasty":18,"author":178,"museum":161,"description":2889,"tags":2890,"thumbUrl":2891,"material":69,"size":127,"collection":71,"collections":2892,"showCount":2885,"zanCount":500,"manualWeight":48,"mainColor":75},217118,"xue-jing-shan-shui-tu-yi-ming-217118","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[23,24,25,100,1555,59,65,7,878,583,318,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[71],{"id":2894,"slug":2895,"title":2896,"dynasty":18,"author":288,"museum":119,"description":2897,"tags":2898,"thumbUrl":2899,"material":139,"size":2900,"collection":71,"collections":2901,"showCount":2902,"zanCount":961,"manualWeight":48,"mainColor":49},218589,"yue-xia-song-ting-tu-xia-gui-218589","月下松亭图","月色如纱，淡墨晕开空濛的夜。虬松枝桠似铁，斜探天际，松针苍劲点染其间，笔意简练却见筋骨。坡岸一隅，草亭静立，檐角轻拂晚风；树下人影依稀，或凭栏凝睇，渺小身影藏着悠远哲思。留白处尽是宋人的雅致空灵，山水的静谧与人文的幽怀交织，如清辉漫过岁月，仍漾着沁人的诗意。画面虽简，却以少胜多，将自然之美与心境之远融于尺幅，似能听见松涛与月色的私语，触到千年之前那缕清寂的幽情。",[2538,24,25,149,59,7,413,63,1643,495,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a70b337ac97e73bbcb8ee83512b58b6.jpg","58x25",[71],227,{"id":2904,"slug":2905,"title":2906,"dynasty":177,"author":2907,"museum":704,"description":2908,"tags":2909,"thumbUrl":2912,"material":2913,"size":2914,"collection":308,"collections":2915,"showCount":2916,"zanCount":712,"manualWeight":48,"mainColor":49},223162,"gui-he-tu-shen-quan-223162","桂鹤图","沈铨","此画写桂花、单鹤、水仙、山水等，意境深远、清幽，形象自然生动，是一幅典型的吉祥画作，图中的桂树寓意“富贵”，鹤寓意“长寿”，整幅画面流露着吉祥富贵的气氛。除了仙鹤和桂树，画面中还有牡丹、灵芝、水仙，吉祥的寓意不言而喻。画中还绘有一条溪流，潺潺的流水充满了浓重的生活气息。",[23,24,29,28,427,2910,239,2911,7,1249],"桂树","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd68003b0bdaaf677d976ed05fb7753.jpg","纸本工笔设色","纵177厘米，横90.3厘米",[308],226,{"id":2918,"slug":2919,"title":2920,"dynasty":177,"author":2620,"museum":20,"description":2921,"tags":2922,"thumbUrl":2923,"material":139,"size":2924,"collection":71,"collections":2925,"showCount":2916,"zanCount":712,"manualWeight":48,"mainColor":49},220075,"peng-lai-xian-jing-tu-yuan-yao-220075","蓬莱仙境图","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[23,24,29,28,304,7,104,64,37,34,60,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[71,45],{"id":2927,"slug":2928,"title":2929,"dynasty":811,"author":2930,"museum":119,"description":2931,"tags":2932,"thumbUrl":2933,"material":337,"size":937,"collection":127,"collections":2934,"showCount":2935,"zanCount":48,"manualWeight":48,"mainColor":49},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[23,24,25,7,27,28,104,60,61,64,34,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],225,{"id":2937,"slug":2938,"title":2939,"dynasty":80,"author":616,"museum":135,"description":2940,"tags":2941,"thumbUrl":2943,"material":349,"size":2944,"collection":71,"collections":2945,"showCount":2935,"zanCount":1080,"manualWeight":48,"mainColor":75},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[23,24,25,26,59,65,7,125,264,63,61,2942,101,66],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[71,212],{"id":2947,"slug":2948,"title":2949,"dynasty":18,"author":775,"museum":135,"description":2950,"tags":2951,"thumbUrl":2953,"material":139,"size":2954,"collection":42,"collections":2955,"showCount":2935,"zanCount":712,"manualWeight":48,"mainColor":49},218132,"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[23,24,25,7,65,59,62,61,64,34,495,373,607,125,2952],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[42,71],{"id":2957,"slug":2958,"title":2959,"dynasty":18,"author":592,"museum":135,"description":2960,"tags":2961,"thumbUrl":2963,"material":69,"size":2964,"collection":71,"collections":2965,"showCount":2966,"zanCount":1080,"manualWeight":48,"mainColor":49},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[24,25,149,7,59,65,28,2855,62,2962,167,103,101,347],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","118.6x48.6cm",[71],223,{"id":2968,"slug":2969,"title":2970,"dynasty":18,"author":178,"museum":119,"description":2971,"tags":2972,"thumbUrl":2973,"material":139,"size":2974,"collection":42,"collections":2975,"showCount":2976,"zanCount":1080,"manualWeight":48,"mainColor":49},218615,"ming-huang-xing-shu-tu-yi-ming-218615","明皇幸蜀图","层峦叠嶂间，松枝虬劲，草木葱茏。人马穿行于山道，或扬鞭疾驰，或缓辔徐行，或俯身为马整鞍，神态各异，细节毕现。山石以劲挺线条勾勒，皴染结合，质感厚重；林木疏密有致，生机盎然。整幅画将旅途的奔波与蜀地山水的雄奇融为一体，既有宋代山水画的精工细致，又蕴含着历史事件的沉郁感。于方寸纨扇间，展现出宏大叙事与悠远意境，笔墨古朴，意韵绵长，尽显古典绘画的精妙与深厚底蕴。",[23,24,100,25,28,65,7,103,335,165,64,101,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ac70443078c834c82bd324884285ea.jpg","30.5x30.5",[42],222,{"id":2978,"slug":2979,"title":2980,"dynasty":80,"author":160,"museum":135,"description":2981,"tags":2982,"thumbUrl":2983,"material":169,"size":2984,"collection":71,"collections":2985,"showCount":2986,"zanCount":48,"manualWeight":48,"mainColor":49},218912,"hua-xi-yu-yin-tu-wang-meng-218912","花溪渔隐图","整幅画的笔触密集而精炼，所画的柳与赵孟𫖯在《鹊华秋色》卷中所画的柳相似。",[23,24,25,59,65,7,318,319,165,62,63,201,239,373,35,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2566c9078e40883.jpg","129x58.3cm",[71],221,{"id":2988,"slug":2989,"title":2990,"dynasty":80,"author":887,"museum":1542,"description":2991,"tags":2992,"thumbUrl":2993,"material":349,"size":2994,"collection":71,"collections":2995,"showCount":2996,"zanCount":500,"manualWeight":48,"mainColor":75},220837,"shuang-song-ping-yuan-tu-zhao-meng-fu-220837","双松平远图","双松的画法稍工，山石则以带有飞白松动笔触勾括，略皴而无染。虽略存李郭画风之形，但简括异常，实属新体。\n画法上更具书法笔趣和文人墨戏的意味。卷首自识「子昂戏作双松平远」，卷尾又识「仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹，不能一二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仪所作者，虽未敢与古人比，然视近世画手则自谓稍异耳。因野云求画，故书其末。《大观录》、《墨缘汇观》、《无益有益齐读画诗》等书著录\n图中近景画苍松立于怪石枯木之中，远景写平坡矮山。写山石空勾轮廓，不加皴染，间有飞白。画双松则用细笔双钩，简约古雅。画面右上署“子昂戏作双松平远”八字，卷末自题日：“仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹不能一、二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仆所作者虽末能与古人比，然视近世画手，则自谓少异耳。因野云求画，故书其末。孟烦。”于此可见，赵孟頫欲弃南宋院体画风而直追唐、五代诸大家。",[24,25,26,59,65,7,413,64,62,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66f53d1e4db114c3b3d0147d1368cb.jpg","纵26.7厘米、横107.3厘米",[71,212],220,{"id":2998,"slug":2999,"title":3000,"dynasty":1051,"author":3001,"museum":135,"description":3002,"tags":3003,"thumbUrl":3006,"material":139,"size":3007,"collection":71,"collections":3008,"showCount":2996,"zanCount":1080,"manualWeight":48,"mainColor":49},218963,"chun-shan-xing-lv-tu-li-zhao-dao-218963","春山行旅图","李昭道","这幅画描绘了唐明皇在前往四川寻求庇护以躲避安史之乱的途中放弃长安的场景。\n画面以绿色为主色调，有山有水，枝繁叶茂，春意盎然，二十多个人和十几匹马结伴而行，在蜿蜒而荒芜的道路上可以看到人影。虽然场景是春天，马儿在滚动，人们靠着树休息，看起来很轻松，但通往圣地的道路和沿途的崎岖转弯的气氛也会让人觉得很困难。\n该场景用细密的笔触勾勒出线条，然后用绿色和蓝色作画，使其优雅而美丽。",[23,24,25,27,28,7,103,104,64,34,334,200,202,3004,3005],"云气","勾勒填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f5bf3ce17fdd366423076e69f86db4.jpg","95.5x55.3厘米",[71],{"id":3010,"slug":3011,"title":3012,"dynasty":54,"author":55,"museum":119,"description":3013,"tags":3014,"thumbUrl":3015,"material":127,"size":127,"collection":127,"collections":3016,"showCount":3017,"zanCount":1080,"manualWeight":48,"mainColor":75},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,25,26,59,28,7,63,1738,165,61,101,66,67,35,64,571],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":3019,"slug":3020,"title":3021,"dynasty":811,"author":1137,"museum":135,"description":3022,"tags":3023,"thumbUrl":3024,"material":139,"size":3025,"collection":71,"collections":3026,"showCount":3017,"zanCount":500,"manualWeight":48,"mainColor":49},218904,"xiao-yi-zhuan-lan-ting-tu-ju-ran-218904","萧翼赚兰亭图","这幅画描绘萧翼赚兰亭图的故事。唐太宗酷爱王羲之、王献之的书法，听说辩才和尚藏有羲之兰亭序真迹，于是派遣御史萧翼设法谋取。翼便以书生的打扮，先与辩才交游，两人常以诗文酬答，情感融洽，渐渐地，辩才对翼不加防备。有一天，趁辩才和尚外出，翼便偷走兰亭真迹",[23,24,149,59,65,7,34,60,61,239,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f67dfbeda3e115e84b0798018f410e.jpg","144.1x59.6",[71],{"id":3028,"slug":3029,"title":3030,"dynasty":54,"author":55,"museum":119,"description":3031,"tags":3032,"thumbUrl":3033,"material":337,"size":937,"collection":127,"collections":3034,"showCount":3035,"zanCount":961,"manualWeight":48,"mainColor":75},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[23,24,59,65,149,66,101,7,62,372,264,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],218,{"id":3037,"slug":3038,"title":3039,"dynasty":54,"author":945,"museum":20,"description":3040,"tags":3041,"thumbUrl":3042,"material":375,"size":3043,"collection":71,"collections":3044,"showCount":3045,"zanCount":1080,"manualWeight":48,"mainColor":49},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,24,25,26,59,28,7,103,347,34,64,61,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[71,45],217,{"id":3047,"slug":3048,"title":3049,"dynasty":18,"author":744,"museum":161,"description":3050,"tags":3051,"thumbUrl":3052,"material":139,"size":127,"collection":71,"collections":3053,"showCount":3045,"zanCount":961,"manualWeight":48,"mainColor":49},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[24,100,25,149,29,65,7,103,63,630,61,64,34,201,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[71],{"id":3055,"slug":3056,"title":3057,"dynasty":18,"author":604,"museum":135,"description":3058,"tags":3059,"thumbUrl":3060,"material":139,"size":3061,"collection":71,"collections":3062,"showCount":3063,"zanCount":48,"manualWeight":48,"mainColor":49},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[23,24,25,149,59,28,65,630,103,7,101,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[71,44],216,{"id":3065,"slug":3066,"title":3067,"dynasty":1051,"author":1157,"museum":673,"description":3068,"tags":3069,"thumbUrl":3070,"material":139,"size":3071,"collection":71,"collections":3072,"showCount":3073,"zanCount":1080,"manualWeight":48,"mainColor":49},220072,"jian-ge-xue-zhan-tu-wang-wei-220072","剑阁雪栈图","此图栈道着墨不多，主要是表现剑阁山川，雪景布置，积雪盈道。倘若鉴定无误的话，此图应属现存最早的一幅反映古栈道题材的山水画了。当然，它也就是最早的一幅蜀山栈道图。",[23,24,25,7,149,28,65,318,239,165,765,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f73cf8b8868701ceb5e30b67a1f890.jpg","187.0X96.2",[71],215,{"id":3075,"slug":3076,"title":3077,"dynasty":1051,"author":1157,"museum":161,"description":3078,"tags":3079,"thumbUrl":3080,"material":87,"size":3081,"collection":127,"collections":3082,"showCount":3083,"zanCount":48,"manualWeight":48,"mainColor":49},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,25,26,28,27,304,29,7,104,60,103,64,34,278,3004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],214,{"id":3085,"slug":3086,"title":3087,"dynasty":54,"author":1096,"museum":135,"description":3088,"tags":3089,"thumbUrl":3090,"material":349,"size":3091,"collection":71,"collections":3092,"showCount":3093,"zanCount":48,"manualWeight":48,"mainColor":75},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[23,100,24,25,149,59,7,122,65,67,101,264,34,320,31,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[71,212],213,{"id":3095,"slug":3096,"title":3097,"dynasty":54,"author":945,"museum":135,"description":3098,"tags":3099,"thumbUrl":3100,"material":59,"size":3101,"collection":71,"collections":3102,"showCount":3093,"zanCount":961,"manualWeight":48,"mainColor":75},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅（1470—1523），字伯虎，一字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，据传于明宪宗成化六年庚寅年寅月寅日寅时生，故名唐寅。汉族，吴县（今江苏苏州）人。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文征明、徐祯卿并称“江南四才子”，画名更著，与沈周、文征明、仇英并称“吴门四家”。",[24,25,149,59,65,7,583,199,64,103,532,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分",[71],{"id":3104,"slug":3105,"title":3106,"dynasty":18,"author":288,"museum":1542,"description":3107,"tags":3108,"thumbUrl":3114,"material":596,"size":3115,"collection":42,"collections":3116,"showCount":3117,"zanCount":961,"manualWeight":48,"mainColor":49},220420,"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[24,25,59,7,149,65,238,34,204,64,1160,532,37,3109,3110,1695,3111,3112,3113],"晴岚","杂树","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[42,212],212,{"id":3119,"slug":3120,"title":3121,"dynasty":811,"author":933,"museum":119,"description":3122,"tags":3123,"thumbUrl":3124,"material":337,"size":937,"collection":127,"collections":3125,"showCount":3126,"zanCount":48,"manualWeight":48,"mainColor":940},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 此画用墨饱满，笔法简炼雄劲。",[100,24,7,59,65,149,64,61,60,63,1616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg",[],211,{"id":3128,"slug":3129,"title":3130,"dynasty":54,"author":55,"museum":1542,"description":3131,"tags":3132,"thumbUrl":3133,"material":69,"size":3134,"collection":71,"collections":3135,"showCount":3126,"zanCount":1080,"manualWeight":48,"mainColor":940},219718,"qiu-lin-xian-diao-tu-shen-zhou-219718","秋林闲钓图","《秋林闲钓图》以士人悠游林下的生活场景为主线，画一老者，端坐于河边树下坡地，全神执竿垂钓。画树错落有致，姿态优美，笔力古健。此图于成化十一年乙未（1475年）所作，作者沈周时年四十九岁。图上有沈周的题款：“繫舟烟浪夕，笑语溢柴闗。淡墨灯前画，故情江上山。相交父子者，岂在酒杯间。与君将白发，共对钓丝閒。予谬交志刚彭君父子间几三十年，志刚有古道，通予有无，非市郭拍肩执袂者比也。乙未长至后一日志刚擕酌至有竹居，秉烛写此图并题其上，聊寓感感而已，诗画云乎哉。沈周。",[24,59,65,149,7,103,125,264,373,607,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59ec7decf5cf8b949fc64e7998369.jpg","纵152.4厘米，横62.9厘",[71],{"id":3137,"slug":3138,"title":3139,"dynasty":54,"author":96,"museum":135,"description":3140,"tags":3141,"thumbUrl":3142,"material":139,"size":3143,"collection":45,"collections":3144,"showCount":3126,"zanCount":961,"manualWeight":48,"mainColor":49},219318,"zhou-jin-tang-zhou-chou-ying-219318","昼锦堂轴","〈相州昼锦堂记〉是北宋欧阳修（1007-1072）为宰相韩琦（1008-1075） 所做的一篇记文，指出衣锦还乡本人之常情，且古今所同，而韩琦却建昼锦堂以为鉴诫，并未因富贵而夸耀，高节值得推崇。本幅又是所谓文征明书写题记，仇英绘图的合璧之作。苏州作坊多有这种形式的制作，优雅又具文化意涵，用来馈赠为官或显贵者，颇为恰当。画幅左方先图绘韩琦轻骑简装于返乡途中，接着越过山岭，则见到回到家中创建有昼锦堂的韩琦，正素衣凭几而坐。形成中国叙事画中所谓异时同图的表现方式。画家同时也采取了象征的手法，堂前的松树与堂",[24,100,25,149,29,27,28,7,104,103,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb655f51653565200dcbc0cddbe1a8ccf.jpg","192.7x 96.3",[45],{"id":3146,"slug":3147,"title":3148,"dynasty":54,"author":1096,"museum":161,"description":3149,"tags":3150,"thumbUrl":3151,"material":69,"size":127,"collection":71,"collections":3152,"showCount":3153,"zanCount":961,"manualWeight":48,"mainColor":75},217035,"fang-gu-shan-shui-ce-liu-kai-dong-qi-chang-217035","仿古山水册六开","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,164,59,28,7,264,34,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c86fc6883114d3cb2271f4635b98dd.jpg",[71],209,{"id":3155,"slug":3156,"title":909,"dynasty":18,"author":604,"museum":3157,"description":3158,"tags":3159,"thumbUrl":3160,"material":3161,"size":3162,"collection":42,"collections":3163,"showCount":3164,"zanCount":48,"manualWeight":48,"mainColor":49},221521,"shan-shui-tu-ma-yuan-221521","日本京都国立博物馆","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[23,24,25,59,28,65,7,318,319,125,63,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[42,71,212],208,{"id":3166,"slug":3167,"title":3168,"dynasty":1051,"author":3001,"museum":135,"description":3169,"tags":3170,"thumbUrl":3172,"material":139,"size":3173,"collection":71,"collections":3174,"showCount":3164,"zanCount":961,"manualWeight":48,"mainColor":49},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[100,24,25,26,27,28,29,304,7,104,103,61,2845,34,722,36,3171],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[71],{"id":3176,"slug":3177,"title":3178,"dynasty":80,"author":887,"museum":135,"description":3179,"tags":3180,"thumbUrl":3181,"material":349,"size":3182,"collection":927,"collections":3183,"showCount":3184,"zanCount":1080,"manualWeight":48,"mainColor":75},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,100,24,25,26,67,123,59,28,103,7,62,61,1643,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[927],207,{"id":3186,"slug":3187,"title":3188,"dynasty":18,"author":288,"museum":135,"description":3189,"tags":3190,"thumbUrl":3191,"material":596,"size":3192,"collection":42,"collections":3193,"showCount":3184,"zanCount":961,"manualWeight":48,"mainColor":49},218864,"xi-shan-gao-yi-tu-xia-gui-218864","溪山高逸图","山石以劲挺斧劈皴勾勒，棱角如剑刃划破烟岚，却含苍润之气。树木疏朗，枝干屈铁盘结，墨色浓淡相济，叶簇攒云般摇曳，似在风中低语清寂。构图于层峦间藏空灵：远山隐黛，近树扶疏，溪涧凉意从林木间隙渗出，未绘却已感知。\n\n整幅画以极简笔墨写尽“高逸”：无喧嚣，唯山风穿林轻响；无俗事，唯隐者静观天地。树后茅舍隐约，似有高士凭窗，将尘心托付烟霞，精神游弋林泉。苍劲中见温婉，疏淡里藏深情——恰如宋人对自然的敬畏，对自由的向往，尽在咫尺画卷间，让观者也随笔墨潜入山林，暂忘尘扰。",[23,24,7,65,59,149,125,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83a500324062626de8322a3fc16b72d.jpg","45.5x36.5厘米",[42,71],{"id":3195,"slug":3196,"title":3197,"dynasty":54,"author":55,"museum":119,"description":1845,"tags":3198,"thumbUrl":3200,"material":337,"size":937,"collection":127,"collections":3201,"showCount":3202,"zanCount":712,"manualWeight":48,"mainColor":379},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,100,24,25,26,59,28,7,347,630,34,64,60,63,67,101,3199],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":3204,"slug":3205,"title":3206,"dynasty":54,"author":96,"museum":20,"description":3207,"tags":3208,"thumbUrl":3211,"material":139,"size":3212,"collection":71,"collections":3213,"showCount":3202,"zanCount":550,"manualWeight":48,"mainColor":75},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[23,24,26,25,29,27,28,103,7,34,3209,3210,66,67],"车马","职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[71,44],{"id":3215,"slug":3216,"title":17,"dynasty":18,"author":3217,"museum":135,"description":3218,"tags":3219,"thumbUrl":3224,"material":87,"size":3225,"collection":42,"collections":3226,"showCount":3227,"zanCount":961,"manualWeight":48,"mainColor":49},221618,"qian-li-jiang-shan-tu-juan-jiang-can-221618","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[23,100,24,26,59,7,3220,2855,3221,322,3222,208,60,63,85,103,3223],"群峰","溪壑","农舍","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[42,71,45],204,{"id":3229,"slug":3230,"title":810,"dynasty":811,"author":812,"museum":20,"description":813,"tags":3231,"thumbUrl":3233,"material":87,"size":818,"collection":71,"collections":3234,"showCount":3227,"zanCount":1080,"manualWeight":48,"mainColor":75},221155,"xiao-xiang-tu-dong-yuan-221155",[23,24,26,25,1388,59,28,65,7,816,3232,1778,103,37,1436],"苇渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg",[71,212],{"id":3236,"slug":3237,"title":3238,"dynasty":54,"author":3239,"museum":161,"description":3240,"tags":3241,"thumbUrl":3242,"material":69,"size":3243,"collection":71,"collections":3244,"showCount":3227,"zanCount":500,"manualWeight":48,"mainColor":49},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,28,7,29,65,318,319,165,63,62,495,60,61,64,37,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[71,45],{"id":3246,"slug":3247,"title":3248,"dynasty":54,"author":178,"museum":119,"description":3249,"tags":3250,"thumbUrl":3251,"material":127,"size":127,"collection":127,"collections":3252,"showCount":3253,"zanCount":712,"manualWeight":48,"mainColor":75},235322,"shen-zhou-xi-shan-wan-zhao-tu-zhou-yi-ming-235322","沈周溪山晚照图轴","此作用高远章法铺陈，上部危崖耸峙，飞泉自谷间垂落，苍劲皴笔勾勒出嶙峋厚重的山石肌理。下部溪岸错落，疏林亭亭，茅舍隐于陂岸之后，淡墨晕染出薄暮空濛之境。\n\n笔墨带着吴门画派的文人情致，枯湿浓淡相宜，简淡中见苍润。诗画合璧，将山居暮色里的幽寂禅意娓娓道来，林泉高致的雅兴融于尺幅，静穆空远，尽显晚照溪山的澹然逸趣。",[24,25,149,59,7,61,199,34,64,1642,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bbddeb071a1e562b0706ec6e36e9088.jpg",[],203,{"id":3255,"slug":3256,"title":3257,"dynasty":811,"author":1137,"museum":135,"description":3258,"tags":3259,"thumbUrl":3263,"material":243,"size":3264,"collection":127,"collections":3265,"showCount":3266,"zanCount":1080,"manualWeight":48,"mainColor":49},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[23,100,24,25,149,59,65,7,3260,1286,64,34,238,3261,1616,3262],"层岩","叠嶂","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","纵144.1厘米，横55.4厘米",[],201,{"id":3268,"slug":3269,"title":3270,"dynasty":811,"author":1137,"museum":135,"description":3271,"tags":3272,"thumbUrl":3273,"material":59,"size":3274,"collection":71,"collections":3275,"showCount":3266,"zanCount":1080,"manualWeight":48,"mainColor":49},218919,"han-lin-wan-xiu-tu-ju-ran-218919","寒林晚岫图","这幅画，是朱兰的作品，不属于这个时代，紧邻的岩石有范宽后来的点画作品。",[23,24,100,149,59,65,7,34,372,239,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[71],{"id":3277,"slug":3278,"title":1409,"dynasty":18,"author":288,"museum":119,"description":3279,"tags":3280,"thumbUrl":3281,"material":139,"size":3282,"collection":71,"collections":3283,"showCount":3266,"zanCount":1080,"manualWeight":48,"mainColor":49},218591,"yu-fu-tu-xia-gui-218591","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[100,24,25,149,59,28,65,7,165,62,508,167,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[71],{"id":3285,"slug":3286,"title":3287,"dynasty":18,"author":717,"museum":673,"description":3288,"tags":3289,"thumbUrl":3290,"material":169,"size":3291,"collection":71,"collections":3292,"showCount":3266,"zanCount":961,"manualWeight":48,"mainColor":75},218565,"yun-shan-yan-shu-tu-mi-fei-218565","云山烟树图","画中的山峰高耸入云，层峦叠嶂，岸边停靠着一艘船，堤坡上生长着几棵树，墨色浓郁；左边可以看到两座小屋，可以看到一个学者在窗边认真读书或写字。这幅画是米氏山水画的特点，但应归于明代。",[24,25,100,149,59,7,65,318,979,165,63,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782374152ab7d32375f6c3507c0a5f3.jpg","103.4x37.6cm",[71],{"id":3294,"slug":3295,"title":2007,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":3296,"thumbUrl":3297,"material":337,"size":937,"collection":127,"collections":3298,"showCount":3299,"zanCount":1080,"manualWeight":48,"mainColor":75},287968,"shan-shui-li-zhou-shi-tao-287968",[24,100,25,149,59,7,264,583,63,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04d5c206c3321255a29bfe472c9932e.jpg",[],200,{"id":3301,"slug":3302,"title":3303,"dynasty":54,"author":55,"museum":369,"description":3304,"tags":3305,"thumbUrl":3307,"material":87,"size":3308,"collection":71,"collections":3309,"showCount":3299,"zanCount":712,"manualWeight":48,"mainColor":49},222134,"qing-shan-hong-shu-tu-shen-zhou-222134","青山红树图","图绘秋天山林间红绿相映的醉人美景，用笔细致，多淡墨勾勒，赋色明艳。远山、坡石用披麻皴表现山峦的青翠秀逸，近景是被秋风染红的树木，摇曳生姿；一长者持杖伫立在溪岸旁饱览山色。题识：“千树秋风万叶飞，林蹊苔径步斜晖。履声历落啄歌去，犹有余红点着衣。沈周。”",[23,24,25,149,28,65,7,103,165,3306,1263,60,61,239],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc471de5e3d6ba0b185a8a4cb7513ddee.jpg","65x147.2cm",[71,45],{"id":3311,"slug":3312,"title":3313,"dynasty":54,"author":945,"museum":673,"description":3314,"tags":3315,"thumbUrl":3316,"material":28,"size":127,"collection":45,"collections":3317,"showCount":3318,"zanCount":712,"manualWeight":48,"mainColor":49},219250,"chun-shan-you-qi-tu-tang-yin-219250","春山游骑图","层岩叠嶂间，松涛与溪流相和。板桥之上，游骑缓行，衣袂带风；山间茅舍旁，雅士或谈或立，意趣悠然。山石勾勒劲挺，皴染兼具刚柔，尽显嶙峋之态；林木疏密有致，春枝带露，点点新红缀于枝桠，春意盎然。整幅画融自然之秀与人文之雅，藏着明代文人寄情山水的闲逸心怀——山行的清欢，友聚的惬意，都在笔墨间流转，每一处细节都似在诉说春日里与山水相逢的诗意。",[23,24,25,28,65,7,103,335,60,61,64,34,102,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9d535bdc2346ee40e7ff15b0a6f825.jpg",[45],199,{"id":3320,"slug":3321,"title":3322,"dynasty":54,"author":1096,"museum":3323,"description":3324,"tags":3325,"thumbUrl":3326,"material":164,"size":3327,"collection":71,"collections":3328,"showCount":3329,"zanCount":48,"manualWeight":48,"mainColor":127},220755,"fang-ge-jia-shan-shui-tu-ce-dong-qi-chang-220755","仿各家山水图册","香港中文大学文物馆","此作用笔松秀虚灵，以淡墨勾勒山峦，披麻皴浅敷石面，远岫连绵错落，间以茂林点缀，烟气空濛间漾出幽远静谧。\n\n近岸古木虬曲，枝干舒展如篆籀笔法，木叶疏密得宜，衬出院舍茅庐隐于林间，板桥卧波轻接水岸，野趣悠然。全画以简驭繁，笔墨间带着萧散简远的韵致，淡墨轻岚间尽显平淡天真的文人意趣，简淡中藏雄浑气韵，尽显文人山水的清逸格调。",[23,24,25,164,59,65,122,7,125,60,61,64,35,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ce2531c6f731b92b3d70dff3ad849.jpg","30.5 × 23.8厘米",[71],198,{"id":3331,"slug":3332,"title":193,"dynasty":80,"author":178,"museum":20,"description":3333,"tags":3334,"thumbUrl":3335,"material":139,"size":3336,"collection":71,"collections":3337,"showCount":3329,"zanCount":961,"manualWeight":48,"mainColor":49},218083,"xi-shan-xing-lv-tu-yi-ming-218083","溪山行旅图是元朝时期的一幅名画，出自佚名画家之手。这幅画描绘了一位旅人在溪山间游玩的情景。\n\n在画面的左侧，可以看到一座小山丘，上面种满了树木。旅人正站在山丘的山顶上，俯视着前方的景色。他手持竹筒，似乎是在欣赏周围的美景。\n\n在画面的右侧，是一条清澈的小溪，溪水潺潺流过。旅人似乎正准备沿着小溪走去，去寻找下一个游玩的地方。\n\n整幅画的画风浑然天成，笔触轻柔，描绘了大自然的美丽景色。这幅画不仅是一幅艺术作品，也是对元朝时期生活的一个精彩纪录。",[24,59,28,65,7,62,64,125,61,238,34,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f2b220aace68ac2f2e8d66ba147f2c.jpg","110.5x176.5cm",[71],{"id":3339,"slug":3340,"title":3341,"dynasty":18,"author":3342,"museum":135,"description":3343,"tags":3344,"thumbUrl":3345,"material":139,"size":3346,"collection":42,"collections":3347,"showCount":3348,"zanCount":1080,"manualWeight":48,"mainColor":49},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","李嵩","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,24,25,149,28,304,29,103,104,60,106,7,34,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[42,44,45],197,{"id":3350,"slug":3351,"title":3352,"dynasty":80,"author":1905,"museum":135,"description":3353,"tags":3354,"thumbUrl":3355,"material":139,"size":3356,"collection":44,"collections":3357,"showCount":3348,"zanCount":1080,"manualWeight":48,"mainColor":49},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[100,24,28,304,29,65,7,104,60,103,583,37,63,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[44,71],{"id":3359,"slug":3360,"title":3361,"dynasty":18,"author":3362,"museum":3363,"description":3364,"tags":3365,"thumbUrl":3368,"material":349,"size":3369,"collection":927,"collections":3370,"showCount":3371,"zanCount":48,"manualWeight":48,"mainColor":75},221313,"dong-ting-zhong-shan-er-fu-quan-juan-su-shi-221313","洞庭中山二赋全卷","苏轼","吉林省博物院","苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。 他长于行书、楷书， 笔法肉丰骨劲， 跌宕自然， 给人以“大海风涛之气”“古槎怪石之形”的艺术美感。 苏轼的书法，后人赞誉颇高。黄庭坚在他《山谷集》里说：“其书姿媚……至酒酣放浪，意忘工拙，字特瘦劲……至于笔圆而韵胜，挟以文章妙天下，忠义贯日月之气，本朝善书，自当推（苏）为第一”。明董其昌盛赞他“全用正锋，是坡公之兰亭也”。传世书迹有《前赤壁赋》《黄州寒食诗帖》《洞庭春色赋》《中山松醪赋》等。",[23,67,66,26,101,3366,413,3367,7],"洞庭","酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26499125ec3104dc526016eca85f356.jpg","28.3x450.3cm",[927],196,{"id":3373,"slug":3374,"title":3375,"dynasty":177,"author":683,"museum":396,"description":3376,"tags":3377,"thumbUrl":3378,"material":69,"size":3379,"collection":71,"collections":3380,"showCount":3371,"zanCount":1080,"manualWeight":48,"mainColor":75},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,24,25,7,59,65,122,64,34,201,63,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[71],{"id":3382,"slug":3383,"title":3384,"dynasty":177,"author":2075,"museum":369,"description":2076,"tags":3385,"thumbUrl":3387,"material":69,"size":2079,"collection":45,"collections":3388,"showCount":3389,"zanCount":961,"manualWeight":48,"mainColor":75},220000,"shan-shui-hua-han-shi-hou-yi-ri-hua-yu-xi-tian-mao-she-wang-shi-min-220000","山水画-寒食后一日画于西田茅舍",[24,25,59,28,65,7,318,734,34,150,37,533,3386],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a4fe667946ab4386529b843dc33e21.jpg",[45],195,{"id":3391,"slug":3392,"title":159,"dynasty":177,"author":395,"museum":119,"description":3393,"tags":3394,"thumbUrl":3395,"material":127,"size":127,"collection":71,"collections":3396,"showCount":3397,"zanCount":961,"manualWeight":48,"mainColor":75},224497,"shan-shui-ce-shi-tao-224497","此作以峡谷江流铺展画卷，春水澹澹载扁舟穿峡而过，舱中旅人静对山光。浅绛轻施晕染山石，清润柔和间见嶙峋风骨，枯笔皴擦点染枯枝，苍劲朴拙，与柔缓水色相映成趣。\n题诗伴画，将羁旅闲愁融进山岚烟波，画随诗添寂廖清旷之致。笔意灵动不拘一格，以淡墨轻岚晕开早春空蒙水雾，把文人隐逸襟怀寄寓在山水间，简淡画面中藏着悠长余韵，尽得山水写意之妙。",[23,24,28,59,65,164,7,62,61,64,125,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ec00a8f9b85ce3fb668f29eabc877.jpg",[71,45],194,{"id":3399,"slug":3400,"title":3401,"dynasty":80,"author":616,"museum":135,"description":3402,"tags":3403,"thumbUrl":3404,"material":169,"size":3405,"collection":127,"collections":3406,"showCount":3407,"zanCount":1080,"manualWeight":48,"mainColor":75},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。",[24,59,1388,65,66,101,7,63,165,264,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":3409,"slug":3410,"title":3411,"dynasty":54,"author":96,"museum":776,"description":3412,"tags":3413,"thumbUrl":3414,"material":87,"size":3415,"collection":71,"collections":3416,"showCount":3407,"zanCount":1080,"manualWeight":48,"mainColor":75},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,25,26,27,28,29,67,66,7,62,103,63,61,60,104,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[71,45],{"id":3418,"slug":3419,"title":3420,"dynasty":80,"author":3421,"museum":135,"description":3422,"tags":3423,"thumbUrl":3424,"material":292,"size":3425,"collection":71,"collections":3426,"showCount":3407,"zanCount":550,"manualWeight":48,"mainColor":49},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,24,25,26,59,65,7,63,60,61,34,103,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[71,212],{"id":3428,"slug":3429,"title":3430,"dynasty":18,"author":3431,"museum":56,"description":3432,"tags":3433,"thumbUrl":3435,"material":454,"size":3436,"collection":42,"collections":3437,"showCount":3407,"zanCount":48,"manualWeight":48,"mainColor":49},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[23,24,25,2145,59,28,65,7,607,125,3434,335,103,334,264,201,318],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[42,71,212],{"id":3439,"slug":3440,"title":3441,"dynasty":54,"author":96,"museum":135,"description":3442,"tags":3443,"thumbUrl":3444,"material":139,"size":3445,"collection":45,"collections":3446,"showCount":3407,"zanCount":48,"manualWeight":48,"mainColor":49},219315,"yuan-lin-qing-ke-tu-zhou-chou-ying-219315","园林清课图轴","林竹繁茂的乡野，有一座院落人家，院中布置著厅堂、房舍、书斋、作坊；穿过花篱是为园池区，馆舍、亭榭围绕池畔而构筑。有读书、涤砚、纺纱、游园等活动。使富有园林之胜的画面，充满雅逸的生活情趣。",[100,24,29,28,304,2559,104,7,34,103,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c98ca348fc2e3b6d92db44b00431.jpg","82.8x106.5",[45],{"id":3448,"slug":3449,"title":3450,"dynasty":54,"author":3451,"museum":1542,"description":3452,"tags":3453,"thumbUrl":3455,"material":139,"size":127,"collection":44,"collections":3456,"showCount":3407,"zanCount":961,"manualWeight":48,"mainColor":75},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,25,26,59,28,29,65,7,103,63,60,61,34,734,66,3454],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[44],{"id":3458,"slug":3459,"title":3460,"dynasty":18,"author":178,"museum":20,"description":3461,"tags":3462,"thumbUrl":3463,"material":3464,"size":3465,"collection":42,"collections":3466,"showCount":3467,"zanCount":961,"manualWeight":48,"mainColor":49},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,26,29,28,123,103,124,7,756,181,106,34,64,104,335,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[42,44,45],192,{"id":3469,"slug":3470,"title":878,"dynasty":18,"author":604,"museum":135,"description":3471,"tags":3472,"thumbUrl":3474,"material":139,"size":3475,"collection":71,"collections":3476,"showCount":3467,"zanCount":961,"manualWeight":48,"mainColor":49},218867,"xue-jing-ma-yuan-218867","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[23,24,25,28,29,7,104,103,372,765,65,3473,125],"边角构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[71],{"id":3478,"slug":3479,"title":3480,"dynasty":18,"author":744,"museum":1542,"description":3481,"tags":3482,"thumbUrl":3483,"material":454,"size":3484,"collection":42,"collections":3485,"showCount":3486,"zanCount":712,"manualWeight":48,"mainColor":49},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,100,25,26,29,65,59,7,765,372,64,35,31,62,495,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[42,71,45],191,{"id":3488,"slug":3489,"title":3490,"dynasty":80,"author":81,"museum":20,"description":3491,"tags":3492,"thumbUrl":3493,"material":375,"size":3494,"collection":71,"collections":3495,"showCount":3486,"zanCount":1080,"manualWeight":48,"mainColor":75},220762,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-220762","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[24,25,149,59,7,64,34,65,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47a387eca670a16b7feb78d3aa3088.jpg","纵101.3厘米，横43.8厘米",[71,212],{"id":3497,"slug":3498,"title":3499,"dynasty":177,"author":1872,"museum":56,"description":3500,"tags":3501,"thumbUrl":3502,"material":349,"size":3503,"collection":71,"collections":3504,"showCount":3486,"zanCount":961,"manualWeight":48,"mainColor":75},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,100,25,59,65,7,60,61,63,583,347,239,199,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[71],{"id":3506,"slug":3507,"title":3508,"dynasty":80,"author":81,"museum":119,"description":3509,"tags":3510,"thumbUrl":3511,"material":127,"size":127,"collection":127,"collections":3512,"showCount":3513,"zanCount":48,"manualWeight":48,"mainColor":75},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","以淡墨干皴晕染富春丘壑，峰峦坡陀缓缓铺展，林木萧疏错落，晕开江南初秋的空寂淡远。用笔松秀灵动，线条温润苍劲，墨色干湿浓淡层次丰盈，晕染出山川悠远的氤氲清气。\n卷后题跋与山水相映，文心画意相融无间，尽显文人画的雅致意趣。整卷意境简远高迈，将天地山川的沉静澹泊与文人林下襟怀合而为一，如一首悠然山水长诗，引观画人步入富春烟岚之间，沉醉在清和淡远的隐逸之美中。",[24,25,26,59,7,65,101,66,67,64,34,125,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":3515,"slug":3516,"title":3517,"dynasty":18,"author":1747,"museum":3518,"description":3519,"tags":3520,"thumbUrl":3521,"material":169,"size":3522,"collection":212,"collections":3523,"showCount":3513,"zanCount":500,"manualWeight":48,"mainColor":75},218647,"dong-ting-qiu-yue-tu-mu-xi-218647","洞庭秋月图","德川美术馆","据东京大学专门研究中国绘画史的小川裕中教授说，这幅《洞庭秋月》应该是潇湘八景中的第七幅。使用最简单的材料--水和墨，穆克希出色地捕捉到了潇湘地区的潮湿空气和朦胧的光线。",[23,24,59,7,62,1643,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2680a913c7b3b674cc9769c96fa43ce.jpg","29.4x93.1",[212],{"id":3525,"slug":3526,"title":810,"dynasty":18,"author":2434,"museum":56,"description":3527,"tags":3528,"thumbUrl":3529,"material":169,"size":127,"collection":71,"collections":3530,"showCount":3531,"zanCount":1080,"manualWeight":48,"mainColor":75},218592,"xiao-xiang-tu-mi-you-ren-218592","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[24,25,26,59,65,7,37,34,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[71],188,{"id":3533,"slug":3534,"title":3535,"dynasty":80,"author":887,"museum":20,"description":3536,"tags":3537,"thumbUrl":3538,"material":169,"size":3539,"collection":71,"collections":3540,"showCount":3531,"zanCount":1080,"manualWeight":48,"mainColor":49},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[23,24,26,59,7,65,66,60,61,62,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[71],{"id":3542,"slug":3543,"title":3544,"dynasty":54,"author":1096,"museum":135,"description":3545,"tags":3546,"thumbUrl":3547,"material":3548,"size":127,"collection":71,"collections":3549,"showCount":3550,"zanCount":48,"manualWeight":48,"mainColor":75},220936,"fang-dong-yuan-shan-shui-dong-qi-chang-220936","仿董源山水","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,25,7,122,65,59,164,64,34,201,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[71,212],187,{"id":3552,"slug":3553,"title":3554,"dynasty":18,"author":234,"museum":135,"description":3555,"tags":3556,"thumbUrl":3557,"material":139,"size":3558,"collection":42,"collections":3559,"showCount":3550,"zanCount":1080,"manualWeight":48,"mainColor":49},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[24,100,149,7,59,65,64,372,104,60,61,62,199,3111,520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[42],{"id":3561,"slug":3562,"title":3563,"dynasty":54,"author":945,"museum":119,"description":3564,"tags":3565,"thumbUrl":3566,"material":139,"size":127,"collection":44,"collections":3567,"showCount":3568,"zanCount":48,"manualWeight":48,"mainColor":49},218408,"wang-xian-zhi-xiu-qi-tang-yin-218408","王献之休妻","疏柳垂丝如诉，嶙峋山石衬出几分萧索。白衣男子立于其间，衣袂轻扬却难掩眉宇间的复杂——是决绝？还是隐于礼法下的无奈？旁侧两位女子相拥而立，罗裙轻垂，身影柔弱如风中飘絮，彼此依偎的姿态似是对命运的无声抵抗。\n\n线条流转细腻，设色淡雅却见功底，人物神情的描摹尤见匠心：男子微蹙的眉头藏着隐衷，女子低垂的眼眸裹着悲戚，连垂落的柳枝都似在替人拭泪。整幅画以景衬情，将旧闻里的礼法束缚与情长纠葛凝于笔墨间，每一处细节都在轻声诉说：那些被时光掩埋的无奈，从来都藏在人物的一颦一笑、山石草木的一呼一吸里。",[100,24,25,149,28,29,103,7,125,64,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c441d0be13c6b563da78fdded2b86c.jpg",[44],185,{"id":3570,"slug":3571,"title":3572,"dynasty":811,"author":812,"museum":119,"description":3573,"tags":3574,"thumbUrl":3575,"material":337,"size":937,"collection":127,"collections":3576,"showCount":3577,"zanCount":1080,"manualWeight":48,"mainColor":940},289944,"xia-shan-tu-dong-yuan-289944","夏山图","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。",[23,100,24,26,59,7,34,31,62,63,1586,65,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ceabacb99b9da3101f03c4570459283.jpg",[],184,{"id":3579,"slug":3580,"title":3581,"dynasty":54,"author":1652,"museum":119,"description":3582,"tags":3583,"thumbUrl":3584,"material":127,"size":127,"collection":127,"collections":3585,"showCount":3577,"zanCount":405,"manualWeight":48,"mainColor":49},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,25,26,28,7,67,65,29,63,60,61,34,103,101,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],{"id":3587,"slug":3588,"title":909,"dynasty":80,"author":997,"museum":135,"description":3589,"tags":3590,"thumbUrl":3591,"material":537,"size":3592,"collection":71,"collections":3593,"showCount":3577,"zanCount":961,"manualWeight":48,"mainColor":49},221788,"shan-shui-tu-cao-zhi-bai-221788","《山水图》本幅画隔水江岸，主山峰峦水墨淋漓，前中景作双松耸立，笔墨造型皆从北宋李郭传统中汲取特色，再以焦浓黑墨提醒主题，营造出更有墨趣的元代李郭画风新意。",[23,100,24,59,7,583,238,2856,64,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3665a4d5c8569bf27af312555ab7bab.jpg","纵86.1厘米横34.3厘米",[71,212],{"id":3595,"slug":3596,"title":3597,"dynasty":1051,"author":1157,"museum":3598,"description":3599,"tags":3600,"thumbUrl":3602,"material":349,"size":3603,"collection":127,"collections":3604,"showCount":3605,"zanCount":961,"manualWeight":48,"mainColor":75},232622,"jiang-gan-xue-ji-tu-juan-wang-wei-232622","江干雪霁图卷","藏于日本民间","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。\n王维（701－761），字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[23,100,24,25,26,59,65,7,1262,3601,372,106,278],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纵31.3厘米，横207.3厘米",[],183,{"id":3607,"slug":3608,"title":3609,"dynasty":18,"author":3610,"museum":135,"description":3611,"tags":3612,"thumbUrl":3613,"material":169,"size":3614,"collection":42,"collections":3615,"showCount":3605,"zanCount":1080,"manualWeight":48,"mainColor":75},221338,"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","赵佶","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[23,24,25,149,59,65,7,30,34,201,62,37,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[42,71,212],{"id":3617,"slug":3618,"title":3619,"dynasty":811,"author":933,"museum":135,"description":3620,"tags":3621,"thumbUrl":3622,"material":69,"size":3623,"collection":71,"collections":3624,"showCount":3605,"zanCount":500,"manualWeight":48,"mainColor":49},219079,"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[23,24,100,7,149,65,28,239,34,31,62,208,63,125,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[71],{"id":3626,"slug":3627,"title":3628,"dynasty":177,"author":555,"museum":556,"description":557,"tags":3629,"thumbUrl":3630,"material":139,"size":561,"collection":127,"collections":3631,"showCount":3605,"zanCount":48,"manualWeight":48,"mainColor":49},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2",[23,24,25,7,28,29,65,64,372,63,104,878,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg",[],{"id":3633,"slug":3634,"title":3635,"dynasty":864,"author":3636,"museum":135,"description":3637,"tags":3638,"thumbUrl":3640,"material":69,"size":3641,"collection":44,"collections":3642,"showCount":47,"zanCount":961,"manualWeight":48,"mainColor":75},220447,"san-gu-cao-lu-tu-dong-zhan-220447","三顾草庐图","董展","本幅绘汉末刘备三顾草庐、邀诸葛孔明出山之故实。画中长松修竹掩翳茅屋，孔明羽扇纶巾、依榻凝思，童仆正应门而出。篱外刘备、关羽、张飞三骑及从者行近，山岭后并见旌旗戈戟微露，人马仍众。画笔轻健秀润，惟上半山岭系后人补笔。幅上无款，依元萨都剌至正甲午之题，定为隋董展所作。然萨都剌之题字与其年款及跋语内容均不合，应为后人作品所伪托。",[23,24,25,28,7,103,335,34,64,278,533,3639],"人物活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935336d0a9d6d7dd611cbe1a446059.jpg","全幅 43.8x29.5公分，诗塘 17.8x29.5公分",[44],{"id":3644,"slug":3645,"title":3646,"dynasty":54,"author":55,"museum":119,"description":3647,"tags":3648,"thumbUrl":3649,"material":127,"size":127,"collection":127,"collections":3650,"showCount":3651,"zanCount":961,"manualWeight":48,"mainColor":75},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,54,24,25,26,28,59,65,7,630,35,34,64,60,61,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":3653,"slug":3654,"title":3655,"dynasty":54,"author":96,"museum":135,"description":3656,"tags":3657,"thumbUrl":3659,"material":292,"size":440,"collection":127,"collections":3660,"showCount":3651,"zanCount":48,"manualWeight":48,"mainColor":49},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,100,25,26,27,28,29,7,103,104,583,106,64,34,167,3658,559,61],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg",[],{"id":3662,"slug":3663,"title":3664,"dynasty":80,"author":160,"museum":135,"description":3665,"tags":3666,"thumbUrl":3668,"material":69,"size":3669,"collection":71,"collections":3670,"showCount":3651,"zanCount":961,"manualWeight":48,"mainColor":75},220808,"ju-qu-lin-wu-zhou-wang-meng-220808","具区林屋轴","此幅林画面的此署署名是王蒙以隶书题的「具具」四字，底下明为章画，具区的古时太湖的旧称，故图所表现的是太湖一代的景色。\n全图除了溪石之外，几乎被山石、树木、林间茅舍补充的没有轮廓，这种风格的构图方式在中国流淌的绘画作品中极为重要，开拓出国画构图之奇境。\n王大湖山中截面积，提炼加工，组织这幅极富生活情趣的画面：右富一坡角，数株大并列蒙其间，林下有高士临水而坐，犹如正摄着着橱窗的广告。\n水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人坐其间看书；山间小路迂回，曲径通幽，数栋屋宇内参差落于山谷，有妇女活动其间。\n内山石用「牛毛皴」与解索皴」干笔皴擦，多曲折旋转之笔，以突显出太湖中央山石的颜色；染则用墨与色直接染，丹崖碧树，一派秋日山水景象。",[23,24,25,149,28,7,65,64,61,34,104,1120,201,3667],"木屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40016c952c57aef101aaa6107539940.jpg","该幅68.7x42.5公分，诗塘25.2x42.2公分，全幅74.3公分",[71,45],{"id":3672,"slug":3673,"title":3674,"dynasty":18,"author":288,"museum":135,"description":3675,"tags":3676,"thumbUrl":3677,"material":139,"size":3678,"collection":42,"collections":3679,"showCount":3651,"zanCount":1080,"manualWeight":48,"mainColor":49},218917,"guan-pu-tu-xia-gui-218917","观瀑图","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[23,24,59,28,2484,65,7,583,199,33,64,63,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[42],{"id":3681,"slug":3682,"title":3683,"dynasty":18,"author":3684,"museum":119,"description":3685,"tags":3686,"thumbUrl":3687,"material":337,"size":937,"collection":127,"collections":3688,"showCount":3689,"zanCount":48,"manualWeight":48,"mainColor":49},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,100,24,25,26,59,7,238,3601,37,104,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":3691,"slug":3692,"title":3693,"dynasty":177,"author":178,"museum":20,"description":1028,"tags":3694,"thumbUrl":3697,"material":40,"size":307,"collection":127,"collections":3698,"showCount":3689,"zanCount":48,"manualWeight":48,"mainColor":49},236172,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236172","雍正十二月行乐图轴",[24,29,304,28,7,103,104,34,166,559,3695,64,3696],"栏杆","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a7368abaea9d15bd4eedf67eb66b.jpg",[],{"id":3700,"slug":3701,"title":3702,"dynasty":177,"author":1872,"museum":650,"description":3703,"tags":3704,"thumbUrl":3705,"material":349,"size":3706,"collection":71,"collections":3707,"showCount":3689,"zanCount":961,"manualWeight":48,"mainColor":49},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,100,26,59,65,7,238,239,34,199,37,62,1815,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[71,212],{"id":3709,"slug":3710,"title":3711,"dynasty":18,"author":1466,"museum":135,"description":3712,"tags":3713,"thumbUrl":3714,"material":292,"size":3715,"collection":42,"collections":3716,"showCount":3689,"zanCount":48,"manualWeight":48,"mainColor":49},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","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。",[23,100,24,25,26,122,304,29,28,7,104,60,61,62,63,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[42,71,212],{"id":3718,"slug":3719,"title":3720,"dynasty":80,"author":160,"museum":161,"description":3721,"tags":3722,"thumbUrl":3723,"material":69,"size":3724,"collection":71,"collections":3725,"showCount":3689,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[24,25,1388,149,28,65,7,103,335,34,239,35,334,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1563a446791d46548d1f313e5337c941.jpg","120x54cm",[71],{"id":3727,"slug":3728,"title":3729,"dynasty":18,"author":1085,"museum":135,"description":3730,"tags":3731,"thumbUrl":3732,"material":139,"size":3733,"collection":44,"collections":3734,"showCount":3735,"zanCount":961,"manualWeight":48,"mainColor":49},216969,"yu-wang-kai-shan-tu-juan-zhao-bo-ju-216969","禹王开山图卷","赵伯驹，是中国宋代画家。他的作品《禹王开山图卷》是一幅著名的山水画，是他最著名的作品之一。\n\n《禹王开山图卷》画中描绘的是禹王开山垦沼的故事，以及禹王统治时期的生活和文化。画面上的人物和建筑都极具细致和生动，山水风光也非常优美。\n\n赵伯驹的画风风格独特，他擅长用细腻的线条勾勒出各种题材，并运用浓淡自然的墨色，使画面充满生机和活力。《禹王开山图卷》是宋代著名的山水画之一，被视为赵伯驹的代表作。",[100,24,25,26,27,28,29,65,7,103,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff12f946a0ce4f72da37bbe835ca4f7.jpg","35x221.1",[44],178,{"id":3737,"slug":3738,"title":3739,"dynasty":54,"author":580,"museum":135,"description":3740,"tags":3741,"thumbUrl":3742,"material":169,"size":3743,"collection":71,"collections":3744,"showCount":3745,"zanCount":500,"manualWeight":48,"mainColor":75},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[24,25,149,59,28,7,103,63,61,34,64,101,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[71],176,{"id":3747,"slug":3748,"title":3749,"dynasty":18,"author":3750,"museum":673,"description":3751,"tags":3752,"thumbUrl":3753,"material":139,"size":3754,"collection":71,"collections":3755,"showCount":3745,"zanCount":961,"manualWeight":48,"mainColor":49},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[24,100,149,59,65,7,60,335,103,372,583,64,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[71],{"id":3757,"slug":3758,"title":3759,"dynasty":177,"author":3760,"museum":1542,"description":3761,"tags":3762,"thumbUrl":3766,"material":139,"size":3767,"collection":44,"collections":3768,"showCount":3769,"zanCount":500,"manualWeight":48,"mainColor":49},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,26,29,28,65,7,103,104,60,61,63,34,3763,3764,3765,335,31,238,37],"山脉","村庄","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[44,71],175,{"id":3771,"slug":3772,"title":3773,"dynasty":18,"author":604,"museum":3774,"description":3775,"tags":3776,"thumbUrl":3777,"material":139,"size":3778,"collection":44,"collections":3779,"showCount":3769,"zanCount":961,"manualWeight":48,"mainColor":49},218409,"yu-le-tu-ma-yuan-218409","渔乐图","耶鲁大学艺术博物馆","山石以斧劈皴斫出棱线，苍松虬枝斜探，似要牵住远山的雾影。水面留白如镜，载一扁舟静泊，船篷半掩着渔获的细碎声响。近岸处两渔者对坐，或执竿轻叩地面，或捧物低语，衣袂随微风舒展，满是江湖散淡的意趣。\n\n马远以“一角”之景框定天地，却让渔樵的闲逸漫出画外——没有庙堂的车马喧，只有松风穿叶、水波轻漾的自在。笔墨简劲却藏着温软，将宋人的雅致与山野的旷达揉作一处：你看那渔者的笑纹，似能触到日光的暖；那松枝的弧度，恰如心尖的舒展。叫观者也想随这舟子，枕着松涛入眠，把尘事都忘在烟水之外。",[24,100,25,59,65,7,103,62,583,167,1897,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg","218.2x148",[44],{"id":3781,"slug":3782,"title":3783,"dynasty":80,"author":1962,"museum":56,"description":3784,"tags":3785,"thumbUrl":3786,"material":139,"size":3787,"collection":71,"collections":3788,"showCount":3769,"zanCount":712,"manualWeight":48,"mainColor":49},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[24,25,7,28,27,65,103,61,62,495,373,125,607,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[71],{"id":3790,"slug":3791,"title":3792,"dynasty":54,"author":178,"museum":3793,"description":3794,"tags":3795,"thumbUrl":3797,"material":69,"size":3798,"collection":71,"collections":3799,"showCount":3769,"zanCount":961,"manualWeight":48,"mainColor":49},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[100,24,25,26,7,59,65,122,583,62,167,3796,532,34,33,722,37],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[71],{"id":3801,"slug":3802,"title":3803,"dynasty":177,"author":301,"museum":119,"description":3804,"tags":3805,"thumbUrl":3808,"material":59,"size":127,"collection":71,"collections":3809,"showCount":3769,"zanCount":961,"manualWeight":48,"mainColor":75},216844,"zhan-zheng-tong-ban-hua-lang-shi-ning-216844","战争铜版画","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[3806,3807,103,335,7,34,64,451],"铜版画","战争","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f8252dec1e59bebb52ee40d5d9bef8.jpg",[71],{"id":3811,"slug":3812,"title":3813,"dynasty":18,"author":178,"museum":673,"description":471,"tags":3814,"thumbUrl":3816,"material":139,"size":3817,"collection":44,"collections":3818,"showCount":3769,"zanCount":48,"manualWeight":48,"mainColor":75},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,25,26,122,28,123,29,103,124,7,62,104,34,3004,64,3815,106],"异兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[44],{"id":3820,"slug":3821,"title":3822,"dynasty":54,"author":1305,"museum":135,"description":3823,"tags":3824,"thumbUrl":3825,"material":169,"size":3826,"collection":71,"collections":3827,"showCount":3769,"zanCount":500,"manualWeight":48,"mainColor":49},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,24,25,149,59,65,7,34,199,201,347,583,167,37,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[71],{"id":3829,"slug":3830,"title":3831,"dynasty":177,"author":3832,"museum":556,"description":3833,"tags":3834,"thumbUrl":3837,"material":139,"size":3838,"collection":44,"collections":3839,"showCount":3840,"zanCount":1080,"manualWeight":48,"mainColor":49},220442,"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[23,24,25,149,29,28,103,7,102,734,3835,3836,165],"宴乐","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[44,45],174,{"id":3842,"slug":3843,"title":2350,"dynasty":1051,"author":1052,"museum":396,"description":3844,"tags":3845,"thumbUrl":3846,"material":139,"size":3847,"collection":71,"collections":3848,"showCount":3840,"zanCount":961,"manualWeight":48,"mainColor":940},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[23,100,24,25,149,27,28,29,304,7,104,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 60.70横34.50",[71],{"id":3850,"slug":3851,"title":3852,"dynasty":1051,"author":1157,"museum":135,"description":3853,"tags":3854,"thumbUrl":3855,"material":87,"size":3856,"collection":71,"collections":3857,"showCount":3858,"zanCount":1080,"manualWeight":48,"mainColor":49},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,25,26,59,65,66,67,765,7,372,60,61,62,495,63,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[71],172,{"id":3860,"slug":3861,"title":3862,"dynasty":18,"author":178,"museum":135,"description":3863,"tags":3864,"thumbUrl":3866,"material":139,"size":127,"collection":42,"collections":3867,"showCount":3858,"zanCount":961,"manualWeight":48,"mainColor":49},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,24,25,100,7,28,164,62,103,34,508,319,3865,264,1695],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[42,71],{"id":3869,"slug":3870,"title":3871,"dynasty":18,"author":592,"museum":135,"description":3872,"tags":3873,"thumbUrl":3874,"material":596,"size":3875,"collection":42,"collections":3876,"showCount":3877,"zanCount":961,"manualWeight":48,"mainColor":49},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[23,24,25,100,7,103,264,979,125,65,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[42],171,{"id":3879,"slug":3880,"title":3881,"dynasty":54,"author":55,"museum":517,"description":518,"tags":3882,"thumbUrl":3883,"material":349,"size":522,"collection":127,"collections":3884,"showCount":3877,"zanCount":48,"manualWeight":48,"mainColor":75},220065,"hu-qiu-shi-er-jing-tu-ce-2-shen-zhou-220065","虎丘十二景图册-2",[23,24,59,65,164,304,7,104,63,103,34,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb0d3e152596b1384655b09d2103c65.jpg",[],{"id":3886,"slug":3887,"title":3888,"dynasty":18,"author":604,"museum":135,"description":3889,"tags":3890,"thumbUrl":3891,"material":2416,"size":3892,"collection":42,"collections":3893,"showCount":3877,"zanCount":48,"manualWeight":48,"mainColor":75},218868,"he-gan-xu-ge-tu-ma-yuan-218868","河干虚阁图","这幅画描绘了一个站在河岸桂花树下的亭子，远处的柳树岸上有一个雕花的栅栏和一个月亮。这幅画在笔法和形式上都是马远的典型风格。",[23,24,2484,7,304,104,34,64,65,59,28,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78455ff7832d3c26e3468c39f388dd57.jpg","22.1x24.3",[42],{"id":3895,"slug":3896,"title":3897,"dynasty":80,"author":81,"museum":3898,"description":3899,"tags":3900,"thumbUrl":3902,"material":69,"size":3903,"collection":71,"collections":3904,"showCount":3877,"zanCount":961,"manualWeight":48,"mainColor":49},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[24,100,25,59,65,7,64,62,34,104,372,878,3901,150,201,766,167,3260],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[71],{"id":3906,"slug":3907,"title":3908,"dynasty":18,"author":3909,"museum":135,"description":3910,"tags":3911,"thumbUrl":3916,"material":139,"size":127,"collection":44,"collections":3917,"showCount":3877,"zanCount":1080,"manualWeight":48,"mainColor":49},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,25,26,29,28,103,7,335,34,64,3912,1631,3913,3914,3915,1286],"旌旗","骑兵","车驾","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[44],{"id":3919,"slug":3920,"title":3921,"dynasty":54,"author":55,"museum":20,"description":3922,"tags":3923,"thumbUrl":3924,"material":375,"size":3925,"collection":127,"collections":3926,"showCount":3927,"zanCount":961,"manualWeight":48,"mainColor":75},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,25,26,28,7,1019,65,67,66,318,319,63,34,64,347,533,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5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红谷子。据传，这幅画是在一座古墓中出土的，西方一些艺术史学家认为这是荆浩的作品，而另一些人则认为这是一幅早期山水画的摹本。",[24,7,65,59,878,318,239,372,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450b815bffc67a9837fae7bb49477ec6.jpg","纵138.3厘米,横75.5厘米",[71],169,{"id":3949,"slug":3950,"title":3951,"dynasty":811,"author":933,"museum":135,"description":3952,"tags":3953,"thumbUrl":3954,"material":243,"size":3955,"collection":71,"collections":3956,"showCount":3957,"zanCount":961,"manualWeight":48,"mainColor":940},221158,"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,24,25,149,7,65,28,34,239,199,2682],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[71,212],167,{"id":3959,"slug":3960,"title":3961,"dynasty":177,"author":1872,"museum":3962,"description":3963,"tags":3964,"thumbUrl":3966,"material":169,"size":3967,"collection":212,"collections":3968,"showCount":3957,"zanCount":961,"manualWeight":48,"mainColor":379},220419,"xi-shan-yin-ju-tu-gong-xian-220419","溪山隐居图","昆仑堂美术馆","画面为宁静秋山，疏林草堂，实中带虚，意境清旷，堪称晚年佳构。上有自题，下有当代名家朱屺瞻鉴藏印。",[23,24,25,149,59,65,7,165,239,1674,3965],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd095417aca99ae94bd643be38542b71.jpg","11×42.5厘米",[212],{"id":3970,"slug":3971,"title":3972,"dynasty":177,"author":3973,"museum":135,"description":3974,"tags":3975,"thumbUrl":3976,"material":69,"size":3977,"collection":71,"collections":3978,"showCount":3957,"zanCount":961,"manualWeight":48,"mainColor":75},219533,"hui-yu-bi-zhong-qiu-tie-zi-shi-dong-bang-da-219533","绘御笔中秋帖子诗","董邦达","《中秋帖子词卷》是清代宫廷艺术的集大成之作，主要分为三部分：乾隆御笔题序、董邦达据乾隆词意绘画的山水画，以及内廷翰林据帖子词韵附和创作的诗文，并由大臣汪由敦抄写。卷中书画合壁，内容丰富，从这君臣和唱的山水诗画巨制中，可见乾隆皇在位初期锐意开创崭新气象的雄心壮志。",[24,28,7,103,63,104,34,64,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3831ec7dcdcdc2b2a1575be43d6b2da6.jpg","95.4x66.2厘米",[71],{"id":3980,"slug":3981,"title":3982,"dynasty":1258,"author":178,"museum":119,"description":3983,"tags":3984,"thumbUrl":3990,"material":127,"size":127,"collection":127,"collections":3991,"showCount":3992,"zanCount":1080,"manualWeight":48,"mainColor":75},227072,"shan-xi-xin-zhou-jiu-yuan-gang-bei-chao-mu-zang-bi-hua-shou-lie-tu-juan-di-yi-bi-yi-ming-227072","山西-忻州九原岗北朝墓葬壁画-狩猎图卷-第一壁","山西忻州九原岗北朝墓葬壁画，是中国现存面积最大的墓葬狩猎图壁画。总面积约70平方米。\n九原岗北朝墓葬的发掘对研究北朝晚期社会生活、绘画艺术以及中国古代建筑史具有非常重要的意义。",[23,3985,28,123,103,335,3986,3987,3988,7,165,3989],"壁画","虎","鹿","兽","狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F746e562d7c6fc482718f06388d4d82d5.jpg",[],166,{"id":3994,"slug":3995,"title":3996,"dynasty":54,"author":55,"museum":20,"description":544,"tags":3997,"thumbUrl":3998,"material":375,"size":547,"collection":127,"collections":3999,"showCount":4000,"zanCount":1080,"manualWeight":48,"mainColor":75},233840,"wo-you-tu-ce-qiu-jing-shan-shui-shen-zhou-233840","卧游图册－秋景山水",[100,24,25,164,59,65,7,165,64,60,103,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904338a5938de41cde644a080fbf2525.jpg",[],165,{"id":4002,"slug":4003,"title":4004,"dynasty":80,"author":160,"museum":135,"description":4005,"tags":4006,"thumbUrl":4007,"material":169,"size":4008,"collection":212,"collections":4009,"showCount":4010,"zanCount":48,"manualWeight":48,"mainColor":75},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[23,24,25,59,28,65,7,238,34,64,35,201,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[212],164,{"id":4012,"slug":4013,"title":4014,"dynasty":1051,"author":4015,"museum":3774,"description":4016,"tags":4017,"thumbUrl":4018,"material":139,"size":4019,"collection":71,"collections":4020,"showCount":4010,"zanCount":961,"manualWeight":48,"mainColor":49},218238,"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[23,24,28,7,765,64,34,60,103,335,63,35,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[71,308],{"id":4022,"slug":4023,"title":4024,"dynasty":54,"author":55,"museum":119,"description":1845,"tags":4025,"thumbUrl":4026,"material":337,"size":937,"collection":127,"collections":4027,"showCount":4028,"zanCount":48,"manualWeight":48,"mainColor":75},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山",[24,25,164,59,7,65,238,34,1285,334,103,335,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg",[],163,{"id":4030,"slug":4031,"title":4032,"dynasty":177,"author":395,"museum":119,"description":4033,"tags":4034,"thumbUrl":4035,"material":127,"size":127,"collection":212,"collections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。",[23,24,26,59,1388,65,7,3601,238,37,34,62,36,1239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[42,71,212],{"id":4092,"slug":4093,"title":4094,"dynasty":18,"author":288,"museum":20,"description":4095,"tags":4096,"thumbUrl":4098,"material":225,"size":4099,"collection":42,"collections":4100,"showCount":4101,"zanCount":48,"manualWeight":48,"mainColor":49},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,24,25,59,28,65,7,765,4097,62,372,64,31,34],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[42,71,212],160,{"id":4103,"slug":4104,"title":4105,"dynasty":177,"author":2907,"museum":704,"description":4106,"tags":4107,"thumbUrl":4108,"material":139,"size":4109,"collection":308,"collections":4110,"showCount":4101,"zanCount":1080,"manualWeight":48,"mainColor":49},219126,"shuang-lu-tu-shen-quan-219126","双鹿图","这幅画描绘了在秋季深山里，一对野鹿的生活状态。画面右边是高山悬崖的一段，崖壁上生长着盘如巨龙的古松，虽饱经风霜，仍然枝叶繁茂，粗大的树干上缠绕着藤本植物，从松、藤之间的上部缝隙里，可以看到一条瀑布，它穿过树叶的遮挡，飞流直下，形成巨大的水流，与画面下部的小溪相互呼应。悬崖的左边大幅留白，虽然没有具体描绘，应该能想象为山谷中弥漫着的雾气，在此处取得了无胜于有的效果。上述描绘景色，构成了本幅画的背景，说明了双鹿活动的大环境。双鹿为一公一母，一站一卧，它们伸长了耳朵正在倾听，身处深山老林，时刻保持高度警惕，这幅画正是描绘了这一刻的动态。双鹿周围，是一些正在盛开的白色野菊，山坡间生长着一丛丛色彩暗淡的野草，较好地表明了野草即将衰败、天气已届深秋。",[23,24,100,29,28,3988,3987,7,34,1738,199,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c88b537cee852bc63fd476f497b04f.jpg","120x50.5cm",[308],{"id":4112,"slug":4113,"title":4114,"dynasty":54,"author":368,"museum":135,"description":4115,"tags":4116,"thumbUrl":4117,"material":87,"size":4118,"collection":71,"collections":4119,"showCount":4120,"zanCount":500,"manualWeight":48,"mainColor":49},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[23,24,149,27,28,65,7,1617,1263,64,61,60,103,583,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[71,45],159,{"id":4122,"slug":4123,"title":4124,"dynasty":18,"author":775,"museum":673,"description":4125,"tags":4126,"thumbUrl":4127,"material":139,"size":4128,"collection":44,"collections":4129,"showCount":4120,"zanCount":48,"manualWeight":48,"mainColor":49},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,100,25,149,59,65,7,103,583,64,199,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[44,42],{"id":4131,"slug":4132,"title":4133,"dynasty":80,"author":616,"museum":56,"description":4134,"tags":4135,"thumbUrl":4136,"material":169,"size":4137,"collection":308,"collections":4138,"showCount":4120,"zanCount":48,"manualWeight":48,"mainColor":75},219890,"qi-shu-qiu-feng-tu-ni-zan-219890","琪树秋风图","以淡墨侧锋皴出坡上乔柯拳石，浓墨写细竹三五茎，苍古之中饶有秀润之气。倪瓒的作品，被时人称为“殊无市朝尘埃气”。画面总是平远小景，疏疏落落，悄无人影，枝头无绿叶，仅有萧疏瘦硬的干枝，具清冷、寂寞、淡然之意。与其说他表现的是景色，莫如说是心情的写照。",[24,59,372,1738,264,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb4cceff0554e3c0f7b5a3c8e2d7ab.jpg","纵62厘米，横43.3厘米",[308],{"id":4140,"slug":4141,"title":4142,"dynasty":18,"author":604,"museum":1542,"description":4143,"tags":4144,"thumbUrl":4145,"material":596,"size":127,"collection":71,"collections":4146,"showCount":4120,"zanCount":1080,"manualWeight":48,"mainColor":49},218590,"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[23,24,100,149,59,65,7,63,583,103,64,35,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg",[71],{"id":4148,"slug":4149,"title":4150,"dynasty":177,"author":395,"museum":396,"description":397,"tags":4151,"thumbUrl":4152,"material":69,"size":402,"collection":127,"collections":4153,"showCount":4120,"zanCount":48,"manualWeight":48,"mainColor":75},214891,"shan-shui-tu-ce-2-shi-tao-214891","山水图册-2",[23,24,59,65,164,7,61,62,150,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd319f48bef574dd573647e67866a3b95.jpg",[],{"id":4155,"slug":4156,"title":4157,"dynasty":18,"author":592,"museum":119,"description":4158,"tags":4159,"thumbUrl":4160,"material":127,"size":127,"collection":127,"collections":4161,"showCount":4162,"zanCount":961,"manualWeight":48,"mainColor":75},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,100,26,25,28,65,103,7,583,64,34,201,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":4164,"slug":4165,"title":4166,"dynasty":54,"author":1652,"museum":704,"description":4167,"tags":4168,"thumbUrl":4169,"material":225,"size":4170,"collection":71,"collections":4171,"showCount":4162,"zanCount":1080,"manualWeight":48,"mainColor":49},221994,"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[23,24,7,318,319,165,28,26,223,349,756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纵23厘米，横578.3厘米",[71,45],{"id":4173,"slug":4174,"title":4175,"dynasty":177,"author":1825,"museum":161,"description":4176,"tags":4177,"thumbUrl":4178,"material":69,"size":127,"collection":71,"collections":4179,"showCount":4162,"zanCount":961,"manualWeight":48,"mainColor":75},215031,"fang-gu-shan-shui-ce-wang-jian-215031","仿古山水册","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,59,1099,65,164,7,34,64,201,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f5870a1a3d56961655bf14bd82552d.jpg",[71],{"id":4181,"slug":4182,"title":4183,"dynasty":54,"author":55,"museum":517,"description":518,"tags":4184,"thumbUrl":4185,"material":349,"size":522,"collection":127,"collections":4186,"showCount":4187,"zanCount":48,"manualWeight":48,"mainColor":379},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12",[23,24,25,164,59,65,7,103,63,125,239,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg",[],157,{"id":4189,"slug":4190,"title":1027,"dynasty":177,"author":178,"museum":20,"description":1028,"tags":4191,"thumbUrl":4194,"material":40,"size":307,"collection":127,"collections":4195,"showCount":4196,"zanCount":48,"manualWeight":48,"mainColor":75},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167",[24,25,27,28,29,7,104,60,61,63,103,34,4192,64,571,1031,3695,4193,559],"荷花","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg",[],156,{"id":4198,"slug":4199,"title":4200,"dynasty":54,"author":96,"museum":20,"description":4201,"tags":4202,"thumbUrl":4205,"material":40,"size":4206,"collection":71,"collections":4207,"showCount":4196,"zanCount":1080,"manualWeight":48,"mainColor":75},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,24,25,100,149,28,29,7,34,35,4203,61,62,101,4204],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[71,45],{"id":4209,"slug":4210,"title":4211,"dynasty":80,"author":3421,"museum":1542,"description":4212,"tags":4213,"thumbUrl":4214,"material":2147,"size":4215,"collection":71,"collections":4216,"showCount":4196,"zanCount":961,"manualWeight":48,"mainColor":75},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[23,24,25,26,59,65,7,630,734,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纵25.7厘米，横380厘米",[71,212],{"id":4218,"slug":4219,"title":4220,"dynasty":18,"author":194,"museum":119,"description":4221,"tags":4222,"thumbUrl":4223,"material":337,"size":937,"collection":127,"collections":4224,"showCount":4225,"zanCount":1080,"manualWeight":48,"mainColor":940},289985,"lin-liu-du-zuo-tu-fan-kuan-289985","临流独坐图","《临流独坐图》表现层峦叠蟑，山势起伏，溪谷间，云烟弥漫动荡，使深山幽小充盈着活力。",[100,24,25,7,59,65,238,64,1616,1674,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg",[],155,{"id":4227,"slug":4228,"title":4229,"dynasty":18,"author":178,"museum":135,"description":4230,"tags":4231,"thumbUrl":4232,"material":596,"size":4233,"collection":42,"collections":4234,"showCount":4225,"zanCount":1080,"manualWeight":48,"mainColor":75},218670,"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[23,24,59,65,7,318,979,34,106,239,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","28.9x50.4cm",[42,71],{"id":4236,"slug":4237,"title":4175,"dynasty":177,"author":3760,"museum":161,"description":4238,"tags":4239,"thumbUrl":4240,"material":69,"size":127,"collection":71,"collections":4241,"showCount":4225,"zanCount":48,"manualWeight":48,"mainColor":49},214603,"fang-gu-shan-shui-ce-wang-hui-214603","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,59,65,1099,7,318,319,165,372,201,199,239,104,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[71],{"id":4243,"slug":4244,"title":4056,"dynasty":54,"author":55,"museum":20,"description":4245,"tags":4246,"thumbUrl":4247,"material":69,"size":4248,"collection":71,"collections":4249,"showCount":4250,"zanCount":48,"manualWeight":48,"mainColor":379},219865,"yun-shan-tu-shen-zhou-219865","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,24,59,7,65,149,34,37,64,31,63,167,720,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[71],154,{"id":4252,"slug":4253,"title":4254,"dynasty":18,"author":288,"museum":119,"description":4255,"tags":4256,"thumbUrl":4259,"material":139,"size":2900,"collection":71,"collections":4260,"showCount":4250,"zanCount":712,"manualWeight":48,"mainColor":49},218593,"feng-yu-gui-zhou-tu-xia-gui-218593","风雨归舟图","画面墨气淋漓，骤雨如丝斜织，远山隐入烟霭，近树被风揉得枝叶翻卷。蓑衣客躬身疾行，斗笠遮不住风雨，脚步却向着归途匆匆；江畔小舟半隐雾中，舟子撑篙破雨而来，船篷上似有雨珠滚落。墨色浓淡相济，湿笔晕染出天地苍茫，干笔勾勒出人物的急切与树石的坚韧。风雨的喧嚣仿佛透过绢素传来，归人的匆忙与自然的浩渺相映，既有生活的烟火气，又藏着山水间的悠远意境。寥寥几笔便将骤雨归舟的情景写尽，湿墨晕开的雨雾里，似能触到那份湿润的诗意，以及归心似箭的温暖底色。",[24,59,7,65,978,103,34,238,106,4257,4258],"风雨","蓑衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeefa85c6c7e634a1e82deccf9bee42a.jpg",[71],{"id":4262,"slug":4263,"title":4264,"dynasty":54,"author":55,"museum":135,"description":4265,"tags":4266,"thumbUrl":4267,"material":69,"size":4268,"collection":127,"collections":4269,"showCount":4270,"zanCount":961,"manualWeight":48,"mainColor":49},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[24,25,149,59,28,7,65,103,335,60,61,63,34,64,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],153,{"id":4272,"slug":4273,"title":4274,"dynasty":2272,"author":4275,"museum":4276,"description":4277,"tags":4278,"thumbUrl":4279,"material":225,"size":127,"collection":127,"collections":4280,"showCount":4270,"zanCount":48,"manualWeight":48,"mainColor":75},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","潘天寿","中国现当代美术文献研究中心","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,24,25,149,28,59,65,7,239,61,3171,34,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":4282,"slug":4283,"title":4284,"dynasty":54,"author":945,"museum":1542,"description":4285,"tags":4286,"thumbUrl":4287,"material":139,"size":4288,"collection":71,"collections":4289,"showCount":4270,"zanCount":1080,"manualWeight":48,"mainColor":49},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,25,26,59,28,7,29,65,67,101,60,61,63,104,62,106,103,125,373,334,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[71,45],{"id":4291,"slug":4292,"title":4293,"dynasty":18,"author":194,"museum":56,"description":4294,"tags":4295,"thumbUrl":4296,"material":169,"size":127,"collection":42,"collections":4297,"showCount":4270,"zanCount":48,"manualWeight":48,"mainColor":940},219928,"wan-jing-tu-fan-kuan-219928","晚景图","此图山峦圆浑高峻，水边巨石垒垒，用密集的小斧劈皴和雨点皴皴染，山顶密植树木。山形和技法的确出于范宽，但是山峦间充满虚渺云雾、远山淡墨一抹以及笔法短促简率等画法，都带有南宋李唐画派的技法因子，画面缺乏范宽那种雄伟森严的气势，应是出于南宋早期继承范宽画风的画家之手。可惜作者姓名佚失，然亦是了解由范宽画风向南宋院体画风递变时期艺术面貌的重要实迹。",[23,24,65,59,7,318,34,239,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d38b2ea5d8305bc68e3d6e69a76fe72.jpg",[42],{"id":4299,"slug":4300,"title":909,"dynasty":54,"author":4301,"museum":135,"description":4302,"tags":4303,"thumbUrl":4304,"material":69,"size":4305,"collection":71,"collections":4306,"showCount":4270,"zanCount":961,"manualWeight":48,"mainColor":75},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[24,25,149,59,65,101,7,239,34,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[71],{"id":4308,"slug":4309,"title":4310,"dynasty":18,"author":4311,"museum":135,"description":4312,"tags":4313,"thumbUrl":4314,"material":292,"size":4315,"collection":42,"collections":4316,"showCount":4317,"zanCount":961,"manualWeight":48,"mainColor":49},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,100,24,25,164,59,28,65,7,63,34,62,30,167,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[42,71],152,{"id":4319,"slug":4320,"title":4321,"dynasty":2272,"author":4322,"museum":4323,"description":4324,"tags":4325,"thumbUrl":4327,"material":127,"size":127,"collection":127,"collections":4328,"showCount":4317,"zanCount":961,"manualWeight":48,"mainColor":75},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","张大千","四川博物院","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[23,24,25,27,28,7,30,532,199,37,34,4326,122,65,101],"山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],{"id":4330,"slug":4331,"title":4332,"dynasty":177,"author":2075,"museum":396,"description":4333,"tags":4334,"thumbUrl":4335,"material":169,"size":4336,"collection":71,"collections":4337,"showCount":4317,"zanCount":961,"manualWeight":48,"mainColor":75},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,24,59,149,122,65,7,60,61,34,64,199,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[71],{"id":4339,"slug":4340,"title":603,"dynasty":18,"author":604,"museum":20,"description":605,"tags":4341,"thumbUrl":4344,"material":40,"size":609,"collection":127,"collections":4345,"showCount":4346,"zanCount":48,"manualWeight":48,"mainColor":49},233880,"ta-ge-tu-zhou-ma-yuan-233880",[24,100,149,59,28,7,64,34,372,4342,103,104,37,61,65,4343],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg",[],151,{"id":4348,"slug":4349,"title":4350,"dynasty":177,"author":2075,"museum":369,"description":2076,"tags":4351,"thumbUrl":4352,"material":69,"size":2079,"collection":71,"collections":4353,"showCount":4346,"zanCount":961,"manualWeight":48,"mainColor":49},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久",[23,24,28,27,7,122,65,60,61,34,238,35,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg",[71],{"id":4355,"slug":4356,"title":4357,"dynasty":177,"author":2017,"museum":119,"description":4358,"tags":4359,"thumbUrl":4360,"material":337,"size":937,"collection":127,"collections":4361,"showCount":4362,"zanCount":961,"manualWeight":48,"mainColor":75},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,149,100,7,2127,104,60,61,62,125,66,101,28,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":4364,"slug":4365,"title":4366,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":4368,"thumbUrl":4369,"material":337,"size":937,"collection":127,"collections":4370,"showCount":4362,"zanCount":961,"manualWeight":48,"mainColor":75},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[100,24,149,59,7,372,63,61,64,167,122,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],{"id":4372,"slug":4373,"title":1883,"dynasty":18,"author":604,"museum":119,"description":4374,"tags":4375,"thumbUrl":4378,"material":337,"size":937,"collection":127,"collections":4379,"showCount":4362,"zanCount":961,"manualWeight":48,"mainColor":49},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","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。",[23,100,24,26,59,103,7,583,372,199,64,104,60,61,4376,756,2716,2329,4377],"竹丛","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],{"id":4381,"slug":4382,"title":2920,"dynasty":177,"author":4383,"museum":556,"description":4384,"tags":4385,"thumbUrl":4386,"material":139,"size":4387,"collection":71,"collections":4388,"showCount":4362,"zanCount":712,"manualWeight":48,"mainColor":49},218715,"peng-lai-xian-jing-tu-xu-wen-218715","徐玟","这幅青绿山水边框画属于赵伯驹、赵孟頫、仇英一脉，山石皴擦少，傅色细雅，边框画精美。",[23,24,28,304,29,7,104,34,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5656eb494ec10d4f4e9a3529db76a4.jpg","172x100cm",[71],{"id":4390,"slug":4391,"title":4392,"dynasty":18,"author":775,"museum":673,"description":4393,"tags":4394,"thumbUrl":4395,"material":169,"size":4396,"collection":71,"collections":4397,"showCount":4362,"zanCount":961,"manualWeight":48,"mainColor":49},218609,"shan-ju-xiao-si-tu-li-cheng-218609","山居萧寺图","积雪覆峦，寒林瘦劲，蟹爪枝如墨线垂曳，勾连起冬日山野的清寂。山间茅舍隐现，古寺檐角微露，溪流凝冰，石径蜿蜒，似藏着隐士的幽居岁月。笔墨苍劲中透着秀逸，卷云皴晕染出山峦肌理，留白处漾着雪意空濛。整体意境悠远淡远，尽显北宋山水的空灵与哲思，仿佛能听见林梢风过，窥见文人胸次里的丘壑万千。",[24,149,7,59,65,64,34,278,35,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ad420f8495b67d554fa9e28bec96d.jpg","127.3x63.7cm",[71],{"id":4399,"slug":4400,"title":4401,"dynasty":18,"author":178,"museum":135,"description":4402,"tags":4403,"thumbUrl":4405,"material":139,"size":4406,"collection":127,"collections":4407,"showCount":4408,"zanCount":712,"manualWeight":48,"mainColor":49},290765,"shang-yue-kong-shan-zhou-yi-ming-290765","赏月空山轴","秋江如练，扁舟缓行。舱内雅士对坐把盏，侍童在侧、舟子摇橹，将闲雅逸兴揉进烟波里。右侧崖壁高耸沉郁，木叶萧疏间月色晕开，江雾漫漶，晕染出朦胧空寂的天地。\n\n画作以边角取景，留白铺陈出清旷意境，苍劲水墨晕染烟水气象，把寄情山水的襟怀藏在冷寂江色中。简淡笔触勾勒江湖散人雅集的意趣，冷雾里晕开知己对晤的温煦暖意，虚实相生间尽显诗意禅心，将秋夜赏月的悠然尽揽卷中。",[24,59,28,7,62,103,4404,3836,1616,64,61],"赏月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc70193e460b155d3c81c96521c7014.jpg","71.7x93.3",[],149,{"id":4410,"slug":44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122公分",[71,212],148,{"id":4454,"slug":4455,"title":4456,"dynasty":54,"author":96,"museum":135,"description":4457,"tags":4458,"thumbUrl":4460,"material":139,"size":127,"collection":44,"collections":4461,"showCount":4452,"zanCount":961,"manualWeight":48,"mainColor":49},219376,"guan-yin-chou-ying-219376","观音","画中十六罗汉供奉观音，观音坐南海普陀山传法。 十六罗汉被他们包围。 布局很巧妙。",[24,25,149,1042,29,28,103,4459,7],"祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[44],{"id":4463,"slug":4464,"title":4465,"dynasty":18,"author":2535,"museum":56,"description":4466,"tags":4467,"thumbUrl":4469,"material":139,"size":4470,"collection":71,"collections":4471,"showCount":4452,"zanCount":712,"manualWeight":48,"mainColor":49},214609,"jiao-yuan-ye-zhang-tu-wan-shan-ye-ma-lin-214609","郊园曳杖图纨扇页","郊园曳杖图是宋朝时期马麟所作的一幅著名的山水画。这幅画描绘了一个人在郊外散步的场景，画中的人物拿着一根曳杖，走在一片绿色的郊园里，周围环绕着山峦和树木。\n\n马麟是宋朝时期著名的画家，他的画风轻松优美，富有感性，并且注重写实。在他的作品中，常常出现山水画题材，他将山水画中的景物和人物结合起来，表现出人与自然和谐相处的意境。郊园曳杖图就是这样一幅作品，它展示了一个人在郊外散步的情景，与周围的山水相互融合，充满了自然之美。\n\n马麟的郊园曳杖图是一幅经典的山水画作品，其中细腻的笔墨，流畅的线条，精确的造型，以及生动的写意，都体现了马麟作为画家的高超技艺。这幅画不仅为后人留下了宝贵的艺术瑰宝，也为我们展现了宋朝时期山水画的魅力。",[2484,24,100,25,28,65,7,103,34,4468,101],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4fe954c2ad1a1f925dcf460e2dd461.jpg","纵23.3 厘米 横23.7 厘米",[71],{"id":4473,"slug":4474,"title":3508,"dynasty":54,"author":178,"museum":135,"description":4475,"tags":4476,"thumbUrl":4477,"material":243,"size":127,"collection":127,"collections":4478,"showCount":4479,"zanCount":961,"manualWeight":48,"mainColor":75},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,25,26,59,7,65,66,101,122,318,319,34,62,60,61,63,106,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":4481,"slug":4482,"title":4483,"dynasty":18,"author":288,"museum":119,"description":4484,"tags":4485,"thumbUrl":4486,"material":139,"size":4487,"collection":71,"collections":4488,"showCount":4479,"zanCount":48,"manualWeight":48,"mainColor":49},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[100,24,25,149,59,65,7,199,583,103,2414,239,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 cm",[71],{"id":4490,"slug":4491,"title":4492,"dynasty":18,"author":178,"museum":4493,"description":4494,"tags":4495,"thumbUrl":4497,"material":139,"size":4498,"collection":71,"collections":4499,"showCount":4479,"zanCount":1080,"manualWeight":48,"mainColor":49},218232,"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[24,25,149,304,59,28,7,104,62,125,239,4496,167],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","纵97.4厘米，横54.6厘米",[71],{"id":4501,"slug":4502,"title":4503,"dynasty":177,"author":3760,"museum":119,"description":4504,"tags":4505,"thumbUrl":4506,"material":127,"size":127,"collection":127,"collections":4507,"showCount":4508,"zanCount":961,"manualWeight":48,"mainColor":75},224470,"xi-shan-xing-lv-tu-juan-wang-hui-224470","溪山行旅图卷","此作用长卷铺展千里江山，起首烟水澹澹，汀洲村舍隐在轻岚淡墨之中，随卷徐徐铺陈，峰岭渐次崛立。山石以披麻皴写就，笔力苍秀沉厚，林木攒簇郁茂，晕染出葱茏古雅的生机。\n\n山道、津渡间错落行旅身影，暗合林泉行游之趣，云烟流荡于峰腰谷壑，虚实相生，将平远、高远、深远诸法相融，层层延伸出咫尺含千里的山水格局。笔墨兼取元人松灵与宋人丘壑之密，既摹写出实景山水的清润幽深，亦藏着文人寄情林泉的澹然意绪，整卷气息静雅浑融，尽揽山川悠远之致。",[23,24,26,59,7,65,64,34,37,199,201,238,103,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa1cd0866746b8aa5e4cf195a58da69.jpg",[],146,{"id":4510,"slug":4511,"title":4512,"dynasty":18,"author":604,"museum":119,"description":4513,"tags":4514,"thumbUrl":4515,"material":69,"size":4516,"collection":44,"collections":4517,"showCount":4508,"zanCount":1080,"manualWeight":48,"mainColor":75},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,100,24,25,26,59,28,103,7,413,106,264,61,101,66,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[44],{"id":4519,"slug":4520,"title":4521,"dynasty":54,"author":178,"museum":4522,"description":4523,"tags":4524,"thumbUrl":4526,"material":3985,"size":4527,"collection":127,"collections":4528,"showCount":4529,"zanCount":712,"manualWeight":48,"mainColor":940},222147,"san-da-shi-tu-wen-shu-yi-ming-222147","三大士图-文殊","法海寺","文殊菩萨图位于水月观音图之西。文殊全称文殊师利，又作曼殊室利，意为妙德、吉祥，又译作妙吉祥，是众菩萨之首，通常作释迦佛的左胁侍，专司“智慧”，表“大智”。此菩萨顶髻，以五字五髻文殊为本体最为常见，五髻表示内证五智，以表大日之五智五佛，手持剑，以表智慧之利剑，能斩断一切无明烦恼，有时手持如意，似表吉祥如意，坐骑青狮，以表智慧之威猛。佛经对文殊的顶髻、宝冠、肤色、手持法器、坐骑等，都有种种模式要求。法海寺壁画对佛像的塑造，既继承佛典的模式要求，又有新的突破，突出了写实手法，使文殊菩萨的形象与水月观音形象大体相似。\n文殊菩萨的左下侧，绘坐骑青狮与驯狮人。驯狮人身披甲胄，威武森严，拱手而立，佩带鱼形宝刀，刀鞘沥粉贴金，鳞甲闪闪，凹凸画面，豪化富丽，格外醒目。文殊的右下侧绘有一信士，一说是古印度的月盖长者，他常入维摩方长，听不二法门。长者身着黄袍，右手持杖，左手遮荫，嘴略张开，似笑非笑。满面苍须，随风飘动，虔诚地仰望着天空，好像在祈请西方三尊拯救国内恶疫。颜面肌肤，眼角鱼尾，手指关节，其神态风韵，每一个细部，都精确地表现出老人的生理和心理特征，充分体现了壁画现实性的特征。",[23,3985,1042,29,28,103,3988,7,37,629,4525],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c5d9d23ca7de5aae9bb98569f7acd7.jpg","450x450厘米",[],145,{"id":4531,"slug":4532,"title":4533,"dynasty":18,"author":288,"museum":1542,"description":4534,"tags":4535,"thumbUrl":4536,"material":596,"size":4537,"collection":71,"collections":4538,"showCount":4529,"zanCount":961,"manualWeight":48,"mainColor":75},215111,"bu-yu-tu-xia-gui-215111","捕鱼图","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[23,100,24,25,2484,59,65,7,62,495,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[71],{"id":4540,"slug":4541,"title":4542,"dynasty":54,"author":1096,"museum":135,"description":4543,"tags":4544,"thumbUrl":4545,"material":169,"size":127,"collection":71,"collections":4546,"showCount":4529,"zanCount":961,"manualWeight":48,"mainColor":75},214616,"fang-huang-gong-wang-dou-he-mi-lin-dong-qi-chang-214616","仿黄公望陡壑密林","董其昌是一位著名的明代画家，他的作品《仿黄公望陡壑密林》是一幅杂乱的山林画，充分展现了董其昌对自然的描绘能力。\n\n在这幅画中，董其昌通过细致的笔触和细腻的色彩，精确地描绘出了山林中的每一个细节。他使用浓密的线条和暗色调描绘出了树木，使得整幅画呈现出一种茂密的森林氛围。同时，董其昌还使用了浅色调和柔和的线条描绘出了山谷的景色，使得画面显得更加生动。\n\n总的来说，《仿黄公望陡壑密林》是一幅令人印象深刻的山林画，展示了董其昌的画风独特，也诠释了他对自然的热爱和描绘能力。",[24,25,59,65,122,164,7,318,34,201,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c809d6e5fc35ec243b8d09d730397b.jpg",[71],{"id":4548,"slug":4549,"title":4550,"dynasty":80,"author":616,"museum":119,"description":4551,"tags":4552,"thumbUrl":4553,"material":337,"size":937,"collection":127,"collections":4554,"showCount":4555,"zanCount":500,"manualWeight":48,"mainColor":75},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[23,100,24,149,59,7,372,264,61,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],144,{"id":4557,"slug":4558,"title":4559,"dynasty":18,"author":775,"museum":704,"description":4560,"tags":4561,"thumbUrl":4565,"material":4566,"size":4567,"collection":42,"collections":4568,"showCount":4555,"zanCount":48,"manualWeight":48,"mainColor":49},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[23,24,100,25,26,7,65,28,4562,167,34,64,37,4563,87,4564,206,201,722],"茂林","淡墨","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","绢本，淡设色","纵45.4厘米，横141.8厘米",[42,71,212],{"id":4570,"slug":4571,"title":1572,"dynasty":18,"author":234,"museum":1542,"description":4572,"tags":4573,"thumbUrl":4575,"material":1576,"size":1577,"collection":42,"collections":4576,"showCount":4555,"zanCount":1080,"manualWeight":48,"mainColor":49},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《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。",[23,24,25,26,59,65,4574,7,63,607,125,264,61,62,101],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[42,71,212],{"id":4578,"slug":4579,"title":4580,"dynasty":80,"author":616,"museum":135,"description":4581,"tags":4582,"thumbUrl":4583,"material":169,"size":4584,"collection":71,"collections":4585,"showCount":4555,"zanCount":961,"manualWeight":48,"mainColor":75},220789,"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","水墨畫河岸、疏樹、竹林與房舍，對岸則山巒起伏。用筆多中鋒，山石皴法以披麻為主，略有折帶筆意。幅上有壬子（一三七二）年款，時七十二歲。然本幅題款，實摹自本院藏倪氏真本「容膝齊圖」。用筆亦無倪氏一代大家之健勁，顯係後代摹品。",[24,25,149,59,65,7,34,305,319,35,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[71,212],{"id":4587,"slug":4588,"title":4589,"dynasty":80,"author":1410,"museum":20,"description":4590,"tags":4591,"thumbUrl":4593,"material":87,"size":4594,"collection":71,"collections":4595,"showCount":4555,"zanCount":961,"manualWeight":48,"mainColor":49},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[23,24,25,4592,149,59,65,7,238,64,34,583,61],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[71,212],{"id":4597,"slug":4598,"title":4599,"dynasty":177,"author":3760,"museum":135,"description":4600,"tags":4601,"thumbUrl":4602,"material":69,"size":4603,"collection":71,"collections":4604,"showCount":4555,"zanCount":961,"manualWeight":48,"mainColor":49},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","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。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,25,149,28,7,1263,64,199,61,104,34,101,66,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[71,45],{"id":4606,"slug":4607,"title":2350,"dynasty":177,"author":4608,"museum":20,"description":4609,"tags":4610,"thumbUrl":4611,"material":139,"size":4612,"collection":71,"collections":4613,"showCount":4555,"zanCount":1080,"manualWeight":48,"mainColor":940},219222,"qing-lv-shan-shui-tu-xie-sun-219222","谢荪","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,24,25,27,28,7,34,64,61,104,35,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[71],{"id":4615,"slug":4616,"title":4617,"dynasty":18,"author":1747,"museum":4618,"description":4619,"tags":4620,"thumbUrl":4623,"material":169,"size":4624,"collection":127,"collections":4625,"showCount":4555,"zanCount":1080,"manualWeight":48,"mainColor":49},219192,"xiao-xiang-ba-jing-yu-cun-xi-zhao-mu-xi-219192","潇湘八景-渔村夕照","根津美术馆","烟霭似梦，轻覆潇湘水畔。远山如黛，在朦胧雾气中层层隐现，墨色浓淡间藏着天地的悠远。近岸林木苍劲，枝桠舒展，与嶙峋山石相映。水面上扁舟缓行，渔人影绰，似在暮色里寻归处。几处屋舍疏落，隐于树影烟岚间，不闻喧嚣，唯余静谧。\n\n水墨晕染出夕照的温柔，没有浓艳色彩，却以极简之笔勾勒出渔村黄昏的禅意空灵——天地人在此相融，时光仿佛停滞，只留山水与自然的清寂对话。每一处墨痕都藏着野趣与淡泊，让观者沉浸在这份恬淡悠远的意境里，似能听见风过林梢、水拍船舷的轻响，忘却尘俗纷扰。",[23,100,24,25,59,65,7,62,34,4621,1642,4622],"烟雾","渔村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0abab9aa023a77aaf3089f0f4a2f97.jpg","33x112厘米",[],{"id":4627,"slug":4628,"title":4629,"dynasty":177,"author":1925,"museum":20,"description":4630,"tags":4631,"thumbUrl":4633,"material":632,"size":4634,"collection":71,"collections":4635,"showCount":4636,"zanCount":961,"manualWeight":48,"mainColor":75},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","图绘凋零的树木被笼罩在深秋的寒意中，一湖静水之上只见高士孤身垂钓，空旷荒寂的意境中孕含着作者对明朝故土的无限怀念。此图无年款，根据署款“驴”字，推断此幅为朱耷57岁（1682年）左右的作品。这时期其山水画还深受元人倪瓒、黄公望，明人董其昌的影响而没有形成自己的笔墨特色。本幅构图取法倪瓒一河两岸式的布局，以简洁疏朗的物象表现出荒寒的萧条景致。山石画法取自黄公望，其轮廓以尖硬的线条勾勒，石面略作皴染，于散漫随意中不失古雅的情趣。整体画风则显现出董其昌明洁秀逸、华姿润泽的艺术风貌。",[24,149,59,223,65,7,372,31,64,62,4632,167,166],"钓者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纵197.5厘米，横57.3厘米",[71],143,{"id":4638,"slug":4639,"title":4640,"dynasty":18,"author":717,"museum":119,"description":4641,"tags":4642,"thumbUrl":4643,"material":127,"size":127,"collection":127,"collections":4644,"showCount":4636,"zanCount":961,"manualWeight":48,"mainColor":49},227516,"wang-wei-shi-yi-tu-li-zhou-mi-fei-227516","王维诗意图立轴","米芾，字元章，号鹿门居士、襄阳漫士、海岳外史，北宋著名大书画家，鉴藏家。祖籍太原，后迁居襄阳，人称“米襄阳”。宣和年间为徽宗赵佶召为书画学博士。\n\n米芾能诗擅文，书画尤具功力。篆、隶、行、草、楷各体皆能，行草造诣尤高。芾自云学过各家各派，但从其作品观之，得王献之、释智永二家最多。其书淋漓痛快，隽雅奇变，晚年书艺更达至炉火纯青之境。与苏轼、黄庭坚、蔡襄合称“宋四家”。",[23,24,149,59,7,65,34,61,64,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ca00f8b933044d132ee6e26db3b619.jpg",[],{"id":4646,"slug":4647,"title":4648,"dynasty":80,"author":81,"museum":20,"description":4649,"tags":4650,"thumbUrl":4651,"material":632,"size":4652,"collection":71,"collections":4653,"showCount":4636,"zanCount":961,"manualWeight":48,"mainColor":49},220763,"jiu-feng-xue-ji-tu-huang-gong-wang-220763","九峰雪霁图","是图作于元至正九年（1349年），为黄公望81高龄之作。作者以水墨写意的手法汇集画出了江南松江一带的九座道教名山，时称“九峰”，体现了作者对道教全真教的崇拜。该图系画赠江浙儒学提举班惟志，时值正月春雪，有感雪霁寒意，画意肃穆静谧。图中的中、近景以干笔勾廓叠石，坡边微染赭黄，远处九峰留白，以淡墨衬染出雪山，是黄公望简繁合一的精品作。",[23,24,7,59,65,149,30,765,31,239,372,150,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纵117厘米，横55.5厘米",[71,212],{"id":4655,"slug":4656,"title":4657,"dynasty":18,"author":288,"museum":161,"description":4658,"tags":4659,"thumbUrl":4662,"material":139,"size":4663,"collection":71,"collections":4664,"showCount":4636,"zanCount":500,"manualWeight":48,"mainColor":49},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[24,100,25,7,59,65,63,199,37,64,34,167,201,532,4660,4661],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[71],{"id":4666,"slug":4667,"title":4668,"dynasty":18,"author":604,"museum":119,"description":4669,"tags":4670,"thumbUrl":4671,"material":169,"size":4672,"collection":212,"collections":4673,"showCount":4636,"zanCount":961,"manualWeight":48,"mainColor":75},218564,"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[24,100,25,149,304,59,7,104,583,64,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[212],{"id":4675,"slug":4676,"title":4677,"dynasty":18,"author":775,"museum":4678,"description":4679,"tags":4680,"thumbUrl":4681,"material":87,"size":4682,"collection":42,"collections":4683,"showCount":4684,"zanCount":48,"manualWeight":48,"mainColor":49},221440,"ha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，淡设色","纵290cm，横131.5cm",[71],141,{"id":4716,"slug":4717,"title":909,"dynasty":18,"author":288,"museum":3793,"description":4718,"tags":4719,"thumbUrl":4720,"material":139,"size":4721,"collection":71,"collections":4722,"showCount":4714,"zanCount":961,"manualWeight":48,"mainColor":75},218636,"shan-shui-tu-xia-gui-218636","嶙峋山石倚着清竹，茅舍半藏于岩间，窗内人影依稀，似在静赏山光。淡墨远山如黛，隐入烟霭，留白处漾着空濛的诗意。斧劈皴笔力劲健，刻画出山石坚硬肌理；竹叶以简括笔触点染，疏朗间见生机。构图截取一角景致，以少胜多，将南宋山水的空灵雅致凝于尺幅。墨色浓淡交错，层次叠生，竹影婆娑、山石苍劲、远山悠远，共同织就清寂悠然的林泉图景，尽显隐者恬淡心境与画者笔墨才情。题跋与画面相映，文气画意交融，更添古朴雅致之韵。",[24,25,7,59,65,630,64,63,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fbe552f0bbce9c2e6f3428b0b59de0.jpg","32.7x20",[71],{"id":4724,"slug":4725,"title":4726,"dynasty":80,"author":616,"museum":135,"description":4727,"tags":4728,"thumbUrl":4731,"material":169,"size":937,"collection":127,"collections":4732,"showCount":4733,"zanCount":961,"manualWeight":48,"mainColor":75},290956,"jiang-an-wang-shan-tu-ni-zan-290956","江岸望山图","由画上题诗，知为赠行而作，受赠者由水路去会稽，因而画舟中望两岸之景。款上称“并写江岸望山图奉送惟允友契之会稽”，惟允为陈汝言之字，但“惟允”二字，与其他题诗之字比较起来，笔迹不似，疑系后人妄改，藉以增加此画之身价。\n倪氏早年从董巨入手，五十几岁时，山石全用披麻长皴；至六十岁则渐入荆关，笔简气壮。晚年则是明显的折带皴法，呈现静穆萧疏的风格。该幅画高树空亭，隔岸望山，山上长皴，未成折带，利用苔点﹑深浅皴法及留白的运用，将山石立体实感呈现而出，气势雄壮，与其晚年渴笔皴擦之冷峻坚实的山石较不同。清吴升曾评此画：“皴法全用大披麻，得巨然神髓。迂翁画大抵平远山峰，不多作树；似此高崖峭壁，具太华削成之势；大小树点叶纷披，都非向来面目，乃知此翁绘妙中扫空蹊径，有如许大手笔也。”",[24,59,7,63,372,64,2856,66,101,4729,4730,4563],"清寂","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae1ca51152d8dd2051b65e995e59abd.jpg",[],140,{"id":4735,"slug":4736,"title":4737,"dynasty":811,"author":1137,"museum":424,"description":4738,"tags":4739,"thumbUrl":4741,"material":127,"size":127,"collection":127,"collections":4742,"showCount":4733,"zanCount":1080,"manualWeight":48,"mainColor":49},226703,"xi-shan-lan-re-tu-ju-ran-226703","溪山兰若图","此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。",[23,24,100,149,59,65,7,318,165,64,201,4740,1042],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18e1550c2f9295b94665ebbfbacce7b.jpg",[],{"id":4744,"slug":4745,"title":4746,"dynasty":177,"author":4747,"museum":56,"description":4748,"tags":4749,"thumbUrl":4750,"material":69,"size":4751,"collection":71,"collections":4752,"showCount":4733,"zanCount":1080,"manualWeight":48,"mainColor":75},219922,"hu-tian-chun-se-tu-wu-li-219922","湖天春色图","吴历","此图描绘江南湖畔堤边的初春风光。画面上，远山清淡，湖水平静，渺无人烟，春色宜人。湖岸处柳色新绿，带雨含烟，丰姿绝妙，燕雀跃于湖面柳枝之间，又有土堤斜引，其上绿草如茵。溪水潺潺，鸟声婉转音色清新，绿柳迎风，全画面春意盎然，和谐舒畅。其构图与表现风格在当时亦十分新颖和独特。此幅是画家山水画中的代表作品，体现了典型的吴历个人风格。画家早年曾师法古人，又曾吸取西画的表现手法，风格与清初“四王”相似又有所不同，他注重实景取材，构图严谨，所以具有独特的面貌。",[24,25,100,149,28,65,7,125,61,106,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370438109745994edfcc2de0eb2f4f9.jpg","纵123.5 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x 28.1 CM",[42,71,212],137,{"id":4823,"slug":4824,"title":4825,"dynasty":54,"author":55,"museum":517,"description":518,"tags":4826,"thumbUrl":4829,"material":349,"size":522,"collection":127,"collections":4830,"showCount":4821,"zanCount":48,"manualWeight":48,"mainColor":49},220063,"hu-qiu-shi-er-jing-tu-ce-4-shen-zhou-220063","虎丘十二景图册-4",[23,24,100,164,59,7,63,104,103,34,4827,4828,65],"围墙","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bce900b7fa22a36598aac7aa31efa9d.jpg",[],{"id":4832,"slug":4833,"title":4834,"dynasty":18,"author":288,"museum":1326,"description":4835,"tags":4836,"thumbUrl":4837,"material":139,"size":127,"collection":42,"collections":4838,"showCount":4821,"zanCount":48,"manualWeight":48,"mainColor":75},219858,"mu-se-gui-yu-tu-xia-gui-219858","暮色归渔图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,59,65,7,62,373,106,1642,125,508,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[42],{"id":4840,"slug":4841,"title":4842,"dynasty":18,"author":604,"museum":119,"description":4843,"tags":4844,"thumbUrl":4845,"material":139,"size":4846,"collection":71,"collections":4847,"showCount":4821,"zanCount":48,"manualWeight":48,"mainColor":49},218628,"fan-zhou-tu-ma-yuan-218628","泛舟图","烟波浩渺间，一叶扁舟轻漾于粼粼水面。船中二人，一卧一坐，或醉眠或凝思，与天地相融。远山如黛，淡墨晕染出云气缭绕的朦胧，似隐似现于天际；近岸怪石嶙峋，线条刚劲如铁，皴擦间见苍劲质感。疏疏芦苇随风摇曳，墨色浓淡相宜，添几分野趣生机。\n\n画面以边角构图见巧，留白处尽是烟波浩渺的空濛，引观者思绪飘向远方。笔墨简练却意蕴悠长，水墨晕染与线条勾勒相映成趣，将文人雅士超脱尘嚣的心境凝于方寸扇面。空灵雅致的意境，尽显南宋山水的诗意哲思，令人心向往之。",[24,100,2484,7,59,28,65,62,103,495,264,890],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa216b268b23e2c63a87ea695ec2fbf8d.jpg","21.5x24",[71],{"id":4849,"slug":4850,"title":4851,"dynasty":18,"author":604,"museum":119,"description":4852,"tags":4853,"thumbUrl":4854,"material":169,"size":1502,"collection":212,"collections":4855,"showCount":4821,"zanCount":48,"manualWeight":48,"mainColor":49},218551,"gao-shi-xie-he-tu-ma-yuan-218551","高士携鹤图","垂丝柳影轻笼暮色，宽袍士人拄杖凝眸。身旁仙鹤独立，长颈引向天际，似欲与流云对语。画面构图疏朗，以简淡之笔见天地阔远：柳枝的柔曼衬出士人的清寂，鹤的高洁映其心性。淡墨晕染的远山如黛，近水无痕，留白处漾着幽远的禅意。线条简练却含筋骨，衣袂的飘举、鹤羽的疏劲，皆诉着隐逸之趣——抛却俗务，与鹤为友，在烟水间守一份澄澈自在。笔墨间藏着文人的精神归处，不恋尘嚣，只愿在山水云鹤间，寻得灵魂的安宁与超脱。",[23,100,24,25,2484,59,28,123,103,2505,1478,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0535cd201a3698edcf794670a2a03726.jpg",[212],{"id":4857,"slug":4858,"title":4859,"dynasty":80,"author":887,"museum":135,"description":4860,"tags":4861,"thumbUrl":4862,"material":349,"size":4863,"collection":127,"collections":4864,"showCount":4865,"zanCount":1080,"manualWeight":48,"mainColor":49},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,25,26,59,28,7,34,3764,31,35,67,66,101,65,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":4867,"slug":4868,"title":4869,"dynasty":1051,"author":1052,"museum":20,"description":4870,"tags":4871,"thumbUrl":4874,"material":87,"size":4875,"collection":44,"collections":4876,"showCount":4865,"zanCount":1080,"manualWeight":48,"mainColor":49},221136,"yu-yuan-cai-lian-tu-li-si-xun-221136","御苑采莲图","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网格水纹，辉煌明丽，富有装饰性。此卷为吴景洲先生于1947年倾囊得之，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,24,27,28,29,304,7,104,103,60,61,4192,34,64,438,4872,4873],"莲","采莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0bbca3f486b9ed26103a6d871d1d0e.jpg","23.90x77.20cm",[44,45],{"id":4878,"slug":4879,"title":4880,"dynasty":177,"author":3760,"museum":119,"description":4881,"tags":4882,"thumbUrl":4883,"material":4884,"size":4885,"collection":71,"collections":4886,"showCount":4865,"zanCount":48,"manualWeight":48,"mainColor":75},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,25,164,59,28,7,372,62,60,61,878,64,347,101,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","设色,纸本","30.5×21.5",[71],{"id":4888,"slug":4889,"title":4890,"dynasty":18,"author":234,"museum":56,"description":4891,"tags":4892,"thumbUrl":4896,"material":596,"size":4897,"collection":71,"collections":4898,"showCount":4865,"zanCount":500,"manualWeight":48,"mainColor":49},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","全图画秋景山水，画文人士夫出行的情形，系平 远式构图。近景以水墨画坡石，上有古木数株，中 景绘两间敞轩和一座木构平房，内有主人，外有过 客，隔江远景坡地朦胧，其下有牛群散牧、孤舟帆饱。 该图是一幅相当写实的山水画，画家客观、概括地描 绘了所见的景物。因此，笔者认为，可借鉴动物考古 学和建筑学等学科的成果来分析、研究是图的绘制地 域，以便于确定其创作时代。",[100,24,25,149,59,7,3865,2315,4893,4894,4895,62,1586,103],"坡石","敞轩","平房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b7f96f5bbf3b0e2a5e0fc103c93fe7.jpg","纵 185.2、横 107.5 厘米",[71],{"id":4900,"slug":4901,"title":4902,"dynasty":18,"author":178,"museum":119,"description":4903,"tags":4904,"thumbUrl":4905,"material":139,"size":4906,"collection":42,"collections":4907,"showCount":4865,"zanCount":961,"manualWeight":48,"mainColor":49},218583,"song-xia-jing-si-tu-yi-ming-218583","松下静思图","悬崖边的松树上画着一根粗壮有力的杆子，伸向远方，而一个高大的男人盘腿坐在下面的蒲团上，凝视着下方；远处，一轮明月挂在天上，圆盘般的月亮象征着农历的新月之夜。",[24,25,28,29,103,583,264,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732621ebc2bf8ef9ef1e43c8b6b51669.jpg","21x21",[42],{"id":4909,"slug":4910,"title":4911,"dynasty":177,"author":683,"museum":20,"description":4912,"tags":4913,"thumbUrl":4914,"material":169,"size":4915,"collection":71,"collections":4916,"showCount":4865,"zanCount":48,"manualWeight":48,"mainColor":75},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[23,24,59,65,122,149,7,64,34,31,35,722,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[71],{"id":4918,"slug":4919,"title":4920,"dynasty":177,"author":178,"museum":119,"description":4921,"tags":4922,"thumbUrl":4925,"material":337,"size":937,"collection":127,"collections":4926,"showCount":4927,"zanCount":48,"manualWeight":48,"mainColor":75},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,26,4923,24,25,27,28,7,103,104,62,106,61,4924,372,64,559,2329,101,66],"缂丝","亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":4929,"slug":4930,"title":3693,"dynasty":177,"author":178,"museum":20,"description":1028,"tags":4931,"thumbUrl":4936,"material":40,"size":307,"collection":127,"collections":4937,"showCount":4927,"zanCount":48,"manualWeight":48,"mainColor":49},236169,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236169",[24,28,29,304,7,104,2559,103,722,64,34,1030,4932,4933,4934,4935,4377],"宫廷生活","节令风俗","中式建筑","西式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff841a07266c24ab45bc115c2dd2f7821.jpg",[],{"id":4939,"slug":4940,"title":4941,"dynasty":177,"author":4707,"museum":119,"description":4942,"tags":4943,"thumbUrl":4944,"material":225,"size":4945,"collection":71,"collections":4946,"showCount":4927,"zanCount":48,"manualWeight":48,"mainColor":75},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,24,59,28,65,149,7,64,34,35,60,61,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 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皇后、太后的事迹和对她们的评价。",[100,24,25,164,29,28,304,103,124,104,63,34,5034,7,559,2394,629],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[44,45],{"id":5039,"slug":5040,"title":5041,"dynasty":54,"author":945,"museum":56,"description":5042,"tags":5043,"thumbUrl":5045,"material":388,"size":5046,"collection":71,"collections":5047,"showCount":5026,"zanCount":712,"manualWeight":48,"mainColor":49},222367,"qi-lv-gui-si-tu-zhou-tang-yin-222367","骑驴归思图轴","此图以高远取势，主峰矫然而起，左侧栈道隐现，泉流悠远；右侧则曲径盘旋，一人笠帽策蹇前行，山坳丛树掩映之处，村舍俨然。前景山石崚嶒，树木蔚然，溪流潺潺，一樵夫正负薪踏桥而过。构图有北宋全景式山水的影子，而皴笔则长披短拂、水墨酣畅，出自南宋家法。笔墨劲爽、风格雄健。\n画幅自题：“乞求无得束书归，依旧骑驴向翠微。满面风霜尘土气，山妻相对有牛衣。吴郡唐寅诗意图。”钤：“唐伯虎”朱文印。另有朱曜和韵题诗一首，诗堂有王同愈、裱边有吴湖帆题跋。\n鉴藏印：“吴氏梅景书屋图书印”朱文印、“梅景书屋秘笈”朱文印等。",[23,24,149,28,65,7,64,61,60,34,5044,334,63],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e39436a4fe36429f039e86045ee10c7.jpg","纵77.7厘米 横37.5厘米",[71,212],{"id":5049,"slug":5050,"title":5051,"dynasty":1051,"author":1157,"museum":5052,"description":5053,"tags":5054,"thumbUrl":5060,"material":349,"size":127,"collection":127,"collections":5061,"showCount":5026,"zanCount":48,"manualWeight":48,"mainColor":49},221146,"wang-chuan-tu-juan-wang-wei-221146","辋川图卷","美国西雅图美术馆","《辋川图》是唐代王维所作的单幅壁画，原作已无存，现只有历代临摹本存世。\n《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。",[100,24,3985,122,5055,26,1388,1019,7,5056,61,2833,103,3836,5057,5058,105,5059],"拓本","亭台楼榭","弈棋","投壶","意态萧然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ac5cea2dc5878a9ef466c907a570d5.jpg",[],{"id":5063,"slug":5064,"title":5065,"dynasty":177,"author":2017,"museum":3157,"description":5066,"tags":5067,"thumbUrl":5070,"material":5071,"size":5072,"collection":71,"collections":5073,"showCount":5026,"zanCount":1080,"manualWeight":48,"mainColor":75},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,24,28,59,26,7,1642,238,37,34,33,347,61,106,65,890,816,167,5068,571,583,2942,5069],"近景","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 设色","26cmx111cm",[71,45],{"id":5075,"slug":5076,"title":5077,"dynasty":80,"author":887,"museum":135,"description":5078,"tags":5079,"thumbUrl":5080,"material":28,"size":5081,"collection":71,"collections":5082,"showCount":5026,"zanCount":961,"manualWeight":48,"mainColor":75},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,100,24,25,149,28,65,7,583,64,61,63,103,37,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[71,45],{"id":5084,"slug":5085,"title":5086,"dynasty":18,"author":2434,"museum":275,"description":5087,"tags":5088,"thumbUrl":5090,"material":169,"size":5091,"collection":42,"collections":5092,"showCount":5026,"zanCount":48,"manualWeight":48,"mainColor":75},219861,"yuan-xiu-qing-yun-tu-mi-you-ren-219861","远岫晴云图","《远岫晴云图》是北宋书画家米友仁所创作的一幅水墨设色画，现藏于日本大阪市立美术馆。\n该画作是一幅文人画，描绘的是米友仁笔下常见的山水风景，画中以湿润的笔墨点染云山树石，表现烟云变幻、山色朦胧的动人景象。“米氏云山”的特色展示得淋漓尽致。\n《远岫晴云图》绘制的是烟雨迷蒙时的风景，远山模糊不清，近树萧疏迷离，一条溪流潺潺自远处绕到赏者面前。图中左下角作一小丛树，间隔溪水的对岸是云气缭绕的疏林，远处是尖锐如刻削的山峦。\n画面上有款“元晖戏作”四个字，上方另有横纸又自题“绍兴甲寅元夕前一日，自新昌泛舟来赴朝参，居临安七宝山戏作小卷，付与廪收口”。",[100,24,25,59,7,167,979,34,64,65,5089],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe5e3ae0ecfe57c4dc77a8c68325a4c.jpg","24.7x28.6cm",[42],{"id":5094,"slug":5095,"title":5096,"dynasty":177,"author":1872,"museum":1542,"description":5097,"tags":5098,"thumbUrl":5100,"material":169,"size":127,"collection":71,"collections":5101,"showCount":5026,"zanCount":961,"manualWeight":48,"mainColor":49},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[24,149,59,65,7,5099,347,583,64,201,66,101],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[71],{"id":5103,"slug":5104,"title":5105,"dynasty":18,"author":1747,"museum":5106,"description":5107,"tags":5108,"thumbUrl":5109,"material":169,"size":5110,"collection":44,"collections":5111,"showCount":5026,"zanCount":961,"manualWeight":48,"mainColor":49},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[24,25,59,123,1042,103,3986,3988,372,7,199,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[44],{"id":5113,"slug":5114,"title":5115,"dynasty":177,"author":4747,"museum":1542,"description":5116,"tags":5117,"thumbUrl":5119,"material":169,"size":5120,"collection":71,"collections":5121,"showCount":5026,"zanCount":48,"manualWeight":48,"mainColor":75},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","这幅画是对王蒙溪山行旅的临摹。",[24,59,7,149,122,65,60,61,5118,34,64,62],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[71],{"id":5123,"slug":5124,"title":3693,"dynasty":177,"author":178,"museum":20,"description":1028,"tags":5125,"thumbUrl":5126,"material":40,"size":307,"collection":127,"collections":5127,"showCount":5128,"zanCount":48,"manualWeight":48,"mainColor":49},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171",[24,28,29,304,7,103,104,559,102,64,63,61,34,4193,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":5130,"slug":5131,"title":251,"dynasty":177,"author":1825,"museum":369,"description":5132,"tags":5133,"thumbUrl":5137,"material":349,"size":5138,"collection":71,"collections":5139,"showCount":5128,"zanCount":48,"manualWeight":48,"mainColor":379},224481,"fu-chun-shan-ju-tu-wang-jian-224481","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,100,24,25,149,59,28,5134,7,61,104,64,34,65,122,5135,5136],"浅绛","清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[71],{"id":5141,"slug":5142,"title":5143,"dynasty":80,"author":887,"museum":135,"description":5144,"tags":5145,"thumbUrl":5148,"material":169,"size":5149,"collection":71,"collections":5150,"showCount":5128,"zanCount":1080,"manualWeight":48,"mainColor":75},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,24,100,25,26,59,65,67,101,7,3601,62,34,238,5146,5147],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[71],{"id":5152,"slug":5153,"title":5154,"dynasty":177,"author":395,"museum":396,"description":397,"tags":5155,"thumbUrl":5156,"material":69,"size":402,"collection":127,"collections":5157,"showCount":5128,"zanCount":1080,"manualWeight":48,"mainColor":75},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6",[23,24,59,65,164,7,104,165,64,35,167,37,278,372,559,5134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg",[],{"id":5159,"slug":5160,"title":5161,"dynasty":177,"author":5162,"museum":556,"description":5163,"tags":5164,"thumbUrl":5165,"material":69,"size":5166,"collection":71,"collections":5167,"showCount":5128,"zanCount":1080,"manualWeight":48,"mainColor":75},214486,"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,100,24,25,164,59,65,7,34,347,64,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[71],{"id":5169,"slug":5170,"title":5171,"dynasty":177,"author":672,"museum":673,"description":674,"tags":5172,"thumbUrl":5173,"material":349,"size":677,"collection":127,"collections":5174,"showCount":5128,"zanCount":1080,"manualWeight":48,"mainColor":49},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6",[23,24,25,164,59,28,7,264,34,103,61,167,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg",[],{"id":5176,"slug":5177,"title":5178,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":5180,"thumbUrl":5181,"material":337,"size":937,"collection":127,"collections":5182,"showCount":5183,"zanCount":712,"manualWeight":48,"mainColor":75},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,100,25,149,59,7,65,64,34,61,238,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],132,{"id":5185,"slug":5186,"title":5187,"dynasty":54,"author":1652,"museum":4493,"description":5188,"tags":5189,"thumbUrl":5190,"material":225,"size":5191,"collection":71,"collections":5192,"showCount":5183,"zanCount":500,"manualWeight":48,"mainColor":75},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,24,25,149,28,7,65,61,34,64,103,199,583,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[71,45],{"id":5194,"slug":5195,"title":5196,"dynasty":80,"author":1410,"museum":97,"description":5197,"tags":5198,"thumbUrl":5199,"material":2147,"size":5200,"collection":71,"collections":5201,"showCount":5183,"zanCount":1080,"manualWeight":48,"mainColor":379},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[23,24,26,59,25,65,67,101,7,63,34,1738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纵23.8厘米，横277.8厘米",[71,212],{"id":5203,"slug":5204,"title":5205,"dynasty":177,"author":1872,"museum":161,"description":5206,"tags":5207,"thumbUrl":5208,"material":59,"size":5209,"collection":71,"collections":5210,"showCount":5183,"zanCount":48,"manualWeight":48,"mainColor":49},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,24,25,149,59,65,7,3220,64,34,35,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[71,212],{"id":5212,"slug":5213,"title":5214,"dynasty":54,"author":1096,"museum":1542,"description":5215,"tags":5216,"thumbUrl":5217,"material":349,"size":5218,"collection":71,"collections":5219,"showCount":5183,"zanCount":961,"manualWeight":48,"mainColor":75},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,25,26,59,65,122,7,60,61,63,34,167,3796,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[71],{"id":5221,"slug":5222,"title":5223,"dynasty":811,"author":1137,"museum":135,"description":5224,"tags":5225,"thumbUrl":5226,"material":596,"size":5227,"collection":71,"collections":5228,"showCount":5183,"zanCount":1080,"manualWeight":48,"mainColor":49},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,24,25,149,59,65,7,34,64,533,63,201,264,322,2942,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[71],{"id":5230,"slug":5231,"title":5232,"dynasty":18,"author":1747,"museum":2124,"description":5233,"tags":5234,"thumbUrl":5236,"material":169,"size":5237,"collection":127,"collections":5238,"showCount":5183,"zanCount":48,"manualWeight":48,"mainColor":75},219189,"xiao-xiang-ba-jing-ping-sha-luo-yan-mu-xi-219189","潇湘八景-平沙落雁","烟霭轻笼的天地间，远山如黛晕染在薄纱般的雾色里，几抹淡影似云似烟，模糊了天与地的边界。近岸沙渚上，三两只雁影静立，羽翼的轮廓在朦胧中化开，仿佛刚落定的归客，与周遭的空寂融为一体。天际有雁阵掠过，纤细的墨线在虚白中牵起一缕灵动，不扰清宁，只添悠远禅意。\n\n极简笔墨勾勒出无尽空寂，淡墨晕染的层次藏着自然的呼吸，每一处留白都是心境的延伸。清旷之境里，喧嚣被滤去，唯有安宁漫上心尖，似与天地精神相往来，让人在静默中触摸到禅意的温度。",[23,24,100,59,7,106,37,5235,26,4563],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192cedb0f91bed94851114d42cfc8076.jpg","33x109.9厘米",[],{"id":5240,"slug":5241,"title":5242,"dynasty":177,"author":1801,"museum":20,"description":5243,"tags":5244,"thumbUrl":5245,"material":127,"size":127,"collection":71,"collections":5246,"showCount":5247,"zanCount":961,"manualWeight":48,"mainColor":75},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[100,24,25,149,59,65,7,413,63,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[71,212],131,{"id":5249,"slug":5250,"title":5251,"dynasty":177,"author":301,"museum":20,"description":5252,"tags":5253,"thumbUrl":5255,"material":40,"size":5256,"collection":71,"collections":5257,"showCount":5247,"zanCount":961,"manualWeight":48,"mainColor":75},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[5254,24,100,25,28,29,103,7,335,3986,3988,583,372,239,202],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[71,45],{"id":5259,"slug":5260,"title":159,"dynasty":54,"author":1096,"museum":20,"description":5261,"tags":5262,"thumbUrl":5263,"material":1697,"size":2597,"collection":71,"collections":5264,"showCount":5247,"zanCount":48,"manualWeight":48,"mainColor":75},234054,"shan-shui-ce-dong-qi-chang-234054","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,59,65,164,7,64,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f794274dd866033cbee27bee1c45115.jpg",[71],{"id":5266,"slug":5267,"title":5268,"dynasty":177,"author":395,"museum":119,"description":5269,"tags":5270,"thumbUrl":5271,"material":127,"size":127,"collection":127,"collections":5272,"showCount":5247,"zanCount":48,"manualWeight":48,"mainColor":75},228999,"zeng-liu-shi-tou-shan-shui-ce-shi-tao-228999","赠刘石头山水册","石涛（1642-177），明靖江王朱赞仪十世孙，朱亨嘉子。\n全州（今广西全县）人。\n原姓朱，名若极，小字阿长，明亡后出家为僧，自称苦瓜和尚，别号有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人，晚号瞎尊者、零丁老人等。\n顺治十三年（1656），石涛由江西庐山转赴安徽黄山，并在那里住了二十三年。\n期间他又先后游历扬州、杭州、宣城、贵池、泾县等处，后由黄山转赴南京、北京等地。\n【规格】册页，纸本，设色，纵57.79cm，横5.56cm 【馆藏】（美）纳尔逊-艾特金斯艺术馆馆 书画名传品类高，先生高出众皮毛。\n老夫也在皮毛类，一笑题成迅彩毫。\n大涤子呈石头先生传教。\n康熙三十二年（169）至扬州，直到雍正二年（1724）去世。\n石涛在山水、花鸟画上均取得很大成就，能熔铸千古，独出手眼，构图奇妙，笔墨神化。\n画山水一欲夺其造化，则莫神于好，莫精于勤，莫大于饱游天看，历历罗列于胸中，故勤于貌写名山大川，所谓搜尽奇峰打草稿，充分把握住自然的神韵，终成一代大师。",[100,24,25,164,59,65,7,264,125,63,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F549054364d68f4bbcf0732c4d69324e7.jpg",[],{"id":5274,"slug":5275,"title":5276,"dynasty":811,"author":899,"museum":135,"description":5277,"tags":5278,"thumbUrl":5279,"material":87,"size":127,"collection":127,"collections":5280,"showCount":5247,"zanCount":961,"manualWeight":48,"mainColor":49},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[100,24,25,149,59,65,7,238,199,34,201,239,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],{"id":5282,"slug":5283,"title":5284,"dynasty":177,"author":3760,"museum":704,"description":5285,"tags":5286,"thumbUrl":5287,"material":225,"size":5288,"collection":71,"collections":5289,"showCount":5247,"zanCount":48,"manualWeight":48,"mainColor":49},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,1099,65,28,7,34,238,31,1778,35,125,452,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[71,45],{"id":5291,"slug":5292,"title":5293,"dynasty":177,"author":4707,"museum":135,"description":5294,"tags":5295,"thumbUrl":5296,"material":375,"size":5297,"collection":71,"collections":5298,"showCount":5247,"zanCount":961,"manualWeight":48,"mainColor":75},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,26,59,28,65,7,199,413,63,60,61,167,37,34,64,66,101,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[71,45],{"id":5300,"slug":5301,"title":5302,"dynasty":2272,"author":2273,"museum":5303,"description":5304,"tags":5305,"thumbUrl":5306,"material":349,"size":127,"collection":127,"collections":5307,"showCount":5247,"zanCount":48,"manualWeight":48,"mainColor":75},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","龙美术馆西岸馆","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[23,24,59,28,65,149,101,67,7,103,372,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":5309,"slug":5310,"title":5311,"dynasty":18,"author":288,"museum":56,"description":5312,"tags":5313,"thumbUrl":5314,"material":596,"size":5315,"collection":44,"collections":5316,"showCount":5247,"zanCount":961,"manualWeight":48,"mainColor":49},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,24,100,25,2484,59,65,7,373,60,61,62,495,103,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[44],{"id":5318,"slug":5319,"title":909,"dynasty":177,"author":1801,"museum":1326,"description":4367,"tags":5320,"thumbUrl":5321,"material":169,"size":127,"collection":71,"collections":5322,"showCount":5247,"zanCount":48,"manualWeight":48,"mainColor":75},219900,"shan-shui-tu-hong-ren-219900",[23,24,25,149,59,65,7,63,583,64,150,34,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[71],{"id":5324,"slug":5325,"title":5326,"dynasty":54,"author":96,"museum":396,"description":5327,"tags":5328,"thumbUrl":5330,"material":139,"size":5331,"collection":44,"collections":5332,"showCount":5247,"zanCount":961,"manualWeight":48,"mainColor":49},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,24,25,100,29,28,27,7,34,5329,61,264,373,149],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[44,45],{"id":5334,"slug":5335,"title":5336,"dynasty":811,"author":5337,"museum":119,"description":5338,"tags":5339,"thumbUrl":5340,"material":337,"size":937,"collection":127,"collections":5341,"showCount":5342,"zanCount":48,"manualWeight":48,"mainColor":49},288521,"gao-shi-tu-wei-xian-288521","高士图","卫贤","该画作是五代画家卫贤的代表作品，此图原著收录于《宣和画谱》中，名为“梁伯鸾图一”，为卫贤所作《高士图》组画之一, 原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[23,100,24,25,149,304,59,103,7,104,239,34,2683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":5344,"slug":5345,"title":5346,"dynasty":177,"author":301,"museum":135,"description":5347,"tags":5348,"thumbUrl":5351,"material":454,"size":5352,"collection":71,"collections":5353,"showCount":5342,"zanCount":48,"manualWeight":48,"mainColor":49},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,29,28,7,104,61,64,34,535,103,559,5349,5350],"行乐","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[71,45],{"id":5355,"slug":5356,"title":5357,"dynasty":18,"author":2535,"museum":704,"description":5358,"tags":5359,"thumbUrl":5362,"material":454,"size":5363,"collection":42,"collections":5364,"showCount":5342,"zanCount":712,"manualWeight":48,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,100,24,25,26,28,29,65,7,571,60,2845,103,31,5360,2833,5361,34],"岸边","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[42,71,45],{"id":5366,"slug":5367,"title":2619,"dynasty":18,"author":1085,"museum":135,"description":5368,"tags":5369,"thumbUrl":5370,"material":139,"size":127,"collection":42,"collections":5371,"showCount":5342,"zanCount":48,"manualWeight":48,"mainColor":940},219942,"han-gong-chun-xiao-tu-zhao-bo-ju-219942","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,24,304,28,27,29,7,104,63,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccd5ae19644bbac9117abbd0f0ff532.jpg",[42],{"id":5373,"slug":5374,"title":5022,"dynasty":177,"author":395,"museum":119,"description":5375,"tags":5376,"thumbUrl":5377,"material":127,"size":127,"collection":71,"collections":5378,"showCount":5379,"zanCount":961,"manualWeight":48,"mainColor":75},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[24,25,164,59,28,65,66,101,7,34,35,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[71],129,{"id":5381,"slug":5382,"title":5383,"dynasty":18,"author":604,"museum":135,"description":5384,"tags":5385,"thumbUrl":5389,"material":454,"size":5390,"collection":42,"collections":5391,"showCount":5379,"zanCount":961,"manualWeight":48,"mainColor":75},221520,"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[23,100,24,1388,59,28,3473,5386,65,7,103,571,106,533,1856,34,201,167,1521,5387,5388],"兼工带写","文人","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[42,71,44,212],{"id":5393,"slug":5394,"title":5395,"dynasty":80,"author":887,"museum":135,"description":5396,"tags":5397,"thumbUrl":5398,"material":349,"size":5399,"collection":71,"collections":5400,"showCount":5401,"zanCount":48,"manualWeight":48,"mainColor":49},220861,"weng-you-tu-juan-zhao-meng-fu-220861","瓮牖图卷","本幅山石无皴，仅钩勒轮廓，后填以青绿，人物衣纹行笔柔畅有力，有唐人古风。画幅右下有千字文「索」字编号，卷后则有项元汴题识「明嘉靖卅年（1558）秋八月重装于天籁阁」，并有「原价五十两」之记述。",[23,100,24,26,27,28,7,64,34,60,278,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c265c6055d0d6827a4346a3f36f861.jpg","27.1×100.5cm",[71,45],128,{"id":5403,"slug":5404,"title":5405,"dynasty":54,"author":945,"museum":396,"description":5406,"tags":5407,"thumbUrl":5411,"material":139,"size":5412,"collection":71,"collections":5413,"showCount":5401,"zanCount":961,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（1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,25,1099,28,65,7,60,61,62,125,607,35,238,5484,5485,826,1586],"杏花","春雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],{"id":5490,"slug":5491,"title":5492,"dynasty":18,"author":194,"museum":1542,"description":5493,"tags":5494,"thumbUrl":5495,"material":454,"size":5496,"collection":42,"collections":5497,"showCount":5467,"zanCount":1080,"manualWeight":48,"mainColor":49},221391,"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,24,25,26,7,65,28,64,34,37,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[42,71,212],{"id":5499,"slug":5500,"title":5501,"dynasty":54,"author":96,"museum":135,"description":5502,"tags":5503,"thumbUrl":5504,"material":139,"size":5505,"collection":44,"collections":5506,"showCount":5467,"zanCount":712,"manualWeight":48,"mainColor":49},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,24,100,25,29,28,304,103,104,7,34,106,979,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[44,45],{"id":5508,"slug":5509,"title":5510,"dynasty":18,"author":4777,"museum":3774,"description":5511,"tags":5512,"thumbUrl":5513,"material":139,"size":5514,"collection":42,"collections":5515,"showCount":5467,"zanCount":961,"manualWeight":48,"mainColor":75},219887,"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。",[24,28,7,65,372,106,60,61,1643,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[42],{"id":5517,"slug":5518,"title":5519,"dynasty":177,"author":4707,"museum":396,"description":5520,"tags":5521,"thumbUrl":5522,"material":69,"size":5523,"collection":71,"collections":5524,"showCount":5467,"zanCount":48,"manualWeight":48,"mainColor":75},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡[kūn]残（1612年-1692年），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[23,24,25,7,59,65,372,62,61,238,347,37,34,2845,31,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[71],{"id":5526,"slug":5527,"title":5528,"dynasty":54,"author":5529,"museum":135,"description":5530,"tags":5531,"thumbUrl":5532,"material":139,"size":5533,"collection":45,"collections":5534,"showCount":5467,"zanCount":961,"manualWeight":48,"mainColor":75},219445,"bai-yun-hong-shu-tu-guan-si-219445","白云红树图","关思","图绘山态云容，疏林茅屋。山作小青绿，树作无骨法，自言仿自赵孟頫，原画应该是赵子昂用唐人古意所作。",[24,25,149,28,65,7,1617,1263,34,64,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff525b318e6c156ebc050d824651a0d7b.jpg","129.3x50.5",[45],{"id":5536,"slug":5537,"title":2350,"dynasty":54,"author":5538,"museum":5539,"description":5540,"tags":5541,"thumbUrl":5542,"material":69,"size":127,"collection":71,"collections":5543,"showCount":5544,"zanCount":1080,"manualWeight":48,"mainColor":49},219921,"qing-lv-shan-shui-tu-wen-jia-219921","文嘉","香港艺术馆","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,25,149,27,28,7,65,199,34,103,64,61,1674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg",[71],125,{"id":5546,"slug":5547,"title":5548,"dynasty":80,"author":81,"museum":396,"description":5549,"tags":5550,"thumbUrl":5551,"material":596,"size":127,"collection":71,"collections":5552,"showCount":5544,"zanCount":48,"manualWeight":48,"mainColor":49},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[23,24,25,149,59,65,7,238,34,1674,201,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[71],{"id":5554,"slug":5555,"title":5556,"dynasty":18,"author":5557,"museum":135,"description":5558,"tags":5559,"thumbUrl":5560,"material":139,"size":5561,"collection":71,"collections":5562,"showCount":5544,"zanCount":1080,"manualWeight":48,"mainColor":49},218960,"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","赵构","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[23,24,25,59,7,62,125,264,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[71],{"id":5564,"slug":5565,"title":5566,"dynasty":18,"author":178,"museum":135,"description":5567,"tags":5568,"thumbUrl":5569,"material":139,"size":5570,"collection":42,"collections":5571,"showCount":5544,"zanCount":961,"manualWeight":48,"mainColor":49},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,25,7,28,59,65,1478,1031,60,61,62,495,373,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[42,71],{"id":5573,"slug":5574,"title":5575,"dynasty":80,"author":5576,"museum":2156,"description":5577,"tags":5578,"thumbUrl":5579,"material":139,"size":127,"collection":71,"collections":5580,"showCount":5544,"zanCount":48,"manualWeight":48,"mainColor":49},218720,"teng-wang-ge-tu-wang-zhen-peng-218720","滕王阁图","王振鹏","笔尖游走绢素，界尺起落间，滕王阁飞檐翘角如振翅鹏鸟，跃然眼前。斗拱层叠似琴键排开，梁柱线条刚劲含韵，每处榫卯藏着匠人之谨与画师之巧。楼阁依山傍水，石阶蜿蜒入林，与葱郁草木相映成趣。远山如黛，烟波浩渺，一叶孤舟在水天之际轻漾，为宏伟建筑添了空灵悠远。整幅画将建筑理性之美与山水诗意之韵交织，既见界画精准工致，又含文人画雅致情怀，让千年名楼的巍峨气象与天地灵秀之气，在古卷中静静流淌，尽显元代画坛独特风貌。",[23,24,25,304,123,59,7,104,62,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e4ffe86b2585108496c06f20abcf64.jpg",[71],{"id":5582,"slug":5583,"title":5584,"dynasty":80,"author":1962,"museum":135,"description":5585,"tags":5586,"thumbUrl":5587,"material":139,"size":5588,"collection":71,"collections":5589,"showCount":5544,"zanCount":1080,"manualWeight":48,"mainColor":49},218137,"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[23,24,25,7,103,59,28,34,64,37,65,1389,2527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","纵135.3厘米、横59厘米",[71],{"id":5591,"slug":5592,"title":5593,"dynasty":54,"author":55,"museum":119,"description":5594,"tags":5595,"thumbUrl":5596,"material":337,"size":937,"collection":127,"collections":5597,"showCount":5598,"zanCount":1080,"manualWeight":48,"mainColor":75},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,100,24,197,26,7,1019,65,66,67,101,64,34,35,61,62,63,167,3796,3865,106,60,607,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":5600,"slug":5601,"title":909,"dynasty":177,"author":1872,"museum":119,"description":5602,"tags":5603,"thumbUrl":5604,"material":2147,"size":5605,"collection":71,"collections":5606,"showCount":5598,"zanCount":48,"manualWeight":48,"mainColor":75},222619,"shan-shui-tu-gong-xian-222619","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。\n\n绘画:\n龚贤是位既注重传统笔墨又注重师法造化的山水画家。其创作以五代董源、巨然的画法为基础，以宋初北方画派的笔墨为主体，参以二米（米芾、米友仁父子）、吴镇及沈周等人的笔风墨韵，同时结合自己对自然山水的观察和感受，形成了浑朴中见秀逸的积墨法，不同于清初以王时敏为首的“四王”所倡导的笔笔有古意的创作格法。作品多写金陵山水，长于用墨。\n龚贤喜用老辣朴拙的笔触，沉着稳重，秃笔与尖笔兼用。秃笔，取之圆润苍劲，勾屋，皴擦，画树和点苔苍老有力。龚贤用笔在主张“欲秀而老”，秀而老就是准确、简练而流畅有变化。画家程正揆在赠龚贤的诗中道：“铁干银钩老笔翻，力能从简意能繁”，这很好地点出了龚贤在用笔上的特点和成就。他提出笔法、墨气、丘壑、气韵作为画家四要，主张作画要中锋用笔，并且要古、健、老、苍，才能避免刻、结、板之病，颇为精辟。龚贤用墨，以层层积墨见长，虽不用泼墨，实具有泼墨烟润淋漓的效果，颇有宋人的用墨特点。其画山石树木中锋用笔，苍劲古厚，并用积墨法作反复皴擦积染，多至十几层，墨色极为浓重，但仍有深浅、浓淡、明暗等细微变化，山石树木往往浑融一体，仅在阳面或轮廓边缘处留出些许高光和坚实的轮廓，效果强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。龚贤作画最善用墨，主张墨气要厚、润，他发展了积墨画法，龚贤精研此法是追求一种苍润的境界，他以干笔作墨骨，再以层层皴染包润之，令山林树木呈现出鲜润沉厚的墨韵，使画面湿润厚重之感，这种画法适于表现江南湿意浓重的山水景色，同时也使龚贤的绘画具有了一种深郁静穆的格调。龚贤的画法分两类，世称“墨龚”和“白龚”。他善用黑白对比的技法，前者浓密苍茫，后者简淡雅洁。他在《半千课徒画说》中称：“非黑，无以显其白；非白，无以利其黑。”又如《平远小景》图（册页，纸本水墨）中所画的房屋，简洁明丽，在周围笔墨的映衬下，洁白的屋墙似乎透出光亮。此处即用黑白对比的技法。\n龚贤的山水画非常重视构图。他的画视野开阔，气象万千。他的“三远”构图原则，发挥得淋漓尽致，出神入化。他往往提高视线的角度，“平远”构图，多采取俯视角度，这样，视野开阔，平淡中倍增飘渺的感觉。尺幅之中，山河无尽。作“高远”构图，也是如此，先俯视，尔后眼光往上作仰视，真有下揽深谷、上突危峰的气概。他十分注重上下的位置。他的山水画一般很“满”，但“满”而不塞，常常用云带、流水作为空白透气。从整个画面来说，很有气韵。这才是龚贤的笔、墨、丘壑浑然一体的韵，从而创造出有地方特色的山水画。他是当之无愧的“金陵画派”的首领。\n龚贤之子龚柱，字础安，山水面目极似其父，只是烘染略少而已。\n\n诗作:\n龚贤是先以诗歌闻名于世的。客居海安、扬州时期，龚贤创作了大量诗歌，居扬州期间，在六年内作诗二百多首，是他一生中写诗最多的时期，传于后世的《草香堂集》共收诗203首，其中题画诗仅8首。可见那时期他作画不多，诗却写了不少。《草香堂集》中的诗大部分反映了他在海安、扬州时的生活经历和思想状况。他的诗很有特色，其好友方文在《喜龚半千还金陵》诗中赞他“更妙是诗篇，浑朴复雄放”；龚贤自己曾在《生日作》中谦逊地说：“余生皆酒力，不幸以诗名。”郭沫若曾评龚诗曰：“半千的诗虽然不多，大率精炼，颇有晚唐人风味。”在扬州，喜爱晚唐诗的龚贤还着手进行中晚唐诗歌的汇集整理工作，这一艰巨工作持续了数十年，被好友周亮工赞为“中晚唐之功臣也”。\n龚贤之诗作，一经开篇，则清逸之气沁人心脾，极显清疏淡雅之姿，如云流水池，一气呵成。其律绝句中鲜见用典，惟其《赠罗使君》一篇七古二十四韵中竟用了三十二个典故。窥一斑而知全豹，诗人腹笥藏书之富，非同一般。通常避而不用者，意在畅情而已。虽其谴词造句似属平易，然再经咀嚼，则有一种清新爽口之感。关键在于诗人抓住了现实生活中最富有诗意的景象和最触动自己心灵的情节，以简洁的艺术语言淋漓酣畅地表达无遗。这既是诗，亦是文，流畅似水，通俗如话，无诘屈聱牙之句，无冷僻难解之点。这表明诗人极具质朴的创作精神，从不故作哗众取宠惊人之笔，这又恰恰与他的绘画的艺术追求殊途同归。\n龚贤懂诗、爱诗、惜诗。他曾花费数十年的时间，以极大的毅力进行中晚唐诗的搜集、选编工作。为此，他曾“大索天下”，觅得百余家“多人未见本”（即未曾被收编入书的）主要靠自己出资刻印了七十四家。",[23,24,59,65,149,7,64,34,1674,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纵110厘米，横50厘米",[71,212],{"id":5608,"slug":5609,"title":5610,"dynasty":18,"author":2351,"museum":20,"description":5611,"tags":5612,"thumbUrl":5615,"material":40,"size":5616,"collection":127,"collections":5617,"showCount":5598,"zanCount":961,"manualWeight":48,"mainColor":75},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,26,59,28,65,29,7,4622,5613,64,34,61,62,495,5614,60,106,37,66,67,101],"小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":5619,"slug":5620,"title":5621,"dynasty":18,"author":3217,"museum":673,"description":5622,"tags":5623,"thumbUrl":5625,"material":139,"size":5626,"collection":42,"collections":5627,"showCount":5598,"zanCount":48,"manualWeight":48,"mainColor":49},218629,"pan-che-tu-jiang-can-218629","盘车图","寒林覆雪，枝桠虬曲如铁线，在凛风中舒展筋骨。山峦以淡墨晕染，层叠间透着清寂，山脚却藏烟火暖意——几辆盘车缓行于雪泥道上，牛蹄踏雪留痕，车轮碾过碎雪，车旁人物裹衣呵气，似在抵御严寒。远处村落隐于林麓，屋舍错落，炊烟轻袅，与苍茫山色相映。笔墨细腻处见功力：枯树皴擦显苍劲，盘车结构精准，人物动态鲜活；而雪景朦胧与山峦雄浑，又营造出阔远意境。整幅画于萧瑟冬日，融旅途艰辛与人间烟火于一炉，写实功底见古画本色，诗意留白引观者遐思，尽显冬日山水间的生活韵致与苍茫之美。",[24,100,25,28,65,7,64,372,125,334,5624,1586,103,106],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1548d14d9bbde0476e8e9f354f0095f2.jpg","30x24",[42],{"id":5629,"slug":5630,"title":5631,"dynasty":54,"author":1305,"museum":135,"description":5632,"tags":5633,"thumbUrl":5634,"material":169,"size":5635,"collection":71,"collections":5636,"showCount":5598,"zanCount":961,"manualWeight":48,"mainColor":49},214822,"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","这幅画的构图很简单，特写的是一条平缓的海岸线，三个官员聚集在树木和石头间的亭子里举行宴席，背景是两座高山。画的上边有十三首诗，都是关于表达离别之情的，大部分是与王绂一起在翰林院任职的官员。这些诗表明，王绂在秋天画了这幅半具象的山水画，当时他的一位同事即将回到松江的故乡，在乡间的陪伴下享受隐居的生活，他的每位同事都写了一首诗来纪念这一时刻。绘画的主体，或参与题词的人，都是有文学修养的文人，王绂的画表明了元代以来的文人画风，用简单的水墨画来表达绘画背后的深意。光滑的石堆，蜿蜒曲折、相互连接的纹理，给人一种宁静的感觉，并带有一丝惆怅和感伤。",[24,25,59,7,65,66,101,63,62,34,239,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[71],{"id":5638,"slug":5639,"title":5640,"dynasty":18,"author":288,"museum":135,"description":5641,"tags":5642,"thumbUrl":5647,"material":243,"size":5648,"collection":42,"collections":5649,"showCount":5650,"zanCount":48,"manualWeight":48,"mainColor":49},221572,"xi-hu-liu-ting-tu-zhou-xia-gui-221572","西湖柳艇图轴","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。",[23,100,24,59,149,7,571,5643,5644,5645,5646,103,60,61,62,29],"长堤","水榭","湖舍","画舫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d0b03ccc5a62ec9034caad9749d55.jpg","纵107.2厘米，横59.3厘米",[42,71,212],123,{"id":5652,"slug":5653,"title":5654,"dynasty":18,"author":775,"museum":135,"description":5655,"tags":5656,"thumbUrl":5659,"material":87,"size":5660,"collection":42,"collections":5661,"showCount":5650,"zanCount":48,"manualWeight":48,"mainColor":49},221413,"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[24,25,149,59,65,7,583,5657,5658,60,61,64,34],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[42,71,212],{"id":5663,"slug":5664,"title":5665,"dynasty":54,"author":410,"museum":3323,"description":5666,"tags":5667,"thumbUrl":5668,"material":2416,"size":5669,"collection":127,"collections":5670,"showCount":5650,"zanCount":48,"manualWeight":48,"mainColor":127},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,24,25,100,7,65,28,64,34,37,103,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":5672,"slug":5673,"title":5674,"dynasty":2272,"author":4322,"museum":161,"description":5675,"tags":5676,"thumbUrl":5679,"material":69,"size":5680,"collection":71,"collections":5681,"showCount":5650,"zanCount":48,"manualWeight":48,"mainColor":75},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,100,24,25,59,28,223,65,7,61,62,60,199,34,64,37,35,334,5677,5678],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[71,45],{"id":5683,"slug":5684,"title":5685,"dynasty":18,"author":604,"museum":161,"description":5686,"tags":5687,"thumbUrl":5688,"material":139,"size":5689,"collection":42,"collections":5690,"showCount":5650,"zanCount":48,"manualWeight":48,"mainColor":49},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[23,100,24,25,7,59,28,65,318,165,63,37,103,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 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—1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,24,25,149,59,7,65,5732,3261,60,61,34,64,103,35],"深林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[71,212],{"id":5737,"slug":5738,"title":5739,"dynasty":177,"author":5740,"museum":220,"description":5741,"tags":5742,"thumbUrl":5743,"material":28,"size":5744,"collection":71,"collections":5745,"showCount":5725,"zanCount":961,"manualWeight":48,"mainColor":5746},214176,"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,28,65,26,7,63,60,61,34,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[71],"aaa79f",{"id":5748,"slug":5749,"title":5022,"dynasty":177,"author":395,"museum":20,"description":5750,"tags":5751,"thumbUrl":5752,"material":375,"size":2777,"collection":71,"collections":5753,"showCount":5754,"zanCount":48,"manualWeight":48,"mainColor":75},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[100,24,25,164,28,59,65,7,165,103,35,167,3796,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg",[71,45],121,{"id":5756,"slug":5757,"title":5758,"dynasty":18,"author":288,"museum":20,"description":5759,"tags":5760,"thumbUrl":5761,"material":349,"size":5762,"collection":127,"collections":5763,"showCount":5754,"zanCount":961,"manualWeight":48,"mainColor":49},233211,"lin-liu-fu-qin-tu-ye-xia-gui-233211","临流抚琴图页","宋代郭熙《林泉高致》云：“山以水为血脉”、“山得水一活”，水是山的眼睛，关乎画面的神采，最难画活。宋代的山水画中多以密致的线条勾出水纹，如现存李唐的《江山小景图》、马远的《水图》等都是以工致的笔法画出水纹。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。夏圭是善于在绘画中“用虚”的大师，在这幅画中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。画中的人物也很有特点，没有过多地描绘细节，而是注重表现身体的动势，笔简而神全。抚琴者似在弹奏，让人不禁联想到琴声的悠扬。\n作为一个欣赏者，我们可能更多地关注的是画面的内容和技法的运用，往往忽视了绘画材料本身。古人云：“皮之不存，毛将焉附?”画面的效果和气氛的营造，一方面取决于画家的精神境界和绘画技巧，另一方面取决于绘画的材料即媒材。唐、宋时期绘画尚用绢，至明末，画家皆用熟纸。夏圭此画作于熟绢之上，绢本细腻的质地适于表现笔墨的流利劲健，他充分利用了绢的特性，笔势纵横生动。\n元代庄肃的《画继补遗》中评价夏圭：“画山水人物极俗恶。宋末世道凋丧，人心迁革，圭遂滥得时名，其实无可取，仅可知时代姓名而已。”此论可谓偏颇至极。夏圭的山水画，用笔外露，非是缺点，而是其特点。夏文彦《图绘宝鉴》称赞夏圭说：“院人中画山水，自李唐以下，无出其右者也。”宋代绘画是中国传统绘画的精华，它来源于画家“外师造化，中得心源”，并非是抛弃自然的笔墨游戏。如宋代郭熙的《林泉高致》中提到画家对待绘画用“敬”的态度“凡一景之画，不以大小多少，必须注精以一之”、“必神与俱成之”、“必严重以肃之”、“必恪勤以周之”，不可“以轻心挑之”、“以慢心忽之”。夏圭正是以这种敬业的精神以及“心源”颖悟，在方寸之内，写出如此之大气象、大境界。\n宋、元以后文人画开始居于画坛的主流地位，夏圭的山水画不断遭到文人画家不公正的指责和排挤，虽偶有师法者，但已是落日余晖，失去了往日的辉煌。然而被文人画家“嗤之以鼻”的夏圭的山水画却跨越了国界，深深地影响了日本的绘画，出现了周文、雪舟等一批绘画大家，纷纷模仿夏圭的山水画。\n《临流抚琴图》是画家夏圭创作的一幅作品，该图是国家一级文物，图中绘一高士临流而坐，气象萧疏，意境深远。\n墨笔急扫之后，迅速以水笔接染，笔墨衔接自然，一气呵成。由于墨与水的使用恰到好处，使得整幅画面颜色透亮，一股清新之气扑面而来。画树木，得其形而又取其势，意笔写出枝干，偃仰屈曲，苍健老硬，有蛟龙惊虬之势；树叶点染而成，疏密有致，虚实相生，浓淡相宜，看似不经意，实则惨淡经营。茅屋隐现于树后，以墨笔勾出轮廓，再施以规则的点皴，极具装饰意味。画水有独特之处。",[24,100,25,2484,59,65,7,103,61,165,64,1522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b6e2189c33e42f16457ba45586676b.jpg","25.5X26厘米",[],{"id":5765,"slug":5766,"title":5767,"dynasty":177,"author":5768,"museum":119,"description":5769,"tags":5770,"thumbUrl":5771,"material":375,"size":5772,"collection":308,"collections":5773,"showCount":5754,"zanCount":550,"manualWeight":48,"mainColor":75},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[23,24,100,25,26,1042,29,28,103,104,7,34,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[308],{"id":5775,"slug":5776,"title":5777,"dynasty":54,"author":55,"museum":20,"description":5778,"tags":5779,"thumbUrl":5780,"material":632,"size":5781,"collection":71,"collections":5782,"showCount":5754,"zanCount":961,"manualWeight":48,"mainColor":75},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[23,24,25,26,59,7,65,66,101,37,34,167,720,1790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[71,212],{"id":5784,"slug":5785,"title":2007,"dynasty":54,"author":1096,"museum":135,"description":5786,"tags":5787,"thumbUrl":5788,"material":87,"size":127,"collection":71,"collections":5789,"showCount":5754,"zanCount":48,"manualWeight":48,"mainColor":49},220919,"shan-shui-li-zhou-dong-qi-chang-220919","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[23,24,25,149,59,65,7,318,319,165,413,239,63,508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[71,212],{"id":5791,"slug":5792,"title":5793,"dynasty":18,"author":234,"museum":5794,"description":5795,"tags":5796,"thumbUrl":5797,"material":139,"size":5798,"collection":71,"collections":5799,"showCount":5754,"zanCount":48,"manualWeight":48,"mainColor":49},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,100,149,65,59,28,7,318,765,372,1674,62,103,335,734,165,4496,199,4828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[71],{"id":5801,"slug":5802,"title":5803,"dynasty":177,"author":2075,"museum":369,"description":2076,"tags":5804,"thumbUrl":5805,"material":69,"size":2079,"collection":71,"collections":5806,"showCount":5754,"zanCount":961,"manualWeight":48,"mainColor":75},220005,"shan-shui-hua-fang-mei-dao-ren-wang-shi-min-220005","山水画-仿梅道人",[23,24,59,7,122,65,34,61,63,64,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b0369175196e03b3707498e97829e3.jpg",[71],{"id":5808,"slug":5809,"title":5810,"dynasty":54,"author":4301,"museum":135,"description":5811,"tags":5812,"thumbUrl":5813,"material":139,"size":5814,"collection":71,"collections":5815,"showCount":5754,"zanCount":961,"manualWeight":48,"mainColor":49},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[24,25,149,59,65,7,63,34,60,61,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[71],{"id":5817,"slug":5818,"title":5819,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":5820,"thumbUrl":5821,"material":337,"size":937,"collection":127,"collections":5822,"showCount":5823,"zanCount":961,"manualWeight":48,"mainColor":75},290425,"shan-shui-ce-8-zhen-shi-tao-290425","山水册8帧",[24,164,7,59,28,65,238,37,34,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e43bd7167cf84e5eb97a9e84d36de0.jpg",[],120,{"id":5825,"slug":5826,"title":5827,"dynasty":54,"author":55,"museum":119,"description":5828,"tags":5829,"thumbUrl":5830,"material":127,"size":127,"collection":127,"collections":5831,"showCount":5823,"zanCount":712,"manualWeight":48,"mainColor":75},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,100,24,26,59,28,7,373,60,61,62,495,3764,34,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],{"id":5833,"slug":5834,"title":5835,"dynasty":54,"author":55,"museum":56,"description":5836,"tags":5837,"thumbUrl":5840,"material":169,"size":5841,"collection":71,"collections":5842,"showCount":5823,"zanCount":961,"manualWeight":48,"mainColor":75},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,25,26,59,65,7,5838,5839,64,34,63,61,62,35,372,60],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[71],{"id":5844,"slug":5845,"title":5846,"dynasty":18,"author":3217,"museum":5794,"description":5847,"tags":5848,"thumbUrl":5849,"material":139,"size":5850,"collection":71,"collections":5851,"showCount":5823,"zanCount":1080,"manualWeight":48,"mainColor":49},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,2538,100,24,25,26,7,59,65,28,104,60,61,64,34,103,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[71],{"id":5853,"slug":5854,"title":5855,"dynasty":54,"author":96,"museum":56,"description":5856,"tags":5857,"thumbUrl":5858,"material":139,"size":5859,"collection":71,"collections":5860,"showCount":5823,"zanCount":48,"manualWeight":48,"mainColor":49},219780,"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,100,25,164,122,29,28,7,106,264,61,125,583,239,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[71,44],{"id":5862,"slug":5863,"title":5864,"dynasty":54,"author":5538,"museum":5865,"description":5866,"tags":5867,"thumbUrl":5868,"material":69,"size":5869,"collection":71,"collections":5870,"showCount":5823,"zanCount":48,"manualWeight":48,"mainColor":75},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,24,25,149,59,65,122,7,60,61,64,34,199,5118,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[71],{"id":5872,"slug":5873,"title":5874,"dynasty":177,"author":683,"museum":650,"description":5875,"tags":5876,"thumbUrl":5878,"material":169,"size":5879,"collection":71,"collections":5880,"showCount":5823,"zanCount":48,"manualWeight":48,"mainColor":75},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","溪山林屋图是王原祁的代表作之一，它们描绘了中国山林中的小屋、溪流、山峰和树木。这些画作通常都有一种平静而自然的感觉，体现了王原祁对中国传统山水画的热爱和自然美的追求。\n\n王原祁的溪山林屋图通常都是以水墨画的形式呈现的，他善于运用水墨画的特点，比如渗透、流动、清晰度等，使得他的画作充满了韵味和生命力。\n\n总的来说，王原祁的溪山林屋图是中国清朝时期画家中的佼佼者，它们不仅是艺术作品，而且也是中国文化遗产的重要组成部分。",[24,25,7,59,65,34,35,61,239,201,64,1616,150,5877],"山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[71],{"id":5882,"slug":5883,"title":5884,"dynasty":177,"author":5885,"museum":1542,"description":5886,"tags":5887,"thumbUrl":5888,"material":69,"size":5889,"collection":127,"collections":5890,"showCount":5823,"zanCount":961,"manualWeight":48,"mainColor":75},216257,"jing-fu-si-qi-dong-jing-tu-3-qian-wei-cheng-216257","景敷四气冬景图-3","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洞口飞泉一道斜，是谁泛泛小舟拿。藤萝石上依然在，只欠洲前芦荻花。钤印：古香、太宝",[24,25,7,164,65,28,318,319,372,63,239,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a2cf71eecc41ef3e7946ed6d498677.jpg","21.9 × 30.2cm",[],{"id":5892,"slug":5893,"title":3693,"dynasty":177,"author":178,"museum":20,"description":1028,"tags":5894,"thumbUrl":5897,"material":40,"size":307,"collection":127,"collections":5898,"showCount":5899,"zanCount":48,"manualWeight":48,"mainColor":49},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[100,24,25,149,29,28,304,7,104,63,5895,61,5896,102,34,103,559,167,3796],"廊","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],119,{"id":5901,"slug":5902,"title":5903,"dynasty":177,"author":1801,"museum":20,"description":5904,"tags":5905,"thumbUrl":5906,"material":375,"size":5907,"collection":127,"collections":5908,"showCount":5899,"zanCount":48,"manualWeight":48,"mainColor":75},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,59,149,223,65,25,7,30,34,60,61,199,63,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],{"id":5910,"slug":5911,"title":5912,"dynasty":54,"author":55,"museum":119,"description":5913,"tags":5914,"thumbUrl":5915,"material":127,"size":127,"collection":127,"collections":5916,"showCount":5899,"zanCount":48,"manualWeight":48,"mainColor":75},228825,"dong-zhuang-tu-ce-shen-zhou-228825","东庄图册","《东庄图册》是212年出版的图书，作者是沈周。\n《范本传真·中国高等艺术院校教学范本:东庄图册》描绘其师吴宽家的庭园景色。\n吴宽官至礼部尚书，是沈周的老师和挚友，多有诗文唱和。\n东庄是吴宽的庄园，也是江南士大夫经常聚会、吟诗、品茗的地方。\n后人盛赞沈周的《东庄图册》，“观其出入宋元，如意自在，位置既奇绝，笔法复纵宕，虽李龙眠山庄图、鸿乙草堂图不多让也。\n” 这里所选的一幅是“北港”，图中画一荷塘，波光如镜，荷叶亭亭玉立，疏密有致，摇曳多姿，岸上树木点写自然，情态各具；坡岸皴染结合，浓重得宜。\n本书作者沈周（1427～159）明代杰出书画家。\n传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。",[24,59,28,164,65,7,34,64,61,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff908fba6b302417e7c10f3ab17a103ba.jpg",[],{"id":5918,"slug":5919,"title":5920,"dynasty":18,"author":604,"museum":704,"description":5921,"tags":5922,"thumbUrl":5923,"material":28,"size":5924,"collection":42,"collections":5925,"showCount":5899,"zanCount":961,"manualWeight":48,"mainColor":49},221525,"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[23,24,25,149,28,7,103,65,583,64,1521,5387,1738,125,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[42,71,212],{"id":5927,"slug":5928,"title":5929,"dynasty":1051,"author":178,"museum":135,"description":5930,"tags":5931,"thumbUrl":5933,"material":139,"size":5934,"collection":71,"collections":5935,"showCount":5899,"zanCount":1080,"manualWeight":48,"mainColor":49},220432,"tang-ren-hua-xue-jing-tu-yi-ming-220432","唐人画雪景图","这幅画，一座山一座山的描绘，大多形成三角形，有平正古拙的感觉。设色主要填染了石青、石绿，山石以金勾勒纹路表现，尚未有皴纹的使用，画法与李思训青绿山水一派相近。此幅现藏于台北故宫博物院，绢本青绿设色。",[23,24,149,28,7,65,878,318,372,35,64,5932],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5ca5811dfaa4e9fdb31720f68781.jpg","135.4x69.1",[71,45],{"id":5937,"slug":5938,"title":5939,"dynasty":18,"author":3610,"museum":275,"description":5940,"tags":5941,"thumbUrl":5943,"material":169,"size":5944,"collection":71,"collections":5945,"showCount":5899,"zanCount":961,"manualWeight":48,"mainColor":75},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[23,24,25,149,59,65,7,64,37,372,167,766,241,204,4563,5942],"渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[71,42],{"id":5947,"slug":5948,"title":5949,"dynasty":54,"author":55,"museum":517,"description":518,"tags":5950,"thumbUrl":5951,"material":349,"size":522,"collection":127,"collections":5952,"showCount":5899,"zanCount":48,"manualWeight":48,"mainColor":49},220058,"hu-qiu-shi-er-jing-tu-ce-9-shen-zhou-220058","虎丘十二景图册-9",[23,100,24,25,164,59,65,103,125,64,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3884057356be4c3470aff4ddb99ae920.jpg",[],{"id":5954,"slug":5955,"title":5956,"dynasty":80,"author":160,"museum":56,"description":5957,"tags":5958,"thumbUrl":5959,"material":69,"size":5960,"collection":71,"collections":5961,"showCount":5899,"zanCount":48,"manualWeight":48,"mainColor":75},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,25,26,59,65,7,30,34,60,62,37,101,64,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[71],{"id":5963,"slug":5964,"title":5965,"dynasty":18,"author":194,"museum":161,"description":5966,"tags":5967,"thumbUrl":5968,"material":139,"size":5969,"collection":71,"collections":5970,"showCount":5899,"zanCount":1080,"manualWeight":48,"mainColor":49},218518,"shu-zhan-xing-lv-tu-fan-kuan-218518","蜀栈行旅图","这幅画被认为是范宽的作品，但事实上，这幅画的风格应该是李寅、颜峄的风格一派作品",[23,24,1388,149,65,28,7,64,34,200,208,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29c07d65148db3c2cafe7e03228c14d.jpg","192.9x74.4cm",[71],{"id":5972,"slug":5973,"title":5974,"dynasty":177,"author":5885,"museum":135,"description":5975,"tags":5976,"thumbUrl":5977,"material":69,"size":5978,"collection":71,"collections":5979,"showCount":5899,"zanCount":1080,"manualWeight":48,"mainColor":75},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[100,24,25,28,65,122,101,7,34,61,63,64,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[71],{"id":5981,"slug":5982,"title":5983,"dynasty":177,"author":5984,"museum":161,"description":5985,"tags":5986,"thumbUrl":5988,"material":169,"size":127,"collection":71,"collections":5989,"showCount":5899,"zanCount":48,"manualWeight":48,"mainColor":75},214517,"shui-mo-tu-ce-zheng-min-214517","水墨图册","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[164,59,67,66,7,372,64,5987,101,65],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg",[71,212],{"id":5991,"slug":5992,"title":5993,"dynasty":18,"author":5994,"museum":56,"description":5995,"tags":5996,"thumbUrl":5997,"material":127,"size":127,"collection":42,"collections":5998,"showCount":5899,"zanCount":961,"manualWeight":48,"mainColor":5999},203436,"bai-miao-dao-jun-xiang-tu-juan-song-ren-203436","白描道君像图卷","宋人","以白描技法绘就的画面，道君居于核心，神光笼罩下仪态端凝。侍从仙官列队环侍，衣纹线条细劲流畅，尽显飘逸之姿；虎、龙等神兽悄然伏立，为场景注入神圣威严。背景楼阁依界画之法构建，飞檐翘角细节毕现；林木扶疏，亭桥掩映，景致层层铺展却井然有序。整卷线条刚柔相济，或如铁线勾勒轮廓，或似游丝描绘衣袂，将宗教的肃穆与自然的清幽完美融合，尽显南宋书画的典雅韵致与精湛技艺。",[23,24,25,26,123,304,1042,103,104,34,3986,7,4459,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c346d69351d49d24311e155794dd04a.jpg",[42],"988264",{"id":6001,"slug":6002,"title":159,"dynasty":177,"author":6003,"museum":20,"description":6004,"tags":6005,"thumbUrl":6006,"material":375,"size":127,"collection":71,"collections":6007,"showCount":6008,"zanCount":48,"manualWeight":48,"mainColor":75},237184,"shan-shui-ce-sun-yi-237184","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,28,27,65,164,7,60,61,64,34,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d67da6623fc74c8d4a14b73f0be1b.jpg",[71,45],118,{"id":6010,"slug":6011,"title":6012,"dynasty":54,"author":55,"museum":20,"description":544,"tags":6013,"thumbUrl":6014,"material":375,"size":547,"collection":127,"collections":6015,"showCount":6008,"zanCount":712,"manualWeight":48,"mainColor":75},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云",[24,59,7,164,65,318,979,165,319,64,101,25,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg",[],{"id":6017,"slug":6018,"title":6019,"dynasty":177,"author":395,"museum":20,"description":6020,"tags":6021,"thumbUrl":6022,"material":632,"size":6023,"collection":127,"collections":6024,"showCount":6008,"zanCount":961,"manualWeight":48,"mainColor":75},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[24,25,26,59,7,65,66,101,67,2325,238,31,34,64,37,2833,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],{"id":6026,"slug":6027,"title":6028,"dynasty":54,"author":945,"museum":20,"description":6029,"tags":6030,"thumbUrl":6031,"material":87,"size":6032,"collection":71,"collections":6033,"showCount":6008,"zanCount":48,"manualWeight":48,"mainColor":49},222346,"bu-xi-tu-tang-yin-222346","步溪图","一人徐步缓行，一人与之相对而立，神态怡然。衣纹洗练流畅，衣袖随风飘舞，生动刻画了悠闲自在的隐士形象。用笔苍秀，构图高远，画格既有南宋[院体]画遗风，又具有元代文人画秀雅的特色。右上自题诗云：[卜宅临溪上，开门近步头。渔樵通互市，耕钓是贻谋。山晓青排闼，波晴绿漾舟。主君朝学海，枕石漱清流。姑苏侍生唐寅作《步溪图》并题奉呈黎老大人先生。]下钤二印。",[23,24,59,65,7,149,34,64,103,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff633694d671ff94560b7fe877887ca21.jpg","纵159厘米，横84.3l厘米",[71,212],{"id":6035,"slug":6036,"title":6037,"dynasty":80,"author":616,"museum":135,"description":6038,"tags":6039,"thumbUrl":6040,"material":596,"size":6041,"collection":71,"collections":6042,"showCount":6008,"zanCount":48,"manualWeight":48,"mainColor":75},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[23,24,25,149,59,65,7,583,1707,1738,167,1815,305,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[71],{"id":6044,"slug":6045,"title":6046,"dynasty":18,"author":1747,"museum":3518,"description":6047,"tags":6048,"thumbUrl":6049,"material":169,"size":6050,"collection":127,"collections":6051,"showCount":6008,"zanCount":48,"manualWeight":48,"mainColor":75},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","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。",[23,24,25,1388,59,223,5942,7,1643,62,37,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],{"id":6053,"slug":6054,"title":6055,"dynasty":18,"author":178,"museum":135,"description":6056,"tags":6057,"thumbUrl":6058,"material":139,"size":6059,"collection":71,"collections":6060,"showCount":6008,"zanCount":1080,"manualWeight":48,"mainColor":940},218651,"chi-bi-tu-yi-ming-218651","赤壁图","此图边角式的构景，已演化为南宋画之面目，但笔墨的习惯与格式化，则透露出本幅的创作时间已晚至明朝了。本幅乃一叶扁舟为主景的局部山水。用锯齿描精绘漩流急浪，以回身仰望的苏东坡，来暗示出赤壁在画外的高耸。",[23,100,24,25,7,62,103,65,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee7fef708e8753e343d91346a2e744b.jpg","24x23.2cm",[71],{"id":6062,"slug":6063,"title":6064,"dynasty":80,"author":616,"museum":119,"description":6065,"tags":6066,"thumbUrl":6067,"material":337,"size":937,"collection":127,"collections":6068,"showCount":6069,"zanCount":961,"manualWeight":48,"mainColor":75},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[100,24,59,149,7,372,264,1674,101,66,4729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":6071,"slug":6072,"title":6073,"dynasty":54,"author":1096,"museum":20,"description":6074,"tags":6075,"thumbUrl":6076,"material":349,"size":2597,"collection":127,"collections":6077,"showCount":6069,"zanCount":48,"manualWeight":48,"mainColor":75},234294,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234294","董其昌山水册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[24,25,164,59,65,7,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c557e3d03c9fa8ddf25f0c6f8a1e0ef.jpg",[],{"id":6079,"slug":6080,"title":6081,"dynasty":177,"author":1872,"museum":369,"description":6082,"tags":6083,"thumbUrl":6085,"material":349,"size":6086,"collection":71,"collections":6087,"showCount":6069,"zanCount":1080,"manualWeight":48,"mainColor":49},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[23,24,59,65,149,7,64,34,199,6084,63,61,60],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[71,212],{"id":6089,"slug":6090,"title":2668,"dynasty":177,"author":4707,"museum":3774,"description":6091,"tags":6092,"thumbUrl":6094,"material":69,"size":6095,"collection":71,"collections":6096,"showCount":6069,"zanCount":48,"manualWeight":48,"mainColor":49},220430,"you-gu-tu-kun-can-220430","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,24,25,149,7,28,65,104,61,64,34,37,103,6093,583,532],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[71,45],{"id":6098,"slug":6099,"title":6100,"dynasty":18,"author":234,"museum":673,"description":6101,"tags":6102,"thumbUrl":6103,"material":169,"size":127,"collection":71,"collections":6104,"showCount":6069,"zanCount":961,"manualWeight":48,"mainColor":49},219946,"xi-shan-qiu-shuang-tu-guo-xi-219946","溪山秋爽图","此作画境清旷萧疏，以高远、深远之法排布山水。左畔层岩叠起，卷云皴写出山石嶙峋肌理，苍松杂木间植崖谷，枝叶枯荣尽染秋意。右侧留白铺陈溪岸远山，淡墨晕染出空濛秋气，虚实相映，将秋日山林的辽远静穆铺展尽致。\n\n干湿笔墨相济，勾勒皴擦尽显丘壑灵秀，点染林木兼具法度。将秋山的松风漱石、溪岸的澄澈清寂融于一卷，藏着林泉高致的文人意趣，仿佛踏入画中，便可揽尽秋日山岚的高爽清逸。",[24,7,149,87,59,65,5134,238,239,34,201,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a1d6d39da56cd4d6711f5f61995abd.jpg",[71],{"id":6106,"slug":6107,"title":6108,"dynasty":177,"author":3760,"museum":20,"description":6109,"tags":6110,"thumbUrl":6111,"material":139,"size":6112,"collection":71,"collections":6113,"showCount":6069,"zanCount":48,"manualWeight":48,"mainColor":49},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,25,26,59,28,7,1617,30,34,199,63,37,64,35,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[71],{"id":6115,"slug":6116,"title":6117,"dynasty":54,"author":55,"museum":20,"description":6118,"tags":6119,"thumbUrl":6121,"material":6122,"size":6123,"collection":127,"collections":6124,"showCount":6125,"zanCount":961,"manualWeight":48,"mainColor":75},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[24,25,100,149,59,28,65,7,6120,2505,64,34,103,201,182],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","绢本 ，设色","纵123.8cm，横62.6cm",[],116,{"id":6127,"slug":6128,"title":6129,"dynasty":18,"author":178,"museum":135,"description":6130,"tags":6131,"thumbUrl":6132,"material":139,"size":6133,"collection":42,"collections":6134,"showCount":6125,"zanCount":48,"manualWeight":48,"mainColor":75},218811,"jie-hua-lou-ge-2-yi-ming-218811","界画楼阁2","这幅画和另一幅亭子的边框画应该是同一个人在同一时间画的，但这幅画离建筑更近一些，这使它更富丽堂皇。在这幅山崖画中，笔触与马、夏相似，但有相同的魅力。",[24,25,304,164,28,104,7,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4826f7703c0edc976ee25967d7cb579d.jpg","23.9x26.1",[42],{"id":6136,"slug":6137,"title":6138,"dynasty":18,"author":6139,"museum":673,"description":6140,"tags":6141,"thumbUrl":6142,"material":139,"size":6143,"collection":71,"collections":6144,"showCount":6125,"zanCount":1080,"manualWeight":48,"mainColor":75},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","梁楷","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[100,24,25,59,65,28,7,1262,103,335,372,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[71],{"id":6146,"slug":6147,"title":6148,"dynasty":177,"author":178,"museum":135,"description":6149,"tags":6150,"thumbUrl":6151,"material":139,"size":6152,"collection":71,"collections":6153,"showCount":6125,"zanCount":712,"manualWeight":48,"mainColor":75},214660,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-1-yi-ming-214660","乾隆缂丝山水挂屏四轴-1","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[24,4923,28,7,104,34,64,979,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9319e86c70e3c72abbd72d15b43374.jpg","93.8x25.6",[71],{"id":6155,"slug":6156,"title":6157,"dynasty":80,"author":81,"museum":119,"description":6158,"tags":6159,"thumbUrl":6160,"material":127,"size":127,"collection":127,"collections":6161,"showCount":6162,"zanCount":961,"manualWeight":48,"mainColor":49},230907,"shan-shui-tu-ye-huang-gong-wang-230907","山水图页","危崖高峙于右侧，山石以干笔皴擦，淡赭敷色，苍劲朴拙尽显。林麓间村居错落，古木虬枝扶苏，溪岸萦回转绕，远山晕染出空濛清气。\n\n全作用笔松灵秀逸，以简驭繁，淡设色晕染间将秋山萧疏淡远融于尺幅，既有山川厚重质感，又暗含文人幽寂散淡的隐逸意趣。于淡远中见雄浑，细微处藏丘壑，尽显林泉高致的悠然澹泊。",[24,25,164,59,65,7,318,34,35,64,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c55781314ada71bf26fe09b31ae6de.jpg",[],115,{"id":6164,"slug":6165,"title":6166,"dynasty":18,"author":234,"museum":119,"description":6167,"tags":6168,"thumbUrl":6169,"material":127,"size":127,"collection":127,"collections":6170,"showCount":6162,"zanCount":961,"manualWeight":48,"mainColor":49},227600,"xi-shan-qiu-ji-tu-ju-bu-yi-guo-xi-227600","溪山秋霁图（局部一）","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,100,24,26,59,65,7,34,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d640d86977ce4b9c75fce90e0ebd9d.jpg",[],{"id":6172,"slug":6173,"title":6174,"dynasty":18,"author":6175,"museum":119,"description":6176,"tags":6177,"thumbUrl":6178,"material":127,"size":127,"collection":127,"collections":6179,"showCount":6162,"zanCount":961,"manualWeight":48,"mainColor":75},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,100,24,25,26,123,59,65,7,103,62,63,106,34,239,104,61,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":6181,"slug":6182,"title":6183,"dynasty":177,"author":6184,"museum":119,"description":6185,"tags":6186,"thumbUrl":6187,"material":87,"size":3081,"collection":71,"collections":6188,"showCount":6162,"zanCount":1080,"manualWeight":48,"mainColor":49},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,100,24,25,304,29,28,7,104,64,34,37,438,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg",[71],{"id":6190,"slug":6191,"title":909,"dynasty":18,"author":288,"museum":3157,"description":6192,"tags":6193,"thumbUrl":6194,"material":6195,"size":6196,"collection":42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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",[23,24,59,7,65,34,64,63,166,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 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该图尾纸有元代赵孟頫、倪瓒、张绅题跋。\n赵伯骕唯一存世的画迹是《万松金阙图》卷，幅上虽无作者款印，但后纸有宋宗室后裔元代赵孟頫的鉴定题记，将此作定为赵伯骕的奉敕之作。\n图中所画是临安皇城之北的万松岭，“金阙”是特指皇帝的宫殿。\n绍兴八年（118年），赵构定都临安，以行宫为基础，东起凤山门，西至凤凰山麓，南抵笤帚湾，北达万松岭，在这方圆18里的范围内营造了南宋皇朝宫殿。\n万松岭相当于宫城的后花园，在那里，有供皇室四季游玩的亭台楼阁，如夏季可在翠寒宫避暑。\n冬季可在明远楼避寒，中秋可在依桂阁赏月，还有专供醉卧用的钟美堂……。\n赵伯骕所绘的“万松”和“金阙”正是此处，画中的金阙周围有许多仙鹤和瑞禽，皇家宫阚掩映在万松之中，在万松的尽头，是钱塘江畔，在潮起潮落之后，是一片宁静，一轮初升的太阳映照山川，其画意在于祷祝宋室江山如松林常青、似日月永年。\n赵伯骕是一位富有艺术情感的画家，他认为： “画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,100,26,27,28,29,65,7,583,104,64,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":6377,"slug":6378,"title":6379,"dynasty":80,"author":887,"museum":20,"description":6380,"tags":6381,"thumbUrl":6384,"material":40,"size":127,"collection":308,"collections":6385,"showCount":6347,"zanCount":712,"manualWeight":48,"mainColor":75},220868,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,28,29,26,66,101,335,34,31,103,6382,7,6383],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[308,45],{"id":6387,"slug":6388,"title":6389,"dynasty":80,"author":6390,"museum":20,"description":6391,"tags":6392,"thumbUrl":6396,"material":632,"size":6397,"collection":71,"collections":6398,"showCount":6399,"zanCount":712,"manualWeight":48,"mainColor":75},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,25,26,59,65,101,7,165,125,62,2127,64,166,2832,103,399,508,347,5987,6393,583,372,1779,2845,6394,322,6395],"花","山间","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[71,212],111,{"id":6401,"slug":6402,"title":6403,"dynasty":18,"author":3610,"museum":135,"description":6404,"tags":6405,"thumbUrl":6406,"material":40,"size":6407,"collection":42,"collections":6408,"showCount":6399,"zanCount":48,"manualWeight":48,"mainColor":49},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 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[1] 此画用墨饱满，笔法简炼雄劲",[23,100,24,25,149,59,65,7,64,61,199,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],{"id":6522,"slug":6523,"title":6073,"dynasty":54,"author":1096,"museum":119,"description":6524,"tags":6525,"thumbUrl":6526,"material":127,"size":127,"collection":71,"collections":6527,"showCount":6505,"zanCount":1080,"manualWeight":48,"mainColor":75},234974,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234974","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[24,59,7,34,37,167,65,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e702ea296c830fd9f358026fa00831e.jpg",[71],{"id":6529,"slug":6530,"title":6531,"dynasty":54,"author":945,"museum":135,"description":6532,"tags":6533,"thumbUrl":6534,"material":292,"size":6535,"collection":44,"collections":6536,"showCount":6505,"zanCount":1080,"manualWeight":48,"mainColor":75},222366,"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[23,24,26,59,65,66,101,7,583,103,2505,199,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f56c2e7c9e604b90f864ec56.jpg","30x210",[44,212],{"id":6538,"slug":6539,"title":6540,"dynasty":80,"author":1962,"museum":776,"description":6541,"tags":6542,"thumbUrl":6543,"material":454,"size":6544,"collection":71,"collections":6545,"showCount":6505,"zanCount":712,"manualWeight":48,"mainColor":49},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,24,25,149,28,65,7,63,62,34,64,103,61,533,38,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[71,45],{"id":6547,"slug":6548,"title":6549,"dynasty":177,"author":1825,"museum":20,"description":6550,"tags":6551,"thumbUrl":6552,"material":139,"size":6553,"collection":71,"collections":6554,"showCount":6505,"zanCount":961,"manualWeight":48,"mainColor":75},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[23,24,25,26,27,28,7,65,238,34,201,3764,37,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[71],{"id":6556,"slug":6557,"title":1979,"dynasty":18,"author":234,"museum":135,"description":6558,"tags":6559,"thumbUrl":6560,"material":596,"size":6561,"collection":42,"collections":6562,"showCount":6563,"zanCount":48,"manualWeight":48,"mainColor":49},288542,"xue-jing-shan-shui-tu-guo-xi-288542","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,100,24,7,59,878,60,61,62,104,372,64,2216,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[42],108,{"id":6565,"slug":6566,"title":159,"dynasty":54,"author":1096,"museum":20,"description":6567,"tags":6568,"thumbUrl":6569,"material":349,"size":6570,"collection":71,"collections":6571,"showCount":6563,"zanCount":961,"manualWeight":48,"mainColor":75},220918,"shan-shui-ce-dong-qi-chang-220918","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,24,59,65,164,66,67,101,7,318,319,165,734,264,35,979,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[71,212],{"id":6573,"slug":6574,"title":6575,"dynasty":177,"author":6576,"museum":6577,"description":6578,"tags":6579,"thumbUrl":6580,"material":69,"size":6581,"collection":71,"collections":6582,"showCount":6563,"zanCount":48,"manualWeight":48,"mainColor":75},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","辛辛那提艺术博物馆","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,24,25,100,149,28,27,65,7,583,60,103,35,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[71],{"id":6584,"slug":6585,"title":6586,"dynasty":54,"author":945,"museum":396,"description":6587,"tags":6588,"thumbUrl":6589,"material":139,"size":6590,"collection":44,"collections":6591,"showCount":6563,"zanCount":961,"manualWeight":48,"mainColor":49},219791,"xian-shan-ji-xue-tu-wei-tang-yin-219791","仙山积雪图(伪)","以淡赭晕染层叠雪山，留白造境尽显雪域寥廓空寂。红衣胡商与褐驼形成鲜亮色彩反差，醒目亮眼。人物虬髯胡服，牵驼徐行，骆驼憨拙生动，抬蹄缓移，将塞外羁旅的苦寒苍茫尽显笔底。\n\n线条简括写意，舍弃繁复皴擦，以极简色调烘托荒寒辽远的异域氛围，写意间藏质朴厚重，把行者的孤寂与天地的浩渺相融，淡远清旷，尽显萧瑟冷寂的雪域行旅意趣。",[23,24,149,28,103,3988,7,106,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0633bdf79276409a6fb09df39c2199.jpg","纵109.9、横38.9厘米",[44],{"id":6593,"slug":6594,"title":6595,"dynasty":18,"author":604,"museum":6596,"description":6597,"tags":6598,"thumbUrl":6599,"material":139,"size":6600,"collection":308,"collections":6601,"showCount":6563,"zanCount":1080,"manualWeight":48,"mainColor":940},218913,"mei-shi-tu-ma-yuan-218913","梅石图","伯克利艺术博物馆","这幅画描绘了一棵老梅树从深谷野塘边的一块巨大岩石中探出头来，一只野凫藏在水草中。岩石的凿刻和梅树的拖曳枝条都是马远的绘画风格。",[23,100,24,25,59,28,7,2127,264,607,125,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[308,71],{"id":6603,"slug":6604,"title":5510,"dynasty":18,"author":6605,"museum":3774,"description":6606,"tags":6607,"thumbUrl":6608,"material":139,"size":6609,"collection":42,"collections":6610,"showCount":6563,"zanCount":48,"manualWeight":48,"mainColor":75},218643,"yue-xia-yu-she-tu-gu-liang-218643","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[23,24,100,25,7,28,1643,373,62,125,64,61,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[42],{"id":6612,"slug":6613,"title":6614,"dynasty":177,"author":395,"museum":396,"description":397,"tags":6615,"thumbUrl":6616,"material":69,"size":402,"collection":127,"collections":6617,"showCount":6563,"zanCount":48,"manualWeight":48,"mainColor":75},214889,"shan-shui-tu-ce-4-shi-tao-214889","山水图册-4",[23,24,59,65,164,66,101,7,61,62,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d80b1de337411d72d248e61d4a115b1.jpg",[],{"id":6619,"slug":6620,"title":6621,"dynasty":177,"author":6622,"museum":135,"description":6623,"tags":6624,"thumbUrl":6625,"material":69,"size":6626,"collection":71,"collections":6627,"showCount":6563,"zanCount":48,"manualWeight":48,"mainColor":75},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[24,28,29,65,7,104,63,60,61,103,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[71],{"id":6629,"slug":6630,"title":6631,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":6632,"thumbUrl":6634,"material":337,"size":937,"collection":127,"collections":6635,"showCount":6636,"zanCount":961,"manualWeight":48,"mainColor":75},290459,"shan-shui-qing-ya-tu-ce-shi-tao-290459","山水清雅图册",[100,24,25,164,7,28,65,64,150,4660,167,101,6633],"清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3bd638039d20e8dcda51965ebdcf87c.jpg",[],107,{"id":6638,"slug":6639,"title":6640,"dynasty":54,"author":178,"museum":119,"description":6641,"tags":6642,"thumbUrl":6644,"material":337,"size":937,"collection":127,"collections":6645,"showCount":6636,"zanCount":48,"manualWeight":48,"mainColor":940},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,25,1042,29,28,103,7,37,104,34,64,4459,6643,27,304],"古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],{"id":6647,"slug":6648,"title":909,"dynasty":18,"author":775,"museum":119,"description":4679,"tags":6649,"thumbUrl":6650,"material":28,"size":127,"collection":42,"collections":6651,"showCount":6636,"zanCount":48,"manualWeight":48,"mainColor":49},221441,"shan-shui-tu-li-cheng-221441",[23,24,25,100,59,65,28,7,30,60,61,62,34,239,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[42,71,212],{"id":6653,"slug":6654,"title":6655,"dynasty":18,"author":234,"museum":135,"description":6656,"tags":6657,"thumbUrl":6658,"material":87,"size":6659,"collection":42,"collections":6660,"showCount":6636,"zanCount":961,"manualWeight":48,"mainColor":49},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,25,26,7,65,59,238,34,372,60,61,62,200,3765,167,1897,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[42,71,212],{"id":6662,"slug":6663,"title":6664,"dynasty":54,"author":1096,"museum":6665,"description":6666,"tags":6667,"thumbUrl":6668,"material":169,"size":6669,"collection":71,"collections":6670,"showCount":6636,"zanCount":48,"manualWeight":48,"mainColor":75},220119,"xi-shan-xian-guan-tu-dong-qi-chang-220119","溪山仙馆图","日本东京国立博物馆","松江出身的董其昌以取代文徴明成为江南画坛主导者为自身抱负。状似舞蹈般的松树形态、如同金属的山石质感都是其画风特色。",[24,100,59,65,7,318,61,34,64,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a93410dd73894a96859af7573f0a2.jpg","79.40×105.83cm",[71],{"id":6672,"slug":6673,"title":6674,"dynasty":54,"author":55,"museum":517,"description":518,"tags":6675,"thumbUrl":6676,"material":349,"size":522,"collection":127,"collections":6677,"showCount":6636,"zanCount":961,"manualWeight":48,"mainColor":379},220056,"hu-qiu-shi-er-jing-tu-ce-11-shen-zhou-220056","虎丘十二景图册-11",[23,24,59,304,164,65,7,104,60,103,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6682f58f7558d280563737b5c65e9a.jpg",[],{"id":6679,"slug":6680,"title":4559,"dynasty":18,"author":775,"museum":119,"description":6681,"tags":6682,"thumbUrl":6683,"material":337,"size":937,"collection":127,"collections":6684,"showCount":6685,"zanCount":1080,"manualWeight":48,"mainColor":49},288290,"mao-lin-yuan-xiu-tu-li-cheng-288290","《茂林远岫图》描绘的是夏日山水景色，其中峰峦叠翠，奇峰矗立，远山奇峰崛立，空远清旷；近处轻舟泊渡，行人车马往来；中景山谷之间殿阁林立，塔影隐没其中，飞泉水口，如闻其声，如临其境，整幅作品呈现了一派寓闹于静的景致。\n《茂林远岫图》就绘画技法而论，刻画细腻，神形有致；画面构图“三远”法的并用，构景主次疏密的安排等，无不透露出北宋山水画风貌的典型气息。",[23,100,24,25,26,59,65,7,4562,238,34,1790,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ba5f640d5b6339147fba4ccbde437.jpg",[],106,{"id":6687,"slug":6688,"title":6138,"dynasty":18,"author":744,"museum":6260,"description":6689,"tags":6690,"thumbUrl":6691,"material":454,"size":6692,"collection":42,"collections":6693,"showCount":6685,"zanCount":48,"manualWeight":48,"mainColor":49},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,24,100,25,149,59,28,7,1262,64,372,60,61,334,65,29,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[42,71],{"id":6695,"slug":6696,"title":6697,"dynasty":54,"author":96,"museum":20,"description":6698,"tags":6699,"thumbUrl":6700,"material":40,"size":6701,"collection":71,"collections":6702,"showCount":6685,"zanCount":712,"manualWeight":48,"mainColor":49},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[23,24,28,29,7,122,1447,61,583,64,199,103,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[71,45],{"id":6704,"slug":6705,"title":6706,"dynasty":18,"author":604,"museum":3157,"description":6707,"tags":6708,"thumbUrl":6710,"material":3161,"size":6711,"collection":42,"collections":6712,"showCount":6685,"zanCount":48,"manualWeight":48,"mainColor":49},221667,"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[23,100,24,25,149,59,28,103,7,61,264,6709,65,67,101],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","纵77.6厘米，横33厘米",[42,71],{"id":6714,"slug":6715,"title":4968,"dynasty":18,"author":604,"museum":135,"description":6716,"tags":6717,"thumbUrl":6718,"material":28,"size":6719,"collection":42,"collections":6720,"showCount":6685,"zanCount":48,"manualWeight":48,"mainColor":49},221533,"hua-xue-jing-zhou-ma-yuan-221533","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,25,149,29,65,28,7,878,63,413,335,103,60,199,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[42,71,45],{"id":6722,"slug":6723,"title":6724,"dynasty":80,"author":160,"museum":1542,"description":6725,"tags":6726,"thumbUrl":6727,"material":69,"size":6728,"collection":71,"collections":6729,"showCount":6685,"zanCount":961,"manualWeight":48,"mainColor":49},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[23,24,25,100,149,59,28,7,104,61,34,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[71,45],{"id":6731,"slug":6732,"title":6733,"dynasty":18,"author":3342,"museum":119,"description":6734,"tags":6735,"thumbUrl":6736,"material":139,"size":6737,"collection":42,"collections":6738,"showCount":6685,"zanCount":48,"manualWeight":48,"mainColor":49},219006,"song-yin-xian-zuo-tu-li-song-219006","松荫闲坐图","苍松覆荫，烟岚轻笼远山，黛色隐于薄雾间。近树虬枝盘曲，叶色深浓如墨，似将尘嚣隔绝。林间空地上，一人闲坐石畔，或凝思或望远，身旁童子悄然侍立，动静相衬，幽趣自生。\n\n笔墨简淡却意韵悠长：山石以斧劈皴略施渲染，显峻秀之态；树木枝干苍劲，线条灵动如舞。整幅画于静谧中藏生机，简远中见雅致，恰是宋人山水小品里“天人合一”的写照——将文人寄情林泉、超然物外的心绪，融于每一笔墨、每一处留白，读来如沐清风，心向往之。",[23,24,25,149,59,65,7,583,607,125,103,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70413899e21118c8e47102d3e86827c9.jpg","118x57",[42],{"id":6740,"slug":6741,"title":909,"dynasty":80,"author":1410,"museum":135,"description":6742,"tags":6743,"thumbUrl":6748,"material":596,"size":127,"collection":71,"collections":6749,"showCount":6685,"zanCount":712,"manualWeight":48,"mainColor":75},218761,"shan-shui-tu-wu-zhen-218761","墨色晕染如轻烟绕峰，山石以披麻皴层层铺陈，湿墨点苔似苍苔缀石，尽显古拙厚重。林木萧疏错落，枝干虬劲中藏清逸，与淡墨晕开的云雾交织，拓出深远山水空间。留白处似有山风掠过，裹挟幽寂禅意，恰是元人山水的空灵之境。题跋与朱印相映，诗画相融间，藏着文人对自然的敬畏与心向林泉的淡泊。每一笔都晕染时光沉淀的静谧，观者仿佛步入清旷山水，暂忘尘嚣，只余眼前的淡远与安然。",[23,100,24,59,7,815,64,1616,37,101,66,6744,6745,6746,6747],"禅意","空灵","淡泊","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1c86c535085fc058d17972928a0b55.jpg",[71],{"id":6751,"slug":6752,"title":6753,"dynasty":18,"author":3909,"museum":161,"description":6754,"tags":6755,"thumbUrl":6757,"material":69,"size":127,"collection":44,"collections":6758,"showCount":6685,"zanCount":48,"manualWeight":48,"mainColor":49},218541,"zhong-xing-rui-ying-tu-chen-ju-zhong-218541","中兴瑞应图","苍莽绢素间，人马奔涌如沸，旌旗翻卷似火，甲胄冷光与衣袍艳色在青绿底色上跃动。左侧群鸟振翅惊飞，羽翼划破暮霭；右侧峭岩劲松静立，与奔涌的动势形成奇妙张力。笔锋细腻处，鞍马筋肉、人物神情历历可辨；设色古朴中，山水悠远衬出叙事沉厚。奔突的队列藏着热望，翻飞的翎羽似携吉兆，将历史壮阔与人心祈盼凝作绢上流转的光影——每一处细节都在诉说那段岁月里，对“中兴”的期盼与激昂，让沉厚的过往在笔墨间鲜活如初。",[24,29,28,103,335,106,7,34,6756],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0604cba49667b67c7ec636b0895bcd.jpg",[44,45],{"id":6760,"slug":6761,"title":6762,"dynasty":18,"author":288,"museum":119,"description":6763,"tags":6764,"thumbUrl":6765,"material":127,"size":127,"collection":127,"collections":6766,"showCount":6767,"zanCount":48,"manualWeight":48,"mainColor":379},227724,"zuo-kan-yun-qi-xia-gui-227724","坐看云起","《坐看云起图》为南宋画家夏圭所绘。左侧山石处款署“夏圭”。\n图绘江流滚滚，一人坐于临江高台上，旁放一高杖。身后峭壁有一古松，盘虬曲折。\n\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,100,24,59,7,2484,65,103,583,61,264,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1bea9257f9b429a7874901d3a2ca.jpg",[],105,{"id":6769,"slug":6770,"title":6771,"dynasty":811,"author":5337,"museum":20,"description":6772,"tags":6773,"thumbUrl":6774,"material":4566,"size":6775,"collection":71,"collections":6776,"showCount":6767,"zanCount":48,"manualWeight":48,"mainColor":75},221160,"gao-shi-tu-juan-wei-xian-221160","高士图卷","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。\n此图曾经宋周密《云烟过眼录》，明张丑《清河书画舫》、清孙承泽《庚子销夏记》、安岐《墨缘汇观》、《石渠宝笈·续编》、阮元《石渠随笔》等书著录，是一件递藏有绪、鉴定界公认的五代卫贤真迹。",[23,24,29,304,28,65,7,103,104,34,239,559,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd234cb19159b5ecad6fb82a14b63fd9.jpg","纵134.5厘米，横52.5厘米。",[71,212],{"id":6778,"slug":6779,"title":6780,"dynasty":1051,"author":1052,"museum":161,"description":6781,"tags":6782,"thumbUrl":6783,"material":87,"size":6784,"collection":71,"collections":6785,"showCount":6767,"zanCount":48,"manualWeight":48,"mainColor":49},221101,"jing-ji-rui-xue-tu-li-si-xun-221101","京畿瑞雪图","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[23,27,28,304,7,104,34,64,878,106,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2334ec9cbe1a44a99cc3ae230e4e85.jpg","纵42.7cm，横45.2cm",[71,45],{"id":6787,"slug":6788,"title":6789,"dynasty":80,"author":887,"museum":135,"description":6790,"tags":6791,"thumbUrl":6792,"material":292,"size":6793,"collection":212,"collections":6794,"showCount":6767,"zanCount":712,"manualWeight":48,"mainColor":49},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[23,24,25,149,59,65,67,101,125,264,630,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[212,6795],"竹石精选",{"id":6797,"slug":6798,"title":6799,"dynasty":2272,"author":6800,"museum":6801,"description":6802,"tags":6803,"thumbUrl":6804,"material":6805,"size":127,"collection":127,"collections":6806,"showCount":6767,"zanCount":48,"manualWeight":48,"mainColor":75},220579,"fu-chun-jiang-feng-guang-huang-bin-hong-220579","富春江风光","黄宾虹","Smithsonian's National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[24,59,65,7,62,63,34,64,61,25,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],{"id":6808,"slug":6809,"title":6810,"dynasty":18,"author":604,"museum":161,"description":6811,"tags":6812,"thumbUrl":6813,"material":139,"size":127,"collection":71,"collections":6814,"showCount":6767,"zanCount":961,"manualWeight":48,"mainColor":940},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[24,100,25,7,28,65,149,318,319,165,102,61,1586,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[71],{"id":6816,"slug":6817,"title":6818,"dynasty":177,"author":395,"museum":396,"description":397,"tags":6819,"thumbUrl":6820,"material":69,"size":402,"collection":127,"collections":6821,"showCount":6767,"zanCount":48,"manualWeight":48,"mainColor":75},214888,"shan-shui-tu-ce-5-shi-tao-214888","山水图册-5",[23,24,59,28,164,65,7,104,34,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c7502bb24d845dbe3fdcd70b9b300d.jpg",[],{"id":6823,"slug":6824,"title":6825,"dynasty":177,"author":6826,"museum":135,"description":6827,"tags":6828,"thumbUrl":6831,"material":69,"size":6832,"collection":71,"collections":6833,"showCount":6767,"zanCount":961,"manualWeight":48,"mainColor":75},214832,"fang-tang-ren-da-yu-zhi-shui-tu-xie-sui-214832","仿唐人大禹治水图","谢遂","谢遂（1743-1815年）是一位清代画家，他最著名的作品之一是《仿唐人大禹治水图》。这幅画描绘了传说中的大禹如何利用智慧和勇气治理水旱，保护人民免受灾害的故事。画中大禹站在江边，手持着伞，身旁是他的忠实追随者。大禹所在的位置是一座山峰，表示他的权威和力量。整幅画的画风浓重，线条流畅，色彩和谐。这幅画是谢遂在清代的代表作之一，在当时颇受欢迎，并被广泛流传。",[100,24,28,103,7,64,199,6829,6830],"大禹治水","神话传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af9e7e13ca4921759b92fd42dfeb838.jpg","160.7x89.8",[71,44],{"id":6835,"slug":6836,"title":6837,"dynasty":80,"author":81,"museum":119,"description":6838,"tags":6839,"thumbUrl":6840,"material":337,"size":937,"collection":127,"collections":6841,"showCount":6842,"zanCount":48,"manualWeight":48,"mainColor":75},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[100,24,25,149,59,65,7,63,60,61,125,64,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],104,{"id":6844,"slug":6845,"title":6846,"dynasty":18,"author":604,"museum":135,"description":6847,"tags":6848,"thumbUrl":6854,"material":6855,"size":6856,"collection":42,"collections":6857,"showCount":6842,"zanCount":48,"manualWeight":48,"mainColor":49},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[23,100,24,25,149,59,28,65,7,1643,6849,6850,583,372,103,6851,239,6852,6853],"寒岩","积雪","轩","湖面","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[42,71,212],{"id":6859,"slug":6860,"title":6861,"dynasty":54,"author":1096,"museum":20,"description":6862,"tags":6863,"thumbUrl":6864,"material":87,"size":6865,"collection":71,"collections":6866,"showCount":6842,"zanCount":1080,"manualWeight":48,"mainColor":75},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[23,24,25,59,65,67,101,149,7,34,60,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[71,212],{"id":6868,"slug":6869,"title":7,"dynasty":2272,"author":2273,"museum":6870,"description":6871,"tags":6872,"thumbUrl":6873,"material":127,"size":127,"collection":127,"collections":6874,"showCount":6842,"zanCount":961,"manualWeight":48,"mainColor":75},220477,"shan-shui-fu-bao-shi-220477","中央美术学院美术馆","此作用笔秀润，设色雅致，以烟岚晕染远山，黛色层叠间漾出空濛秋意。中景丹枫与青松交错，赭石铺就秋山暖调，村居隐于林麓，野趣横生。近畔水榭临流，凭栏二人闲对，静赏天光云影，将秋日江村的幽寂闲恬铺陈开来。题画诗与笔墨相映，文心入画，将文人寄情山水、栖居林泉的诗意愿景藏于尺幅之间，观之如临清秋江村，尽揽山居雅趣。",[24,28,65,7,104,34,167,3796,1120,583,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],{"id":6876,"slug":6877,"title":6878,"dynasty":177,"author":2075,"museum":135,"description":6879,"tags":6880,"thumbUrl":6881,"material":139,"size":6882,"collection":71,"collections":6883,"showCount":6842,"zanCount":48,"manualWeight":48,"mainColor":75},219653,"song-yan-jing-le-tu-wang-shi-min-219653","松岩静乐图","烟客画山水，宗法元四家，晚年尤倾力黄公望，逐入痴翁堂奥，巽笔湿笔，自具心裁。此为七十九岁老年之作，笔墨犹不脱秀润之色。",[24,28,65,7,583,64,61,34,35,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485b1637050632062640af0dec5e5eb.jpg","168x76.3",[71],{"id":6885,"slug":6886,"title":6887,"dynasty":18,"author":1085,"museum":135,"description":6888,"tags":6889,"thumbUrl":6890,"material":139,"size":6891,"collection":71,"collections":6892,"showCount":6842,"zanCount":500,"manualWeight":48,"mainColor":49},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,100,24,25,26,27,28,103,7,29,64,31,34,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[71],{"id":6894,"slug":6895,"title":6896,"dynasty":80,"author":6897,"museum":369,"description":6898,"tags":6899,"thumbUrl":6901,"material":139,"size":6902,"collection":71,"collections":6903,"showCount":6842,"zanCount":1080,"manualWeight":48,"mainColor":49},218229,"qing-shan-hong-xing-tu-ma-wan-218229","青山红杏图","马琬","青山红杏图是中国元朝时期著名的画家马琬的杰作之一。这幅图像是一幅山水画，描绘了一片山峰环绕的山谷，谷底有一条清澈的小溪流过。山峰上绿油油的树木点缀着几朵红色的杏花，与苍翠的山峰形成鲜明的对比。整幅画非常细腻，笔触流畅，给人以清新自然的感觉。\n\n马琬是元朝时期著名的画家，他的画风独特，善于描绘自然风光。他的作品中常常出现山水、花鸟、山峰和小溪的景象，并融入了自己的想象力和创造力。青山红杏图就是马琬这种画风的经典代表之一。",[24,100,25,27,28,7,65,318,165,6900,64],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210df1734801534a679e4b785cd61260.jpg","24.2x22.7cm",[71],{"id":6905,"slug":6906,"title":2691,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":6907,"thumbUrl":6908,"material":337,"size":937,"collection":127,"collections":6909,"showCount":6910,"zanCount":961,"manualWeight":48,"mainColor":75},287452,"yi-jin-ling-ce-shi-tao-287452",[24,164,59,66,101,65,7,372,347,64,1643,2216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024d85ab10042e974297b9aa2ce45b2.jpg",[],103,{"id":6912,"slug":6913,"title":3951,"dynasty":811,"author":933,"museum":119,"description":3952,"tags":6914,"thumbUrl":6915,"material":337,"size":937,"collection":127,"collections":6916,"showCount":6910,"zanCount":961,"manualWeight":48,"mainColor":49},283688,"qiu-shan-wan-cui-tu-guan-tong-283688",[23,100,24,25,149,59,28,7,2682,64,34,238,199,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],{"id":6918,"slug":6919,"title":6920,"dynasty":18,"author":194,"museum":135,"description":6921,"tags":6922,"thumbUrl":6924,"material":87,"size":6925,"collection":42,"collections":6926,"showCount":6910,"zanCount":48,"manualWeight":48,"mainColor":49},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[23,100,24,25,149,65,59,7,1389,5408,239,201,34,6923],"山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[42,71,212],{"id":6928,"slug":6929,"title":6930,"dynasty":80,"author":616,"museum":1542,"description":6931,"tags":6932,"thumbUrl":6933,"material":87,"size":6934,"collection":71,"collections":6935,"showCount":6910,"zanCount":48,"manualWeight":48,"mainColor":75},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。",[23,24,25,149,59,1388,65,372,125,264,7,167,2855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[71,212],{"id":6937,"slug":6938,"title":6939,"dynasty":54,"author":1096,"museum":1542,"description":6940,"tags":6941,"thumbUrl":6942,"material":349,"size":5218,"collection":71,"collections":6943,"showCount":6910,"zanCount":48,"manualWeight":48,"mainColor":75},220344,"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[100,24,25,26,59,7,65,64,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg",[71,927],{"id":6945,"slug":6946,"title":6947,"dynasty":18,"author":6948,"museum":135,"description":6949,"tags":6950,"thumbUrl":6952,"material":139,"size":6953,"collection":42,"collections":6954,"showCount":6910,"zanCount":48,"manualWeight":48,"mainColor":49},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,100,24,25,26,28,29,7,60,61,1586,34,3222,6951,106,63],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[42,71],{"id":6956,"slug":6957,"title":6958,"dynasty":54,"author":55,"museum":517,"description":518,"tags":6959,"thumbUrl":6960,"material":349,"size":522,"collection":127,"collections":6961,"showCount":6910,"zanCount":961,"manualWeight":48,"mainColor":75},220062,"hu-qiu-shi-er-jing-tu-ce-5-shen-zhou-220062","虎丘十二景图册-5",[23,24,25,164,59,7,103,63,630,104,826,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b98caed8ba3c7e8188c4fa105bf846.jpg",[],{"id":6963,"slug":6964,"title":6055,"dynasty":18,"author":6965,"museum":6966,"description":6967,"tags":6968,"thumbUrl":6970,"material":139,"size":6971,"collection":42,"collections":6972,"showCount":6910,"zanCount":1080,"manualWeight":48,"mainColor":75},218561,"chi-bi-tu-yang-shi-xian-218561","杨士贤","波士顿美术馆","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[23,24,25,26,59,28,65,7,62,1643,1777,6969,34,66,67,101],"风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[42,71],{"id":6974,"slug":6975,"title":6976,"dynasty":18,"author":6977,"museum":6966,"description":6978,"tags":6979,"thumbUrl":6981,"material":139,"size":6982,"collection":44,"collections":6983,"showCount":6910,"zanCount":961,"manualWeight":48,"mainColor":75},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[23,100,24,25,26,28,29,65,103,7,34,3004,6980,66,473,4768,629,101],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[44],{"id":6985,"slug":6986,"title":5022,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":6987,"thumbUrl":6988,"material":127,"size":127,"collection":71,"collections":6989,"showCount":6990,"zanCount":48,"manualWeight":48,"mainColor":75},237762,"yuan-ji-shan-shui-tu-ce-shi-tao-237762",[24,25,164,59,65,101,7,583,199,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2602ace4f9f01cb00770af8e9295051f.jpg",[71,45],102,{"id":6992,"slug":6993,"title":6994,"dynasty":177,"author":6995,"museum":119,"description":6996,"tags":6997,"thumbUrl":6998,"material":127,"size":127,"collection":127,"collections":6999,"showCount":6990,"zanCount":961,"manualWeight":48,"mainColor":75},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","禹之鼎","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[23,100,24,25,26,28,29,7,103,60,61,63,102,67,101,34,3171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],{"id":7001,"slug":7002,"title":7003,"dynasty":2272,"author":7004,"museum":7005,"description":7006,"tags":7007,"thumbUrl":7008,"material":127,"size":127,"collection":127,"collections":7009,"showCount":6990,"zanCount":48,"manualWeight":48,"mainColor":75},220606,"song-shi-shan-shui-qi-bai-shi-220606","宋式山水","齐白石","Kyoto National Museum","这幅作品跳脱山水旧法，以斩截刚劲的线条将山峦拆解为方正硬朗的几何岩体，块面堆叠出雄浑厚重的山野气势，全无传统皴法的柔婉，自带稚拙刚健的力量感。\n浅勾淡染的云气柔化山石冷硬，山坳中隐现的屋舍晕开山居悠然意趣。下方枯林以极简枝桠舒展，疏清淡雅，与上部重峦形成疏密对照。\n它以全新造型重构山水意境，将笔墨的写意精神，融于现代感的视觉表达，于朴拙间开创出别具一格的山水新风貌。",[24,59,149,65,7,64,34,37,35,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9a3dc4e5e42b53615a5f03733ed05.jpg",[],{"id":7011,"slug":7012,"title":7013,"dynasty":80,"author":1410,"museum":135,"description":7014,"tags":7015,"thumbUrl":7016,"material":596,"size":7017,"collection":71,"collections":7018,"showCount":6990,"zanCount":48,"manualWeight":48,"mainColor":75},218763,"xi-liu-gui-ting-tu-wu-zhen-218763","溪流归艇图","这幅画作于至正二年（公元1342年），当时他已经63岁了。溪流来回蜿蜒，森林茂密而阴凉。笔触强烈而浑厚，墨层清晰。纸张磨损严重",[23,24,25,59,65,7,61,62,60,64,34,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71089dbec8ab8f57de8f53bf2bd0a54.jpg","44x26.7",[71],{"id":7020,"slug":7021,"title":7022,"dynasty":18,"author":4777,"museum":119,"description":7023,"tags":7024,"thumbUrl":7025,"material":139,"size":127,"collection":45,"collections":7026,"showCount":6990,"zanCount":961,"manualWeight":48,"mainColor":49},218660,"he-ting-na-liang-tu-zhao-ling-rang-218660","荷亭纳凉图","亭畔柳丝轻垂如帘，半掩着凭栏闲坐的身影。池中荷叶片片叠翠，粉白的花影在微风里轻晃，似与远处烟霭中的山峦遥遥对语。远山以淡墨晕染，隐在薄云与江雾间，江天浩渺处，几只水鸟掠过，更添空寂。近景的石径、矮墙与草木，笔墨细腻却不繁冗，色彩温润如旧时光里的浅茶。整幅画没有燥热的夏意，只有风过荷塘的清凉与文人的从容——仿佛能听见荷叶上的露水滴落，也能看见那人眼中的江天辽阔。宋人的雅致与诗意，就这样凝在这一方圆幅里，淡而悠长，静而生动。",[23,100,24,25,28,29,7,103,63,653,4192,34,106,4780],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79a4b33df725714b75d1cedff8520f.jpg",[45],{"id":7028,"slug":7029,"title":7030,"dynasty":18,"author":2434,"museum":135,"description":7031,"tags":7032,"thumbUrl":7033,"material":169,"size":7034,"collection":42,"collections":7035,"showCount":6990,"zanCount":1080,"manualWeight":48,"mainColor":75},218641,"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁（公元1086—1165年），南宋书画家。字元晖，米芾长子。徽宗宣和四年应选入掌画学, 南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[23,24,25,26,59,65,66,101,7,979,318,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[42,927],{"id":7037,"slug":7038,"title":7039,"dynasty":80,"author":7040,"museum":20,"description":7041,"tags":7042,"thumbUrl":7044,"material":169,"size":7045,"collection":71,"collections":7046,"showCount":6990,"zanCount":712,"manualWeight":48,"mainColor":75},218307,"shu-lin-yuan-shan-tu-shen-xuan-218307","疏林远山图","沈铉","疏林错落，枝干虬劲如篆笔写就，墨色枯润相间，尽显古木苍然之态。林间茅舍隐现，似藏幽人逸趣，不施华彩却含生趣。中景水面空濛，留白处似有波光轻漾，与远山淡墨相融。层峦叠嶂以简笔晕染，云雾缭绕间显深远之致，无刻意雕琢却见丘壑万千。整幅画以极简之笔造极幽之境，元人淡泊宁静的心境跃然纸上，观之如入林泉深处，尘嚣尽散，只余清寂与悠远。笔墨间藏着自然的呼吸，每一处线条都似在诉说着对山水的深情，让人心生向往，沉醉于这份远离俗世的清雅之美。",[24,25,59,65,7,167,7043,125,64,61,533,101],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d537a21bab97b3365385b72b0fd995.jpg","30x50.1cm",[71],{"id":7048,"slug":7049,"title":7050,"dynasty":80,"author":616,"museum":135,"description":7051,"tags":7052,"thumbUrl":7053,"material":169,"size":7054,"collection":71,"collections":7055,"showCount":7056,"zanCount":961,"manualWeight":48,"mainColor":75},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[100,24,25,149,59,7,125,63,60,61,101,66,1400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[71],101,{"id":7058,"slug":7059,"title":1883,"dynasty":18,"author":744,"museum":135,"description":7060,"tags":7061,"thumbUrl":7063,"material":349,"size":7064,"collection":127,"collections":7065,"showCount":7056,"zanCount":961,"manualWeight":48,"mainColor":49},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[23,24,25,26,29,28,65,103,7,60,61,165,1738,583,305,63,1522,3836,7062,6393],"笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg","34×191cm",[],{"id":7067,"slug":7068,"title":7069,"dynasty":177,"author":1825,"museum":135,"description":7070,"tags":7071,"thumbUrl":7072,"material":139,"size":7073,"collection":71,"collections":7074,"showCount":7056,"zanCount":1080,"manualWeight":48,"mainColor":75},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[23,24,100,25,149,28,27,7,104,60,61,199,238,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[71],{"id":7076,"slug":7077,"title":7078,"dynasty":177,"author":301,"museum":135,"description":5347,"tags":7079,"thumbUrl":7081,"material":454,"size":5352,"collection":71,"collections":7082,"showCount":7056,"zanCount":961,"manualWeight":48,"mainColor":379},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）",[23,24,25,149,29,28,304,103,104,7,4496,34,61,60,722,64,3171,7080],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg",[71,45],{"id":7084,"slug":7085,"title":7086,"dynasty":80,"author":616,"museum":20,"description":7087,"tags":7088,"thumbUrl":7098,"material":537,"size":7099,"collection":71,"collections":7100,"showCount":7056,"zanCount":48,"manualWeight":48,"mainColor":75},220795,"you-jian-han-song-tu-zhou-ni-zan-220795","幽涧寒松图轴","《倪瓒幽涧寒松图轴》是元代画家倪瓒创作的一幅纸本水墨画。\n此幅是为友人周逊学所作，并题五言诗：“秋暑多病暍，征夫怨行路。瑟瑟幽涧松，清荫满庭户。寒泉溜崖石，白云集朝暮。怀哉如金玉，周子美无度。息景以桥对，笑言思与晤。”\n倪瓒清高持节，一生不仕，他“白眼视俗物，清言屈时英。富贵乌足道，所思垂今名。不仅自己抱守出世的生活态度，而且对朋友们的入世为官也坚决反对。此幅一为友人赠别，更是劝友人“罢”征路，“息”仕思，含有强烈的“招隐之意”。平远画溪涧幽谷，山石依次渐远，二株松树挺立于杳无人迹的涧底寒泉，意境荒寒，超然出尘，似乎暗寓着仕途的险恶和归隐的自得。构图不用常见的“一河两岸”两段式章法，但画幅上方和其大多数作品一样，留出大片空白，让观者分不清哪里是水，哪里是天。山石墨色清淡，笔法秀峭，渴笔侧锋作折带皴，干净利落而富于变化。松树取萧疏之态，笔力劲拔。倪瓒此幅，笔墨无多但意境深幽，“疏而不简”，“简而不少”。他的这种笔简形具，注重抒写性灵的画格被后人称之为“逸品”。到了明代，更是“江南人家以有无为清浊”，其清标高格，在历代文人士大夫心目中始终被尊为“高士中的高士”。\n此幅作品简淡超逸，虽未署年款，但从书法由竖长变为扁方以及名款和画风来看，当是晚年之作。",[23,24,59,7,583,7089,2671,7090,60,64,65,7091,7092,7093,1400,7094,7095,7096,7097,66],"溪涧","寒泉","折带皴","渴笔","逸品","超然出尘","简淡超逸","意境深幽","招隐之意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c44e7f6172187fb1022fb560336ac0.jpg","纵59.7cm，横50.4cm",[71,212],{"id":7102,"slug":7103,"title":7104,"dynasty":18,"author":604,"museum":2124,"description":7105,"tags":7106,"thumbUrl":7107,"material":139,"size":7108,"collection":44,"collections":7109,"showCount":7056,"zanCount":1080,"manualWeight":48,"mainColor":940},218833,"mu-tong-tu-ma-yuan-218833","牧童图","老牛角弯似新月，驮着披蓑牧童缓行，身后小牛甩尾蹑踪，蹄印在软泥上拓出浅浅纹路。虬枝垂叶筛下碎金，落在牛背与牧童发梢。牧童半倚牛颈，或眯眼听风，或逗弄草茎，全然不觉时光轻淌。笔墨简淡却藏烟火气，江南田埂的闲逸凝于绢素皴擦间——无喧嚣，唯牛鸣与风声，是宋时寻常田园，亦是最动人的归心处。\n\n（注：文案以画面细节为引，用比喻与动态描写交织，将田园闲逸具象化，贴合宋画“以小见大”的意境，语言凝练且富有画面感，适配展览介绍场景。）",[23,24,25,28,29,103,1586,125,3988,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce337b6d51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是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[23,24,25,7,2484,59,28,583,64,2855,62,103,238,1792,7130],"孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg",[71],{"id":7134,"slug":7135,"title":7136,"dynasty":177,"author":672,"museum":673,"description":674,"tags":7137,"thumbUrl":7138,"material":349,"size":677,"collection":127,"collections":7139,"showCount":7056,"zanCount":1080,"manualWeight":48,"mainColor":49},214351,"san-jue-shan-shui-ce-9-hua-yan-214351","三绝山水册-9",[23,24,28,7,164,65,64,34,199,533,2216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aac573368897f7bf21b023fae6ca30c.jpg",[],{"id":7141,"slug":7142,"title":7143,"dynasty":54,"author":55,"museum":119,"description":7144,"tags":7145,"thumbUrl":7146,"material":337,"size":937,"collection":127,"collections":7147,"showCount":7148,"zanCount":1080,"manualWeight":48,"mainColor":75},228824,"san-zi-tu-shen-zhou-228824","三梓图","此图绘梓树三棵，树下二高士漫步对谈，三树排列得当，用笔浑然无迹，人物几笔勾勒，极显“粗沈”之功力。",[23,24,25,149,59,65,67,101,103,125,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50afdc956c6c0467cbc2cece7598519d.jpg",[],100,{"id":7150,"slug":7151,"title":7152,"dynasty":54,"author":1652,"museum":135,"description":7153,"tags":7154,"thumbUrl":7155,"material":87,"size":7156,"collection":71,"collections":7157,"showCount":7148,"zanCount":500,"manualWeight":48,"mainColor":49},221974,"gu-mu-han-quan-tu-zhou-wen-zheng-ming-221974","古木寒泉图轴","一松一柏，相旁而生。柏树老干分披，杈枒四出；其后松树两干并伸，参云直上。背景石壁与松柏紧贴，塞地漫天，几无余地，忽于绝高处界出飞泉一道，数折而下，遂使通幅于紧迫繁复之中，遽尔空灵疏朗，确为神来之笔。",[23,24,149,59,28,65,7,125,61,64,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84d499504792f62282c466eaa4ed0af.jpg","194.1x59.3cm",[71,45],{"id":7159,"slug":7160,"title":7161,"dynasty":18,"author":288,"museum":1542,"description":7162,"tags":7163,"thumbUrl":7164,"material":1865,"size":7165,"collection":42,"collections":7166,"showCount":7148,"zanCount":48,"manualWeight":48,"mainColor":49},221659,"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,25,59,7,61,62,495,373,125,264,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","23.2x23.8厘米",[42,71,45],{"id":7168,"slug":7169,"title":3674,"dynasty":18,"author":604,"museum":1542,"description":7170,"tags":7171,"thumbUrl":7172,"material":454,"size":7173,"collection":42,"collections":7174,"showCount":7148,"zanCount":961,"manualWeight":48,"mainColor":75},221537,"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[23,24,25,2484,7,59,65,199,165,64,103,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","30×30cm",[42,71,45],{"id":7176,"slug":7177,"title":5965,"dynasty":177,"author":2620,"museum":424,"description":7178,"tags":7179,"thumbUrl":7180,"material":139,"size":7181,"collection":71,"collections":7182,"showCount":7148,"zanCount":1080,"manualWeight":48,"mainColor":49},219094,"shu-zhan-xing-lv-tu-yuan-yao-219094","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[23,24,25,28,7,65,304,238,208,103,335,34,37,334,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[71],{"id":7184,"slug":7185,"title":7186,"dynasty":18,"author":4777,"museum":135,"description":7187,"tags":7188,"thumbUrl":7190,"material":139,"size":7191,"collection":42,"collections":7192,"showCount":7148,"zanCount":48,"manualWeight":48,"mainColor":49},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,24,25,2484,59,7,29,7189,1478,63,33,319,167,508,165,103],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[42,71],{"id":7194,"slug":7195,"title":7196,"dynasty":18,"author":604,"museum":135,"description":7197,"tags":7198,"thumbUrl":7199,"material":139,"size":7200,"collection":71,"collections":7201,"showCount":7148,"zanCount":712,"manualWeight":48,"mainColor":49},218689,"tan-mei-tu-ma-yuan-218689","探梅图","这幅大画来自张大千的旧藏，丝绸已经破损，但仔细观察笔触，它是由明代浙江画派的画家所作。",[23,24,59,65,149,7,2127,103,372,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdfc40fea4f0be200f77555498f468f.jpg","192x99.6",[71],{"id":7203,"slug":7204,"title":1282,"dynasty":18,"author":234,"museum":119,"description":7205,"tags":7206,"thumbUrl":7207,"material":337,"size":937,"collection":127,"collections":7208,"showCount":7209,"zanCount":48,"manualWeight":48,"mainColor":49},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","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。",[23,100,24,149,1388,59,65,7,104,60,61,62,106,607,125,64,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],99,{"id":7211,"slug":7212,"title":7213,"dynasty":80,"author":1410,"museum":135,"description":7214,"tags":7215,"thumbUrl":7216,"material":169,"size":7217,"collection":127,"collections":7218,"showCount":7209,"zanCount":712,"manualWeight":48,"mainColor":49},287604,"dong-ting-yu-yin-tu-wu-zhen-287604","洞庭渔隐图","该画作采用“一河两岸”式的构图。近景画双松挺立，枯树横斜，隔岸则是迤逦的山坡，与水边荡桨的渔舟，十分忠实地呈现出江南水乡泽国的景象。虽然布局简略，但添加边角的签名，以及上方的题词之後，别具一番宁静典雅的情调。",[100,24,25,149,59,7,61,62,125,101,66,65,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7237860d8699cbcf4faf880b8386aa52.jpg","146.4x58.6",[],{"id":7220,"slug":7221,"title":7222,"dynasty":54,"author":1096,"museum":20,"description":7223,"tags":7224,"thumbUrl":7225,"material":632,"size":7226,"collection":71,"collections":7227,"showCount":7209,"zanCount":961,"manualWeight":48,"mainColor":75},220908,"mo-juan-chuan-yi-tu-dong-qi-chang-220908","《墨卷传衣图》","《董其昌墨卷传衣图轴》是明代画家董其昌创作的一幅水墨画。\n本幅自识：“己丑南宫墨卷五策，为好事者所藏，得岸上人袖以示予。\n风檐仓卒，书道殊劣，何烦碧纱笼袭之三十五年也。",[23,24,59,149,65,7,165,35,734,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a079cbefa1eeb6917c512cd94e24bd.jpg","纵101.5厘米，横46.3厘米",[71,45],{"id":7229,"slug":7230,"title":7231,"dynasty":177,"author":2075,"museum":369,"description":2076,"tags":7232,"thumbUrl":7233,"material":69,"size":2079,"collection":71,"collections":7234,"showCount":7209,"zanCount":48,"manualWeight":48,"mainColor":75},219995,"shan-shui-hua-bing-wu-chun-ri-hua-wang-shi-min-219995","山水画-丙午春日画",[24,25,100,59,65,7,64,238,34,372,6850,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76b263723822de7104c5bf39a22e450.jpg",[71],{"id":7236,"slug":7237,"title":909,"dynasty":80,"author":7238,"museum":7239,"description":7240,"tags":7241,"thumbUrl":7242,"material":139,"size":7243,"collection":71,"collections":7244,"showCount":7209,"zanCount":1080,"manualWeight":48,"mainColor":49},218252,"shan-shui-tu-zhang-yu-218252","张雨","中央美术学院","层岩叠嶂如篆，皴笔勾出嶙峋骨，墨色晕染间丘壑自生。松风盘桓，虬枝探向云霭，林间小径隐现，似留隐者屐痕。涧水漱石，苔痕漫漶，草木葱茏处藏着清寂。笔墨苍润相济，干笔见劲，湿墨生烟，将林泉之趣凝于尺幅。意境悠远如太古，尘嚣尽散，只余一片澄明，引人沉潜于山水间，体悟那份超脱世俗的淡然与自在。",[24,28,65,7,64,34,238,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45777cf65d0ff7deccb539b3c7b08765.jpg","168x97cm",[71],{"id":7246,"slug":7247,"title":7248,"dynasty":177,"author":1801,"museum":3323,"description":7249,"tags":7250,"thumbUrl":7251,"material":169,"size":7252,"collection":71,"collections":7253,"showCount":7209,"zanCount":48,"manualWeight":48,"mainColor":75},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[24,25,164,59,65,7,318,734,34,167,37,264,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026f3ed0fcf766add4fd6fec99669fa3.jpg","30.6x20.7cm",[71],{"id":7255,"slug":7256,"title":7257,"dynasty":177,"author":672,"museum":119,"description":7258,"tags":7259,"thumbUrl":7260,"material":69,"size":7261,"collection":44,"collections":7262,"showCount":7209,"zanCount":48,"manualWeight":48,"mainColor":49},216779,"zhu-xi-liu-yi-tu-hua-yan-216779","竹溪六逸图","这幅画描绘了李白、孔巢父、韩愈、裴矩、张叔明和陶沔六位大学者在山东泰安聚会，喝茶唱歌，在竹林中隐居。\n这部杰作不仅基于黄大年的遥远山景，还基于逼真的竹子梦、陈老莲的笔触和更微妙的人物形态。景观和人物的布局和风格一致，场景既真实又优美，充分再现了故事的场景，气势恢宏，引人入胜。",[24,25,100,28,29,7,630,103,61,3454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a44828b298078d33d88230dc1a1aca6.jpg","183x100",[44],{"id":7264,"slug":7265,"title":1420,"dynasty":54,"author":945,"museum":119,"description":7266,"tags":7267,"thumbUrl":7268,"material":337,"size":937,"collection":127,"collections":7269,"showCount":7270,"zanCount":961,"manualWeight":48,"mainColor":379},290851,"shan-shui-zhou-tang-yin-290851","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”。",[100,24,149,59,7,583,347,103,64,61,66,101,65,6501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107880d5a5ec31ccbe0869de6e5ceedf.jpg",[],98,{"id":7272,"slug":7273,"title":7274,"dynasty":18,"author":775,"museum":119,"description":7275,"tags":7276,"thumbUrl":7277,"material":337,"size":937,"collection":127,"collections":7278,"showCount":7270,"zanCount":48,"manualWeight":48,"mainColor":940},289659,"han-lin-qi-lv-tu-li-cheng-289659","寒林骑驴图","此为张大千氏大风堂旧藏，在大立轴上画文人骑驴行于郊野，前后有童仆相随。",[23,24,149,59,7,766,372,6850,106,3988,264,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a41e40e74bbef65a72e644fd95d8972.jpg",[],{"id":7280,"slug":7281,"title":7282,"dynasty":54,"author":96,"museum":20,"description":7283,"tags":7284,"thumbUrl":7286,"material":40,"size":7287,"collection":127,"collections":7288,"showCount":7270,"zanCount":712,"manualWeight":48,"mainColor":49},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[24,25,149,28,29,27,7,103,104,60,61,583,7285,37,64,63,278,979,34,734,165],"山洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],{"id":7290,"slug":7291,"title":7292,"dynasty":18,"author":234,"museum":119,"description":7293,"tags":7294,"thumbUrl":7295,"material":127,"size":127,"collection":127,"collections":7296,"showCount":7270,"zanCount":961,"manualWeight":48,"mainColor":49},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[23,24,100,25,26,28,65,7,103,60,61,64,34,62,63,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],{"id":7298,"slug":7299,"title":1420,"dynasty":54,"author":1096,"museum":20,"description":7300,"tags":7301,"thumbUrl":7302,"material":40,"size":7303,"collection":71,"collections":7304,"showCount":7270,"zanCount":961,"manualWeight":48,"mainColor":75},220942,"shan-shui-zhou-dong-qi-chang-220942","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\n画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,59,65,149,7,63,372,199,64,201,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[71,212],{"id":7306,"slug":7307,"title":7308,"dynasty":54,"author":580,"museum":369,"description":7309,"tags":7310,"thumbUrl":7311,"material":169,"size":127,"collection":927,"collections":7312,"showCount":7270,"zanCount":712,"manualWeight":48,"mainColor":75},219983,"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[23,24,25,26,4768,66,59,65,7,34,35,31,238,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[927,212],{"id":7314,"slug":7315,"title":2980,"dynasty":54,"author":945,"museum":135,"description":7316,"tags":7317,"thumbUrl":7319,"material":87,"size":7320,"collection":71,"collections":7321,"showCount":7270,"zanCount":48,"manualWeight":48,"mainColor":49},219972,"hua-xi-yu-yin-tu-tang-yin-219972","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[23,24,25,59,28,65,7,583,239,61,62,103,34,7318,101],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[71],{"id":7323,"slug":7324,"title":7325,"dynasty":811,"author":1137,"museum":135,"description":7326,"tags":7327,"thumbUrl":7329,"material":169,"size":7330,"collection":71,"collections":7331,"showCount":7270,"zanCount":48,"manualWeight":48,"mainColor":75},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,100,25,26,59,65,67,66,101,7,64,34,199,7328,62,37,238,533],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[71],{"id":7333,"slug":7334,"title":7335,"dynasty":54,"author":4986,"museum":396,"description":7336,"tags":7337,"thumbUrl":7338,"material":169,"size":7339,"collection":44,"collections":7340,"showCount":7270,"zanCount":48,"manualWeight":48,"mainColor":49},219507,"liu-min-tu-wu-wei-219507","流民图","“流民图”这个概念，可以追溯至文献中记载的北宋郑侠《流民图》，也即一种讽喻社会阴暗面的政治寓言。",[23,100,24,25,26,59,123,103,7,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee54b264cb8fd4942f81dde5e61dca.jpg","纵38.5横546.5厘米",[44,212],{"id":7342,"slug":7343,"title":7344,"dynasty":18,"author":604,"museum":135,"description":7345,"tags":7346,"thumbUrl":7348,"material":139,"size":7349,"collection":71,"collections":7350,"showCount":7270,"zanCount":48,"manualWeight":48,"mainColor":49},219001,"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[23,100,24,25,7,103,583,64,60,59,28,65,7347,3473],"南宋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[71],{"id":7352,"slug":7353,"title":7354,"dynasty":54,"author":7355,"museum":135,"description":7356,"tags":7357,"thumbUrl":7358,"material":69,"size":7359,"collection":71,"collections":7360,"showCount":7270,"zanCount":48,"manualWeight":48,"mainColor":75},218371,"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[24,149,28,65,101,7,318,319,165,239,199,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[71],{"id":7362,"slug":7363,"title":7364,"dynasty":1051,"author":7365,"museum":135,"description":7366,"tags":7367,"thumbUrl":7368,"material":69,"size":7369,"collection":308,"collections":7370,"showCount":7270,"zanCount":48,"manualWeight":48,"mainColor":75},214586,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了刁光胤对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，刁光胤运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[24,25,164,28,7,372,3988,61,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[308],{"id":7372,"slug":7373,"title":7374,"dynasty":177,"author":301,"museum":20,"description":7375,"tags":7376,"thumbUrl":7377,"material":40,"size":7378,"collection":308,"collections":7379,"showCount":7380,"zanCount":1080,"manualWeight":48,"mainColor":75},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[24,100,25,149,29,28,449,103,335,106,7,372,239,450,31,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[308,71,44,45],97,{"id":7382,"slug":7383,"title":7384,"dynasty":54,"author":1096,"museum":135,"description":7385,"tags":7386,"thumbUrl":7387,"material":349,"size":7388,"collection":127,"collections":7389,"showCount":7380,"zanCount":48,"manualWeight":48,"mainColor":75},231955,"lin-ni-zan-dong-gang-cao-tang-tu-dong-qi-chang-231955","临倪瓒东岗草堂图","可知题识，董其昌于崇祯二年（1629）夏天临写倪瓒〈东冈草堂〉图，同时抄录画上倪瓒与张雨的原题。研究倪瓒早期画迹时，亦有引用此辅作为 证者不过此作用笔用墨与董其昌一般有异，疑因下因作品写角作品。画幅右图存文从简574-168）之印。",[24,25,59,122,65,7,125,607,63,61,264,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","87.4×65厘米",[],{"id":7391,"slug":7392,"title":7393,"dynasty":18,"author":899,"museum":4678,"description":7394,"tags":7395,"thumbUrl":7396,"material":87,"size":7397,"collection":42,"collections":7398,"showCount":7380,"zanCount":48,"manualWeight":48,"mainColor":49},226547,"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[23,24,25,149,7,59,65,238,34,199,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[42,71,212],{"id":7400,"slug":7401,"title":7402,"dynasty":18,"author":717,"museum":7403,"description":7404,"tags":7405,"thumbUrl":7406,"material":1865,"size":7407,"collection":127,"collections":7408,"showCount":7380,"zanCount":961,"manualWeight":48,"mainColor":49},223341,"yun-qi-lou-tu-mi-fei-223341","云起楼图","赛克勒美术馆","画中“云起楼图”题字，确为明董其昌真迹，非常珍贵。\n米芾最擅长的是以笔墨点染的方式描绘江南山水，本件《云起楼图》是典型的“米氏云山”的传统，在技法上，采用江南画家董源、巨然的传统，以苔墨点与晕染来画圆弧形的山峦，让山水形象融合在一片雾气中，特别具有抒情的韵味。\n画面约中景处，丘陵顶端有一两座院落，下可眺望江景，远观则为烟云变幻的山峦。这让人联想起米芾位于润州（江苏镇江）北固山的故居“海岳庵”，附近有名胜“甘露寺”与“多景楼”，米芾时常登览赋诗（例如《秋暑憩多景楼诗》），浏览江南云雾变化的景致。米芾之子米友仁的《潇湘奇观卷》亦是描绘“海岳庵”一带的山川景色。米芾润州家居的景观，成为创作云山图最重要的题材之一。\n近景亦以类似的墨点图写前后两排的松木，墨色稍浓，其间及其与远山间，仍以烟云留白的技法分隔空间，与整幅图表达空间层次感的幽缈之意相映成趣。其山木树石的风格似乎可从董源处寻其渊源。除此之外，米芾“以山水古今相师”，即融合古人技法与对自然山水的体悟成一家，风格独特，故世称“大米”。\n这幅又作《天降时雨图》，画家巧妙地运用“烟云掩映”的技法，分隔远山与松木之间的空间感，尤其是墨点晕染的圆转山头，可见其山顶积墨浓重、表现阴影，山腰以下则没人淡墨晕染的烟云中，仿佛连绵的山峦出入云霭间，幽缈、空远。",[23,24,59,7,979,34,65,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104b03b59e1d79cc0c5f6fda4b889ce9.jpg","150cm×78.8cm",[],{"id":7410,"slug":7411,"title":7412,"dynasty":18,"author":7413,"museum":704,"description":7414,"tags":7415,"thumbUrl":7416,"material":2147,"size":7417,"collection":127,"collections":7418,"showCount":7380,"zanCount":1080,"manualWeight":48,"mainColor":75},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[23,24,26,123,59,1042,103,7,165,734,61,63,6299,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纵34.9厘米，横848.8厘米",[],{"id":7420,"slug":7421,"title":7422,"dynasty":80,"author":887,"museum":20,"description":7423,"tags":7424,"thumbUrl":7425,"material":7426,"size":7427,"collection":71,"collections":7428,"showCount":7380,"zanCount":500,"manualWeight":48,"mainColor":49},220878,"shu-dao-nan-zhao-meng-fu-220878","蜀道难","此图描写了大自然动人心魄的奇险与壮伟，给人以回肠荡气之感。诸多的画面此隐彼现，无论是山之高，水之急，河山之改观，林木之荒寂，连峰绝壁之险，皆有逼人之势，其气象之宏伟，其境界之阔大，确非他人可及。再从总体来看，其变化极速，愈变愈奇，又往往出人意料，使人目不暇接。正如清代诗评家沈德潜所盛称：“笔势纵横，如虬飞蠖动，起雷霆于指顾之间。”",[23,24,28,7,103,335,165,64,37,334,278,1120,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54697ce08d4ec72533884797c61458dd.jpg","立轴，纸本设色","纵154.4厘米，纵56.6厘米",[71,45],{"id":7430,"slug":7431,"title":7432,"dynasty":54,"author":410,"museum":673,"description":7433,"tags":7434,"thumbUrl":7436,"material":69,"size":7437,"collection":71,"collections":7438,"showCount":7380,"zanCount":48,"manualWeight":48,"mainColor":75},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,25,26,59,28,7,65,373,62,106,125,61,64,7435,495,63,34],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[71,45],{"id":7440,"slug":7441,"title":7442,"dynasty":54,"author":55,"museum":517,"description":518,"tags":7443,"thumbUrl":7444,"material":349,"size":522,"collection":127,"collections":7445,"showCount":7380,"zanCount":48,"manualWeight":48,"mainColor":49},220061,"hu-qiu-shi-er-jing-tu-ce-6-shen-zhou-220061","虎丘十二景图册-6",[23,24,59,65,164,7,104,61,4496,165,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72248fc90bb40e68bc86e816e76412c9.jpg",[],{"id":7447,"slug":7448,"title":7449,"dynasty":54,"author":55,"museum":517,"description":518,"tags":7450,"thumbUrl":7451,"material":349,"size":522,"collection":127,"collections":7452,"showCount":7380,"zanCount":48,"manualWeight":48,"mainColor":49},220057,"hu-qiu-shi-er-jing-tu-ce-10-shen-zhou-220057","虎丘十二景图册-10",[23,24,59,164,65,7,104,63,103,125,64,4828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f836dd69318d68368bdc55aed70842.jpg",[],{"id":7454,"slug":7455,"title":7456,"dynasty":54,"author":1272,"museum":161,"description":7457,"tags":7458,"thumbUrl":7459,"material":169,"size":127,"collection":71,"collections":7460,"showCount":7380,"zanCount":961,"manualWeight":48,"mainColor":49},217058,"chun-shan-pian-zhou-tu-yao-sui-217058","春山扁舟图","姚绥是明朝的一位著名画家，他的作品《春山扁舟图》是一幅典型的山水画，描绘了一段美好的春天，山峦翠绿，水面波光粼粼，扁舟悠然自得地漂流在江中。图中的山水景色清新宜人，构图简洁大方，笔墨流畅自然，是姚绥非常优秀的代表作。",[24,59,65,7,62,61,199,34,64,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d7c3ea94eed15c56d67aa937bbc39c.jpg",[71],{"id":7462,"slug":7463,"title":7464,"dynasty":54,"author":1096,"museum":56,"description":1895,"tags":7465,"thumbUrl":7466,"material":69,"size":127,"collection":127,"collections":7467,"showCount":7380,"zanCount":48,"manualWeight":48,"mainColor":940},214658,"qiu-xing-ba-jing-tu-ce-1-dong-qi-chang-214658","秋兴八景图册-1",[1019,59,28,7,3865,34,164,65,223,64,3004,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10dabbb12a6134bd0b3af4b7144fde3e.jpg",[],{"id":7469,"slug":7470,"title":7471,"dynasty":80,"author":887,"museum":135,"description":7472,"tags":7473,"thumbUrl":7475,"material":596,"size":7476,"collection":927,"collections":7477,"showCount":7380,"zanCount":961,"manualWeight":48,"mainColor":75},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[100,24,25,66,149,67,59,7,102,125,7474,61],"孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[927],{"id":7479,"slug":7480,"title":7481,"dynasty":811,"author":812,"museum":119,"description":7482,"tags":7483,"thumbUrl":7484,"material":127,"size":127,"collection":127,"collections":7485,"showCount":7486,"zanCount":48,"manualWeight":48,"mainColor":49},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,24,25,100,149,59,65,7,34,60,61,35,103,64,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],96,{"id":7488,"slug":7489,"title":7490,"dynasty":18,"author":775,"museum":704,"description":7491,"tags":7492,"thumbUrl":7493,"material":6855,"size":7494,"collection":127,"collections":7495,"showCount":7486,"zanCount":48,"manualWeight":48,"mainColor":49},221411,"xiao-han-lin-tu-juan-li-cheng-221411","小寒林图卷","绘远处山恋起伏，云雾空蒙；近处松树数株，松干挺直，枝杈虬曲多姿，林木笼罩于烟霭雾气之中，四周坡面山石间杂树丛生，郁郁葱葱。李成，五代画家，画山石以“卷云皴”；画寒林创“蟹爪”法，其学生郭熙亦秉承其画风。",[23,24,25,26,59,7,65,1616,372,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c461e36f2a0526a7f631fdaa0a30b03.jpg","39.4x71.4\u002F39.4x233厘米",[],{"id":7497,"slug":7498,"title":7499,"dynasty":80,"author":1410,"museum":1542,"description":7500,"tags":7501,"thumbUrl":7503,"material":349,"size":7504,"collection":71,"collections":7505,"showCount":7486,"zanCount":712,"manualWeight":48,"mainColor":75},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[23,24,25,59,65,223,7,62,61,34,890,5614,495,7502,166],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[71,212],{"id":7507,"slug":7508,"title":7509,"dynasty":2272,"author":6800,"museum":6870,"description":7510,"tags":7511,"thumbUrl":7512,"material":7513,"size":127,"collection":127,"collections":7514,"showCount":7486,"zanCount":48,"manualWeight":48,"mainColor":75},220577,"bin-hong-mo-miao-huang-bin-hong-220577","宾虹墨妙","这幅山水以双峰对峙构景，留白作水湾，山麓渔村茅舍错落，滩头枯木虬曲苍劲，水面扁舟轻泛，野逸之趣扑面而来。\n\n以焦墨积墨写山，皴擦点染间尽显山峦浑厚华滋，墨色浓淡相生，带着萧疏清寂的冬日况味，将山川静穆幽深藏于笔底。题款行书朴拙苍劲，与画面浑融一体，文人意趣尽显。整体意境清寂淡远，于简淡中见苍茫，寥寥数笔便勾勒出山水灵秀静谧，尽显水墨写意的通透韵致，藏着独有的山水襟怀。",[24,25,59,65,7,62,125,35,31,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdef6faf38959b0a429a84507d8f8ac0.jpg","墨笔设色、 纸本水墨",[],{"id":7516,"slug":7517,"title":7518,"dynasty":18,"author":604,"museum":161,"description":7519,"tags":7520,"thumbUrl":7521,"material":139,"size":127,"collection":71,"collections":7522,"showCount":7486,"zanCount":961,"manualWeight":48,"mainColor":49},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,100,24,25,149,28,29,65,7,63,165,765,103,239,508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[71],{"id":7524,"slug":7525,"title":7526,"dynasty":54,"author":96,"museum":135,"description":7527,"tags":7528,"thumbUrl":7531,"material":139,"size":7532,"collection":71,"collections":7533,"showCount":7486,"zanCount":48,"manualWeight":48,"mainColor":75},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[24,25,164,122,28,29,7,7529,7530,62,106,63],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[71],{"id":7535,"slug":7536,"title":7537,"dynasty":177,"author":672,"museum":673,"description":674,"tags":7538,"thumbUrl":7539,"material":349,"size":677,"collection":127,"collections":7540,"showCount":7486,"zanCount":961,"manualWeight":48,"mainColor":49},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7",[23,24,59,28,164,65,7,264,34,103,167,1815,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg",[],{"id":7542,"slug":7543,"title":7544,"dynasty":18,"author":7545,"museum":1542,"description":7546,"tags":7547,"thumbUrl":7548,"material":28,"size":7549,"collection":42,"collections":7550,"showCount":7551,"zanCount":48,"manualWeight":48,"mainColor":49},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,24,100,26,28,65,7,583,63,335,103,167,37,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[42,71,212],95,{"id":7553,"slug":7554,"title":7555,"dynasty":80,"author":997,"museum":135,"description":7556,"tags":7557,"thumbUrl":7559,"material":69,"size":7560,"collection":308,"collections":7561,"showCount":7551,"zanCount":1080,"manualWeight":48,"mainColor":49},218661,"dong-yuan-zai-jiu-tu-cao-zhi-bai-218661","东园载酒图","这幅画画的是曹知白自己在采芝窝的隐居地，山川秀丽，笔墨温润，思想极为高雅明朗，使之成为曹氏山水画的精品。",[23,100,24,25,149,59,65,7558,7,64,34,104,278],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4e4c7f20f69be119e1b5cb8d07c1f7.jpg","97.1x54.8cm",[308],{"id":7563,"slug":7564,"title":7565,"dynasty":80,"author":7566,"museum":20,"description":7567,"tags":7568,"thumbUrl":7569,"material":169,"size":7570,"collection":71,"collections":7571,"showCount":7551,"zanCount":1080,"manualWeight":48,"mainColor":75},218254,"ge-an-wang-shan-tu-zhao-zhong-218254","隔岸望山图","赵衷","此图为《张观等五家集绘卷》之一。近岸画坡石高树，参差错落，一人坐平坡上隔江遥望烟云笼罩的远山。坡前湖面宽阔浩渺，意境清幽。近树用笔精工细致，生动写实。对岸远山以简率的笔墨轻勾淡染，远树点笔为形，概括取象，给人以旷远迷离之感。人物形象虽小，造型却生动准确。全图用笔秀润，墨色淡雅。",[24,59,7,25,318,319,165,103,239,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885be14f4847ee54f72c9a387e606e3.jpg","纵30厘米，横50.1厘米",[71],{"id":7573,"slug":7574,"title":7575,"dynasty":54,"author":7576,"museum":135,"description":7577,"tags":7578,"thumbUrl":7579,"material":139,"size":7580,"collection":71,"collections":7581,"showCount":7551,"zanCount":712,"manualWeight":48,"mainColor":49},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","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」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,25,7,149,65,59,28,103,60,61,264,106,413,2127,63,318,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[71],{"id":7583,"slug":7584,"title":7585,"dynasty":177,"author":1704,"museum":135,"description":7586,"tags":7587,"thumbUrl":7588,"material":139,"size":7589,"collection":71,"collections":7590,"showCount":7551,"zanCount":1080,"manualWeight":48,"mainColor":49},214810,"qing-feng-tu-tang-dai-214810","庆丰图","这是一幅典型的清代风格的庭院画，描绘了新建的凤仪城，其大厅宏伟，市场井然有序，色彩美丽。",[23,24,27,28,7,104,103,34,238,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae9375823b07d0753215b6cf25b5637.jpg","393.6x234",[71],{"id":7592,"slug":7593,"title":7594,"dynasty":177,"author":1801,"museum":119,"description":7595,"tags":7596,"thumbUrl":7597,"material":127,"size":127,"collection":71,"collections":7598,"showCount":7599,"zanCount":48,"manualWeight":48,"mainColor":75},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[24,25,59,65,164,67,101,7,264,182,199,318,319,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[71,212],94,{"id":7601,"slug":7602,"title":7603,"dynasty":177,"author":395,"museum":20,"description":7604,"tags":7605,"thumbUrl":7607,"material":349,"size":7608,"collection":127,"collections":7609,"showCount":7599,"zanCount":961,"manualWeight":48,"mainColor":75},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,7606,59,65,7,239,34,61,62,103,199,583,64],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],{"id":7611,"slug":7612,"title":159,"dynasty":177,"author":1925,"museum":7613,"description":7614,"tags":7615,"thumbUrl":7616,"material":349,"size":7617,"collection":127,"collections":7618,"showCount":7599,"zanCount":48,"manualWeight":48,"mainColor":75},231387,"shan-shui-ce-zhu-da-231387","故宫出版社","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[24,25,164,59,7,264,630,165,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c452f4285c6312c00652736062c93d6.jpg","纵二六厘米，横四一厘米",[],{"id":7620,"slug":7621,"title":7622,"dynasty":177,"author":3760,"museum":704,"description":5285,"tags":7623,"thumbUrl":7624,"material":5071,"size":5487,"collection":127,"collections":7625,"showCount":7599,"zanCount":961,"manualWeight":48,"mainColor":49},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法",[23,24,25,7,1099,65,28,149,238,34,60,61,37,722,826,103,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg",[],{"id":7627,"slug":7628,"title":7629,"dynasty":54,"author":55,"museum":135,"description":955,"tags":7630,"thumbUrl":7631,"material":127,"size":7632,"collection":127,"collections":7633,"showCount":7599,"zanCount":48,"manualWeight":48,"mainColor":49},222109,"fang-fan-kuan-shan-shui-shen-zhou-222109","仿范宽山水",[23,24,59,28,7,165,64,103,65,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a75f134440ced5f01d925c27d12f935.jpg","54.2x99.5厘米",[],{"id":7635,"slug":7636,"title":7637,"dynasty":54,"author":1096,"museum":20,"description":6074,"tags":7638,"thumbUrl":7639,"material":375,"size":2597,"collection":71,"collections":7640,"showCount":7599,"zanCount":48,"manualWeight":48,"mainColor":75},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页",[23,24,25,164,59,28,7,64,34,63,31,167,5068,37,67,101,65,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg",[71,45],{"id":7642,"slug":7643,"title":2810,"dynasty":80,"author":160,"museum":135,"description":7644,"tags":7645,"thumbUrl":7646,"material":69,"size":7647,"collection":71,"collections":7648,"showCount":7599,"zanCount":961,"manualWeight":48,"mainColor":75},220806,"dong-shan-cao-tang-tu-wang-meng-220806","《东山草堂图》是元四家之一的王蒙创作的一幅隐居题材的山水画。描绘了东山之中隔水相望的草堂，\n这幅画描绘了隔水草堂，画中巨石重叠，秋林疏爽，高士闲居。松树、柏树以及山石都刻画得极其密实、精细。 《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,24,59,28,65,7,34,583,64,278,201,238,35,3901,1616,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[71,212],{"id":7650,"slug":7651,"title":7652,"dynasty":177,"author":1825,"museum":1542,"description":7653,"tags":7654,"thumbUrl":7655,"material":169,"size":127,"collection":71,"collections":7656,"showCount":7599,"zanCount":961,"manualWeight":48,"mainColor":75},219711,"fang-ju-ran-xi-shan-gao-shi-tu-wang-jian-219711","仿巨然溪山高士图","《仿巨然溪山高士图轴》是王鉴的一副临摹宋朝著名画僧巨然和尚的古山水画。王鉴擅长临摹古人之画，功底深厚，巨然是他非常推崇的北宋大家，他一生中摹仿巨然的作品非常多，巨然的画风淡墨轻岚，风韵秀润。此图上款识：“巨然《溪山高士图》来自内府，为大司空刘敬仲先生所藏。余在长安时曾见过，今不知流落谁手。雨窗闲坐，思其意为之，不求其形似也。王鑑。",[23,24,59,65,122,149,7,104,264,61,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885430959c37cabba225c27dbb27cb24.jpg",[71],{"id":7658,"slug":7659,"title":7660,"dynasty":80,"author":1715,"museum":1542,"description":7661,"tags":7662,"thumbUrl":7663,"material":139,"size":7664,"collection":44,"collections":7665,"showCount":7599,"zanCount":961,"manualWeight":48,"mainColor":75},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[23,100,24,25,26,28,29,67,101,7,103,62,34,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[44,45,927],{"id":7667,"slug":7668,"title":7669,"dynasty":18,"author":178,"museum":119,"description":7670,"tags":7671,"thumbUrl":7672,"material":169,"size":7673,"collection":71,"collections":7674,"showCount":7599,"zanCount":1080,"manualWeight":48,"mainColor":940},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[24,25,2484,29,59,28,61,106,34,264,1249,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[71,42],{"id":7676,"slug":7677,"title":7678,"dynasty":177,"author":6184,"museum":119,"description":7679,"tags":7680,"thumbUrl":7681,"material":337,"size":937,"collection":71,"collections":7682,"showCount":7683,"zanCount":48,"manualWeight":48,"mainColor":75},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,25,149,304,28,29,65,7,104,35,34,64,106,61,1120,1586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[71],93,{"id":7685,"slug":7686,"title":7687,"dynasty":177,"author":395,"museum":424,"description":7688,"tags":7689,"thumbUrl":7690,"material":349,"size":7691,"collection":127,"collections":7692,"showCount":7683,"zanCount":961,"manualWeight":48,"mainColor":75},231362,"qin-huai-he-tu-shi-tao-231362","秦淮河图","石涛与弘仁、髡残、朱耷合称“清初四僧”，在中国书画史上影响巨大。本博分享的石涛国画作品，选自美国弗利尔美术馆（Freer Gallery of Art）珍藏的金陵山水册页：《金陵怀古册》，画面多为金陵（今南京）之景。作品中可以看出，石涛用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,25,59,28,65,7,62,103,372,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfce3ea245449c5759644e50c10c5ea.jpg","25.5 x 20.2厘米",[],{"id":7694,"slug":7695,"title":7696,"dynasty":177,"author":5031,"museum":20,"description":7697,"tags":7698,"thumbUrl":7700,"material":40,"size":7701,"collection":44,"collections":7702,"showCount":7683,"zanCount":961,"manualWeight":48,"mainColor":49},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,25,26,28,29,304,7,103,104,61,2845,34,63,60,4203,7699],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[44,45],{"id":7704,"slug":7705,"title":7706,"dynasty":18,"author":592,"museum":369,"description":7707,"tags":7708,"thumbUrl":7709,"material":87,"size":7710,"collection":42,"collections":7711,"showCount":7683,"zanCount":961,"manualWeight":48,"mainColor":49},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[23,24,25,26,7,59,65,103,34,239,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[42,71,45],{"id":7713,"slug":7714,"title":7715,"dynasty":80,"author":160,"museum":20,"description":7716,"tags":7717,"thumbUrl":7718,"material":454,"size":7719,"collection":71,"collections":7720,"showCount":7683,"zanCount":48,"manualWeight":48,"mainColor":49},220818,"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。\n他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。\n《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。",[23,24,25,149,7,28,65,304,238,104,61,34,1120,106,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[71,45],{"id":7722,"slug":7723,"title":7724,"dynasty":177,"author":1825,"museum":6665,"description":7725,"tags":7726,"thumbUrl":7728,"material":169,"size":7729,"collection":71,"collections":7730,"showCount":7683,"zanCount":48,"manualWeight":48,"mainColor":75},214546,"feng-lin-tu-wang-jian-214546","风林图","这幅画据说是沈周临摹的，是后世的典范，因为沈周为元四家建立了方法。用墨深入人心，笔触比沈周的更柔和，没有老辣。",[24,25,149,59,65,7,34,64,7727,1738],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbfe89cadeb3bc96eed8e040b30a40c.jpg","88.2x51.3",[71],{"id":7732,"slug":7733,"title":6055,"dynasty":18,"author":7734,"museum":135,"description":7735,"tags":7736,"thumbUrl":7737,"material":349,"size":7738,"collection":127,"collections":7739,"showCount":7740,"zanCount":1080,"manualWeight":48,"mainColor":75},232841,"chi-bi-tu-wu-yuan-zhi-232841","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,24,25,26,59,65,7,62,182,34,2855,167,1897,238,37,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],92,{"id":7742,"slug":7743,"title":7744,"dynasty":54,"author":1652,"museum":369,"description":7745,"tags":7746,"thumbUrl":7747,"material":349,"size":7748,"collection":127,"collections":7749,"showCount":7740,"zanCount":48,"manualWeight":48,"mainColor":379},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[23,24,25,26,59,65,7,63,34,64,61,67,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],{"id":7751,"slug":7752,"title":7753,"dynasty":177,"author":1872,"museum":56,"description":7754,"tags":7755,"thumbUrl":7756,"material":7118,"size":7757,"collection":71,"collections":7758,"showCount":7740,"zanCount":961,"manualWeight":48,"mainColor":75},222611,"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,24,59,65,164,7,372,347,37,1329,167,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纵24.4 厘米 横49.7 厘米",[71,212],{"id":7760,"slug":7761,"title":7762,"dynasty":54,"author":7763,"museum":704,"description":7764,"tags":7765,"thumbUrl":7766,"material":225,"size":7767,"collection":71,"collections":7768,"showCount":7740,"zanCount":48,"manualWeight":48,"mainColor":49},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","祝允明","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,100,24,25,26,67,59,28,101,66,7,34,63,60,61,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[71,45],{"id":7770,"slug":7771,"title":7772,"dynasty":18,"author":194,"museum":119,"description":1980,"tags":7773,"thumbUrl":7774,"material":28,"size":7775,"collection":42,"collections":7776,"showCount":7740,"zanCount":961,"manualWeight":48,"mainColor":49},221431,"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕",[23,24,25,149,28,7,65,64,34,61,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[42,71,45],{"id":7778,"slug":7779,"title":7780,"dynasty":54,"author":55,"museum":650,"description":651,"tags":7781,"thumbUrl":7783,"material":349,"size":655,"collection":127,"collections":7784,"showCount":7740,"zanCount":961,"manualWeight":48,"mainColor":75},220025,"dong-zhuang-tu-ce-zhi-he-dong-shen-zhou-220025","东庄图册之鹤洞",[23,24,25,164,59,65,7,2505,7782,61,34,64,1329,2527],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae2436dfdae7b3a2935aef740291ff1.jpg",[],{"id":7786,"slug":7787,"title":7788,"dynasty":54,"author":55,"museum":650,"description":651,"tags":7789,"thumbUrl":7791,"material":69,"size":655,"collection":127,"collections":7792,"showCount":7740,"zanCount":961,"manualWeight":48,"mainColor":75},220024,"dong-zhuang-tu-ce-zhi-geng-xi-xuan-shen-zhou-220024","东庄图册之耕息轩",[23,24,25,164,59,28,65,7,103,34,7790,105],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d01d708daaa61717394c3e4b577c01.jpg",[],{"id":7794,"slug":7795,"title":7796,"dynasty":177,"author":2075,"museum":369,"description":2076,"tags":7797,"thumbUrl":7798,"material":69,"size":2079,"collection":71,"collections":7799,"showCount":7740,"zanCount":48,"manualWeight":48,"mainColor":75},219992,"shan-shui-hua-fang-ni-gao-shi-wang-shi-min-219992","山水画-仿倪高士",[24,25,59,7,372,64,61,65,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1db0745ab15a7923cd8f438c16122b9.jpg",[71],{"id":7801,"slug":7802,"title":7803,"dynasty":18,"author":7804,"museum":56,"description":7805,"tags":7806,"thumbUrl":7807,"material":596,"size":7808,"collection":71,"collections":7809,"showCount":7740,"zanCount":500,"manualWeight":48,"mainColor":49},218400,"du-fu-shi-yi-tu-zhao-kui-218400","杜甫诗意图","赵葵","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。",[23,24,26,59,65,630,60,61,63,64,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵74.7厘米，横 212.2厘米",[71],{"id":7811,"slug":7812,"title":7813,"dynasty":54,"author":945,"museum":119,"description":7814,"tags":7815,"thumbUrl":7816,"material":69,"size":7817,"collection":44,"collections":7818,"showCount":7740,"zanCount":961,"manualWeight":48,"mainColor":75},215040,"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[23,24,25,26,29,28,103,63,7,34,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[44],{"id":7820,"slug":7821,"title":909,"dynasty":177,"author":5740,"museum":704,"description":7822,"tags":7823,"thumbUrl":7824,"material":69,"size":7825,"collection":71,"collections":7826,"showCount":7740,"zanCount":961,"manualWeight":48,"mainColor":75},214692,"shan-shui-tu-cha-shi-biao-214692","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[23,24,7,59,65,67,571,31,33,103,1586,34,62,167,3796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[71],{"id":7828,"slug":7829,"title":7830,"dynasty":177,"author":672,"museum":673,"description":674,"tags":7831,"thumbUrl":7832,"material":349,"size":677,"collection":127,"collections":7833,"showCount":7740,"zanCount":48,"manualWeight":48,"mainColor":49},214349,"san-jue-shan-shui-ce-8-hua-yan-214349","三绝山水册-8",[23,24,59,28,65,164,7,63,60,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ff06b8f3beab62344a0d21f610c76c.jpg",[],{"id":7835,"slug":7836,"title":7837,"dynasty":18,"author":234,"museum":119,"description":7838,"tags":7839,"thumbUrl":7840,"material":337,"size":937,"collection":127,"collections":7841,"showCount":7842,"zanCount":961,"manualWeight":48,"mainColor":49},287574,"qiao-song-ping-yuan-tu-guo-xi-287574","乔松平远图","此图绘近处陂陀之上苍松二株，主干遒劲，枝丫奇出。树下坡岩交叠．石间山泉流缓，似有潺潺而动的音韵之声，远山连绵起伏，幻于迷蒙之中。",[24,100,59,7,413,64,167,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9775c3c716c1040beb11e08a7bdc34.jpg",[],91,{"id":7844,"slug":7845,"title":7846,"dynasty":80,"author":7847,"museum":119,"description":7848,"tags":7849,"thumbUrl":7850,"material":337,"size":937,"collection":127,"collections":7851,"showCount":7842,"zanCount":961,"manualWeight":48,"mainColor":75},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,25,26,59,65,67,101,66,7,413,2127,62,103,34,61,264,63,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],{"id":7853,"slug":7854,"title":7855,"dynasty":177,"author":3760,"museum":119,"description":7856,"tags":7857,"thumbUrl":7858,"material":127,"size":127,"collection":71,"collections":7859,"showCount":7842,"zanCount":48,"manualWeight":48,"mainColor":75},235778,"ming-xian-ji-jin-ce-fang-guan-tong-shan-shui-ye-wang-hui-235778","名贤集锦册-仿关仝山水页","此作用笔追摹北派山水意趣，危峰崚嶒拔地而起，以硬朗繁复的皴法刻画岩壁肌理，将山石的苍劲厚重尽数铺展。山间古木虬曲错落，枝叶攒簇尽显苍郁生机。山坳处山居隐现，为雄奇冷峭的山水晕开一缕悠然烟火气，留白的溪山道途让画面疏密有致，暗合虚实相生之理。\n\n画作师法关仝却自存灵秀，把北宗山水的雄浑刚劲与南宗笔墨的秀润雅致相融，笔力苍劲不失隽秀，整幅画面静穆悠远，尽显林泉高致的文人雅趣，是师古而化的精妙之作。",[24,59,65,122,164,7,318,165,35,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4175456b66ebb696d2bb21cd59305c.jpg",[71],{"id":7861,"slug":7862,"title":7863,"dynasty":1051,"author":7864,"museum":119,"description":7865,"tags":7866,"thumbUrl":7867,"material":127,"size":127,"collection":127,"collections":7868,"showCount":7842,"zanCount":1080,"manualWeight":48,"mainColor":49},232623,"wan-song-qiu-lin-tu-quan-juan-zhang-zao-232623","万松秋林图全卷","张璪","论画山水树石》中说到“山水之变，始于吴，成于二李”之后，紧接着便说“树石之状，妙于韦偃，穷于张通(张璪)”。在唐人心目中，张璪的画还是高于王维等人的。张璪作画喜用紫毫秃笔，属于吴道子型激情一派画家，他往往秃笔抹写，画至得意处，忘乎所已。干脆以手醮色，挥涂起来，久而久之，形成习惯，乃至于发展为王默的“脚蹙手抹”。后世的指画当受其影响。\n张璪的山水画另一大特色就是以墨为主，不贵五彩。荆浩《笔法记》云“张藻员外树石，气韵俱盛，笔墨积微，真思卓然，不贵五彩，旷古绝今，未之有也。”这种“不贵五彩”、“笔墨积微”水墨画法在绘画技法上是一个极大的突破。",[23,100,24,25,26,59,28,65,7,413,1389,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33524bed7f62604513b963bc367865.jpg",[],{"id":7870,"slug":7871,"title":7872,"dynasty":177,"author":395,"museum":119,"description":7873,"tags":7874,"thumbUrl":7875,"material":127,"size":127,"collection":127,"collections":7876,"showCount":7842,"zanCount":961,"manualWeight":48,"mainColor":75},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,25,26,28,7,65,67,101,66,102,62,106,104,60,61,63,34,64,37,5118,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":7878,"slug":7879,"title":7880,"dynasty":54,"author":96,"museum":119,"description":7881,"tags":7882,"thumbUrl":7883,"material":127,"size":127,"collection":127,"collections":7884,"showCount":7842,"zanCount":48,"manualWeight":48,"mainColor":49},228385,"shang-lin-tu-juan-si-ren-shou-cang-chou-ying-228385","上林图卷（私人收藏）","《明仇英上林图卷》由明朝画家仇英绘画。\n仇英《上林图卷》画意取自西汉司马相如的名篇《上林赋》，描写了汉武帝时的皇家园囿“上林苑”的美景，以及汉武帝与群臣狩猎时的壮观景象。\n【名称】明仇英上林图卷 【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[23,29,27,28,26,7,104,103,34,64,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":7886,"slug":7887,"title":7888,"dynasty":177,"author":301,"museum":135,"description":5347,"tags":7889,"thumbUrl":7894,"material":454,"size":5352,"collection":71,"collections":7895,"showCount":7842,"zanCount":961,"manualWeight":48,"mainColor":75},222768,"shi-er-yue-ling-tu-9-yue-lang-shi-ning-222768","十二月令图（9月）",[23,24,29,28,7890,7891,103,104,559,7,34,7892,7893],"青绿山水","时令图","赏菊","消闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4765ff320188bb74abd93a15b392fe.jpg",[71,45],{"id":7897,"slug":7898,"title":7899,"dynasty":54,"author":96,"museum":3157,"description":7900,"tags":7901,"thumbUrl":7902,"material":40,"size":7903,"collection":71,"collections":7904,"showCount":7842,"zanCount":48,"manualWeight":48,"mainColor":49},222207,"liu-yuan-ren-xing-shan-shui-tu-chou-ying-222207","柳园人形山水图","柳园里建筑整齐划一，假山和房屋非常考究，屋内三三两两侃侃而谈。运用点缀法，在灌木上点上白色，以示花开。仇英，明代画家，与唐寅、文征明、沈周并称“明四家”。",[23,24,29,28,304,7,104,103,125,165,278,2559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[71,45],{"id":7906,"slug":7907,"title":7908,"dynasty":18,"author":604,"museum":135,"description":7909,"tags":7910,"thumbUrl":7911,"material":454,"size":7912,"collection":42,"collections":7913,"showCount":7842,"zanCount":48,"manualWeight":48,"mainColor":49},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","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款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\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构图: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技法: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。",[23,24,25,149,28,304,29,7,104,103,583,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[42,71,212],{"id":7915,"slug":7916,"title":7917,"dynasty":1051,"author":4015,"museum":20,"description":7918,"tags":7919,"thumbUrl":7920,"material":87,"size":7921,"collection":71,"collections":7922,"showCount":7842,"zanCount":48,"manualWeight":48,"mainColor":49},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,24,25,164,28,29,7,104,60,165,765,103,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[71,45],{"id":7924,"slug":7925,"title":7926,"dynasty":54,"author":7927,"museum":424,"description":7928,"tags":7929,"thumbUrl":7930,"material":139,"size":7931,"collection":44,"collections":7932,"showCount":7842,"zanCount":500,"manualWeight":48,"mainColor":49},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,25,26,7,28,65,103,60,61,62,495,104,34,64,2832,347,37,4257,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[44,45],{"id":7934,"slug":7935,"title":7936,"dynasty":177,"author":395,"museum":119,"description":7937,"tags":7938,"thumbUrl":7939,"material":69,"size":7608,"collection":71,"collections":7940,"showCount":7842,"zanCount":1080,"manualWeight":48,"mainColor":75},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,25,149,59,28,7,264,583,182,37,167,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg",[71],{"id":7942,"slug":7943,"title":7944,"dynasty":54,"author":7945,"museum":20,"description":7946,"tags":7947,"thumbUrl":7948,"material":169,"size":7949,"collection":71,"collections":7950,"showCount":7842,"zanCount":1080,"manualWeight":48,"mainColor":75},220110,"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","陈淳","陈氏以写意花卉享誉画坛，与徐谓并称“青藤白阳”，传世山水作品并不多见，此作显示出他在山水画方面别有一番造诣。图中近景绘平坡古树，树下一人翘首远眺，远景高岩耸立，秀木成林，烟云缭绕，掩映着溪流的尽头。画家用笔写意韵味很浓，笔迹放纵老到，淋漓疏爽，细看似乎笔笔皆不经意，纵览全幅却是结构严密，墨色轻重有别，虚实得当。画面中清雅空幽、萧散闲逸的意境流露出来自文氏门下的师承传统。",[23,24,25,149,59,65,7,165,583,60,61,103,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[71,212],{"id":7952,"slug":7953,"title":7954,"dynasty":18,"author":7955,"museum":135,"description":7956,"tags":7957,"thumbUrl":7958,"material":139,"size":7959,"collection":71,"collections":7960,"showCount":7842,"zanCount":712,"manualWeight":48,"mainColor":49},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,25,149,28,65,67,66,7,104,34,64,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[71,42],{"id":7962,"slug":7963,"title":4056,"dynasty":80,"author":7964,"museum":3793,"description":7965,"tags":7966,"thumbUrl":7967,"material":169,"size":7968,"collection":71,"collections":7969,"showCount":7842,"zanCount":961,"manualWeight":48,"mainColor":49},217908,"yun-shan-tu-gao-ke-gong-217908","高克恭","云山图是元朝时期画家高克恭的代表作之一。它是一幅山水画，以精细的笔墨和色彩表现出美丽的山水风光。画中的山川曲折，云雾缭绕，景色壮美。高克恭在画中运用了多种技法，包括透视法、深浅对比和色彩叠加，使得画面栩栩如生，充满了立体感。\n\n高克恭的云山图吸引了众多观众的目光，因为它不仅展现了美丽的山水风光，还展现了元朝时期画家对自然的深刻观察和对细节的精确捕捉。同时，云山图还蕴含着对中国传统文化的热爱和尊重。画中的山水景观被渲染得如此逼真，令人流连忘返。高克恭的云山图是中国传统山水画的精品，值得欣赏和珍藏。",[24,59,65,7,979,165,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89c75652c5efc54f87590867c62f5b03.jpg","114x52cm",[71],{"id":7971,"slug":7972,"title":7973,"dynasty":80,"author":7974,"museum":56,"description":7975,"tags":7976,"thumbUrl":7977,"material":596,"size":7978,"collection":71,"collections":7979,"showCount":7842,"zanCount":961,"manualWeight":48,"mainColor":49},215037,"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[100,24,25,304,59,104,7,62,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 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创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[23,24,59,65,149,7,62,8008,372,125,64,167,166,34,8009],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],{"id":8013,"slug":8014,"title":8015,"dynasty":18,"author":2535,"museum":119,"description":8016,"tags":8017,"thumbUrl":8018,"material":127,"size":127,"collection":127,"collections":8019,"showCount":8002,"zanCount":48,"manualWeight":48,"mainColor":75},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","行到水穷处，坐看云起时。",[23,24,100,25,59,28,7,65,64,34,979,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],{"id":8021,"slug":8022,"title":8023,"dynasty":177,"author":8024,"museum":704,"description":8025,"tags":8026,"thumbUrl":8032,"material":8033,"size":8034,"collection":127,"collections":8035,"showCount":8002,"zanCount":961,"manualWeight":48,"mainColor":49},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段","徐扬","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,100,24,26,28,29,7,105,8027,8028,6643,104,60,61,8029,8030,103,2717,34,64,8031],"村镇","城池","船舶","商铺","市集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg","设色 纸本","全长1225厘米，宽35.8厘米",[],{"id":8037,"slug":8038,"title":8039,"dynasty":177,"author":2017,"museum":20,"description":8040,"tags":8041,"thumbUrl":8042,"material":375,"size":8043,"collection":71,"collections":8044,"showCount":8002,"zanCount":48,"manualWeight":48,"mainColor":75},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,25,164,59,28,7,104,60,62,106,34,64,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[71,212],{"id":8046,"slug":8047,"title":8048,"dynasty":80,"author":160,"museum":135,"description":8049,"tags":8050,"thumbUrl":8051,"material":69,"size":8052,"collection":71,"collections":8053,"showCount":8002,"zanCount":961,"manualWeight":48,"mainColor":49},220819,"ju-qu-lin-wu-tu-wang-meng-220819","具区林屋图","此幅画面的右上角有王蒙以隶书题的“具曲林屋”四个字，底下署“叔明为日章画”，具区是古时太湖的旧称。\n王蒙截取太湖山中极小的一块区域，提炼加工，组织而成这幅极富生活情趣的画面：右下方一坡角，数株大树并列生於其间，林下有高士临水而坐，好像正欣赏著眼前的美景。水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人独坐其间看书；山间小路迂回，曲径通幽，数栋屋宇参差错落於山谷之中，有妇女活动其间。\n图中山石用“牛毛皴”与“解索皴”干笔皴擦而成，多曲折旋转之笔，以突显出太湖一带山石特有的质感；树叶则用墨与色直接点染而成，丹崖碧树，一派秋日山水景象。\n该画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。\n全图除了溪流之外，几乎被山石、树木、林间茅舍填充的没有空隙，这种饱满的构图方式在中国古代绘画作品中极为罕见，开辟出国画构图之奇境。",[23,100,24,1388,1993,28,65,7,239,34,1120,35,104,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecaeed00379af6afdfac3af833b2d69.jpg","68.7 x 42.5cm",[71,45],{"id":8055,"slug":8056,"title":8057,"dynasty":80,"author":1410,"museum":20,"description":8058,"tags":8059,"thumbUrl":8061,"material":87,"size":8062,"collection":71,"collections":8063,"showCount":8002,"zanCount":961,"manualWeight":48,"mainColor":49},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[23,24,25,149,59,65,101,62,495,8060,106,7],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[71,212],{"id":8065,"slug":8066,"title":8067,"dynasty":18,"author":2535,"museum":4618,"description":8068,"tags":8069,"thumbUrl":8070,"material":596,"size":8071,"collection":42,"collections":8072,"showCount":8002,"zanCount":48,"manualWeight":48,"mainColor":49},220312,"xi-yang-qiu-se-tu-ma-lin-220312","夕阳秋色图","《夕阳秋色图》画面上的淡云浅山已经褪色，水流处一片苍茫。这种岁月的沧桑，在画墨的点线之中且隐且行，既刻录了时间的优雅，又释放出历史的气味。\n宋理宗赵昀在欣赏《夕阳秋色图》时忘乎所以，把一切朝中繁杂置之脑后，流连画中苍茫山水、江南秋色。在几只燕子嬉戏的场景里，忽然想起活泼可爱的周汉公主。在膝下无子的岁月里，这位掌上明珠得到理宗的万般宠爱。",[24,7,28,65,1642,167,34,106,166,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd624d868e1bf9f63b27d62406ca745.jpg","51.3X26.6厘米",[42,212],{"id":8074,"slug":8075,"title":8076,"dynasty":80,"author":1410,"museum":8077,"description":8078,"tags":8079,"thumbUrl":8080,"material":169,"size":8081,"collection":71,"collections":8082,"showCount":8002,"zanCount":961,"manualWeight":48,"mainColor":49},219974,"song-quan-tu-wu-zhen-219974","松泉图","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[23,24,25,149,59,65,7,583,5657,64,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","105.3厘米 横31.7厘米",[71],{"id":8084,"slug":8085,"title":8086,"dynasty":18,"author":8087,"museum":135,"description":8088,"tags":8089,"thumbUrl":8090,"material":139,"size":127,"collection":71,"collections":8091,"showCount":8002,"zanCount":1080,"manualWeight":48,"mainColor":75},218677,"xi-hu-shi-jing-tu-lei-feng-xi-zhao-ye-xiao-yan-218677","西湖十景图-雷峰夕照","叶肖岩","山峦晕染着暮色的暖调，古塔静立在层岩之上，夕照的金辉轻覆于林梢与塔檐，晕开朦胧的暖意。近处松枝虬劲，山石皴擦细腻；远处峰峦隐入淡墨，虚实间藏着江南的温婉。左侧墨笔题跋的线条与山水肌理相映，文辞与画意交织，将西湖黄昏的悠然意趣凝于尺幅。苍劲与柔婉并存，写实与写意相融，尽显雷峰夕照的静谧深远——仿佛晚风掠过塔铃轻响，时光沉淀的诗意在笔墨间缓缓流淌，让观者窥见千年西湖黄昏的温婉与悠长。",[23,24,25,164,28,7,1642,104,66,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6bfc3fb9153780220775dfbeb9338f.jpg",[71],{"id":8093,"slug":8094,"title":8095,"dynasty":18,"author":3342,"museum":119,"description":8096,"tags":8097,"thumbUrl":8098,"material":139,"size":8099,"collection":45,"collections":8100,"showCount":8002,"zanCount":961,"manualWeight":48,"mainColor":49},218594,"lan-you-shang-tu-li-song-218594","阑游赏图","三个女人坐在一座偏远的山边的亭子里，在高大的树荫下，从栅栏上欣赏风景，而亭子外面的两个女仆则身材修长，姿态优美。该技术的特点是岩石上的小笔触，树木和远处的山丘都是农场画的特点。",[24,25,29,28,304,7,103,63,34,104,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd89ca87b97de7d9898441c2291b095a.jpg","22x20.6",[45],{"id":8102,"slug":8103,"title":8104,"dynasty":177,"author":3760,"museum":20,"description":8105,"tags":8106,"thumbUrl":8107,"material":169,"size":8108,"collection":71,"collections":8109,"showCount":8002,"zanCount":961,"manualWeight":48,"mainColor":75},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[23,24,25,149,59,65,7,103,583,199,64,278,61,125,7318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[71],{"id":8111,"slug":8112,"title":8113,"dynasty":18,"author":3684,"museum":135,"description":8114,"tags":8115,"thumbUrl":8116,"material":337,"size":8117,"collection":127,"collections":8118,"showCount":8119,"zanCount":48,"manualWeight":48,"mainColor":49},288949,"xi-shan-lou-guan-tu-yan-wen-gui-288949","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。",[23,100,24,25,59,7,104,64,34,61,65,149,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e79de6733f981b2ebaba4b9f3bceaa7.jpg","103.9x47.4",[],89,{"id":8121,"slug":8122,"title":8123,"dynasty":54,"author":55,"museum":119,"description":8124,"tags":8125,"thumbUrl":8126,"material":337,"size":937,"collection":127,"collections":8127,"showCount":8119,"zanCount":961,"manualWeight":48,"mainColor":75},228828,"wo-you-tu-ce-shen-zhou-228828","卧游图册","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。",[23,24,25,164,59,28,7,1249,630,734,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],{"id":8129,"slug":8130,"title":8131,"dynasty":54,"author":55,"museum":20,"description":8132,"tags":8133,"thumbUrl":8134,"material":375,"size":8135,"collection":71,"collections":8136,"showCount":8119,"zanCount":1080,"manualWeight":48,"mainColor":75},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[23,24,59,65,28,7,34,1738,102,1674,61,239,103,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[71,212],{"id":8138,"slug":8139,"title":8140,"dynasty":18,"author":288,"museum":1542,"description":4835,"tags":8141,"thumbUrl":8142,"material":8143,"size":8144,"collection":42,"collections":8145,"showCount":8119,"zanCount":48,"manualWeight":48,"mainColor":75},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷",[23,24,25,26,59,65,7,62,1777,165,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","纸本 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文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[23,24,25,26,7,63,34,64,28,1019,278,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[71,927],{"id":8281,"slug":8282,"title":8283,"dynasty":54,"author":178,"museum":135,"description":8284,"tags":8285,"thumbUrl":8287,"material":139,"size":8288,"collection":45,"collections":8289,"showCount":8178,"zanCount":48,"manualWeight":48,"mainColor":49},219347,"mo-xi-yuan-ya-ji-tu-yi-ming-219347","摹西园雅集图","本幅描绘历史上有名的“西园雅集”情形，在附马都尉王诜家的这次雅集，聚集了北宋当时顶尖的文人雅士，由米芾的一篇记流传后世，历代多有画作。此幅传明人所作，细观或是周臣老画师临摹刘松年原画所作，在历代临摹本中属上品。",[100,24,25,149,28,103,7,583,64,101,122,8286],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593962859ed60f1a0711ce80559eaffd.jpg","191.2 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98.3cm",[45],{"id":8291,"slug":8292,"title":8293,"dynasty":54,"author":580,"museum":20,"description":8294,"tags":8295,"thumbUrl":8296,"material":139,"size":8297,"collection":71,"collections":8298,"showCount":8178,"zanCount":961,"manualWeight":48,"mainColor":75},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[23,24,25,26,28,29,7,67,103,63,61,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[71],{"id":8300,"slug":8301,"title":8302,"dynasty":1051,"author":8303,"museum":135,"description":8304,"tags":8305,"thumbUrl":8306,"material":169,"size":8307,"collection":212,"collections":8308,"showCount":8178,"zanCount":48,"manualWeight":48,"mainColor":75},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,25,26,59,65,66,67,101,7,1458,34,64,61,63,264,60,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[212],{"id":8310,"slug":8311,"title":8312,"dynasty":80,"author":8313,"museum":56,"description":8314,"tags":8315,"thumbUrl":8316,"material":139,"size":8317,"collection":71,"collections":8318,"showCount":8178,"zanCount":1080,"manualWeight":48,"mainColor":49},218274,"song-yin-ju-yin-tu-tang-di-218274","松阴聚饮图","唐棣","此图近景画河畔数棵长松高耸，树后露出数间茅屋。松荫下四位长者席地而坐，正举杯畅饮。旁有两人手捧壶盘侍候，一人抱矮案前来。对岸中景是古树茅舍。远景群山蜿蜒。图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。",[24,59,7,103,583,149,65,318,165,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4259c6c43bf240ae46222348c74993e.jpg","纵14.4厘米，横97.1厘米",[71],{"id":8320,"slug":8321,"title":8322,"dynasty":80,"author":8323,"museum":161,"description":8324,"tags":8325,"thumbUrl":8326,"material":69,"size":127,"collection":71,"collections":8327,"showCount":8178,"zanCount":712,"manualWeight":48,"mainColor":49},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[24,59,65,66,101,67,7,630,318,199,1674,61,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[71],{"id":8329,"slug":8330,"title":8331,"dynasty":8332,"author":8333,"museum":119,"description":8334,"tags":8335,"thumbUrl":8341,"material":337,"size":937,"collection":127,"collections":8342,"showCount":8343,"zanCount":961,"manualWeight":48,"mainColor":49},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","不详","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,24,8336,1249,29,28,413,8337,8338,2505,8339,8340,106,7,239,3171],"屏风","牡丹","芙蓉","鹰","孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],87,{"id":8345,"slug":8346,"title":8347,"dynasty":177,"author":395,"museum":20,"description":8348,"tags":8349,"thumbUrl":8351,"material":375,"size":8352,"collection":308,"collections":8353,"showCount":8343,"zanCount":48,"manualWeight":48,"mainColor":75},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[100,24,25,2145,5254,59,28,7,66,67,65,583,347,238,891,8350,103,64,35,533],"烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[308,71,45],{"id":8355,"slug":8356,"title":8357,"dynasty":864,"author":865,"museum":20,"description":8358,"tags":8359,"thumbUrl":8360,"material":8361,"size":8362,"collection":127,"collections":8363,"showCount":8343,"zanCount":48,"manualWeight":48,"mainColor":75},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[100,24,25,26,27,28,7,103,104,60,61,102,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],{"id":8365,"slug":8366,"title":8367,"dynasty":54,"author":96,"museum":119,"description":8368,"tags":8369,"thumbUrl":8370,"material":127,"size":127,"collection":127,"collections":8371,"showCount":8343,"zanCount":48,"manualWeight":48,"mainColor":49},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[23,24,25,164,29,28,27,7,103,1522,61,34,64,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],{"id":8373,"slug":8374,"title":8375,"dynasty":18,"author":604,"museum":119,"description":8376,"tags":8377,"thumbUrl":8378,"material":127,"size":127,"collection":127,"collections":8379,"showCount":8343,"zanCount":961,"manualWeight":48,"mainColor":49},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,100,24,25,7,59,28,4343,583,104,167,1643,64,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":8381,"slug":8382,"title":8383,"dynasty":54,"author":178,"museum":20,"description":8384,"tags":8385,"thumbUrl":8386,"material":87,"size":8387,"collection":127,"collections":8388,"showCount":8343,"zanCount":48,"manualWeight":48,"mainColor":49},223339,"er-lang-shen-sou-shan-tu-juan-yi-ming-223339","二郎神搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,24,25,26,29,28,103,7,34,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a66aa3c0dc8d8069db69e347e0a460.jpg","53×561cm",[],{"id":8390,"slug":8391,"title":6753,"dynasty":18,"author":8392,"museum":369,"description":8393,"tags":8394,"thumbUrl":8395,"material":139,"size":8396,"collection":44,"collections":8397,"showCount":8343,"zanCount":1080,"manualWeight":48,"mainColor":49},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,100,24,25,26,29,28,304,65,103,104,7,34,335,63,559,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[44],{"id":8399,"slug":8400,"title":8401,"dynasty":54,"author":96,"museum":673,"description":8402,"tags":8403,"thumbUrl":8404,"material":139,"size":127,"collection":71,"collections":8405,"showCount":8343,"zanCount":961,"manualWeight":48,"mainColor":49},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,25,149,29,28,7,304,103,104,335,63,34,64,61,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[71],{"id":8407,"slug":8408,"title":8409,"dynasty":18,"author":744,"museum":135,"description":8410,"tags":8411,"thumbUrl":8415,"material":139,"size":8416,"collection":71,"collections":8417,"showCount":8343,"zanCount":48,"manualWeight":48,"mainColor":75},219388,"ma-gu-cai-zhi-xian-tu-liu-song-nian-219388","麻姑采芝仙图","画中一众仙姑，结伴山间采药，正在林间休息。不知何故，仙姑们的发际线严重退后，仅剩一光溜的脸蛋，状貌甚异，身板瘦削，可能是日夜忙碌劳累所致。画中人物用线与山石、松树一般呆硬，人物形象、树、石套路严重，或为明末或清代早期的画作。",[24,28,103,7,64,34,124,8412,8413,8414],"麻姑","采芝","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca18f2756764adf26aa0982d7262715.jpg","116.4x82.1厘米",[71,44],{"id":8419,"slug":8420,"title":8421,"dynasty":177,"author":1872,"museum":556,"description":8422,"tags":8423,"thumbUrl":8424,"material":169,"size":8425,"collection":212,"collections":8426,"showCount":8343,"zanCount":48,"manualWeight":48,"mainColor":940},219177,"song-lin-shu-wu-tu-gong-xian-219177","松林书屋图","全图笔墨恣肆，气象氤氲，以竹林、书屋等景观构造了一个理想的隐逸世界。左上自题七言诗一首，末署“甲子初秋半亩龚贤并题”。钤“臣贤私印”、“半千”二印。甲子为康熙二十三年，公元1684年，作者时年86岁。",[23,24,59,65,149,7,2595,2446,64,199,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09717ac0071d60023828679c622fb9e.jpg","纵274.5 横128.5厘米",[212],{"id":8428,"slug":8429,"title":8430,"dynasty":18,"author":3342,"museum":135,"description":8431,"tags":8432,"thumbUrl":8433,"material":139,"size":8434,"collection":42,"collections":8435,"showCount":8343,"zanCount":48,"manualWeight":48,"mainColor":49},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[23,24,25,2484,304,28,29,103,104,413,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[42],{"id":8437,"slug":8438,"title":8439,"dynasty":18,"author":2391,"museum":135,"description":8440,"tags":8441,"thumbUrl":8443,"material":596,"size":127,"collection":212,"collections":8444,"showCount":8343,"zanCount":961,"manualWeight":48,"mainColor":75},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[23,24,59,7,106,2505,8442,61,34,64,37,65,2538,25,26],"清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[212],{"id":8446,"slug":8447,"title":8448,"dynasty":80,"author":1962,"museum":135,"description":8449,"tags":8450,"thumbUrl":8453,"material":139,"size":8454,"collection":71,"collections":8455,"showCount":8343,"zanCount":712,"manualWeight":48,"mainColor":75},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[23,24,59,7,65,61,62,495,63,125,60,3865,8451,167,8452,2382],"岸树","溪面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[71],{"id":8457,"slug":8458,"title":1337,"dynasty":18,"author":274,"museum":3793,"description":8459,"tags":8460,"thumbUrl":8461,"material":139,"size":8462,"collection":127,"collections":8463,"showCount":8343,"zanCount":48,"manualWeight":48,"mainColor":75},218436,"luo-shen-fu-tu-li-gong-lin-218436","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[23,24,25,26,123,28,103,124,7,61,34,264,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":8465,"slug":8466,"title":8467,"dynasty":811,"author":1466,"museum":161,"description":8468,"tags":8469,"thumbUrl":8470,"material":139,"size":8471,"collection":71,"collections":8472,"showCount":8343,"zanCount":48,"manualWeight":48,"mainColor":49},217996,"bi-shu-gong-tu-guo-zhong-shu-217996","避暑宫图","这是现存的宋代绘画中少有的杰作，也是有史以来最高标准的界画之一。",[23,24,304,28,7,104,64,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835da03f2af95dcf5be3dd4c03b0786a.jpg","174x102cm",[71],{"id":8474,"slug":8475,"title":8476,"dynasty":177,"author":5885,"museum":1542,"description":8477,"tags":8478,"thumbUrl":8479,"material":69,"size":5889,"collection":127,"collections":8480,"showCount":8343,"zanCount":961,"manualWeight":48,"mainColor":75},216255,"jing-fu-si-qi-dong-jing-tu-5-qian-wei-cheng-216255","景敷四气冬景图-5","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n山意惟余枯树攅，云容欲雪涧收湍。溪轩坐者宜青目，但是高人定耐寒。钤印：澂观",[24,59,7,65,164,372,64,61,63,167,35,264,766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb149e2e9f85b3297a5f5fc35e75adb1c.jpg",[],{"id":8482,"slug":8483,"title":8484,"dynasty":811,"author":812,"museum":119,"description":8485,"tags":8486,"thumbUrl":8487,"material":337,"size":937,"collection":127,"collections":8488,"showCount":8489,"zanCount":48,"manualWeight":48,"mainColor":49},283684,"jiang-di-wan-jing-tu-dong-yuan-283684","江堤晚景图","该画作是一幅绢本立轴山水画。轴顶上为溥儒题的“大风堂供养南唐北苑副使董源书江堤晚景无上至宝”。轴底为张大千、谢稚柳等人题跋。轴的中间绘绿意盎然的春日里，行人游春赏景，一侧的酒馆挂旗开门营业；松树高大苍翠，群山巍峨，山脚下河面波光粼粼，一片春日好时光！这就是画作的内容了。",[24,100,149,27,28,7,103,335,334,34,101,66,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb775349db468e7b94cea2f43539ee3e.jpg",[],86,{"id":8491,"slug":8492,"title":8493,"dynasty":177,"author":3760,"museum":135,"description":8494,"tags":8495,"thumbUrl":8496,"material":349,"size":127,"collection":71,"collections":8497,"showCount":8489,"zanCount":48,"manualWeight":48,"mainColor":75},237200,"shan-shui-zhu-shi-ce-wang-hui-237200","山水竹石册","王翚（1632-1717），子石谷，号耕烟散人，清晖主人等，江苏常熟人。幼即嗜画，年二十师事王鉴，复经王鉴引荐，师王时敏。王时敏尽出家藏，与之临摹，相与参究，他的摹古能力在清六家中首屈一指。除擅长山水之外，偶亦画花鸟竹石。王翚在艺术实践中能排除门户之见，综合南北之长，汲取诸家技法，冶为一炉，形成自家风格。他的作品章法变化多，墨笔和青绿皆精，山石树法清润秀雅，风格清逸秀丽。王翚60岁时奉康熙帝诏赴京师，任绘制《康熙南巡图》主笔。历经六年，完成了12卷总长达半华里的历史巨作。康熙帝赐“山水清晖”四字。遂自号“清晖主人”。从此“声名震海内”，追随者甚众，为“虞山派”之开山祖，有“画圣”之誉。",[24,25,164,59,65,7,630,734,61,34,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u00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任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[100,24,25,149,59,65,122,7,238,34,583,239,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[71,212],{"id":8507,"slug":8508,"title":8509,"dynasty":177,"author":395,"museum":20,"description":8510,"tags":8511,"thumbUrl":8512,"material":349,"size":8513,"collection":127,"collections":8514,"showCount":8489,"zanCount":1080,"manualWeight":48,"mainColor":75},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[24,59,149,65,7,60,61,34,35,64,106,264,496,413,167,85,826,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],{"id":8516,"slug":8517,"title":8518,"dynasty":1051,"author":3001,"museum":1542,"description":8519,"tags":8520,"thumbUrl":8521,"material":87,"size":8522,"collection":127,"collections":8523,"showCount":8489,"zanCount":48,"manualWeight":48,"mainColor":49},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[23,24,27,28,26,29,7,979,238,278,37,5146,34,35,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","47.1 x 197.4厘米",[],{"id":8525,"slug":8526,"title":8527,"dynasty":1051,"author":178,"museum":8528,"description":8529,"tags":8530,"thumbUrl":8534,"material":337,"size":937,"collection":127,"collections":8535,"showCount":8489,"zanCount":961,"manualWeight":48,"mainColor":49},226317,"ku-zhu-shi-nan-pi-yi-ming-226317","窟主室南披","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[8531,3985,28,1042,103,8532,3988,3987,335,7,238,106,181,8533,183],"唐代","飞天","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd3130d2f67f6a5e8f63d64a3488bc.jpg",[],{"id":8537,"slug":8538,"title":932,"dynasty":54,"author":410,"museum":20,"description":8539,"tags":8540,"thumbUrl":8541,"material":375,"size":8542,"collection":71,"collections":8543,"showCount":8489,"zanCount":1080,"manualWeight":48,"mainColor":8544},222028,"guan-shan-xing-lv-tu-dai-jin-222028","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[23,24,59,65,7,60,61,165,64,35,1586,335,63,200,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[71,212],"FFFFFF",{"id":8546,"slug":8547,"title":8548,"dynasty":80,"author":1962,"museum":20,"description":8549,"tags":8550,"thumbUrl":8551,"material":537,"size":8552,"collection":71,"collections":8553,"showCount":8489,"zanCount":961,"manualWeight":48,"mainColor":49},221756,"song-shi-tu-zhou-sheng-mao-221756","松石图轴","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[23,100,24,25,149,59,65,583,305,264,125,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[71,212],{"id":8555,"slug":8556,"title":8557,"dynasty":18,"author":6965,"museum":20,"description":8558,"tags":8559,"thumbUrl":8560,"material":28,"size":8561,"collection":42,"collections":8562,"showCount":8489,"zanCount":48,"manualWeight":48,"mainColor":49},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,24,25,100,7,65,59,28,64,199,34,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[42,71,212],{"id":8564,"slug":8565,"title":8566,"dynasty":54,"author":1096,"museum":369,"description":8567,"tags":8568,"thumbUrl":8569,"material":8570,"size":8571,"collection":71,"collections":8572,"showCount":8489,"zanCount":961,"manualWeight":48,"mainColor":379},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,100,24,25,149,59,28,65,7,372,64,167,321,34,5987,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[71,212],{"id":8574,"slug":8575,"title":8576,"dynasty":18,"author":1962,"museum":135,"description":8577,"tags":8578,"thumbUrl":6310,"material":28,"size":127,"collection":42,"collections":8579,"showCount":8489,"zanCount":48,"manualWeight":48,"mainColor":75},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[23,24,25,164,28,7,62,495,106,34,61,373,167,720,33],[42],{"id":8581,"slug":8582,"title":8583,"dynasty":54,"author":1096,"museum":673,"description":8584,"tags":8585,"thumbUrl":8586,"material":169,"size":8587,"collection":71,"collections":8588,"showCount":8489,"zanCount":961,"manualWeight":48,"mainColor":75},220002,"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[23,24,25,149,59,65,7,64,34,35,103,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[71],{"id":8590,"slug":8591,"title":8592,"dynasty":177,"author":4747,"museum":20,"description":8593,"tags":8594,"thumbUrl":8595,"material":139,"size":8596,"collection":71,"collections":8597,"showCount":8489,"zanCount":48,"manualWeight":48,"mainColor":49},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,24,149,59,65,7,318,319,34,35,60,239,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[71],{"id":8599,"slug":8600,"title":3313,"dynasty":80,"author":1962,"museum":161,"description":8601,"tags":8602,"thumbUrl":8605,"material":139,"size":8606,"collection":71,"collections":8607,"showCount":8489,"zanCount":48,"manualWeight":48,"mainColor":49},217866,"chun-shan-you-qi-tu-sheng-mao-217866","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,7,28,65,103,335,60,104,63,34,64,826,167,720,278,8603,8604,201],"游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[71],{"id":8609,"slug":8610,"title":8611,"dynasty":18,"author":288,"museum":119,"description":4835,"tags":8612,"thumbUrl":8616,"material":337,"size":937,"collection":127,"collections":8617,"showCount":8618,"zanCount":1080,"manualWeight":48,"mainColor":49},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图",[2484,24,100,7,59,65,60,61,63,34,535,167,8613,507,103,8614,8615],"湖畔","清幽","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],85,{"id":8620,"slug":8621,"title":6351,"dynasty":177,"author":178,"museum":119,"description":8622,"tags":8623,"thumbUrl":8624,"material":337,"size":937,"collection":127,"collections":8625,"showCount":8618,"zanCount":961,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,25,26,27,28,7,122,29,65,238,34,37,31,35,722,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],{"id":8627,"slug":8628,"title":8629,"dynasty":18,"author":717,"museum":119,"description":8630,"tags":8631,"thumbUrl":8632,"material":127,"size":127,"collection":127,"collections":8633,"showCount":8618,"zanCount":1080,"manualWeight":48,"mainColor":49},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[23,24,100,149,59,7,65,60,61,103,34,199,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],{"id":8635,"slug":8636,"title":8637,"dynasty":54,"author":4986,"museum":20,"description":8638,"tags":8639,"thumbUrl":8640,"material":40,"size":8641,"collection":44,"collections":8642,"showCount":8618,"zanCount":48,"manualWeight":48,"mainColor":49},222404,"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[24,100,25,149,59,28,103,7,165,734,106,166,5464,65,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[44,212],{"id":8644,"slug":8645,"title":8646,"dynasty":18,"author":604,"museum":673,"description":8647,"tags":8648,"thumbUrl":8649,"material":169,"size":8650,"collection":71,"collections":8651,"showCount":8618,"zanCount":961,"manualWeight":48,"mainColor":49},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[24,25,7,149,28,65,62,63,103,61,125,373,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 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cm",[71],{"id":8653,"slug":8654,"title":8655,"dynasty":54,"author":2641,"museum":135,"description":8656,"tags":8657,"thumbUrl":8658,"material":169,"size":8659,"collection":71,"collections":8660,"showCount":8618,"zanCount":48,"manualWeight":48,"mainColor":75},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[100,24,25,164,59,122,65,7,60,61,34,64,35,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[71],{"id":8662,"slug":8663,"title":8664,"dynasty":177,"author":672,"museum":673,"description":674,"tags":8665,"thumbUrl":8666,"material":349,"size":677,"collection":127,"collections":8667,"showCount":8618,"zanCount":961,"manualWeight":48,"mainColor":49},214356,"san-jue-shan-shui-ce-4-hua-yan-214356","三绝山水册-4",[23,24,25,164,28,59,65,7,64,34,61,150,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472b6ddb8c19b4a43c8b7bba13cd7d00.jpg",[],{"id":8669,"slug":8670,"title":8671,"dynasty":80,"author":1715,"museum":119,"description":8672,"tags":8673,"thumbUrl":8674,"material":337,"size":937,"collection":127,"collections":8675,"showCount":8676,"zanCount":48,"manualWeight":48,"mainColor":49},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[23,100,24,25,26,28,7,64,1616,2216,61,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],84,{"id":8678,"slug":8679,"title":159,"dynasty":177,"author":1925,"museum":119,"description":8680,"tags":8681,"thumbUrl":8682,"material":127,"size":127,"collection":71,"collections":8683,"showCount":8676,"zanCount":48,"manualWeight":48,"mainColor":75},235165,"shan-shui-ce-zhu-da-235165","此作用笔简淡疏朗，以极省减的墨色绘就山水丘林。远山以枯淡墨线勾出轮廓，淡墨晕染出覆雪清寒，林麓隐在氤氲雾气间。近岸枯木虬曲错落，间有矮松凝立，坡岸浅渚以淡墨轻扫，寥寥数笔便铺展出江天寥廓的空茫。\n\n大片留白铺陈出天地荒寒的禅意，题款与朱印点缀留白处，虚实相生。整体气韵冷逸孤高，淡墨里藏着疏淡超脱的襟怀，将萧寒天地与幽独心境相融，笔底皆是清冷出尘的林下意趣，淡而弥远，简却传神。",[24,25,164,59,65,7,372,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef34faa497c9e7d24e38b8640a268bb.jpg",[71,212],{"id":8685,"slug":8686,"title":8687,"dynasty":177,"author":8688,"museum":119,"description":8689,"tags":8690,"thumbUrl":8691,"material":127,"size":127,"collection":127,"collections":8692,"showCount":8676,"zanCount":48,"manualWeight":48,"mainColor":49},230220,"zhu-lin-qi-xian-tu-yu-ling-230220","竹林七贤图","俞龄","茂林修竹围出一方幽隐天地，清溪穿林而过，山石错落间，贤士们各寻幽趣：或凭栏低语，或临流浣漱，或围坐弈棋，或卧于松石间静听竹涛。淡墨写竹虚实相生，将林下清寂晕染开来，人物衣袂飘然，神态闲散疏朗，尽显放旷超脱的魏晋风神。\n\n整幅画面疏密相宜，把林泉高致与雅集之乐相融，笔墨简淡却意韵悠长，将先贤寄身丘壑、不逐尘俗的襟怀凝于绢素，让千年前的林下风流历历在目。",[23,24,25,28,29,103,7,630,734,3836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00aacaf067d0373a0657f73de52f1401.jpg",[],{"id":8694,"slug":8695,"title":8696,"dynasty":54,"author":178,"museum":119,"description":8697,"tags":8698,"thumbUrl":8699,"material":337,"size":937,"collection":127,"collections":8700,"showCount":8676,"zanCount":48,"manualWeight":48,"mainColor":940},228411,"wen-shu-xiang-yi-ming-228411","文殊像","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[100,24,25,3985,1042,29,28,103,7,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d6a64a1e16572aa440c8f1e0300caf.jpg",[],{"id":8702,"slug":8703,"title":8704,"dynasty":177,"author":3760,"museum":704,"description":5285,"tags":8705,"thumbUrl":8707,"material":5071,"size":5487,"collection":127,"collections":8708,"showCount":8676,"zanCount":48,"manualWeight":48,"mainColor":49},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧",[23,24,1099,28,65,7,372,1238,8706,1586,62,35,167,61,533],"牧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg",[],{"id":8710,"slug":8711,"title":8712,"dynasty":54,"author":1305,"museum":135,"description":8713,"tags":8714,"thumbUrl":8715,"material":225,"size":8716,"collection":71,"collections":8717,"showCount":8676,"zanCount":1080,"manualWeight":48,"mainColor":49},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[24,25,149,59,65,7,63,103,34,64,61,37,533,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[71,212],{"id":8719,"slug":8720,"title":8721,"dynasty":54,"author":1652,"museum":135,"description":8722,"tags":8723,"thumbUrl":8724,"material":87,"size":8725,"collection":71,"collections":8726,"showCount":8676,"zanCount":48,"manualWeight":48,"mainColor":75},221969,"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","该幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而迹放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。徵明晚年好作此种，晚期吴派亦多受此影响。\n五月五日，仿王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。徵明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。\n此帧董其昌旁题云：“文待诏仿黄鹤山樵，几欲乱眞”，是出自由衷之赞语。此帧景密而笔松，意精而迹放，清奇浑厚，兼而有之。是大家悉力之作。",[23,24,149,59,65,122,7,64,34,199,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[71,212],{"id":8728,"slug":8729,"title":909,"dynasty":18,"author":8730,"museum":4678,"description":8731,"tags":8732,"thumbUrl":8733,"material":59,"size":8734,"collection":42,"collections":8735,"showCount":8676,"zanCount":48,"manualWeight":48,"mainColor":49},221505,"shan-shui-tu-yan-ci-yu-221505","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,24,100,25,28,65,7,64,34,37,239,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[42,71,212],{"id":8737,"slug":8738,"title":8739,"dynasty":117,"author":8740,"museum":135,"description":8741,"tags":8742,"thumbUrl":8743,"material":349,"size":8744,"collection":71,"collections":8745,"showCount":8676,"zanCount":48,"manualWeight":48,"mainColor":49},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[23,100,24,25,26,28,65,7,238,34,64,347,452,101,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[71,45],{"id":8747,"slug":8748,"title":8749,"dynasty":54,"author":945,"museum":8750,"description":8751,"tags":8752,"thumbUrl":3566,"material":139,"size":127,"collection":44,"collections":8753,"showCount":8676,"zanCount":1080,"manualWeight":48,"mainColor":49},219588,"wang-xian-zhi-xiu-xi-dao-mao-xu-qu-xin-an-gong-zhu-tu-tang-yin-219588","王献之休郗道茂续娶新安公主图","沃尔特斯艺术博物馆","画面以枯荣交织的柳树起笔，萧寂山水铺陈出沉郁底色。右侧男子抬臂欲语，眉宇间漫着化不开的怅然，满腔无奈终究凝在抬手之间。左侧郗道茂依偎侍女，垂首敛肩将悲戚藏在背影里，被弃的凄楚默然漫溢。\n\n淡墨晕染山石空远幽寂，衬得这场诀别更添孤凉。工细衣纹勾勒出人物仪态，将情爱里身不由己的遗憾揉进绢本，把旧年憾事定格成含蓄深沉的无声诗篇，失意与伤情铺展在山水之间，余韵悠长。",[24,29,28,65,103,124,7,571,64,125],[44],{"id":8755,"slug":8756,"title":8757,"dynasty":80,"author":160,"museum":673,"description":8758,"tags":8759,"thumbUrl":8760,"material":349,"size":8761,"collection":71,"collections":8762,"showCount":8676,"zanCount":48,"manualWeight":48,"mainColor":75},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,25,26,59,28,7,63,104,60,61,34,125,65,67,473,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[71],{"id":8764,"slug":8765,"title":8766,"dynasty":54,"author":7576,"museum":20,"description":8767,"tags":8768,"thumbUrl":8770,"material":139,"size":8771,"collection":71,"collections":8772,"showCount":8676,"zanCount":1080,"manualWeight":48,"mainColor":49},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[23,24,59,28,149,7,65,62,34,239,167,2845,103,8769,101],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[71],{"id":8774,"slug":8775,"title":8776,"dynasty":80,"author":3421,"museum":135,"description":8777,"tags":8778,"thumbUrl":8779,"material":169,"size":8780,"collection":71,"collections":8781,"showCount":8676,"zanCount":961,"manualWeight":48,"mainColor":75},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[23,24,59,149,65,66,101,7,63,34,64,61,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[71],{"id":8783,"slug":8784,"title":8785,"dynasty":177,"author":2620,"museum":20,"description":2921,"tags":8786,"thumbUrl":8787,"material":40,"size":2924,"collection":127,"collections":8788,"showCount":8789,"zanCount":48,"manualWeight":48,"mainColor":49},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[24,25,149,304,28,29,7,104,722,37,34,64,60,826,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],83,{"id":8791,"slug":8792,"title":8793,"dynasty":54,"author":7355,"museum":119,"description":8794,"tags":8795,"thumbUrl":8796,"material":127,"size":127,"collection":212,"collections":8797,"showCount":8789,"zanCount":961,"manualWeight":48,"mainColor":75},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,100,24,25,26,59,65,122,7,372,60,61,62,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[212],{"id":8799,"slug":8800,"title":8801,"dynasty":18,"author":178,"museum":135,"description":8802,"tags":8803,"thumbUrl":8805,"material":87,"size":8806,"collection":42,"collections":8807,"showCount":8789,"zanCount":48,"manualWeight":48,"mainColor":49},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,25,149,28,7,65,318,765,8804,106,34,63,35,239,61],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[42,71,212],{"id":8809,"slug":8810,"title":8811,"dynasty":177,"author":8812,"museum":119,"description":8813,"tags":8814,"thumbUrl":8818,"material":40,"size":8819,"collection":44,"collections":8820,"showCount":8789,"zanCount":961,"manualWeight":48,"mainColor":75},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","任颐","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,25,26,28,29,8815,7,427,4459,104,4192,34,64,3696,8816,184,8817,5386],"人物画","仙人","祝寿元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[44,45],{"id":8822,"slug":8823,"title":8824,"dynasty":54,"author":55,"museum":650,"description":651,"tags":8825,"thumbUrl":8826,"material":349,"size":655,"collection":127,"collections":8827,"showCount":8789,"zanCount":48,"manualWeight":48,"mainColor":75},220031,"dong-zhuang-tu-ce-zhi-zhen-yi-gang-shen-zhou-220031","东庄图册之振衣冈",[23,100,24,25,164,59,7,103,64,34,372,61,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde339e30cbcb09c324052c43eb49532f.jpg",[],{"id":8829,"slug":8830,"title":1282,"dynasty":177,"author":3760,"museum":3774,"description":8831,"tags":8832,"thumbUrl":8833,"material":139,"size":8834,"collection":71,"collections":8835,"showCount":8789,"zanCount":961,"manualWeight":48,"mainColor":49},219911,"qiu-shan-xing-lv-tu-wang-hui-219911","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,149,27,28,7,103,335,104,165,64,65,334,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[71],{"id":8837,"slug":8838,"title":8839,"dynasty":54,"author":178,"museum":673,"description":8840,"tags":8841,"thumbUrl":8842,"material":139,"size":8843,"collection":45,"collections":8844,"showCount":8789,"zanCount":961,"manualWeight":48,"mainColor":49},219251,"dong-shan-wo-hu-tu-yi-ming-219251","冬山卧虎图","寒岩之上，猛虎蜷卧。斑纹以墨线精准勾勒，间杂赭色轻晕，皮毛的蓬松质感似触手可及。虎目微阖，似憩非眠，虽无咆哮之威，却藏沉潜气势。旁侧古松虬曲，枝干如铁，松针疏密有致；岩石皴法朴拙，斑驳处隐见残雪，透出冬日清寂。笔墨兼工带写，动物造型生动传神，山水布景简括古雅。整幅画于静谧中蕴张力，既见画师对生灵姿态的细腻捕捉，亦显对冬日山景的深刻体察，在沉郁色调里，铺展一段自然与生命的悠然对话。",[24,25,28,29,3986,3988,7,583,64,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4902029b2d5488e3af7e90169c94e1c.jpg","26.1x40.6厘米",[45],{"id":8846,"slug":8847,"title":3908,"dynasty":18,"author":592,"museum":135,"description":8848,"tags":8849,"thumbUrl":8850,"material":139,"size":8851,"collection":45,"collections":8852,"showCount":8789,"zanCount":48,"manualWeight":48,"mainColor":49},219046,"wen-ji-gui-han-tu-li-tang-219046","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[23,100,24,25,149,65,59,28,7,103,104,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jpg","50.7公分*39.7公分",[45],{"id":8854,"slug":8855,"title":8856,"dynasty":18,"author":604,"museum":161,"description":8857,"tags":8858,"thumbUrl":8859,"material":596,"size":127,"collection":308,"collections":8860,"showCount":8789,"zanCount":961,"manualWeight":48,"mainColor":940},218909,"song-xia-qun-lu-tu-ma-yuan-218909","松下群鹿图","松枝如铁线盘曲，苍劲中透着清逸，松针细密如织，筛下斑驳光影。鹿群或静立凝神，或缓步石间，与松涛山影相融成趣。远山以淡墨晕染，云雾似轻纱流转，留白处尽展天地空阔。笔墨简练却意境悠远，枯润相生的笔触里，藏着宋人对自然的敬畏与诗意栖居的向往。边角构图见乾坤，每一处细节都透着匠心，将山水的静谧与生灵的灵动悄然铺展，让观者在静谧中感受山林间的和谐共生，沉醉于宋画独有的雅致与哲思。",[23,24,125,7,318,319,165,59,223,149,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[308,71],{"id":8862,"slug":8863,"title":8864,"dynasty":54,"author":8865,"museum":161,"description":8866,"tags":8867,"thumbUrl":8868,"material":169,"size":8869,"collection":71,"collections":8870,"showCount":8789,"zanCount":961,"manualWeight":48,"mainColor":49},217064,"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[24,25,59,7,65,37,104,63,62,35,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[71],{"id":8872,"slug":8873,"title":8874,"dynasty":54,"author":787,"museum":119,"description":788,"tags":8875,"thumbUrl":8878,"material":139,"size":8879,"collection":44,"collections":8880,"showCount":8789,"zanCount":712,"manualWeight":48,"mainColor":49},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)",[23,24,26,28,29,304,103,104,60,61,7,34,438,64,2911,2845,8876,559,3695,5034,6756,8877,63],"火焰","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[44],{"id":8882,"slug":8883,"title":8884,"dynasty":177,"author":672,"museum":673,"description":674,"tags":8885,"thumbUrl":8886,"material":349,"size":677,"collection":127,"collections":8887,"showCount":8789,"zanCount":48,"manualWeight":48,"mainColor":49},214346,"san-jue-shan-shui-ce-17-hua-yan-214346","三绝山水册-17",[23,24,164,28,7,318,165,63,319,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c80597d2f71227e356f687abf8c999.jpg",[],{"id":8889,"slug":8890,"title":8891,"dynasty":80,"author":81,"museum":119,"description":8892,"tags":8893,"thumbUrl":8894,"material":337,"size":937,"collection":127,"collections":8895,"showCount":8896,"zanCount":48,"manualWeight":48,"mainColor":75},290827,"dong-ting-qi-feng-zhou-huang-gong-wang-290827","洞庭奇峰轴","此作前景画小舟浮於湖面，其后山岩繁密多姿，高耸杂木散立，山巅处瀑布流泻，左方曲径没入云雾中，其上瑰丽峰峦斜出天表。画中可见黄公望作品中常见母题，然全作结构、山石、树法等，更接近文徵明风格。依题跋可知此画成于1354（元至正十四年）为梅剑庵所作；1410（永乐八年），梅氏后人请沈度（1357-1434）题跋；1510年（正德五年），文征明（1470-1559）亦获观此画，并留下题语。文征明题款“壁”字书为“璧”，与常见不同。此画笔墨、结构堪称佳构，然可能出自明代後期善仿文征明风格者之手。",[100,24,25,149,59,7,65,64,34,61,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83587d8c69519255b6c7d65b856a64.jpg",[],82,{"id":8898,"slug":8899,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":8902,"thumbUrl":8908,"material":127,"size":127,"collection":127,"collections":8909,"showCount":8896,"zanCount":961,"manualWeight":48,"mainColor":75},237592,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237592","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,59,1099,65,7,64,34,722,61,199,35,2145,3386,197,8903,8904,8905,8906,8907,1871],"点染","山石皴擦","树木勾勒","山水意境","古典山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f3e122c7aae29ed9eacddd5644f01b.jpg",[],{"id":8911,"slug":8912,"title":8913,"dynasty":80,"author":616,"museum":119,"description":8914,"tags":8915,"thumbUrl":8916,"material":127,"size":127,"collection":127,"collections":8917,"showCount":8896,"zanCount":961,"manualWeight":48,"mainColor":49},230908,"ku-shu-tu-ye-ni-zan-230908","枯树图页","此作用笔简淡秀峭，枯树虬曲苍劲，枝桠疏朗错落，无半片青叶，满溢荒萧寒寂。山石以干墨轻皴，淡晕出清旷崖壁，屋舍仅以数笔勾出，简净空疏。\n\n画面留白如万顷空湖，将幽冷孤高的隐逸心绪藏于笔墨之间，淡墨薄晕里，是洗尽铅华的静穆。笔意看似疏简荒率，却藏着深隽的简淡之美，枯木寒岩、空屋寂境，暗合避世文人绝尘出世的澹泊襟怀，清冷空疏中晕染出悠远禅意。",[100,24,25,164,59,65,7,372,150,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c41a63a704c22538c4a9e50706e58d.jpg",[],{"id":8919,"slug":8920,"title":8921,"dynasty":18,"author":1466,"museum":119,"description":8922,"tags":8923,"thumbUrl":8924,"material":127,"size":127,"collection":127,"collections":8925,"showCount":8896,"zanCount":48,"manualWeight":48,"mainColor":49},227513,"ming-huang-bi-shu-gong-tu-zhou-guo-zhong-shu-227513","明皇避暑宫图轴","《明皇避暑宫图》是北宋画家郭忠恕所创作的一幅墨笔画 ，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[23,24,25,149,304,29,28,7,104,278,34,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],{"id":8927,"slug":8928,"title":8929,"dynasty":18,"author":604,"museum":97,"description":8930,"tags":8931,"thumbUrl":8932,"material":454,"size":8933,"collection":42,"collections":8934,"showCount":8896,"zanCount":48,"manualWeight":48,"mainColor":75},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[23,24,25,100,28,304,7,104,63,979,34,238,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[42,71],{"id":8936,"slug":8937,"title":8938,"dynasty":1051,"author":1157,"museum":119,"description":8939,"tags":8940,"thumbUrl":8941,"material":225,"size":8942,"collection":71,"collections":8943,"showCount":8896,"zanCount":48,"manualWeight":48,"mainColor":49},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[23,24,25,26,59,7,34,104,67,101,65,1019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[71,45],{"id":8945,"slug":8946,"title":8947,"dynasty":54,"author":1096,"museum":135,"description":8948,"tags":8949,"thumbUrl":8950,"material":2147,"size":8951,"collection":71,"collections":8952,"showCount":8896,"zanCount":961,"manualWeight":48,"mainColor":75},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,24,25,149,59,7,65,60,61,34,64,278,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[71,212],{"id":8954,"slug":8955,"title":8956,"dynasty":80,"author":887,"museum":135,"description":8957,"tags":8958,"thumbUrl":8959,"material":87,"size":8960,"collection":71,"collections":8961,"showCount":8896,"zanCount":48,"manualWeight":48,"mainColor":49},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[23,24,25,149,28,7,583,62,103,64,34,6852,508,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[71,45],{"id":8963,"slug":8964,"title":8965,"dynasty":80,"author":887,"museum":56,"description":8966,"tags":8967,"thumbUrl":8968,"material":87,"size":8969,"collection":71,"collections":8970,"showCount":8896,"zanCount":961,"manualWeight":48,"mainColor":75},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,24,25,26,59,67,66,7,65,8769,3261,30,61,3004,34,62,106,31,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[71,212],{"id":8972,"slug":8973,"title":8974,"dynasty":80,"author":1410,"museum":161,"description":8975,"tags":8976,"thumbUrl":8977,"material":169,"size":8978,"collection":71,"collections":8979,"showCount":8896,"zanCount":1080,"manualWeight":48,"mainColor":75},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[23,24,25,26,59,7,65,66,67,101,318,319,165,60,62,630,890,167,37,1674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[71],{"id":8981,"slug":8982,"title":8983,"dynasty":54,"author":580,"museum":5794,"description":8984,"tags":8985,"thumbUrl":8986,"material":169,"size":8987,"collection":71,"collections":8988,"showCount":8896,"zanCount":961,"manualWeight":48,"mainColor":75},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[23,24,25,149,59,65,7,34,607,125,61,64,37,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[71],{"id":8990,"slug":8991,"title":8992,"dynasty":177,"author":2620,"museum":396,"description":8993,"tags":8994,"thumbUrl":8995,"material":139,"size":8996,"collection":71,"collections":8997,"showCount":8896,"zanCount":48,"manualWeight":48,"mainColor":49},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[24,25,7,304,65,122,28,103,104,334,63,335,5624,64,34,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[71],{"id":8999,"slug":9000,"title":9001,"dynasty":177,"author":9002,"museum":135,"description":9003,"tags":9004,"thumbUrl":9005,"material":69,"size":9006,"collection":45,"collections":9007,"showCount":8896,"zanCount":48,"manualWeight":48,"mainColor":75},219477,"hu-tu-ma-fu-tu-219477","虎图","马负图","此作打破惯常的猛虎范式，坐虎圆颅圆眼，憨态尽显。以丝毛晕染绘皮毛，笔触细腻柔润，斑纹浓淡层次分明，将蓬松质感淋漓展现，褪去兽王的狞厉刻板，尽显稚态娇憨。\n背景浅绛绘就山野，危崖飞瀑隐于轻岚淡雾间，点染苍润草木，晕染出山谷空寂清宁。静虎坐卧于山石，稚拙憨态与山野幽寂相融，工写兼具，笔意温润雅致，把山林王者柔化成邻家稚兽，别出灵动画意，尽显悠然野趣。",[24,25,28,29,65,7,3986,3988,199,64,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d96f61fde5de07de01651b35d7eae0.jpg","158.1×91.2",[45],{"id":9009,"slug":9010,"title":9011,"dynasty":80,"author":887,"museum":135,"description":9012,"tags":9013,"thumbUrl":9014,"material":139,"size":9015,"collection":42,"collections":9016,"showCount":8896,"zanCount":961,"manualWeight":48,"mainColor":75},218971,"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[23,24,25,2484,28,7,65,63,413,64,60,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[42],{"id":9018,"slug":9019,"title":909,"dynasty":18,"author":288,"museum":119,"description":9020,"tags":9021,"thumbUrl":9022,"material":596,"size":9023,"collection":71,"collections":9024,"showCount":8896,"zanCount":1080,"manualWeight":48,"mainColor":49},218915,"shan-shui-tu-xia-gui-218915","这幅画描绘了一个平静安详的山居，远处的山峰高耸入云，瀑布和泉水直泻而下，小屋散落一地，优雅的人和伐木工在其中徘徊。整幅画的笔触层次分明，森林和山上的明暗对比明显。这幅画上看不到艺术家的签名，但从原始签名来看，应该是夏圭。然而，山、林、坡、石的布局，以及滴水不漏的笔墨，都显示出明代浙江画派的风格，这肯定是错误地归于后来的艺术家。",[23,100,24,25,59,28,65,7,264,125,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20501644fd7647ba471c42b77fc18e2.jpg","47.6x32.5",[71],{"id":9026,"slug":9027,"title":9028,"dynasty":177,"author":5740,"museum":20,"description":9029,"tags":9030,"thumbUrl":9032,"material":169,"size":9033,"collection":71,"collections":9034,"showCount":8896,"zanCount":48,"manualWeight":48,"mainColor":75},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。明末生员，家富收藏，故精鉴别，擅画山水，为“海阳四家”之一。清初著名画家，书法家和诗人。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,24,25,149,59,65,7,37,583,30,347,9031,64,34],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[71],{"id":9036,"slug":9037,"title":159,"dynasty":54,"author":580,"museum":20,"description":9038,"tags":9039,"thumbUrl":9040,"material":169,"size":9041,"collection":71,"collections":9042,"showCount":8896,"zanCount":48,"manualWeight":48,"mainColor":75},218341,"shan-shui-ce-wen-zheng-ming-218341","此图左开为作者图，右开有其弟子周天球、陆师道、王穉登的应景题诗。\n根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[23,24,100,164,59,7,34,35,239,61,66,67,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78e6d4341e71339b18dae6e2a968838.jpg","28.5×15.8cm",[71],{"id":9044,"slug":9045,"title":9046,"dynasty":177,"author":9047,"museum":135,"description":9048,"tags":9049,"thumbUrl":9050,"material":69,"size":9051,"collection":44,"collections":9052,"showCount":8896,"zanCount":1080,"manualWeight":48,"mainColor":75},216978,"yi-tao-tu-jin-ting-biao-216978","移桃图","金廷标","这幅画展示了一个有绿色树木的村庄。一个男人和一个瘸子站在窗外，教一个孩子种桃花。惟不免作家气重些。",[24,25,29,28,7,103,34,64,61,102,35,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7567eb36e902b6cd0d71a3b920a0b4d.jpg","187.3x63.2",[44,71],{"id":9054,"slug":9055,"title":9056,"dynasty":80,"author":1410,"museum":135,"description":9057,"tags":9058,"thumbUrl":9059,"material":596,"size":9060,"collection":127,"collections":9061,"showCount":9062,"zanCount":48,"manualWeight":48,"mainColor":49},290134,"qiu-jiang-yu-yin-tu-wu-zhen-290134","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[100,24,59,7,149,62,373,61,264,583,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":9064,"slug":9065,"title":3951,"dynasty":811,"author":933,"museum":119,"description":3952,"tags":9066,"thumbUrl":9068,"material":337,"size":937,"collection":127,"collections":9069,"showCount":9062,"zanCount":48,"manualWeight":48,"mainColor":940},289356,"qiu-shan-wan-cui-tu-guan-tong-289356",[100,24,25,149,59,28,7,2682,372,199,9067,65],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ececd0d022d954f2d70d8ead2688868.jpg",[],{"id":9071,"slug":9072,"title":774,"dynasty":18,"author":775,"museum":119,"description":9073,"tags":9074,"thumbUrl":9075,"material":337,"size":937,"collection":127,"collections":9076,"showCount":9062,"zanCount":48,"manualWeight":48,"mainColor":49},288508,"qing-luan-xiao-si-tu-li-cheng-288508","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,100,24,25,7,149,59,65,238,104,4740,60,61,199,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],{"id":9078,"slug":9079,"title":9080,"dynasty":54,"author":96,"museum":119,"description":9081,"tags":9082,"thumbUrl":9083,"material":337,"size":937,"collection":127,"collections":9084,"showCount":9062,"zanCount":961,"manualWeight":48,"mainColor":49},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,100,24,25,26,7,28,65,122,238,34,35,756,60,61,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],{"id":9086,"slug":9087,"title":9088,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":9089,"thumbUrl":9090,"material":127,"size":127,"collection":71,"collections":9091,"showCount":9062,"zanCount":48,"manualWeight":48,"mainColor":75},238076,"fang-tang-yin-chi-bi-zhou-wang-hui-238076","仿唐寅赤璧轴",[24,197,149,65,122,7,1643,62,106,239,34,31,103,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[71],{"id":9093,"slug":9094,"title":9095,"dynasty":177,"author":395,"museum":119,"description":9096,"tags":9097,"thumbUrl":9098,"material":127,"size":127,"collection":127,"collections":9099,"showCount":9062,"zanCount":961,"manualWeight":48,"mainColor":49},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,25,26,28,7,65,66,67,101,318,319,60,104,34,239,826,1947,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":9101,"slug":9102,"title":9103,"dynasty":177,"author":178,"museum":119,"description":9104,"tags":9105,"thumbUrl":9107,"material":127,"size":127,"collection":127,"collections":9108,"showCount":9062,"zanCount":1080,"manualWeight":48,"mainColor":49},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,100,24,25,149,29,28,304,103,104,60,61,7,34,2911,63,4828,3695,1856,278,559,9106],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":9110,"slug":9111,"title":9112,"dynasty":177,"author":6184,"museum":396,"description":9113,"tags":9114,"thumbUrl":9115,"material":139,"size":9116,"collection":71,"collections":9117,"showCount":9062,"zanCount":48,"manualWeight":48,"mainColor":49},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,24,25,100,304,28,29,104,7,60,34,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[71],{"id":9119,"slug":9120,"title":9121,"dynasty":54,"author":55,"museum":650,"description":651,"tags":9122,"thumbUrl":9123,"material":69,"size":655,"collection":127,"collections":9124,"showCount":9062,"zanCount":961,"manualWeight":48,"mainColor":75},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭",[23,24,25,164,59,28,7,63,125,607,61,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg",[],{"id":9126,"slug":9127,"title":9128,"dynasty":177,"author":2075,"museum":20,"description":9129,"tags":9130,"thumbUrl":9131,"material":169,"size":9132,"collection":71,"collections":9133,"showCount":9062,"zanCount":48,"manualWeight":48,"mainColor":75},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,100,24,25,149,59,65,1019,7,318,34,35,37,61,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[71],{"id":9135,"slug":9136,"title":9137,"dynasty":18,"author":592,"museum":135,"description":9138,"tags":9139,"thumbUrl":9142,"material":139,"size":9143,"collection":42,"collections":9144,"showCount":9062,"zanCount":48,"manualWeight":48,"mainColor":49},218981,"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[23,100,24,25,59,65,103,125,9140,7,9141],"山岩","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","22.4x23.8",[42],{"id":9146,"slug":9147,"title":9148,"dynasty":80,"author":9149,"museum":135,"description":9150,"tags":9151,"thumbUrl":9152,"material":69,"size":9153,"collection":71,"collections":9154,"showCount":9062,"zanCount":1080,"manualWeight":48,"mainColor":75},218433,"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[23,24,26,59,65,7,167,3658,34,31,32,816,3764,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[71],{"id":9156,"slug":9157,"title":9158,"dynasty":177,"author":2075,"museum":650,"description":9159,"tags":9160,"thumbUrl":9161,"material":169,"size":9162,"collection":71,"collections":9163,"showCount":9062,"zanCount":48,"manualWeight":48,"mainColor":75},217885,"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。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”。",[24,25,149,59,65,7,318,199,201,34,150,239,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[71],{"id":9165,"slug":9166,"title":4142,"dynasty":18,"author":9167,"museum":161,"description":9168,"tags":9169,"thumbUrl":9170,"material":139,"size":127,"collection":71,"collections":9171,"showCount":9062,"zanCount":961,"manualWeight":48,"mainColor":49},214826,"gui-zhuang-tu-li-xi-cheng-214826","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[23,24,25,2484,7,28,65,318,319,103,35,165,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[71],{"id":9173,"slug":9174,"title":9175,"dynasty":54,"author":1652,"museum":20,"description":9176,"tags":9177,"thumbUrl":9178,"material":127,"size":127,"collection":127,"collections":9179,"showCount":9180,"zanCount":48,"manualWeight":48,"mainColor":75},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,100,24,25,26,67,59,28,65,7,62,103,64,34,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],80,{"id":9182,"slug":9183,"title":159,"dynasty":54,"author":9184,"museum":20,"description":9185,"tags":9186,"thumbUrl":9187,"material":9188,"size":9189,"collection":71,"collections":9190,"showCount":9180,"zanCount":48,"manualWeight":48,"mainColor":49},234318,"shan-shui-ce-song-xu-234318","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,59,65,164,7,61,60,372,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f139067519e7c0c0636a193cc49cf5.jpg","纸本 ，设色","纵31cm，横42cm",[71,45],{"id":9192,"slug":9193,"title":9194,"dynasty":54,"author":178,"museum":4678,"description":9195,"tags":9196,"thumbUrl":9201,"material":225,"size":9202,"collection":127,"collections":9203,"showCount":9180,"zanCount":961,"manualWeight":48,"mainColor":49},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[23,24,26,28,29,65,7,3988,3986,335,9197,3987,9198,6240,9199,34,239,201,1738,9200],"象","山羊","猴","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],{"id":9205,"slug":9206,"title":9207,"dynasty":18,"author":178,"museum":20,"description":8384,"tags":9208,"thumbUrl":9213,"material":40,"size":9214,"collection":127,"collections":9215,"showCount":9180,"zanCount":961,"manualWeight":48,"mainColor":49},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷",[23,24,100,25,26,29,28,103,7,3988,3986,9209,8339,9210,9211,34,64,106,6980,9212],"豹","蛇","兔","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":9217,"slug":9218,"title":9219,"dynasty":177,"author":178,"museum":119,"description":9220,"tags":9221,"thumbUrl":9222,"material":127,"size":127,"collection":127,"collections":9223,"showCount":9180,"zanCount":48,"manualWeight":48,"mainColor":75},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[23,24,25,59,28,65,164,7,264,62,166,8249,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],{"id":9225,"slug":9226,"title":9227,"dynasty":54,"author":96,"museum":56,"description":9228,"tags":9229,"thumbUrl":9231,"material":349,"size":9232,"collection":71,"collections":9233,"showCount":9180,"zanCount":961,"manualWeight":48,"mainColor":75},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,100,24,25,149,28,29,9230,630,63,103,7,61,64,34,106,62],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[71,45],{"id":9235,"slug":9236,"title":9237,"dynasty":80,"author":616,"museum":135,"description":9238,"tags":9239,"thumbUrl":9240,"material":243,"size":9241,"collection":71,"collections":9242,"showCount":9180,"zanCount":48,"manualWeight":48,"mainColor":75},220786,"song-lin-ting-zi-zhou-ni-zan-220786","松林亭子轴","《松林亭子图》为倪瓒54岁时所作，画上落款时间为至正十四年（1354）初冬。在1354年前后，倪瓒的生活因元末社会动荡而发生一系列变化。“至正八年（1348）台州黄岩方国珍起义，至正十一年红巾军起义，十三年张士诚起兵泰州⋯⋯至正十二年，元军与红巾军在太湖流域大战，无锡、苏州等地处于战火硝烟之中，倪瓒避兵于甫里南渚陆玄素家。”元政府的苛捐杂税没有因为战争而消减，反而有愈演愈烈之势。朱德润在《平江路问弭盗策》中叙述了当时赋税的繁重：“科征之际，枷系满屋，鞭挞盈道，直至生民困苦，饥寒迫身。至于酒课、盐课、税课，比之国之初增至十倍。”倪瓒本人也于至正六年（1346）在《馀不溪咏并续》中叹道：“余既为农畎亩，身依稼穑。复而政繁，奔走州里。”倪瓒在兄长去世后，田亩赋税的豁免权随之消失，加之对生活品质的追求，用度豪奢，重赋剥削，也逐渐品尝到生活的重压。于是，在战火与课税中，倪瓒选择变卖田产，弃家逃避兵火之灾。\n《松林亭子图》，现藏于台北故宫博物院，绢本墨画，纵83.4厘米，横52.9厘米，画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。”倪瓒的跋文交代了创作的时间，受画者，以及创作的主题。",[23,24,25,149,59,65,7,63,413,165,734,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","276x74.5cm",[71,212],{"id":9244,"slug":9245,"title":9246,"dynasty":18,"author":9247,"museum":135,"description":9248,"tags":9249,"thumbUrl":9250,"material":139,"size":9251,"collection":42,"collections":9252,"showCount":9180,"zanCount":48,"manualWeight":48,"mainColor":49},219965,"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[23,24,25,149,59,65,67,66,101,103,1522,7,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[42,71],{"id":9254,"slug":9255,"title":9256,"dynasty":54,"author":4986,"museum":56,"description":9257,"tags":9258,"thumbUrl":9260,"material":139,"size":9261,"collection":44,"collections":9262,"showCount":9180,"zanCount":48,"manualWeight":48,"mainColor":49},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,100,25,149,59,223,28,7,103,62,106,61,607,125,5614,495,264,890,7318,239,9259],"秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[44],{"id":9264,"slug":9265,"title":6218,"dynasty":177,"author":1825,"museum":396,"description":9266,"tags":9267,"thumbUrl":9268,"material":169,"size":9269,"collection":71,"collections":9270,"showCount":9180,"zanCount":48,"manualWeight":48,"mainColor":75},219743,"fang-ju-ran-shan-shui-tu-wang-jian-219743","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,25,7,318,319,165,1655,59,223,149,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472899d1492e7cb68ad1e494ac1c01e3.jpg","纵130.3横49.7厘米",[71],{"id":9272,"slug":9273,"title":9274,"dynasty":80,"author":81,"museum":135,"description":9275,"tags":9276,"thumbUrl":9277,"material":87,"size":9278,"collection":71,"collections":9279,"showCount":9180,"zanCount":961,"manualWeight":48,"mainColor":49},219504,"tie-ya-tu-huang-gong-wang-219504","铁崖图","此作近景作小坡树石，右置小桥，左布人家；中远景左方峰峦平顶叠加相连，右方则云烟飘渺，仅露出局部山头、崖壁。画中物像钩定轮廓後，多以规整卧笔点叶、点苔，略显平板。",[24,25,149,59,65,7,64,34,37,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45b7cbc7b51e6e5ecc78a2cd2b60d17.jpg","157.5x64.9公分",[71],{"id":9281,"slug":9282,"title":9283,"dynasty":18,"author":6139,"museum":56,"description":9284,"tags":9285,"thumbUrl":9286,"material":139,"size":9287,"collection":44,"collections":9288,"showCount":9180,"zanCount":961,"manualWeight":48,"mainColor":49},219429,"ba-gao-seng-tu-liang-kai-219429","八高僧图","《南宋梁楷八高僧故事图卷》分别描绘南北朝至唐代佛教禅宗八个高僧的故事。各个人物的神态、举止和服饰刻画入微、传神；山石多为斧劈皴，笔法简洁洗练，动静相映以烘托出人物的情绪。是梁楷作品中较为工整的一路。每幅之后，均附有明初人用行书撰写的文字说明，内容简明扼要。",[23,123,28,29,103,7,583,1738,62,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1587fabe100285596e73694b143eae99.jpg","纵 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厘米",[44],{"id":9290,"slug":9291,"title":9292,"dynasty":54,"author":410,"museum":135,"description":9293,"tags":9294,"thumbUrl":9295,"material":59,"size":127,"collection":212,"collections":9296,"showCount":9180,"zanCount":961,"manualWeight":48,"mainColor":49},219339,"fu-song-guan-pu-tu-dai-jin-219339","抚松观瀑图","虬松横斜如探身老者，枝桠间松针攒簇，墨色浓淡相济，尽显苍劲古拙之姿。飞瀑自崖壁垂落，线条如练，与朦胧山雾相融，添几分空濛悠远。松下二人或立或俯，似低语，又或凝听瀑声，神态悠然，将文人雅士闲适心境藏于山水间。左侧亭台半隐松荫，木质结构线条简洁，与自然景致浑然一体。山石皴擦刚健，草木点染灵动，笔墨兼具挺劲与秀逸。整幅画山水相映，人物点睛，传递出远离尘嚣、寄情林泉的淡泊之韵，仿佛能闻松涛与瀑声交织，引人沉醉于这份林泉雅趣中。",[24,25,149,7,65,28,583,199,63,103,64,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224b7dc4b4561098e04194164c63257.jpg",[212],{"id":9298,"slug":9299,"title":9300,"dynasty":54,"author":9301,"museum":135,"description":9302,"tags":9303,"thumbUrl":9304,"material":69,"size":9305,"collection":71,"collections":9306,"showCount":9180,"zanCount":48,"manualWeight":48,"mainColor":75},218182,"jiao-yuan-shi-er-jing-ce-xue-zhai-shen-shi-chong-218182","郊园十二景册-雪斋","沈士充","明朝时期，沈士充是一位著名的文学家、政治家和官员。他在明朝末年时创作了一本名为《郊园十二景册》的书，其中记录了他在北京城郊外的别墅中所看到的12种风景。这本书成为了明朝时期书写风格优美、内容丰富的作品之一。",[24,25,164,59,7,65,7189,878,63,60,34,64,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25b1501811aba8c4c17fb7b3d08bf64.jpg","30.1x47.5",[71],{"id":9308,"slug":9309,"title":9310,"dynasty":18,"author":178,"museum":135,"description":9311,"tags":9312,"thumbUrl":9314,"material":139,"size":9315,"collection":71,"collections":9316,"showCount":9180,"zanCount":1080,"manualWeight":48,"mainColor":49},215137,"yuan-shui-yang-fan-tu-yi-ming-215137","远水扬帆图","这幅画描绘了远处漂浮的几座青山。烟雾弥漫的河面上一阵强风将河边岩石上枝繁叶茂的树木吹弯，并将三艘客船直推到河中央。河岸上一位白袍隐士，带着他的钢琴手，正准备漫步到岩石阴凉处的茅草亭。明亮的风景透露出几分悠然自得的动感。",[23,24,25,28,7,65,34,239,103,62,1673,9313,63],"远水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ba8f66e5fe5ffdbb57aa8db2c36a45.jpg","21.6x52.4cm",[71],{"id":9318,"slug":9319,"title":9320,"dynasty":80,"author":178,"museum":161,"description":9321,"tags":9322,"thumbUrl":9323,"material":139,"size":9324,"collection":71,"collections":9325,"showCount":9180,"zanCount":961,"manualWeight":48,"mainColor":49},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[24,59,28,7,61,62,495,125,264,373,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[71],{"id":9327,"slug":9328,"title":9329,"dynasty":177,"author":9330,"museum":556,"description":9331,"tags":9332,"thumbUrl":9333,"material":169,"size":9334,"collection":71,"collections":9335,"showCount":9180,"zanCount":48,"manualWeight":48,"mainColor":75},214490,"cheng-fang-fang-gu-shan-shui-tu-cheng-fang-214490","程淓仿古山水图","程淓","清代程淓的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[23,24,59,1099,65,149,7,34,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64344232495e911adda77560a5895256.jpg","28x17cm",[71],{"id":9337,"slug":9338,"title":9339,"dynasty":177,"author":672,"museum":673,"description":674,"tags":9340,"thumbUrl":9341,"material":349,"size":677,"collection":127,"collections":9342,"showCount":9180,"zanCount":961,"manualWeight":48,"mainColor":49},214357,"san-jue-shan-shui-ce-3-hua-yan-214357","三绝山水册-3",[23,24,25,164,59,28,7,278,3765,1586],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbbe74ad51b2f834a84bc920cbd5367.jpg",[],{"id":9344,"slug":9345,"title":9346,"dynasty":18,"author":775,"museum":119,"description":9347,"tags":9348,"thumbUrl":9349,"material":127,"size":127,"collection":127,"collections":9350,"showCount":9351,"zanCount":48,"manualWeight":48,"mainColor":49},232919,"xue-jing-han-lin-tu-ji-li-cheng-232919","雪景寒林图集","李成(约919-967年),字咸熙,出身贵族,其先人为唐宗室,后周时避居青州营丘(今山东)。李成好友枢密使王朴准备举荐李成,但是此事未及进行王朴就死了,李成虽有文才,但因世变不得志,终日饮酒游玩,最终醉死客栈。李成擅画山水自娱,“一皆吐其胸中而写之笔下”，对北宋的山水画的发展有重大影响，北宋时期被誉为“古今第一”。",[100,24,25,149,7,65,59,878,766,34,64,5932,3987,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16455b8911f86b1ce9bc374e1d0974.jpg",[],79,{"id":9353,"slug":9354,"title":9355,"dynasty":54,"author":9356,"museum":119,"description":9357,"tags":9358,"thumbUrl":9359,"material":127,"size":127,"collection":127,"collections":9360,"showCount":9351,"zanCount":1080,"manualWeight":48,"mainColor":75},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[23,24,25,149,59,65,7,60,61,104,335,103,413,64,165,63],"https:\u002F\u002Foss.c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，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,24,25,149,59,28,7,583,64,5657,103,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[71,45],{"id":9371,"slug":9372,"title":9373,"dynasty":80,"author":8313,"museum":135,"description":9374,"tags":9375,"thumbUrl":9376,"material":139,"size":9377,"collection":127,"collections":9378,"showCount":9351,"zanCount":1080,"manualWeight":48,"mainColor":49},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[23,100,24,25,149,59,28,7,64,34,200,65,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],{"id":9380,"slug":9381,"title":9382,"dynasty":80,"author":160,"museum":424,"description":9383,"tags":9384,"thumbUrl":9385,"material":69,"size":9386,"collection":44,"collections":9387,"showCount":9351,"zanCount":1080,"manualWeight":48,"mainColor":49},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[23,24,25,59,65,7,318,583,125,35,60,61,264,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[44,45],{"id":9389,"slug":9390,"title":9391,"dynasty":18,"author":604,"museum":673,"description":9392,"tags":9393,"thumbUrl":9394,"material":139,"size":127,"collection":71,"collections":9395,"showCount":9351,"zanCount":961,"manualWeight":48,"mainColor":49},219916,"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","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”。",[23,24,25,26,59,28,65,7,318,319,34,104,63,62,106,167,3658,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[71],{"id":9397,"slug":9398,"title":7432,"dynasty":18,"author":178,"museum":275,"description":9399,"tags":9400,"thumbUrl":9401,"material":139,"size":9402,"collection":71,"collections":9403,"showCount":9351,"zanCount":961,"manualWeight":48,"mainColor":940},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[23,24,1388,149,59,65,7,62,60,61,373,34,64,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[71],{"id":9405,"slug":9406,"title":9407,"dynasty":18,"author":592,"museum":135,"description":9408,"tags":9409,"thumbUrl":9411,"material":139,"size":9412,"collection":71,"collections":9413,"showCount":9351,"zanCount":48,"manualWeight":48,"mainColor":49},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[23,24,25,59,65,28,7,372,6850,347,62,533,766,9410,64,166],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[71],{"id":9415,"slug":9416,"title":9417,"dynasty":18,"author":178,"museum":135,"description":9418,"tags":9419,"thumbUrl":9422,"material":596,"size":9423,"collection":71,"collections":9424,"showCount":9351,"zanCount":712,"manualWeight":48,"mainColor":49},218783,"qiu-shan-tu-yi-ming-218783","秋山图","这幅关于山脉的画作从画板底部向上延伸，将纸张堆叠起来，在复杂而庞大的岩石中，随着溪流的流动，创造出山峦和沟壑的变化，并在现实和想象中创造出一种兴趣。山石像范宽的彩虹，寒林和枯枝的画法像郭熙的蟹爪法，而整体画风与《荆浩的匡庐》非常相似。",[23,24,100,7,59,149,65,9420,238,9421,64,766,7727,61,150,3865],"蟹爪法","沟壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[71],{"id":9426,"slug":9427,"title":9428,"dynasty":177,"author":9429,"museum":135,"description":9430,"tags":9431,"thumbUrl":9439,"material":69,"size":9440,"collection":71,"collections":9441,"showCount":9351,"zanCount":48,"manualWeight":48,"mainColor":75},218165,"huang-he-lou-tu-guan-huai-218165","黄鹤楼图","关槐","关槐（十八世纪）字晋卿，号云岩，晚号青城山人，仁和（今杭州）人。乾隆间供奉内廷，宠眷特懋。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。\n黄鹤楼位于湖北武昌县西，汉阳门内黄鹤山上，楼高踞山巅，东瞩蛇山，西瞰大江，极富江山之胜。此楼始建于孙吴，然代见整修增益。 「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。",[23,24,100,1388,28,9432,9433,9434,9435,104,7,9436,9437,9438],"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",[71],{"id":9443,"slug":9444,"title":9445,"dynasty":18,"author":604,"museum":161,"description":1531,"tags":9446,"thumbUrl":9447,"material":139,"size":1534,"collection":127,"collections":9448,"showCount":9351,"zanCount":48,"manualWeight":48,"mainColor":75},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)",[23,2538,24,25,164,28,59,65,66,101,7,372,264,61,1643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg",[],{"id":9450,"slug":9451,"title":3375,"dynasty":177,"author":683,"museum":5539,"description":9452,"tags":9453,"thumbUrl":9454,"material":69,"size":9455,"collection":71,"collections":9456,"showCount":9351,"zanCount":48,"manualWeight":48,"mainColor":49},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,25,149,59,65,7,318,165,413,60,61,35,37,64,2315,85,201,3260,240,7558,4563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[71],{"id":9458,"slug":9459,"title":9460,"dynasty":18,"author":3684,"museum":135,"description":9461,"tags":9462,"thumbUrl":9463,"material":139,"size":9464,"collection":71,"collections":9465,"showCount":9351,"zanCount":961,"manualWeight":48,"mainColor":75},215110,"qi-feng-wan-mu-tu-yan-wen-gui-215110","奇峰万木图","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[23,24,100,25,164,59,28,7,34,2325,65,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ce2e5b35c1ba22aa5ee4dea5f39ab1.jpg","24.5 x 26公分",[71],{"id":9467,"slug":9468,"title":9469,"dynasty":18,"author":9470,"museum":119,"description":9471,"tags":9472,"thumbUrl":9473,"material":139,"size":127,"collection":71,"collections":9474,"showCount":9351,"zanCount":961,"manualWeight":48,"mainColor":75},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,4592,25,26,1042,304,28,103,7,104,60,61,335,3988,106,34,37,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[71],{"id":9476,"slug":9477,"title":9478,"dynasty":177,"author":672,"museum":673,"description":674,"tags":9479,"thumbUrl":9480,"material":349,"size":677,"collection":127,"collections":9481,"showCount":9351,"zanCount":48,"manualWeight":48,"mainColor":49},214345,"san-jue-shan-shui-ce-16-hua-yan-214345","三绝山水册-16",[23,24,164,59,28,7,62,264,165,182,65,1738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5412a5acb56562b5d7a9ca0fbda12789.jpg",[],{"id":9483,"slug":9484,"title":1409,"dynasty":18,"author":592,"museum":119,"description":9485,"tags":9486,"thumbUrl":9487,"material":337,"size":937,"collection":127,"collections":9488,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":49},290086,"yu-fu-tu-li-tang-290086","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,100,24,59,7,149,65,62,495,61,125,264,373,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":9491,"slug":9492,"title":9493,"dynasty":177,"author":2017,"museum":119,"description":9494,"tags":9495,"thumbUrl":9496,"material":127,"size":127,"collection":127,"collections":9497,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":75},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,100,164,59,7,65,60,372,64,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],{"id":9499,"slug":9500,"title":2701,"dynasty":18,"author":775,"museum":135,"description":9501,"tags":9502,"thumbUrl":9504,"material":1865,"size":9505,"collection":42,"collections":9506,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":49},232619,"han-lin-ping-ye-tu-li-cheng-232619","北宋山水画主要承续五代荆浩、关仝的北方山水画系，由李成、范宽创立一代新风，传派繁衍。北宋时代，知名画家的人数仅从《图画见闻录》和《画继》两书来统计，就有386人之多。而李成的山水画以“气象萧疏，烟林清旷，毫锋颖脱，墨法精微”而著称，因而《宣和画谱》云：“凡称山水者，必以成为古今第一”。\n图绘萧瑟的隆冬平野中，长松亭立，林木薄疏，小丘起伏，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。此画李成用硬笔锐锋，在绢上勾画的松针，粗干细枝，土坡石廓，线条瘦硬坚韧，极具功力，即使不染墨，也神定气足。图中所绘树枝，无论粗细，均呈弧曲形，将线条的力度发挥到了最大程度。所以李成的画，仅用淡墨作少量的烘染，给人以一种秀润淡雅的享受。\n李成注重真实的山水写生，深谙透视画理，墨法变化微妙，风格清新，意韵精致。他的山水画不但表现出山川气象形势的变化，而且还特别强调了季节气候的特点，其中最突出的成就，是他创造了“寒林”的形象。\n另外，李成作画总是用墨不浓，轻淡如在烟雾里，显得缥缈幽清，史称李成“惜墨如金”。\n李成(919—967)，字咸熙，其先人为唐宗室，世居长安(今西安)。他出身贵族，有文学才能，性情旷达，聪颖多才，因世变抑郁不得志，而好饮酒与游历。善画山水以自娱。《宣和画谱》记述他的山水画说：“所画山林薮泽，平远险易，萦带曲折，飞流、危栈、断桥、绝涧、水石，风雨晦明，烟云雪雾之状，一皆吐其胸中，而写之笔下。”李成在继承前代成就的基础上，将山水画的表现内容和技巧，推向了纵深的发展，影响而及元、明、清。",[24,25,149,59,65,7,372,125,1790,264,238,7727,9503],"裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","纵137.8厘米，横69.2厘",[42],{"id":9508,"slug":9509,"title":1420,"dynasty":177,"author":683,"museum":119,"description":9510,"tags":9511,"thumbUrl":9512,"material":632,"size":9513,"collection":71,"collections":9514,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":75},224390,"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[23,24,59,149,7,65,64,34,201,239,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[71],{"id":9516,"slug":9517,"title":9518,"dynasty":177,"author":2620,"museum":20,"description":9519,"tags":9520,"thumbUrl":9521,"material":40,"size":9522,"collection":71,"collections":9523,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":49},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,28,304,29,7,583,104,63,2845,64,37,166,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[71,45],{"id":9525,"slug":9526,"title":9527,"dynasty":177,"author":9528,"museum":220,"description":9529,"tags":9530,"thumbUrl":9531,"material":9532,"size":9533,"collection":71,"collections":9534,"showCount":9489,"zanCount":961,"manualWeight":48,"mainColor":49},223283,"bai-long-tan-li-zhou-dai-ben-xiao-223283","白龙潭立轴","戴本孝","回群山峰势险峻，几道飞泉从山腰倾泻而下，直接在山脚下的深潭中，被潭壁山岩环绕，画面茂密，有一种艺术感。 “花池深桃”的构想。",[23,24,59,149,7,65,318,199,165,979,239,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","绢本，水墨","54x188.6cm",[71,212],{"id":9536,"slug":9537,"title":9538,"dynasty":177,"author":9539,"museum":556,"description":9540,"tags":9541,"thumbUrl":9542,"material":454,"size":9543,"collection":71,"collections":9544,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":49},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,24,25,149,59,122,65,7,372,583,64,2446,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[71],{"id":9546,"slug":9547,"title":9548,"dynasty":54,"author":9549,"museum":1542,"description":9550,"tags":9551,"thumbUrl":9552,"material":225,"size":9553,"collection":71,"collections":9554,"showCount":9489,"zanCount":961,"manualWeight":48,"mainColor":49},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,24,25,26,29,28,7,103,165,1738,305,61,63,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[71,45],{"id":9556,"slug":9557,"title":9558,"dynasty":80,"author":616,"museum":20,"description":9559,"tags":9560,"thumbUrl":9561,"material":9562,"size":9563,"collection":71,"collections":9564,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":49},220796,"lin-ting-yuan-xiu-tu-zhou-ni-zan-220796","林亭远岫图轴","《东方画谱·元代山水篇：林亭远岫图》采用三段式构图法，观此图与倪瓒的《松亭山色图》、《容膝斋图》颇有相似处。近景有两株并排生长的高树，线条劲健，笔力十足，可见多用中锋较少侧笔，故显得结实挺拔。画山石使用大量折带皴，看似草草村擦，实则苍老劲健，笔法精湛，炉火纯青。所画江面平静无风，没有舟舸，整幅画亦不见人烟，而见孤亭独立，呈现出了恬静幽远的意境。",[23,24,59,7,372,63,167,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8750e9292710e5790e47df600dda4c.jpg","纸本，立轴","纵87.3厘米，横31.4厘米",[71,212],{"id":9566,"slug":9567,"title":9568,"dynasty":54,"author":9356,"museum":776,"description":9569,"tags":9570,"thumbUrl":9571,"material":139,"size":9572,"collection":71,"collections":9573,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":49},219935,"bei-ming-tu-zhou-chen-219935","北溟图","此图描绘了古代北海的波澜壮阔。《庄子》开篇《逍遥游》载：“北冥有鱼，其名为鲲，鲲之大，不知几千里也”。渤海古代称北海，亦即北冥，北冥亦作北溟。",[23,24,26,7,29,65,104,34,37,2813,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177597f502a07f40362a79fb62f4475a.jpg","135.9x28.3厘米",[71],{"id":9575,"slug":9576,"title":9577,"dynasty":54,"author":945,"museum":1542,"description":9578,"tags":9579,"thumbUrl":9580,"material":139,"size":127,"collection":71,"collections":9581,"showCount":9489,"zanCount":712,"manualWeight":48,"mainColor":49},219717,"you-diao-tu-tang-yin-219717","游钓图","烟岚轻笼远峰，墨色晕开江天暮色，空濛间漾着清寂悠然。中流扁舟一叶，渔者卧于舟头，随波浮沉，将江海寄怀揉入闲淡烟波。近岸危崖之上，虬松盘曲斜伸，丹枫点染出秋意暖色，幽轩依崖而筑，侍童静立阶侧，似在等候凭栏观江的主人。\n\n画作以斧劈皴勾勒山石棱角，刚劲中晕以淡墨烟霭，刚柔相济。题诗与画面相映，将仕路失意后的林泉之乐铺陈开来，把文人放旷自适的隐逸之思藏在笔底烟霞，萧散简远，尽显诗意与画意交融的吴门雅韵。",[24,149,28,65,7,62,34,239,103,61,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ac5f73b824988b7d0c801d54a6c2e4.jpg",[71],{"id":9583,"slug":9584,"title":9585,"dynasty":54,"author":368,"museum":135,"description":9586,"tags":9587,"thumbUrl":9588,"material":139,"size":9589,"collection":71,"collections":9590,"showCount":9489,"zanCount":1080,"manualWeight":48,"mainColor":49},219401,"qiu-ting-shi-si-tu-lan-ying-219401","秋亭诗思图","画中以简洁三笔交代的下泻溪流，以及避开树干歪斜的茅草亭盖等画法，皆显得自信而可爱，洵为佳作。",[24,25,149,59,28,7,63,125,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc6a620f5800d5eb1c75122ee4fa99c.jpg","169.3x51.8",[71],{"id":9592,"slug":9593,"title":9594,"dynasty":18,"author":9595,"museum":161,"description":9596,"tags":9597,"thumbUrl":9599,"material":139,"size":9600,"collection":71,"collections":9601,"showCount":9489,"zanCount":1080,"manualWeight":48,"mainColor":49},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[24,59,1388,65,223,7,583,64,167,34,1674,532,826,37,9598],"深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[71],{"id":9603,"slug":9604,"title":9605,"dynasty":80,"author":7964,"museum":161,"description":9606,"tags":9607,"thumbUrl":9608,"material":169,"size":9609,"collection":71,"collections":9610,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":75},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[23,24,25,149,59,65,7,125,199,106,2527,239,979,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[71],{"id":9612,"slug":9613,"title":9614,"dynasty":54,"author":9615,"museum":135,"description":9616,"tags":9617,"thumbUrl":9618,"material":69,"size":9619,"collection":45,"collections":9620,"showCount":9489,"zanCount":1080,"manualWeight":48,"mainColor":75},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[23,24,25,26,28,29,65,101,67,7,103,104,60,61,264,34,63,559,3171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[45],{"id":9622,"slug":9623,"title":9624,"dynasty":177,"author":5885,"museum":1542,"description":9625,"tags":9626,"thumbUrl":9627,"material":69,"size":5889,"collection":127,"collections":9628,"showCount":9489,"zanCount":961,"manualWeight":48,"mainColor":75},216247,"jing-fu-si-qi-dong-jing-tu-10-qian-wei-cheng-216247","景敷四气冬景图-10","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n赭英粉萼共争新，不独迎春且探春。大矣乾元善资始，物犹如此况乎人。钤印：妙意写清快",[24,25,28,7,104,583,64,37,533,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a0ecdde6718846ff99634ffe2046cb.jpg",[],{"id":9630,"slug":9631,"title":9632,"dynasty":54,"author":1305,"museum":135,"description":9633,"tags":9634,"thumbUrl":9635,"material":169,"size":9636,"collection":71,"collections":9637,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":75},215044,"shan-shui-ji-jing-wang-fu-215044","山水集景","王绂（1567-1630）是明朝时期的文学家，他的山水集景是一部著名的诗集。该诗集收录了王绂写的许多关于山水风景的诗歌，这些诗歌描写了自然风光、山川景色、湖泊和其他自然景观。王绂的诗歌以其精美的描写、优美的语言和深刻的思想而闻名，被认为是中国古典诗歌中的杰出作品。",[23,24,59,7,65,630,63,64,34,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd65f978a54b6280267aea6cc2cd8f.jpg","68.8x37cm",[71],{"id":9639,"slug":9640,"title":9641,"dynasty":177,"author":395,"museum":396,"description":397,"tags":9642,"thumbUrl":9643,"material":69,"size":402,"collection":127,"collections":9644,"showCount":9489,"zanCount":48,"manualWeight":48,"mainColor":75},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[23,100,24,25,164,59,28,7,264,34,167,37,65,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":9646,"slug":9647,"title":1420,"dynasty":177,"author":4707,"museum":119,"description":9648,"tags":9649,"thumbUrl":9650,"material":127,"size":127,"collection":71,"collections":9651,"showCount":9652,"zanCount":48,"manualWeight":48,"mainColor":75},239477,"shan-shui-zhou-kun-can-239477","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,59,65,149,7,60,61,34,64,37,103,150,7727,826,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[71,212],77,{"id":9654,"slug":9655,"title":1562,"dynasty":54,"author":9656,"museum":119,"description":9657,"tags":9658,"thumbUrl":9659,"material":127,"size":127,"collection":45,"collections":9660,"showCount":9652,"zanCount":961,"manualWeight":48,"mainColor":75},239038,"xian-shan-lou-ge-tu-sheng-mao-ye-239038","盛懋烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[24,25,149,28,7,65,66,104,583,64,167,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab740f67c531848bac66c388d0ad2130.jpg",[45],{"id":9662,"slug":9663,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":9664,"thumbUrl":9665,"material":127,"size":127,"collection":127,"collections":9666,"showCount":9652,"zanCount":48,"manualWeight":48,"mainColor":75},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591",[100,24,25,164,59,65,7,104,60,61,62,63,34,199,64,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],{"id":9668,"slug":9669,"title":6073,"dynasty":54,"author":178,"museum":119,"description":9670,"tags":9671,"thumbUrl":9672,"material":337,"size":937,"collection":71,"collections":9673,"showCount":9652,"zanCount":48,"manualWeight":48,"mainColor":75},234924,"dong-qi-chang-shan-shui-ce-yi-ming-234924","此作用笔松秀虚灵，以淡墨晕染开鸿蒙云气，将远山隐入烟岚，留白衬出无尽空茫。近岸苍松蟠曲，浅渚连山层层延展，平远之境悠悠铺陈。\n墨色清润淡雅，简淡皴擦间，漾开了水泽的空濛静穆。题印落于留白处，与山水相映成趣，书画印浑然相融。整幅画萧散简远，以极简笔墨勾勒出幽寂清远之境，尽显文人画平淡天真的意趣，观之便觉心随山水沉静，独得幽居之乐。",[24,25,164,59,7,318,165,979,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd808de803d791f66197ab19d95eb2ca7.jpg",[71],{"id":9675,"slug":9676,"title":9677,"dynasty":54,"author":1652,"museum":369,"description":9678,"tags":9679,"thumbUrl":9680,"material":225,"size":9681,"collection":308,"collections":9682,"showCount":9652,"zanCount":48,"manualWeight":48,"mainColor":75},221992,"song-shi-gao-shi-tu-wen-zheng-ming-221992","松石高士图","据蔡羽序记，正德十三年二月十九日，文徵明与好友蔡羽、王守、王宠、汤珍等人至无锡惠山游览，品茗饮茶，吟诗唱和，十分相得，事后便创作了这幅记事性作品。画面采用截取式构图，突出“茶会”场景，在一片松林中有座茅亭泉井，诸人冶游其间，或围井而坐，展卷吟哦，或散步林间，赏景交谈，或观看童子煮茶。人物面相虽少肖像画特征，大都雷同，动态、情致刻画却迥异，饶有生意，并传达出共通的闲适、文雅气质，反映了文人画家传神胜于写形的艺术宗旨。同时，青山绿树、苍松翠柏的幽雅环境，与文人士子的茶会活动相映衬，也营造出情景交融的诗意境界。",[23,24,7,318,319,165,28,223,149,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c92706428937b31f81e452f3db90dc6.jpg","纵71cm，横35cm",[308,45],{"id":9684,"slug":9685,"title":9686,"dynasty":18,"author":2391,"museum":704,"description":9687,"tags":9688,"thumbUrl":9689,"material":9690,"size":9691,"collection":42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"thumbUrl":9763,"material":349,"size":2207,"collection":127,"collections":9764,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":75},234097,"wu-zhong-shan-shui-ce-shen-zhou-234097",[24,25,164,59,65,67,101,7,104,60,61,62,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97c78df6684545aea53e3f99cba50f8.jpg",[],{"id":9766,"slug":9767,"title":9768,"dynasty":177,"author":9769,"museum":119,"description":9770,"tags":9771,"thumbUrl":9772,"material":127,"size":127,"collection":127,"collections":9773,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":75},230198,"xi-hu-quan-jing-tu-ping-zhou-shang-wen-230198","西湖全景图屏","周尚文","此作用大青绿设色晕染山峦，石青石绿敷色明丽雅致，兼以勾勒皴擦表现山体肌理，糅合浅绛晕染的柔和质感。山峦层叠排布，以留白烘衬云气，虚实相生间烘托出空濛悠远的江南湖山意境。山间苍松虬劲古雅，林木错落点缀，将温润灵秀的山水气质尽显。构图错落递进，层层铺展出悠远舒展的山水格局，尽显工丽秀雅的格调，把江南湖山的清润诗意融于笔底，兼具可观可游之趣。",[23,24,25,27,28,65,7,583,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1d10b61a0a4df84f3479e4933db94a.jpg",[],{"id":9775,"slug":9776,"title":9777,"dynasty":54,"author":55,"museum":119,"description":9778,"tags":9779,"thumbUrl":9780,"material":127,"size":127,"collection":127,"collections":9781,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":75},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[23,24,25,26,28,65,7,34,62,103,347,61,64,373,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],{"id":9783,"slug":9784,"title":9785,"dynasty":177,"author":1825,"museum":135,"description":9786,"tags":9787,"thumbUrl":9788,"material":87,"size":9789,"collection":127,"collections":9790,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":75},224479,"fang-zhao-meng-fu-shan-shui-zhou-wang-jian-224479","仿赵孟頫山水轴","王鉴最早从董源入手，1636年，39岁的王鉴结识了董其昌，由此开始深受董其昌影响，后承绪南宗正脉，并涉足擅长青绿山水的三赵 ( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[23,24,25,149,1099,27,28,65,7,64,34,60,61,722,103,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],{"id":9792,"slug":9793,"title":9794,"dynasty":18,"author":178,"museum":119,"description":9795,"tags":9796,"thumbUrl":9797,"material":127,"size":127,"collection":127,"collections":9798,"showCount":9758,"zanCount":961,"manualWeight":48,"mainColor":49},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 〉最为浪漫的憧憬画出了。",[23,24,100,25,164,28,29,65,7,103,62,2855,64,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb770c34ae0fb5c7a2dc0e116c105e.jpg",[],{"id":9800,"slug":9801,"title":9802,"dynasty":54,"author":96,"museum":20,"description":8205,"tags":9803,"thumbUrl":9804,"material":40,"size":8213,"collection":127,"collections":9805,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":75},222187,"ren-wu-gu-shi-tu-chui-xiao-yin-feng-chou-ying-222187","人物故事图-吹箫引凤",[23,24,29,28,304,103,124,104,7,106,181,979,34,4828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f759dfb5ab9012ad81e69f828566888.jpg",[],{"id":9807,"slug":9808,"title":9809,"dynasty":54,"author":9810,"museum":20,"description":9811,"tags":9812,"thumbUrl":9813,"material":632,"size":9814,"collection":212,"collections":9815,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":49},222168,"xiang-jiang-feng-yu-tu-juan-xia-chang-222168","湘江风雨图卷","夏昶","画幅右上方自题图名《湘江风雨》，款“東吳夏昶仲昭筆”，钤“東吳夏昶仲昭書畫印”、“燕寢凝香”印二方。\n夏昶画竹，以其精深的功力和独树一帜的艺术风格名重一时。他一改前人画竹独幅数竿的表现形式，而用巨幅长卷描绘竹树的千竿万梢，同时还“延之以洲渚，加之以风雨”，更显浩浩荡荡，气势恢宏。他笔下的墨竹已不仅仅是简单的文人式的寄兴抒怀，，而且还于其自然的生长环境，在画中融入山水画的笔墨意境。此卷竹林随湘江两岸景致的变化而隐现，起自淡阔的沙洲，之后是平缓的坡陀，继而是坚硬的岩石，又入清冷的江水，再后是壁立的山崖，最后经急湍飞瀑、汩汩溪流而入山，竹树或整或零，或疏或密，老干新枝，各尽其态。画家充分利用了长卷的广度精心描绘出一种起伏张弛的流动性和情节性，实际上是传统墨竹与水墨长卷的结合。夏昶画竹，强调气韵，主张“一气呵成”，“画巨幅尤须如此”，此卷竹叶落墨即是，不见复笔，山石以斧劈皴法大笔侧锋挥扫而成，从首至尾，气脉通连飞动。\n卷后自跋中云此图作于“正統己巳（1449年）秋九月”，正值夏氏62岁出知瑞州之时，是其晚年墨竹长卷的代表作。",[23,24,25,26,59,65,7,630,64,61,199,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8755393eede68b1ee573bab7500c298.jpg","纵35厘米，横1206厘米",[212,6795],{"id":9817,"slug":9818,"title":9819,"dynasty":54,"author":4764,"museum":20,"description":9820,"tags":9821,"thumbUrl":9822,"material":9823,"size":9824,"collection":71,"collections":9825,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":49},221886,"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,100,24,25,164,28,65,122,7,64,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","绢本、设色","纵30.2＊横25.1CM",[71,44,45],{"id":9827,"slug":9828,"title":9829,"dynasty":80,"author":1715,"museum":20,"description":9830,"tags":9831,"thumbUrl":9832,"material":375,"size":9833,"collection":71,"collections":9834,"showCount":9758,"zanCount":961,"manualWeight":48,"mainColor":49},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,100,24,25,26,28,29,66,101,7,34,35,33,64,583,167,3796,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[71,45],{"id":9836,"slug":9837,"title":9838,"dynasty":18,"author":6139,"museum":20,"description":9839,"tags":9840,"thumbUrl":9841,"material":9532,"size":9842,"collection":42,"collections":9843,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":49},221617,"xue-zhan-xing-qi-tu-ye-liang-kai-221617","雪栈行骑图页","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[23,24,59,164,65,100,7,765,372,335,103,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbecd869a79db686331de7ca8c64673f.jpg","纵23.5、横24.2厘米",[42,71,45],{"id":9845,"slug":9846,"title":9847,"dynasty":2272,"author":9848,"museum":4276,"description":9849,"tags":9850,"thumbUrl":9851,"material":225,"size":127,"collection":127,"collections":9852,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":75},220476,"wan-shan-hong-bian-li-ke-ran-220476","万山红遍","李可染","以大面积朱砂晕染层林，丹红似燃，浓烈却不失厚重意蕴，将秋山烂漫尽数铺展。焦墨勾勒山石轮廓，苍劲雄浑的墨色与艳烈丹红碰撞，生出极强视觉张力。垂落的飞瀑如素练破山而下，为沉郁秋景注入灵动生机。山坳间错落的白墙黛瓦民居，晕开一抹烟火暖意，让宏阔秋景多了几分温婉烟火气。笔力苍拙厚重，色彩对比强烈却和谐相融，将秋日山林的绚烂大气与静谧雅致合而为一，尽显秋山盛景的磅礴诗意。",[23,24,28,65,223,7,199,201,35,1120,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cecc510a934210856686c503976ce7a.jpg",[],{"id":9854,"slug":9855,"title":9856,"dynasty":80,"author":9857,"museum":135,"description":9858,"tags":9859,"thumbUrl":9860,"material":169,"size":9861,"collection":71,"collections":9862,"showCount":9758,"zanCount":1080,"manualWeight":48,"mainColor":75},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,24,25,149,59,65,101,66,67,7,318,979,765,165,199,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[71],{"id":9864,"slug":9865,"title":9866,"dynasty":18,"author":178,"museum":135,"description":9867,"tags":9868,"thumbUrl":9869,"material":139,"size":9870,"collection":71,"collections":9871,"showCount":9758,"zanCount":1080,"manualWeight":48,"mainColor":75},218806,"song-ren-ji-hui-han-shan-xing-lv-yi-ming-218806","宋人集绘-寒山行旅","本页绘一轮明月高悬天际，其下寒江平展，枯树横生蟹爪，景色萧疏空阔。近处坡丘二起，左丘上，古松成双，参差挺峙。松下亭中，有旅人坐憩。两丘间，土桥横江相连，沿著右丘，小径一路蜿蜒东去，丘势亦转成峰，环抱于江渚之后。行旅三两或骑或行，殆欲踏寒归去。山石形若卷云，皴法笔势劲捷，遥山远树则用染与前景分虚实，空间的气氛感颇为独到。",[23,24,100,25,164,65,59,7,318,125,334,103,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8b5a6304e7640a65792a19ed547c98.jpg","25.2x26.3",[71],{"id":9873,"slug":9874,"title":9875,"dynasty":54,"author":178,"museum":3793,"description":9876,"tags":9877,"thumbUrl":9878,"material":139,"size":9879,"collection":71,"collections":9880,"showCount":9758,"zanCount":48,"manualWeight":48,"mainColor":49},217911,"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[24,149,28,7,65,103,63,60,61,104,34,64,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[71],{"id":9882,"slug":9883,"title":9884,"dynasty":811,"author":899,"museum":135,"description":9885,"tags":9886,"thumbUrl":9887,"material":596,"size":9888,"collection":127,"collections":9889,"showCount":9890,"zanCount":961,"manualWeight":48,"mainColor":49},289925,"yu-le-tu-zhou-jing-hao-289925","渔乐图轴","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[24,149,59,65,7,373,372,264,61,125,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda905b5bc4e53571550e7355ed79a2b.jpg","189.4x125.9",[],75,{"id":9892,"slug":9893,"title":9894,"dynasty":811,"author":812,"museum":119,"description":9895,"tags":9896,"thumbUrl":9897,"material":337,"size":937,"collection":127,"collections":9898,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":49},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[23,100,24,25,26,59,7,61,62,373,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],{"id":9900,"slug":9901,"title":9902,"dynasty":18,"author":194,"museum":119,"description":9903,"tags":9904,"thumbUrl":9905,"material":337,"size":937,"collection":127,"collections":9906,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":940},287539,"xue-shan-lou-ge-tu-fan-kuan-287539","雪山楼阁图","此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。",[24,7,59,65,104,1262,61,64,34,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7164b3c1f63766c284a26f90276d03.jpg",[],{"id":9908,"slug":9909,"title":9910,"dynasty":18,"author":6369,"museum":119,"description":9911,"tags":9912,"thumbUrl":9913,"material":127,"size":127,"collection":127,"collections":9914,"showCount":9890,"zanCount":961,"manualWeight":48,"mainColor":49},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,100,24,25,26,27,28,29,7,318,319,34,104,63,60,62,5146,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],{"id":9916,"slug":9917,"title":218,"dynasty":54,"author":9549,"museum":119,"description":9918,"tags":9919,"thumbUrl":9921,"material":127,"size":127,"collection":127,"collections":9922,"showCount":9890,"zanCount":712,"manualWeight":48,"mainColor":75},228912,"tao-hua-yuan-tu-qian-gu-228912","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,24,25,26,59,28,65,29,7,103,102,61,62,373,106,60,63,9920],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":9924,"slug":9925,"title":9926,"dynasty":1051,"author":178,"museum":8528,"description":8529,"tags":9927,"thumbUrl":9928,"material":337,"size":937,"collection":127,"collections":9929,"showCount":9890,"zanCount":961,"manualWeight":48,"mainColor":49},226216,"ku-zhu-shi-xi-bi-yi-ming-226216","窟主室西壁",[100,3985,1042,304,28,103,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc239266b541c9c02b59870053dd1a161.jpg",[],{"id":9931,"slug":9932,"title":9933,"dynasty":54,"author":1096,"museum":135,"description":9934,"tags":9935,"thumbUrl":9936,"material":2147,"size":9937,"collection":71,"collections":9938,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":75},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,24,25,149,59,65,66,67,7,734,61,583,34,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[71,212],{"id":9940,"slug":9941,"title":9942,"dynasty":54,"author":1096,"museum":135,"description":9943,"tags":9944,"thumbUrl":9945,"material":349,"size":9946,"collection":71,"collections":9947,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":75},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,149,59,65,66,101,7,2325,1617,34,35,64,31,37,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[71,212],{"id":9949,"slug":9950,"title":9951,"dynasty":54,"author":1096,"museum":135,"description":3545,"tags":9952,"thumbUrl":9953,"material":3548,"size":127,"collection":71,"collections":9954,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":49},220935,"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图",[24,25,7,122,65,59,28,64,238,34,334,239,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg",[71,212],{"id":9956,"slug":9957,"title":9958,"dynasty":177,"author":8812,"museum":9959,"description":9960,"tags":9961,"thumbUrl":9963,"material":2147,"size":127,"collection":127,"collections":9964,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":75},220464,"tao-hua-yuan-ren-yi-220464","桃花源","亚瑟·M·赛克勒美术馆","淡墨勾皴层叠岩壁，浅晕青绿晕开山岚清润。老樵负斧驻足，抬首凝望漫山繁花。苍劲虬枝缀满素色花团，如堆雪覆枝，将山野晕染出朦胧柔婉。幽寂山石隐在花影石隙，似藏着无人惊扰的洞天。\n人物衣褶简括灵动，抬首的怔忡神态宛然在目，将误入世外山境的沉醉凝于笔端。淡墨写意晕出空寂悠远的山野氛围，清简笔墨铺展出世外天地的悠然意趣，把隐逸避世的幽韵尽数融在这尺幅之中。",[23,24,149,28,5386,103,7,2127,64,34,61,9962],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2b3db8d3cbb318979a7513a7d5b907.jpg",[],{"id":9966,"slug":9967,"title":9968,"dynasty":54,"author":9969,"museum":20,"description":9970,"tags":9971,"thumbUrl":9972,"material":139,"size":9973,"collection":71,"collections":9974,"showCount":9890,"zanCount":961,"manualWeight":48,"mainColor":49},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[23,24,25,26,59,28,7,65,318,239,34,37,61,826,2325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[71,45],{"id":9976,"slug":9977,"title":9978,"dynasty":177,"author":4707,"museum":396,"description":5520,"tags":9979,"thumbUrl":9980,"material":69,"size":5523,"collection":71,"collections":9981,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":75},219758,"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬",[23,24,25,59,7,607,125,62,61,64,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg",[71],{"id":9983,"slug":9984,"title":909,"dynasty":177,"author":1925,"museum":396,"description":9985,"tags":9986,"thumbUrl":9987,"material":69,"size":127,"collection":71,"collections":9988,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":75},219756,"shan-shui-tu-zhu-da-219756","以枯淡笔墨绘就天地疏景，线条老辣苍劲，不作浓艳晕染，大片留白代水映天，尽显空寂辽远。远山浅勾轻皴，淡宕朦胧如幻，近木虬曲怪诞，寥寥枝桠撑住清寒风骨。屋舍隐于林间坡岸，愈发衬出天地阒寂。\n\n整幅画将孤高沉郁藏在极简构图里，冷逸萧索的意境下，是遗世的喟叹，简淡笔触中尽是疏离孤傲的心境，于空荒冷寂间，晕开独有的禅意与沉郁诗意。",[23,24,25,59,223,65,7,372,64,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb58644b54bbcc9aee7fe0bc1916a47.jpg",[71],{"id":9990,"slug":9991,"title":1979,"dynasty":8332,"author":9992,"museum":424,"description":9993,"tags":9994,"thumbUrl":9995,"material":139,"size":9996,"collection":71,"collections":9997,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":49},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","朝鲜·佚名","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[23,24,149,59,65,7,765,318,319,34,35,62,305,201,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[71],{"id":9999,"slug":10000,"title":10001,"dynasty":80,"author":7127,"museum":135,"description":10002,"tags":10003,"thumbUrl":10004,"material":69,"size":10005,"collection":71,"collections":10006,"showCount":9890,"zanCount":550,"manualWeight":48,"mainColor":75},219010,"cai-ling-tu-zhao-yong-219010","采菱图","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[23,24,59,28,65,66,101,7,583,64,35,34,166,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[71],{"id":10008,"slug":10009,"title":10010,"dynasty":80,"author":1962,"museum":650,"description":10011,"tags":10012,"thumbUrl":10013,"material":139,"size":10014,"collection":308,"collections":10015,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":49},218239,"cang-jiang-heng-di-tu-sheng-mao-218239","沧江横笛图","此图所描绘的是一幅江畔秋景。画面远处烟波浩渺，青山伏卧，一派江南平淡幽远的山水景色。近处岸边斜伸出几棵大树，阵风吹过，落叶萧然，惊起的三、五只雀鸟，或飞或栖，自在悠然。树下渔人临风横笛，神情专注。",[24,149,28,7,103,165,106,1522,2855,167,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f90e787aa60094f0aca0e0ed0c9958b.jpg","纵84.8厘米，横47.1厘米",[308,71],{"id":10017,"slug":10018,"title":10019,"dynasty":18,"author":274,"museum":119,"description":10020,"tags":10021,"thumbUrl":10022,"material":596,"size":10023,"collection":42,"collections":10024,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":49},218095,"bai-miao-shou-lie-tu-juan-li-gong-lin-218095","白描狩猎图卷","白描狩猎图卷是一幅巨大的屏风画，共有四卷，每卷长约10米，宽约1.5米。它描绘了一场盛大的狩猎活动，其中参加狩猎的人物有皇帝、皇后、王子和贵族，以及许多官员和太监。画面中还有各种各样的动物，包括骏马、鹿、鸟和兔子。\n\n李公麟的白描狩猎图卷以其精细的绘画技巧和丰富的内容而闻名。他使用了白色和黑色的墨水，在白色的底纸上绘制出细腻的线条。他还使用了许多细节，比如服装上的绣花和皇家徽章，以及动物身上的斑点和杂毛。\n\n白描狩猎图卷被认为是宋朝绘画史上的杰作，也是李公麟最著名的作品之一。它不仅是一幅精美的艺术品，还是对当时宋朝社会、文化和政治的重要记录。",[23,100,24,25,26,123,103,7,335,3986,3988,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca98a46e48106d01d0de91429a75d903.jpg","36.8×819",[42],{"id":10026,"slug":10027,"title":10028,"dynasty":177,"author":672,"museum":673,"description":674,"tags":10029,"thumbUrl":10030,"material":349,"size":677,"collection":127,"collections":10031,"showCount":9890,"zanCount":48,"manualWeight":48,"mainColor":49},214348,"san-jue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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。",[23,100,24,25,26,59,7,104,62,61,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],{"id":10058,"slug":10059,"title":10060,"dynasty":177,"author":10061,"museum":119,"description":10062,"tags":10063,"thumbUrl":10064,"material":127,"size":127,"collection":71,"collections":10065,"showCount":10040,"zanCount":48,"manualWeight":48,"mainColor":75},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,164,28,7,65,122,60,61,125,318,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[71,45],{"id":10067,"slug":10068,"title":10069,"dynasty":54,"author":96,"museum":119,"description":10070,"tags":10071,"thumbUrl":10072,"material":127,"size":127,"collection":127,"collections":10073,"showCount":10040,"zanCount":961,"manualWeight":48,"mainColor":49},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,24,25,149,28,29,27,7,103,63,34,61,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":10075,"slug":10076,"title":10077,"dynasty":18,"author":6369,"museum":119,"description":10078,"tags":10079,"thumbUrl":10080,"material":127,"size":127,"collection":127,"collections":10081,"showCount":10040,"zanCount":961,"manualWeight":48,"mainColor":49},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,100,24,26,27,28,29,65,7,104,60,61,62,34,103,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":10083,"slug":10084,"title":10085,"dynasty":54,"author":96,"museum":20,"description":8205,"tags":10086,"thumbUrl":10089,"material":40,"size":8213,"collection":127,"collections":10090,"showCount":10040,"zanCount":48,"manualWeight":48,"mainColor":75},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图",[23,24,25,29,28,164,103,571,35,7,61,450,10087,559,10088],"小孩","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg",[],{"id":10092,"slug":10093,"title":10094,"dynasty":54,"author":96,"museum":20,"description":8205,"tags":10095,"thumbUrl":10096,"material":40,"size":8213,"collection":127,"collections":10097,"showCount":10040,"zanCount":48,"manualWeight":48,"mainColor":75},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水",[23,24,25,164,29,28,7,103,61,60,34,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg",[],{"id":10099,"slug":10100,"title":10101,"dynasty":18,"author":10102,"museum":4678,"description":10103,"tags":10104,"thumbUrl":10105,"material":40,"size":10106,"collection":42,"collections":10107,"showCount":10040,"zanCount":961,"manualWeight":48,"mainColor":49},221680,"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,100,24,25,149,59,65,7,413,734,103,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[42,71,212],{"id":10109,"slug":10110,"title":10111,"dynasty":18,"author":2434,"museum":20,"description":10112,"tags":10113,"thumbUrl":10114,"material":10115,"size":10116,"collection":127,"collections":10117,"showCount":10040,"zanCount":961,"manualWeight":48,"mainColor":75},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[23,24,26,59,65,25,66,67,101,7,238,37,34,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":10119,"slug":10120,"title":10121,"dynasty":80,"author":160,"museum":20,"description":10122,"tags":10123,"thumbUrl":10124,"material":349,"size":10125,"collection":71,"collections":10126,"showCount":10040,"zanCount":48,"manualWeight":48,"mainColor":75},220823,"xi-jiao-cao-tang-tu-zhou-wang-meng-220823","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[24,59,28,65,7,125,103,62,106,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[71,212],{"id":10128,"slug":10129,"title":10130,"dynasty":80,"author":160,"museum":135,"description":10131,"tags":10132,"thumbUrl":10133,"material":349,"size":10134,"collection":71,"collections":10135,"showCount":10040,"zanCount":961,"manualWeight":48,"mainColor":49},220814,"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,100,7,59,149,65,318,319,34,199,347,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[71,212],{"id":10137,"slug":10138,"title":10139,"dynasty":18,"author":10140,"museum":3774,"description":10141,"tags":10142,"thumbUrl":10144,"material":139,"size":10145,"collection":42,"collections":10146,"showCount":10040,"zanCount":961,"manualWeight":48,"mainColor":75},219885,"ku-mu-xi-qin-tu-xu-dao-ning-219885","枯木溪禽图","许道宁","许道宁，北宋画家，生卒年不详，活跃于北宋初到北宋中期，长安（今陕西西安）人，又作河间 (今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[24,59,28,7,372,10143,264,61,65],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[42,308],{"id":10148,"slug":10149,"title":10150,"dynasty":177,"author":10151,"museum":56,"description":10152,"tags":10153,"thumbUrl":10156,"material":69,"size":10157,"collection":44,"collections":10158,"showCount":10040,"zanCount":48,"manualWeight":48,"mainColor":75},219425,"shui-hui-yuan-ya-ji-tu-zhou-dai-cang-219425","水绘园雅集图轴","戴苍","此画记录了冒辟疆等名士在其私家园林水绘园中的一次雅集。园中山水清远，松荣菊艳，一位僧人打坐石下。两位文人在树下品茶论茗，神态怡然。画面中心石桌前一位老者展卷沉吟，正要落笔作画，另一人据案闲坐，须发尽白，是座中年纪最长的，据画上题跋，已有八十三岁。而画面正中扶手竹椅上坐着的正是此时六十五岁的水绘园主人冒辟疆，他正慈祥看着自己的孙子若有所思。",[100,24,25,149,28,29,103,7,34,239,583,10154,10155,2329],"桌案","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7cdd29f797fe827316b5107f1946d5.jpg","纵146厘米，横72.9厘米",[44],{"id":10160,"slug":10161,"title":10162,"dynasty":80,"author":7974,"museum":1542,"description":10163,"tags":10164,"thumbUrl":10165,"material":596,"size":10166,"collection":71,"collections":10167,"showCount":10040,"zanCount":48,"manualWeight":48,"mainColor":49},218718,"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[23,24,25,304,123,59,104,7,106,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[71,212],{"id":10169,"slug":10170,"title":10171,"dynasty":177,"author":5740,"museum":20,"description":10172,"tags":10173,"thumbUrl":10174,"material":69,"size":10175,"collection":71,"collections":10176,"showCount":10040,"zanCount":48,"manualWeight":48,"mainColor":75},218467,"ming-shan-fang-sheng-tu-cha-shi-biao-218467","名山访胜图","层峦叠嶂间，小径蜿蜒探入深林，溪流穿石而过，泠泠水声漫过石桥。苍松翠竹错落，墨色浓淡相宜——淡染的远山隐在云气中，含烟带雾；近坡的茅屋隐约，似有隐士栖居，添几分幽寂。笔触疏朗灵动，皴擦见山石肌理，水墨晕染出空濛之境，尽显山林清旷之趣。整幅画如淡远的诗，将寻访名山的雅致与自然静谧融于尺幅，引人入胜，心向往之。",[23,24,59,65,7,63,60,61,34,334,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768529aa0c136cf7b2f2fb8485abd65f.jpg","150×58cm",[71],{"id":10178,"slug":10179,"title":10180,"dynasty":54,"author":55,"museum":20,"description":10181,"tags":10182,"thumbUrl":10184,"material":127,"size":127,"collection":127,"collections":10185,"showCount":10186,"zanCount":961,"manualWeight":48,"mainColor":75},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[24,197,28,1019,65,149,7,165,10183,2446,103,61,305,559,167,533],"桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],73,{"id":10188,"slug":10189,"title":10190,"dynasty":177,"author":10191,"museum":20,"description":10192,"tags":10193,"thumbUrl":10194,"material":375,"size":10195,"collection":308,"collections":10196,"showCount":10186,"zanCount":961,"manualWeight":48,"mainColor":75},233442,"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","罗聘","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,59,28,164,103,7,62,61,125,2527,571,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纵24.2厘米，横30.7厘米",[308,71,45],{"id":10198,"slug":10199,"title":10200,"dynasty":177,"author":1801,"museum":56,"description":10201,"tags":10202,"thumbUrl":10204,"material":349,"size":10205,"collection":127,"collections":10206,"showCount":10186,"zanCount":961,"manualWeight":48,"mainColor":75},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[24,25,7,123,59,65,30,10203,372,64,278,101],"壑谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纵110.6厘米，横58.9厘米",[],{"id":10208,"slug":10209,"title":10210,"dynasty":177,"author":1801,"museum":119,"description":10211,"tags":10212,"thumbUrl":10213,"material":127,"size":127,"collection":127,"collections":10214,"showCount":10186,"zanCount":961,"manualWeight":48,"mainColor":75},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,100,24,25,149,59,65,7,372,239,199,61,264],"https:\u002F\u002Foss.ch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(653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[23,24,25,27,28,304,7,104,64,34,756,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],{"id":10232,"slug":10233,"title":10234,"dynasty":177,"author":178,"museum":119,"description":10235,"tags":10236,"thumbUrl":10238,"material":127,"size":127,"collection":127,"collections":10239,"showCount":10186,"zanCount":48,"manualWeight":48,"mainColor":49},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,24,100,149,29,28,304,7,104,103,878,559,34,1586,35,10237],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":10241,"slug":10242,"title":10243,"dynasty":18,"author":178,"museum":20,"description":10244,"tags":10245,"thumbUrl":10246,"material":10247,"size":10248,"collection":42,"collections":10249,"showCount":10186,"zanCount":48,"manualWeight":48,"mainColor":49},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,100,24,25,26,28,7,34,60,61,62,35,65,29,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","絹本設色","纵24.5厘米，横185.5厘米",[42,71,212],{"id":10251,"slug":10252,"title":10253,"dynasty":54,"author":7355,"museum":20,"description":10254,"tags":10255,"thumbUrl":10257,"material":375,"size":10258,"collection":71,"collections":10259,"showCount":10186,"zanCount":48,"manualWeight":48,"mainColor":75},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,24,26,28,65,7,60,61,63,34,347,62,103,10256,64,826],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[71,45],{"id":10261,"slug":10262,"title":4697,"dynasty":54,"author":10263,"museum":119,"description":10264,"tags":10265,"thumbUrl":10266,"material":375,"size":10267,"collection":71,"collections":10268,"showCount":10186,"zanCount":712,"manualWeight":48,"mainColor":75},222050,"xue-jing-tu-zhang-peng-222050","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[23,24,59,65,7,149,878,64,372,62,495,104,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[71,212],{"id":10270,"slug":10271,"title":10272,"dynasty":80,"author":5576,"museum":135,"description":10273,"tags":10274,"thumbUrl":10276,"material":28,"size":10277,"collection":44,"collections":10278,"showCount":10186,"zanCount":48,"manualWeight":48,"mainColor":49},221852,"hua-ke-jiu-si-xie-bin-feng-tu-juan-wang-zhen-peng-221852","画柯九思写豳风图卷","豳，在岐山北，为周先世立国之地。据说成王（？－西元前1021）幼年继位，周公（？－西元前1032）摄政，为令成王了解农桑为政教首务，并关心百姓的四季生活，作豳风晓谕周人祖先后稷、公刘稼穑重农的传统。此卷图绘〈豳风?七月〉，为孔子所辑《诗经》十五国风中最长的一首，由农事之始写至农事之终，先写衣食，次叙农耕蚕桑，最后论至打猎与秋收冬藏，共计八段，全卷青绿设色，每段旁书原文参照。旧题与跋均以为是元代王振鹏（活动于十四世纪前半），及柯九思（1290－1343）作品，然画中已见明代仇英（约1494－1552）影响，推测应为十六世纪后苏州托名之作。",[23,100,24,26,28,29,103,7,60,61,34,2911,64,10275],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb935cec3f8c3cf1b21654d10eed78a.jpg","高53.8隔12本893隔12拖127厘米",[44,45],{"id":10280,"slug":10281,"title":10282,"dynasty":18,"author":604,"museum":135,"description":7909,"tags":10283,"thumbUrl":10284,"material":10285,"size":10286,"collection":42,"collections":10287,"showCount":10186,"zanCount":48,"manualWeight":48,"mainColor":49},221515,"hua-deng-shi-yan-tu-zhuang-biao-ma-yuan-221515","华灯侍宴图（装裱）",[23,24,25,29,28,7,104,34,103,304,278,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345c3f34a1ad94ec43a66b9c6788247.jpg","设色 墨本","111.9公分 横：53.5公分",[42,44,45],{"id":10289,"slug":10290,"title":909,"dynasty":18,"author":288,"museum":135,"description":10291,"tags":10292,"thumbUrl":10293,"material":28,"size":10294,"collection":71,"collections":10295,"showCount":10186,"zanCount":48,"manualWeight":48,"mainColor":49},221226,"shan-shui-tu-xia-gui-221226","夏圭 (公元12世纪末-13世纪初) 亦称夏珪,字禹玉,钱塘(今浙江杭州)人,生卒不详,宁宗赵扩 (1195-1224)朝时画院待诏,赐金带。以擅绘山水而与同代的李唐、刘松年、马远一起被并称为“南宋四家”。在四家之中,夏圭以善于剪裁与美化自然景物的“边角景”构图,与同僚马远齐名,号称“马夏”。《山水家法》论他“气韵尤高,宜为一代名士”;《图绘宝鉴》评他:“院人中画山水,自李唐以下无出其右者也”,以此可见其在画史之中的地位。夏圭在画史之中的地位虽然显赫,但存留作品不多,且历来学术界对他的作品存在很大争议,直至目前尚很少有作品被一致公认是他的真迹。",[23,100,24,25,7,59,65,62,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[71,212],{"id":10297,"slug":10298,"title":10299,"dynasty":54,"author":7927,"museum":161,"description":10300,"tags":10301,"thumbUrl":10302,"material":139,"size":10303,"collection":71,"collections":10304,"showCount":10186,"zanCount":48,"manualWeight":48,"mainColor":49},220068,"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[24,59,65,149,7,766,200,64,199,103,335,62,34,334,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[71],{"id":10306,"slug":10307,"title":10308,"dynasty":54,"author":7927,"museum":1542,"description":10309,"tags":10310,"thumbUrl":10311,"material":139,"size":10312,"collection":71,"collections":10313,"showCount":10186,"zanCount":1080,"manualWeight":48,"mainColor":49},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[24,25,100,149,59,28,65,7,583,61,199,103,64,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[71],{"id":10315,"slug":10316,"title":10317,"dynasty":54,"author":10318,"museum":135,"description":10319,"tags":10320,"thumbUrl":10323,"material":28,"size":10324,"collection":71,"collections":10325,"showCount":10186,"zanCount":1080,"manualWeight":48,"mainColor":49},219458,"chun-shan-xi-ge-tu-lu-zhi-219458","春山溪阁图","陆治","弘治九年（1496年）生。世代耕读，其父与文徵明有交谊，遂从学于文徵明门下。早年为诸生，屡试不中，转为书画，善画山水、花鸟。隐居支硎山。",[24,28,7,65,10321,10322,60,61,34,64,104],"春山","溪阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd616fa2129ced1c381c18d595332f452.jpg","118.5x66.1",[71],{"id":10327,"slug":10328,"title":10329,"dynasty":177,"author":10330,"museum":20,"description":10331,"tags":10332,"thumbUrl":10334,"material":69,"size":10335,"collection":71,"collections":10336,"showCount":10186,"zanCount":961,"manualWeight":48,"mainColor":75},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[23,24,25,26,28,29,65,66,67,101,7,102,238,31,3764,34,60,61,5118,37,347,10333,201],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[71],{"id":10338,"slug":10339,"title":10340,"dynasty":54,"author":10341,"museum":6665,"description":10342,"tags":10343,"thumbUrl":10345,"material":349,"size":10346,"collection":71,"collections":10347,"showCount":10186,"zanCount":961,"manualWeight":48,"mainColor":49},216742,"ri-ben-zu-shi-tu-shou-ye-yuan-xin-216742","日本· 祖师图","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,10344,149,1042,28,29,65,7,103,199,125,64,37],"日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[71],{"id":10349,"slug":10350,"title":10351,"dynasty":18,"author":604,"museum":119,"description":4374,"tags":10352,"thumbUrl":10353,"material":337,"size":937,"collection":127,"collections":10354,"showCount":10355,"zanCount":48,"manualWeight":48,"mainColor":49},289358,"xue-jing-tu-han-xi-mei-xiang-ma-yuan-289358","雪景图（寒溪梅香）",[100,24,59,7,878,63,62,372,64,61,65,2952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd288b946405b599d6d3edc3dfbf95485.jpg",[],72,{"id":10357,"slug":10358,"title":10359,"dynasty":18,"author":288,"museum":119,"description":10360,"tags":10361,"thumbUrl":10362,"material":337,"size":937,"collection":127,"collections":10363,"showCount":10355,"zanCount":961,"manualWeight":48,"mainColor":49},288245,"yan-xiu-lin-ju-tu-xia-gui-288245","烟岫林居图","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。",[23,24,2484,59,7,238,583,37,60,2216,8615,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29dd1c63e1b60626ee479c62c6069bd4.jpg",[],{"id":10365,"slug":10366,"title":10367,"dynasty":177,"author":1801,"museum":20,"description":10368,"tags":10369,"thumbUrl":10370,"material":40,"size":10371,"collection":308,"collections":10372,"showCount":10355,"zanCount":1080,"manualWeight":48,"mainColor":75},236353,"hong-ren-jie-shou-tu-zhou-hong-ren-236353","弘仁节寿图轴","弘仁的《节寿图轴》山水画，是一幅画在绢上的比较早的作品。画家51岁的时候画的，风格面貌已经成熟，松树干上有皴擦，石头做了渲染，画得很生动。特别是水，画得有一层一层流动的感觉。当代的一些山水画，常常画山就有水，但是不能明确“水”在画面中所起到的作用。所以水容易画得很概念，留空白就代表水，如果瀑布就从源头一直画到下端，好像瀑布很短、很矮，一眼能够全部看到，这都是不妥当的。其实对于自然山水中的溪流、瀑布来说，一般只能看到一个部分，其他会被山石、树木等遮挡，不可能全部看到。弘仁的这幅作品中，对于水流的处理是一个很好的参考。画中的瀑布溪流，平面过来一层，又有一个平面，又是一层，流过来再有一个下降的过程，就有了节奏和变化，而且符合大自然的规律。要画好水，就要去观察研究水的实际动态，研究古人画的水，研究自然中的水。",[177,59,7,149,65,413,630,64,201,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70ff3779eca9bcdcd2e3e605f6901b2.jpg","102.2×51.5cm",[308,45],{"id":10374,"slug":10375,"title":10376,"dynasty":54,"author":5427,"museum":20,"description":10377,"tags":10378,"thumbUrl":10379,"material":4711,"size":10380,"collection":71,"collections":10381,"showCount":10355,"zanCount":961,"manualWeight":48,"mainColor":75},236306,"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[24,59,65,149,7,60,61,103,63,34,64,199,106,2414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纵121.3cm，横31.5cm",[71,212],{"id":10383,"slug":10384,"title":10385,"dynasty":18,"author":288,"museum":135,"description":10386,"tags":10387,"thumbUrl":10388,"material":87,"size":10389,"collection":127,"collections":10390,"showCount":10355,"zanCount":48,"manualWeight":48,"mainColor":49},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,25,26,59,65,7,104,34,62,61,64,63,106,4496,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":10392,"slug":10393,"title":10394,"dynasty":811,"author":1137,"museum":119,"description":10395,"tags":10396,"thumbUrl":10397,"material":127,"size":127,"collection":127,"collections":10398,"showCount":10355,"zanCount":48,"manualWeight":48,"mainColor":49},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,100,24,25,149,59,28,65,815,7,318,319,37,239,583,34,201,150,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":10400,"slug":10401,"title":10402,"dynasty":177,"author":5885,"museum":10403,"description":10404,"tags":10405,"thumbUrl":10406,"material":375,"size":10407,"collection":71,"collections":10408,"showCount":10355,"zanCount":961,"manualWeight":48,"mainColor":49},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,25,26,28,7,65,29,66,67,101,64,104,60,61,63,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[71,45],{"id":10410,"slug":10411,"title":10412,"dynasty":177,"author":219,"museum":220,"description":221,"tags":10413,"thumbUrl":10414,"material":225,"size":226,"collection":71,"collections":10415,"showCount":10355,"zanCount":1080,"manualWeight":48,"mainColor":49},222672,"tao-hua-yuan-tu-juan-huang-shen-222672","桃花源图卷",[23,24,26,28,65,102,104,61,62,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af1485e8add576fe39965e2d112d3a5.jpg",[71,45],{"id":10417,"slug":10418,"title":10419,"dynasty":54,"author":945,"museum":704,"description":10420,"tags":10421,"thumbUrl":10423,"material":225,"size":10424,"collection":71,"collections":10425,"showCount":10355,"zanCount":1080,"manualWeight":48,"mainColor":75},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,100,24,25,149,59,28,65,7,103,10422,1738,64,34,37,60],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[71,212],{"id":10427,"slug":10428,"title":10429,"dynasty":18,"author":10430,"museum":119,"description":10431,"tags":10432,"thumbUrl":10433,"material":1576,"size":10434,"collection":42,"collections":10435,"showCount":10355,"zanCount":48,"manualWeight":48,"mainColor":49},221224,"yan-jiang-yu-yu-tu-ye-pu-an-221224","烟江欲雨图页","朴庵","整幅画笔墨奔放，气势磅礴，水墨迈阿密的效果淋漓尽致。是南宋马夏一派",[23,100,24,25,164,59,65,7,34,7435,167,4998,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da05bc26f2c363a81a72b51990a6dbb.jpg","纵24.9厘米、横26.3厘米",[42,71,212],{"id":10437,"slug":10438,"title":394,"dynasty":177,"author":4608,"museum":56,"description":10439,"tags":10440,"thumbUrl":10441,"material":139,"size":10442,"collection":71,"collections":10443,"showCount":10355,"zanCount":961,"manualWeight":48,"mainColor":75},219846,"shan-shui-tu-ce-xie-sun-219846","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,25,164,28,59,65,7,35,34,64,61,1779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79324e826001e1ae611d0f3618e1a31f.jpg","14.2x19.2",[71],{"id":10445,"slug":10446,"title":10447,"dynasty":18,"author":2535,"museum":56,"description":10448,"tags":10449,"thumbUrl":10450,"material":139,"size":10451,"collection":45,"collections":10452,"showCount":10355,"zanCount":48,"manualWeight":48,"mainColor":49},219745,"lou-tai-ye-yue-tu-wan-shan-ye-ma-lin-219745","楼台夜月图纨扇页","《楼台夜月图》为一小景图纨扇页，裁取亭廊台谢的一角之景，图上高柳擢秀、明月当空、山岩稍露、长廊俯见其顶、台榭俨然。在用笔上，岩石以斧劈皴法、亭榭以工稳的界笔画法，树叶全以点缀法，远山烘青，渲染设色，高空浩月，杨柳林中隐约可见楼台复道亭园之景，为马麟的精丽之作。",[24,100,25,2484,28,304,7,104,1643,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575197ec72f706dcbff331880e1f0f61.jpg","纵24.5厘米，横25.2厘米",[45],{"id":10454,"slug":10455,"title":10456,"dynasty":177,"author":10457,"museum":161,"description":10458,"tags":10459,"thumbUrl":10460,"material":139,"size":10461,"collection":308,"collections":10462,"showCount":10355,"zanCount":961,"manualWeight":48,"mainColor":75},218958,"gao-shan-meng-hu-tu-gao-qi-pei-218958","高山猛虎图","高其佩","画面中山势巍峨，层峦叠嶂间寒云缭绕，尽显沉雄气象。猛虎悄然立于崖头，身形矫健，皮毛纹理以简劲笔触勾勒，凛凛威风藏于内敛姿态中。山石以焦墨皴擦，线条如铁线刚硬，留白处隐现雪意，添几分清寂冷峻。远处天际一抹残阳，为沉郁山景晕开暖意，却更衬虎之孤绝霸气。笔墨苍劲洒脱，山水雄浑与猛兽野性相融，静谧中藏磅礴之力，观之似闻山风猎猎、虎啸穿林，原始生机与威严扑面而来。",[24,149,59,7,3986,3988,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45ada0cc9259f74c5941a8a767a7c3b.jpg","166x38cm",[308],{"id":10464,"slug":10465,"title":10466,"dynasty":18,"author":604,"museum":135,"description":10467,"tags":10468,"thumbUrl":10469,"material":139,"size":10470,"collection":127,"collections":10471,"showCount":10355,"zanCount":48,"manualWeight":48,"mainColor":75},218570,"hua-niao-shan-shui-xiao-pin-ce-gu-ting-sui-bo-ma-yuan-218570","花鸟山水小品册-孤艇随波","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,24,25,164,59,28,7,62,61,495,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbw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画法而来，但一变宋人工整刻划之体。\n该图绘东晋谢鲲故事。鲲字幼舆，好老庄，善奏琴，寄迹山林。图绘茫茫山川， 荫荫松林，幼舆独坐水畔丘壑，观水流潺潺，听松涛阵阵，意态悠闲，神性超脱。图卷布局甚奇，绘法古拙，学晋、唐风格，一洗宋人旧习。",[100,24,26,27,28,7,583,103,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1102a9d9b42da6940a786b6d7fe6427.jpg",[],71,{"id":10509,"slug":10510,"title":7432,"dynasty":18,"author":10140,"museum":119,"description":10511,"tags":10512,"thumbUrl":10514,"material":337,"size":937,"collection":127,"collections":10515,"showCount":10507,"zanCount":961,"manualWeight":48,"mainColor":49},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,100,24,26,59,1388,65,7,3601,62,372,10513,200,3865],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg",[],{"id":10517,"slug":10518,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":10519,"tags":10520,"thumbUrl":10521,"material":337,"size":937,"collection":71,"collections":10522,"showCount":10507,"zanCount":48,"manualWeight":48,"mainColor":75},234956,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,164,28,65,122,7,125,64,37,167,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[71,45],{"id":10524,"slug":10525,"title":9493,"dynasty":177,"author":2017,"museum":119,"description":9494,"tags":10526,"thumbUrl":10527,"material":127,"size":127,"collection":127,"collections":10528,"showCount":10507,"zanCount":48,"manualWeight":48,"mainColor":75},233908,"hua-hui-shan-shui-ce-yun-shou-ping-233908",[24,164,25,59,7,571,1433,60,1616,62,101,66,65,8614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdc695aa86b4de6eec57f11a4c771330.jpg",[],{"id":10530,"slug":10531,"title":10532,"dynasty":177,"author":301,"museum":119,"description":10533,"tags":10534,"thumbUrl":10535,"material":127,"size":127,"collection":127,"collections":10536,"showCount":10507,"zanCount":961,"manualWeight":48,"mainColor":49},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[23,100,24,25,29,28,103,335,1110,7,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],{"id":10538,"slug":10539,"title":10540,"dynasty":18,"author":604,"museum":119,"description":10541,"tags":10542,"thumbUrl":10543,"material":127,"size":127,"collection":127,"collections":10544,"showCount":10507,"zanCount":48,"manualWeight":48,"mainColor":379},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824","秋江待渡图页","此作以边角取景，尽显空灵澹远之意趣。虬松扎根危崖，枝干苍劲扭转，松叶攒簇间带着秋意萧疏。远山以淡墨轻勾慢染，晕出朦胧黛色，江岸留白成阔朗秋水，愈衬出天地清寂。水岸泊着孤舟，舟上旅人静坐待渡，将羁旅闲愁融于冷寂江天之中。淡赭设色晕出秋日氛围感，笔致简劲秀逸，以少胜多，寥寥笔墨便勾勒出幽远无尽的诗意余韵，将山水间的清冷闲雅尽数藏于尺幅之间。",[23,24,100,25,164,59,65,28,7,62,125,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986bccab4158b6928756c26c3978e0d8.jpg",[],{"id":10546,"slug":10547,"title":10548,"dynasty":18,"author":10549,"museum":4678,"description":10550,"tags":10551,"thumbUrl":10552,"material":87,"size":10553,"collection":42,"collections":10554,"showCount":10507,"zanCount":961,"manualWeight":48,"mainColor":49},221302,"shan-zhuang-tu-ye-yi-yuan-ji-221302","山庄图页","易元吉","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,24,25,100,28,65,7,60,61,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88332f8b93c6ca6e62d137e999a3fc.jpg","31×30",[42,71,45],{"id":10556,"slug":10557,"title":1420,"dynasty":54,"author":178,"museum":135,"description":10558,"tags":10559,"thumbUrl":10560,"material":59,"size":127,"collection":212,"collections":10561,"showCount":10507,"zanCount":48,"manualWeight":48,"mainColor":49},219345,"shan-shui-zhou-yi-ming-219345","峰峦叠嶂间云雾氤氲，墨色皴擦出山石肌理，浓淡相宜间尽显丘壑之姿。松枝苍劲，竹影婆娑，掩映着几椽屋舍，屋前似有人凭栏凝思，桥边或有客缓步寻幽。流水潺潺绕石矶，与远山朦胧相映成趣。画作以简练线条勾勒景致，留白处见空灵，墨韵间藏生机，将山水静谧与文人雅趣融于一体，仿佛能闻林间清风，听案上琴音，尽显东方美学的含蓄悠远。",[24,25,149,59,65,7,318,583,35,60,34,37,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07f8a98cf77e3944329d1fc96a3eb6.jpg",[212],{"id":10563,"slug":10564,"title":10565,"dynasty":177,"author":5885,"museum":1542,"description":10566,"tags":10567,"thumbUrl":10568,"material":69,"size":5889,"collection":127,"collections":10569,"showCount":10507,"zanCount":961,"manualWeight":48,"mainColor":75},216250,"jing-fu-si-qi-dong-jing-tu-8-qian-wei-cheng-216250","景敷四气冬景图-8","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蜡以黏英珊结子，有花有实冒冬荣。惟应罗汉松高见，不屑别传三友名。钤印：静中观造化",[24,59,28,65,7,62,125,264,61,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93f1bcbd0305cbd9f3595cfd4faef6d.jpg",[],{"id":10571,"slug":10572,"title":10573,"dynasty":177,"author":10574,"museum":135,"description":10575,"tags":10576,"thumbUrl":10578,"material":69,"size":10579,"collection":71,"collections":10580,"showCount":10507,"zanCount":48,"manualWeight":48,"mainColor":75},214812,"jiang-chao-tu-zhang-zong-cang-214812","江潮图","张宗苍","画面描绘了河流的壮丽潮汐和远岸的山脉。海浪是如此强大，当它们遇到岩石时，就会形成银色的怒涛。山脉、悬崖和树木的笔触与王原祁的松树和苍劲的山水有着同样的兴趣。",[23,24,25,7,65,28,101,64,10577,63,37],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2de55def97e2d554b4acbf37b8d33.jpg","166.7x69.5",[71],{"id":10582,"slug":10583,"title":10584,"dynasty":177,"author":672,"museum":673,"description":674,"tags":10585,"thumbUrl":10586,"material":349,"size":677,"collection":127,"collections":10587,"showCount":10507,"zanCount":48,"manualWeight":48,"mainColor":49},214344,"san-jue-shan-shui-ce-15-hua-yan-214344","三绝山水册-15",[23,24,164,59,7,62,264,125,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4491a88ae5e5ead8b4380ed9f6110b95.jpg",[],{"id":10589,"slug":10590,"title":1725,"dynasty":811,"author":812,"museum":119,"description":1726,"tags":10591,"thumbUrl":10592,"material":337,"size":937,"collection":127,"collections":10593,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":940},290292,"xi-an-tu-dong-yuan-290292",[23,24,100,7,149,59,64,61,34,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9255d946cdf46aa6b96e9d49204902e2.jpg",[],70,{"id":10596,"slug":10597,"title":10598,"dynasty":54,"author":945,"museum":119,"description":7266,"tags":10599,"thumbUrl":10600,"material":337,"size":937,"collection":127,"collections":10601,"showCount":10594,"zanCount":1080,"manualWeight":48,"mainColor":49},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)",[23,100,24,25,26,28,65,7,62,104,64,34,61,2683,63,67,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":10603,"slug":10604,"title":10605,"dynasty":18,"author":604,"museum":119,"description":10606,"tags":10607,"thumbUrl":10609,"material":127,"size":127,"collection":127,"collections":10610,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":49},227817,"ju-bei-yao-yue-tu-ma-yuan-227817","举杯邀月图","此作用笔极简却意韵悠长，虬曲老梅斜探出崖壁，枝桠硬劲如屈铁，寥寥几笔便写尽枯寒清瘦之态。山坳屋角悬着冷月，清辉漫过嶙峋山石。水畔幽人席地而坐，似将一身襟怀尽数托付给溶溶月色与泠泠波光。\n画师以斧劈皴利落勾勒山石棱角，淡墨晕染出水色空濛，取景只撷边角小景，却以少胜多，把独酌邀月的疏旷禅意凝在咫尺绢本间，将文人寄心林泉、醉忘尘俗的隐逸情怀晕染尽致，空灵悠远的雅寂氛围扑面而来，余韵悠长。",[23,100,24,25,59,28,65,103,7,1643,372,10608],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747cfa4bb3157bd6ddb01ea703372731.jpg",[],{"id":10612,"slug":10613,"title":2929,"dynasty":18,"author":744,"museum":119,"description":10614,"tags":10615,"thumbUrl":10616,"material":127,"size":127,"collection":127,"collections":10617,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":49},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,100,24,25,2145,27,28,7,103,60,61,335,34,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":10619,"slug":10620,"title":4737,"dynasty":811,"author":1137,"museum":424,"description":10621,"tags":10622,"thumbUrl":10623,"material":127,"size":127,"collection":127,"collections":10624,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":49},227598,"xi-shan-lan-re-tu-ju-ran-227598","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,24,59,7,149,65,318,319,165,278,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284d1d8ee4ace39214acee2790ee85be.jpg",[],{"id":10626,"slug":10627,"title":10628,"dynasty":54,"author":1652,"museum":135,"description":10629,"tags":10630,"thumbUrl":10631,"material":292,"size":127,"collection":71,"collections":10632,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":75},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[23,24,25,149,59,65,122,7,878,64,34,199,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[71,45],{"id":10634,"slug":10635,"title":10636,"dynasty":1051,"author":1052,"museum":135,"description":1054,"tags":10637,"thumbUrl":10638,"material":10639,"size":10640,"collection":44,"collections":10641,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":49},221135,"jiang-fan-lou-ge-zhou-li-si-xun-221135","江帆楼阁轴",[24,100,25,149,27,28,29,7,104,62,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e663d48c7ef6294ae9f191dc300630.jpg","画布","纵101.9厘米，横54.7厘米",[44,45],{"id":10643,"slug":10644,"title":10645,"dynasty":80,"author":160,"museum":135,"description":10646,"tags":10647,"thumbUrl":10648,"material":10649,"size":10650,"collection":71,"collections":10651,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":75},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,24,25,149,59,65,7,63,34,64,61,35,199,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[71,212],{"id":10653,"slug":10654,"title":10655,"dynasty":18,"author":178,"museum":56,"description":10656,"tags":10657,"thumbUrl":10658,"material":139,"size":10659,"collection":71,"collections":10660,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":49},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[100,24,25,2484,28,65,7,63,60,34,64,2855,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[71],{"id":10662,"slug":10663,"title":10664,"dynasty":54,"author":10665,"museum":3793,"description":10666,"tags":10667,"thumbUrl":10677,"material":139,"size":10678,"collection":71,"collections":10679,"showCount":10594,"zanCount":1080,"manualWeight":48,"mainColor":75},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,25,26,28,7,65,66,67,62,61,63,106,1642,1643,373,60,10668,10669,10670,3109,10671,10672,3366,10673,10674,10675,4622,10676],"远浦","归帆","山市","江天","暮雪","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[71],{"id":10681,"slug":10682,"title":10683,"dynasty":18,"author":178,"museum":135,"description":10684,"tags":10685,"thumbUrl":10686,"material":139,"size":10687,"collection":42,"collections":10688,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":75},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[23,24,100,25,7,28,65,413,61,335,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[42],{"id":10690,"slug":10691,"title":10692,"dynasty":80,"author":1410,"museum":135,"description":10693,"tags":10694,"thumbUrl":10695,"material":139,"size":127,"collection":71,"collections":10696,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":75},218765,"xu-xie-ting-quan-tu-wu-zhen-218765","虚榭听泉图","枯树虬枝如铁，墨色浓淡交织间尽显苍劲老辣。山泉自崖壁倾泻而下，细流蜿蜒，泠泠水声似在耳畔萦绕。林下虚榭空寂，虽无人影，却恍若有隐者凭栏，静听泉石相和，心随流水悠远。远山以淡墨晕染，云雾轻笼，更添空濛之致。整幅画笔墨简淡却意境深幽，散发出元人特有的隐逸气度，于静谧中藏生机，于朴拙中见灵秀。不事雕琢的线条里，浸透着散淡超脱的情怀，引人沉浸其中，暂忘尘俗纷扰，尽享自然之趣。每一处墨色的晕染、线条的勾勒，都藏着对天地的敬畏与对本心的坚守，让观者在无声的画面里，听见心灵与自然的共鸣。",[23,24,59,65,7,63,2612,61,125,64,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc9b3797243816d5b728fd7eeef1266.jpg",[71],{"id":10698,"slug":10699,"title":10700,"dynasty":18,"author":10701,"museum":119,"description":10702,"tags":10703,"thumbUrl":10704,"material":139,"size":127,"collection":45,"collections":10705,"showCount":10594,"zanCount":1080,"manualWeight":48,"mainColor":49},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[23,100,24,25,2484,28,7,103,63,60,61,2127,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[45],{"id":10707,"slug":10708,"title":10709,"dynasty":80,"author":1962,"museum":135,"description":10710,"tags":10711,"thumbUrl":10712,"material":139,"size":10713,"collection":44,"collections":10714,"showCount":10594,"zanCount":961,"manualWeight":48,"mainColor":940},216961,"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[24,25,100,149,7,103,878,34,64,65,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8",[44],{"id":10716,"slug":10717,"title":10718,"dynasty":80,"author":887,"museum":135,"description":10719,"tags":10720,"thumbUrl":10721,"material":69,"size":10722,"collection":44,"collections":10723,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":75},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[23,24,25,26,28,7,103,66,67,101,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[44],{"id":10725,"slug":10726,"title":159,"dynasty":177,"author":10727,"museum":56,"description":10728,"tags":10729,"thumbUrl":10730,"material":169,"size":10731,"collection":71,"collections":10732,"showCount":10594,"zanCount":48,"manualWeight":48,"mainColor":75},214718,"shan-shui-ce-gao-xiang-214718","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[100,24,25,164,59,65,7,34,64,37,167,720,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 厘米，横55.4 厘米",[71],{"id":10734,"slug":10735,"title":10736,"dynasty":177,"author":2620,"museum":119,"description":10737,"tags":10738,"thumbUrl":10739,"material":337,"size":937,"collection":127,"collections":10740,"showCount":10741,"zanCount":48,"manualWeight":48,"mainColor":49},230158,"peng-lai-xian-jing-tu-ping-12-tiao-ping-yuan-yao-230158","蓬莱仙境图屏-12条屏","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。",[23,24,28,304,29,65,7,104,583,64,37,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd480a9dcef63f008711c8e7e61623.jpg",[],69,{"id":10743,"slug":10744,"title":10745,"dynasty":54,"author":7945,"museum":119,"description":10746,"tags":10747,"thumbUrl":10748,"material":127,"size":127,"collection":127,"collections":10749,"showCount":10741,"zanCount":1080,"manualWeight":48,"mainColor":75},228498,"yan-shu-ban-qiao-tu-chen-chun-228498","烟树板桥图","此作用水墨写就山林野趣，取高远、平远错落构图，峰崖高耸以阔笔皴擦，墨色层叠间衬出云气空濛，飞瀑隐于峭岩之间，幽庐藏于繁林深处，将山野幽寂之态铺陈开来。\n\n近景烟树错落，信笔点染出枝叶婆娑之姿，板桥横溪，策杖行人缓步其上，茅舍错落林间，尽现村居恬然意趣。水墨干湿浓淡相生，逸笔草草间尽显文人写意随性，将江南山乡的湿润清旷，与林下幽居的闲散自在融为一体，淡远空灵中尽显林下风流。",[24,59,7,165,60,103,199,65,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68d5200227df0e2d65abef6d9fb122f.jpg",[],{"id":10751,"slug":10752,"title":8592,"dynasty":18,"author":194,"museum":119,"description":10753,"tags":10754,"thumbUrl":10755,"material":127,"size":127,"collection":127,"collections":10756,"showCount":10741,"zanCount":48,"manualWeight":48,"mainColor":49},227494,"shan-shui-tu-zhou-fan-kuan-227494","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,100,24,25,149,59,28,65,7,62,64,34,1674,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],{"id":10758,"slug":10759,"title":10760,"dynasty":177,"author":395,"museum":119,"description":10761,"tags":10762,"thumbUrl":10763,"material":127,"size":127,"collection":127,"collections":10764,"showCount":10741,"zanCount":48,"manualWeight":48,"mainColor":49},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[23,100,24,25,149,59,65,7,2315,64,31,1707,34,607,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":10766,"slug":10767,"title":10768,"dynasty":18,"author":178,"museum":119,"description":3461,"tags":10769,"thumbUrl":10770,"material":3464,"size":3465,"collection":42,"collections":10771,"showCount":10741,"zanCount":48,"manualWeight":48,"mainColor":49},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷",[23,24,25,26,28,29,67,101,103,7,34,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg",[42,44,45],{"id":10773,"slug":10774,"title":1979,"dynasty":18,"author":6139,"museum":3157,"description":10775,"tags":10776,"thumbUrl":10779,"material":87,"size":10780,"collection":127,"collections":10781,"showCount":10741,"zanCount":961,"manualWeight":48,"mainColor":49},221615,"xue-jing-shan-shui-tu-liang-kai-221615","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[23,24,100,7,878,103,5044,125,10777,64,59,65,29,10778],"寒溪","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb6676a5452362239059e95da23644d.jpg","111.3cmx49.7cm",[],{"id":10783,"slug":10784,"title":10785,"dynasty":54,"author":55,"museum":650,"description":651,"tags":10786,"thumbUrl":10787,"material":69,"size":655,"collection":127,"collections":10788,"showCount":10741,"zanCount":961,"manualWeight":48,"mainColor":75},220019,"dong-zhuang-tu-ce-zhi-zhe-gui-qiao-shen-zhou-220019","东庄图册之折桂桥",[23,24,59,28,164,7,60,61,630,125,278,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e6c408cd67552c039d8fa8da7af631.jpg",[],{"id":10790,"slug":10791,"title":10792,"dynasty":80,"author":160,"museum":704,"description":10793,"tags":10794,"thumbUrl":10795,"material":69,"size":10796,"collection":71,"collections":10797,"showCount":10741,"zanCount":48,"manualWeight":48,"mainColor":75},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,100,24,25,26,7,28,65,104,34,64,37,66,101,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[71,45],{"id":10799,"slug":10800,"title":10801,"dynasty":177,"author":178,"museum":1542,"description":10802,"tags":10803,"thumbUrl":10804,"material":596,"size":127,"collection":71,"collections":10805,"showCount":10741,"zanCount":961,"manualWeight":48,"mainColor":75},219864,"qing-ren-fang-xi-shan-wu-jin-tu-yi-ming-219864","清人仿溪山无尽图","整卷铺展千里丘壑，峰岭层叠攒簇，苔点皴擦尽显山石苍浑质感，烟岚轻笼幽谷溪川，晕染出空濛悠远的意境。村居田庐散缀林麓水湄，野桥横溪、茂林修竹，尽显山居幽寂之致，复刻全景山水的雄浑大气，又糅入文人画的静穆意趣。沉厚绢色晕开烟峦，笔墨带着追摹古贤的沉静韵味，将林泉高隐的诗意融于层叠山水间，让观览者随着溪山延展，步入烟霞丘壑，沉浸在清寂旷远的山水雅趣中。",[23,24,26,7,28,65,238,34,37,31,85,4924],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1062bdcf0ab3c5882ef217057ef7f7.jpg",[71],{"id":10807,"slug":10808,"title":10809,"dynasty":54,"author":580,"museum":135,"description":10810,"tags":10811,"thumbUrl":10812,"material":69,"size":10813,"collection":45,"collections":10814,"showCount":10741,"zanCount":1080,"manualWeight":48,"mainColor":75},219341,"yu-yu-chun-shu-tu-wen-zheng-ming-219341","雨余春树图","全幅中间为一条宽阔溪水，将其画面纵切成上、下两段，上段即画幅远处崇山叠嶂，山峰耸立，主峰两侧的山峰较矮小，隐约可见。中间山峰顶平壁峭，山上和山坡处树木成林，郁郁葱葱，山脚临河处座落着几间屋宇草舍，掩映在丛树荫下。河滩上有二位高士边闲聊边观赏风景。在溪水夹岸，即此画幅的下段，这是此幅画的主题。夹岸坡陀叠起，崎岖不平，有的坡陀伸展至水上，坡陀上长有几棵高大的松树和其他杂树。古松萧疏错落，坡陀上的平台相参，临溪处筑有一小亭，累见高士策杖优游，间吟望远悠闲自在，展现出一派隐逸文人的诗画境界",[24,25,28,7,165,63,61,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5d61d2c68ecef13e5225b2f2d4ac4b.jpg","纵94.3厘米，横30.3厘米",[45],{"id":10816,"slug":10817,"title":10818,"dynasty":18,"author":178,"museum":135,"description":10819,"tags":10820,"thumbUrl":10822,"material":28,"size":127,"collection":71,"collections":10823,"showCount":10741,"zanCount":961,"manualWeight":48,"mainColor":49},218713,"ke-si-xian-shan-tu-yi-ming-218713","缂丝仙山图","经纬交织间，丝缕凝萃时光质感。层楼叠榭嵌于青嶂翠崖，朱窗半启处，仙人或对弈品茗，或凭栏观云，姿态悠然。云气以断纬技法晕出虚实，如白练缠绕峰峦；仙鹤振翅穿云，羽纹细密如琢玉。山麓牡丹吐蕊，枝叶婉转，与起伏山石相映成趣。淡雅蓝绿为主调，冷韵中藏温润，一丝一缕织就仙乡清寂与灵动，尽显缂丝“寸缂寸金”之精妙，亦托出古人对缥缈仙境的无限向往与浪漫想象。",[23,4923,304,28,7,104,106,2911,8533,103,10821],"仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead55b41155cf7a7ff71947c24c623b6.jpg",[71],{"id":10825,"slug":10826,"title":10827,"dynasty":80,"author":8323,"museum":161,"description":10828,"tags":10829,"thumbUrl":10830,"material":169,"size":10831,"collection":71,"collections":10832,"showCount":10741,"zanCount":961,"manualWeight":48,"mainColor":75},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[24,25,149,59,65,7,64,34,60,61,278,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[71],{"id":10834,"slug":10835,"title":10836,"dynasty":54,"author":9184,"museum":135,"description":10837,"tags":10838,"thumbUrl":10839,"material":139,"size":10840,"collection":44,"collections":10841,"showCount":10741,"zanCount":48,"manualWeight":48,"mainColor":49},216948,"luo-han-tu-song-xu-216948","罗汉图","这是一幅达摩面对水面的画作，看起来很疲惫，嘴唇紧闭在思考。笔触重而不浊，是宋旭的原画风格。",[24,149,28,103,7,583,264,37,65,1042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd87f722f408a0c00a88f3338e2dc80.jpg","140.6x36.3",[44],{"id":10843,"slug":10844,"title":10845,"dynasty":18,"author":2213,"museum":135,"description":10846,"tags":10847,"thumbUrl":10849,"material":69,"size":10850,"collection":71,"collections":10851,"showCount":10741,"zanCount":961,"manualWeight":48,"mainColor":75},216081,"sui-gu-xian-chou-tu-yan-su-216081","邃谷仙俦图","圆幅之内，邃谷幽深如藏太古。松枝盘虬探向涧水，垂瀑溅起的碎玉似携泠泠清响；山石皴染得苍劲见骨，云气轻笼远岫，把虚实边界晕成了仙意。林下幽处，或有对坐的身影，或有倚石的闲态，不沾尘俗的自在漫在空气里。笔墨精细却不刻板，宋画的沉静韵致裹着仙气——没有喧闹，只有丘壑间的清旷，风过松梢时，仿佛能听见仙俦的谈笑声随谷风散开，勾着人想踏入这片无拘天地，把心神安放在这太古般的宁静里。",[23,24,59,28,65,7,34,239,103,10848],"深谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ca0b247e5fd62845b263e8d81f1433.jpg","23.9x24.4cm",[71],{"id":10853,"slug":10854,"title":10855,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":10856,"thumbUrl":10857,"material":337,"size":937,"collection":127,"collections":10858,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":75},289899,"song-jian-qing-yin-tu-zhou-hong-ren-289899","松涧清音图轴",[100,24,25,149,59,7,413,63,264,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ee8ed58b9be8df7d7a8c0c6ef64c97.jpg",[],68,{"id":10861,"slug":10862,"title":10863,"dynasty":54,"author":10864,"museum":119,"description":10865,"tags":10866,"thumbUrl":10867,"material":337,"size":937,"collection":127,"collections":10868,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":49},289762,"hua-shan-tu-ce-wang-lv-289762","华山图册","王履","王履，字安道，号畸叟，又号抱独老人，约生于元至顺三年（公元1332年），卒年不详，明洪武十六年（公元1383年）尚在，昆山（今属江苏）人，祖籍魏博（今河北境内），元末明初医学家、画家、诗人。学医于朱丹溪，是其门人，尽得朱氏之学。",[4768,66,164,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab434cd3bc94d142ad46e3f6b945da1.jpg",[],{"id":10870,"slug":10871,"title":10872,"dynasty":18,"author":288,"museum":119,"description":10873,"tags":10874,"thumbUrl":10876,"material":337,"size":937,"collection":127,"collections":10877,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":49},230785,"yan-xiu-lin-ju-tu-ye-xia-gui-230785","烟岫林居图页","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。",[23,24,25,100,164,59,65,7,10875,238,4621,64],"树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7707d298daece160ecc6b1e0761dcde9.jpg",[],{"id":10879,"slug":10880,"title":10881,"dynasty":177,"author":395,"museum":119,"description":10882,"tags":10883,"thumbUrl":10884,"material":127,"size":127,"collection":127,"collections":10885,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":75},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[100,24,25,59,28,7,65,67,101,125,607,63,60,61,62,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":10887,"slug":10888,"title":10889,"dynasty":177,"author":301,"museum":135,"description":5347,"tags":10890,"thumbUrl":10892,"material":454,"size":5352,"collection":71,"collections":10893,"showCount":10859,"zanCount":961,"manualWeight":48,"mainColor":10894},222766,"shi-er-yue-ling-tu-7-yue-lang-shi-ning-222766","十二月令图（7月）",[23,29,28,304,103,104,7,34,63,559,10891,3695,167,37],"平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425083d660510da46b778f7c49814e14.jpg",[71,45],"FF9800",{"id":10896,"slug":10897,"title":10898,"dynasty":54,"author":1652,"museum":20,"description":10899,"tags":10900,"thumbUrl":10901,"material":10902,"size":8297,"collection":10903,"collections":10904,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":75},221971,"lan-ting-xiu-qi-tu-quan-juan-wen-zheng-ming-221971","兰亭修契图全卷","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。\n卷尾下钤“徵明父印”、“徵仲父印”，右下有“雪坪心赏”、“杜氏藏画”印，左下有“与古维新”印。尾纸首段是文徵明临写王羲之所书的《兰亭序》，其后又有文氏行书自题一段：“曾君曰潜，自号兰亭，余为其写《流觞图》，既临褉帖，兰之复赋，此诗发其命名之意，壬寅五月。”“猗兰亭子袭清芬，珍重山阴迹未陈。高音漫传幽谷操，清真重见永和人。香生环珮光风远，秀茁庭阶玉树新。何必流觞须上巳，一簾（芳？）意四时春。文徵明”。钤“徵明印”、“悟言室印”。由此可知，因曾潜的号与“兰亭修褉”发生的地点相同，文氏便将这一题材入画，并为之题诗，贻赠友朋。尾纸另有王穀祥、陆师道、许初、文彭、文嘉、周复后的题跋。壬寅年为明嘉靖二十一年（1542年）。",[23,24,25,26,28,29,67,7,103,63,61,1616,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb0d378f8205d4f6be244afbdc9303a.jpg","金笺地，设色","山水精选",[10903],{"id":10906,"slug":10907,"title":10908,"dynasty":18,"author":2213,"museum":20,"description":10909,"tags":10910,"thumbUrl":10911,"material":87,"size":10912,"collection":42,"collections":10913,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":49},221426,"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,24,25,7,65,28,6850,318,165,60,61,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[42,71,212],{"id":10915,"slug":10916,"title":10917,"dynasty":18,"author":10918,"museum":20,"description":10919,"tags":10920,"thumbUrl":10922,"material":139,"size":10923,"collection":927,"collections":10924,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":75},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,100,24,25,26,67,66,59,7,62,878,1777,508,10921],"天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[927],{"id":10926,"slug":10927,"title":10928,"dynasty":177,"author":3760,"museum":20,"description":10929,"tags":10930,"thumbUrl":10931,"material":169,"size":10932,"collection":212,"collections":10933,"showCount":10859,"zanCount":961,"manualWeight":48,"mainColor":75},220379,"fang-ju-ran-yan-fu-yuan-xiu-tu-wang-hui-220379","仿巨然烟浮远岫图","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。\n此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。\n《王奉常书画题跋》、《吴越所见书画录》著录。",[23,24,25,149,7,28,65,238,34,37,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[212,71],{"id":10935,"slug":10936,"title":10937,"dynasty":54,"author":945,"museum":119,"description":10938,"tags":10939,"thumbUrl":10940,"material":169,"size":10941,"collection":71,"collections":10942,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":49},220070,"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[24,59,65,149,7,2127,63,60,61,64,34,199,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 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厘米",[71],{"id":10944,"slug":10945,"title":10946,"dynasty":18,"author":3610,"museum":135,"description":10947,"tags":10948,"thumbUrl":10949,"material":87,"size":127,"collection":42,"collections":10950,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":75},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[23,100,24,25,164,28,65,7,62,495,372,64,61,1642,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[42],{"id":10952,"slug":10953,"title":10954,"dynasty":177,"author":10955,"museum":135,"description":10956,"tags":10957,"thumbUrl":10958,"material":139,"size":10959,"collection":44,"collections":10960,"showCount":10859,"zanCount":1080,"manualWeight":48,"mainColor":75},219379,"ren-wu-tu-leng-mei-219379","人物图","冷枚","在这幅画中，高石在雪地里探寻梅花，冷画大师焦秉祯经常使用透视和凹凸阴影。 色彩鲜艳明快，笔墨工整。",[24,100,25,149,29,28,103,7,2127,2394,629,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[44],{"id":10962,"slug":10963,"title":10964,"dynasty":18,"author":592,"museum":161,"description":10965,"tags":10966,"thumbUrl":10967,"material":139,"size":10968,"collection":308,"collections":10969,"showCount":10859,"zanCount":961,"manualWeight":48,"mainColor":49},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[24,25,7,65,59,28,1586,583,106,64,34,125,167,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[308],{"id":10971,"slug":10972,"title":6664,"dynasty":18,"author":178,"museum":135,"description":10973,"tags":10974,"thumbUrl":10975,"material":169,"size":10976,"collection":71,"collections":10977,"showCount":10859,"zanCount":961,"manualWeight":48,"mainColor":75},218802,"xi-shan-xian-guan-tu-yi-ming-218802","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[23,24,100,59,65,7,104,61,62,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[71],{"id":10979,"slug":10980,"title":10981,"dynasty":54,"author":580,"museum":161,"description":10982,"tags":10983,"thumbUrl":10984,"material":139,"size":10985,"collection":71,"collections":10986,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":49},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[24,25,149,28,7,583,62,495,64,61,1674,373,65,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[71],{"id":10988,"slug":10989,"title":4492,"dynasty":80,"author":178,"museum":135,"description":10990,"tags":10991,"thumbUrl":10992,"material":169,"size":10993,"collection":71,"collections":10994,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":75},218283,"jiang-tian-lou-ge-tu-yi-ming-218283","层楼倚崖耸峙，飞檐翘角若振翅欲飞，木构窗棂皆细致勾勒，尽显楼阁之巍峨精巧。江面浩渺无垠，数叶轻舟泛于云水之间，似有渔歌隐约。远山如黛，在云雾氤氲中层层晕染，渐次隐入天际，天地间尽是清旷之气。笔墨简淡却意韵悠长，将建筑的工致与江天的空阔相融，清风仿佛穿堂而过，涛声似在耳畔轻吟。画面静谧空灵，尽显元人山水之悠远意境，观之令人心随舟行，神驰于江天之间，顿生旷达之感。",[24,304,123,7,104,62,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b9cd06ac1c83e4a168b35b2a899c84.jpg","83.7x40cm",[71],{"id":10996,"slug":10997,"title":10998,"dynasty":80,"author":178,"museum":20,"description":10999,"tags":11000,"thumbUrl":11001,"material":139,"size":11002,"collection":71,"collections":11003,"showCount":10859,"zanCount":961,"manualWeight":48,"mainColor":49},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[24,59,7,103,5044,372,64,2855,495,65,200,334,125,2952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[71],{"id":11005,"slug":11006,"title":11007,"dynasty":18,"author":604,"museum":161,"description":1531,"tags":11008,"thumbUrl":11009,"material":139,"size":1534,"collection":127,"collections":11010,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":75},218046,"song-di-ming-ti-ce-ba-ma-yuan-218046","宋帝命题册(八)",[23,100,24,25,164,59,7,63,630,103,66,67,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805101e3bc8ae183233b61658ad3f5fc.jpg",[],{"id":11012,"slug":11013,"title":11014,"dynasty":177,"author":672,"museum":673,"description":674,"tags":11015,"thumbUrl":11016,"material":349,"size":677,"collection":127,"collections":11017,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":49},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10",[23,24,25,164,59,28,7,372,64,103,495,167,3796,62,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg",[],{"id":11019,"slug":11020,"title":11021,"dynasty":177,"author":5740,"museum":220,"description":5741,"tags":11022,"thumbUrl":11023,"material":28,"size":5744,"collection":71,"collections":11024,"showCount":10859,"zanCount":48,"manualWeight":48,"mainColor":5746},214194,"xie-qin-you-ju-tu-cha-shi-biao-214194","携琴幽居图",[24,25,26,59,28,7,65,60,61,63,64,34,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c24a38eb02628f19b29d63163ea0de4.jpg",[71],{"id":11026,"slug":11027,"title":11028,"dynasty":811,"author":899,"museum":119,"description":9885,"tags":11029,"thumbUrl":11030,"material":337,"size":937,"collection":127,"collections":11031,"showCount":11032,"zanCount":48,"manualWeight":48,"mainColor":49},290415,"wu-d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，墨笔","纵23.8cm，横140.4cm",[],{"id":11050,"slug":11051,"title":11052,"dynasty":80,"author":616,"museum":135,"description":11053,"tags":11054,"thumbUrl":11055,"material":349,"size":11056,"collection":127,"collections":11057,"showCount":11032,"zanCount":961,"manualWeight":48,"mainColor":75},232260,"shu-lin-yuan-xiu-tu-ni-zan-232260","疏林远岫图","《疏林远岫图》水墨画河岸、疏树、竹林与房舍，对岸则山峦起伏。用笔多中锋，山石皴法以披麻为主，略有折带笔意。幅上有壬子（一三七二）年款，时七十二岁。然本幅题款，实摹自本台北故宫博物院藏倪氏真本《容膝齐图》。用笔亦无倪氏一代大家之健劲，系后代摹品。",[24,59,7,65,7043,399,264,1738,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f623094ce155625ea685f495651d3f9.jpg","72.9x37.5厘米",[],{"id":11059,"slug":11060,"title":11061,"dynasty":177,"author":1872,"museum":119,"description":11062,"tags":11063,"thumbUrl":11064,"material":127,"size":127,"collection":127,"collections":11065,"showCount":11032,"zanCount":961,"manualWeight":48,"mainColor":75},229006,"si-jing-shan-shui-ce-ye-gong-xian-229006","四景山水册页","此作用笔清润简淡，近处坡岸错落，双木挺秀疏朗，苔点晕染出苍润生机。山岩以积墨慢皴，留白衬出山光空濛，半崖茅庐隐于林木间，飞瀑垂落，似可听闻水石相击之音。\n墨色枯润相济铺陈层次，留白烘托山野空濛之致，将林泉高致的隐逸静雅缓缓铺展。笔意简净却藏醇厚诗意，尽显萧散淡远的林下之风，将幽居山野的清寂雅趣揉进每一处笔墨里，尽显幽寂淡远的林泉之美。",[24,59,65,164,7,64,34,347,533,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb657688f425d059954c787646ca1cb62.jpg",[],{"id":11067,"slug":11068,"title":11069,"dynasty":54,"author":410,"museum":135,"description":11070,"tags":11071,"thumbUrl":11072,"material":40,"size":11073,"collection":71,"collections":11074,"showCount":11032,"zanCount":48,"manualWeight":48,"mainColor":49},222038,"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[23,24,149,28,7,583,3987,3988,65,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[71,45],{"id":11076,"slug":11077,"title":11078,"dynasty":54,"author":11079,"museum":135,"description":11080,"tags":11081,"thumbUrl":11082,"material":2426,"size":11083,"collection":71,"collections":11084,"showCount":11032,"zanCount":961,"manualWeight":48,"mainColor":75},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,24,25,149,28,65,7,583,35,199,64,533,103,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[71,212],{"id":11086,"slug":11087,"title":11088,"dynasty":80,"author":1962,"museum":20,"description":11089,"tags":11090,"thumbUrl":11091,"material":40,"size":11092,"collection":71,"collections":11093,"showCount":11032,"zanCount":48,"manualWeight":48,"mainColor":75},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[23,24,25,2484,59,28,65,7,103,106,125,607,64,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[71,45],{"id":11095,"slug":11096,"title":11097,"dynasty":177,"author":3760,"museum":1542,"description":11098,"tags":11099,"thumbUrl":11100,"material":69,"size":11101,"collection":71,"collections":11102,"showCount":11032,"zanCount":48,"manualWeight":48,"mainColor":75},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[23,24,25,26,7,28,65,238,37,34,399,31,64,722,891,5134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[71],{"id":11104,"slug":11105,"title":909,"dynasty":54,"author":410,"museum":135,"description":11106,"tags":11107,"thumbUrl":11108,"material":596,"size":11109,"collection":71,"collections":11110,"showCount":11032,"zanCount":48,"manualWeight":48,"mainColor":49},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,25,100,65,59,28,7,60,61,62,63,34,199,103,64,149,201,238,532,2833,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[71],{"id":11112,"slug":11113,"title":8448,"dynasty":80,"author":178,"museum":20,"description":11114,"tags":11115,"thumbUrl":11116,"material":139,"size":11117,"collection":71,"collections":11118,"showCount":11032,"zanCount":48,"manualWeight":48,"mainColor":49},218217,"qiu-xi-chui-diao-tu-yi-ming-218217","画中的渔夫端坐在边石上，手持鱼竿，凝视着水面，似乎随时都可能有鱼上钩。身后是一片葱郁的树林，秋天的色彩浓郁而温暖。水面上漂浮着几片落叶，显示出季节的变迁。\n\n整幅画流露出一种平和而悠闲的气氛，令人感到身心放松。这也是秋溪垂钓图的独特魅力所在。",[24,59,28,7,125,607,264,61,103,495,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d078f22a1ebaa637bd9d0770e6f670d.jpg","26x23.7cm",[71],{"id":11120,"slug":11121,"title":909,"dynasty":80,"author":11122,"museum":135,"description":11123,"tags":11124,"thumbUrl":11125,"material":169,"size":11126,"collection":71,"collections":11127,"showCount":11032,"zanCount":1080,"manualWeight":48,"mainColor":49},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,24,25,149,59,65,7,64,34,61,60,35,199,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[71],{"id":11129,"slug":11130,"title":11131,"dynasty":1051,"author":178,"museum":11132,"description":11133,"tags":11134,"thumbUrl":11136,"material":11137,"size":127,"collection":127,"collections":11138,"showCount":11032,"zanCount":961,"manualWeight":48,"mainColor":49},217286,"jiang-mo-bian-dun-huang-tu-juan-4-yi-ming-217286","降魔变·敦煌图卷-4","法国国家图书馆","古朴绢本上，笔墨流转间铺展着一段生动叙事。左侧世俗人物神态各异，衣袂飘举间透着生活气息；中间裸身有须者围坐伞下，伞面纹饰繁复，身旁神兽昂首展翼，灵动线条勾勒出其威猛与祥瑞兼具的姿态；右侧僧侣群像肃穆，衣袍色彩沉稳，传递出宁静的宗教氛围。整幅画以流畅线描为骨，设色淡雅却层次分明，人物与神兽、世俗与神圣场景交织，既捕捉生活细节，又蕴含佛教故事的庄严奇幻，岁月痕迹里仍能感受到鲜活的艺术张力。",[100,24,25,26,28,29,1042,8528,103,11135,7,106,34,64],"神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc400e9da6b17613f5e9395694aaabf3d.jpg","设色,拓本",[],{"id":11140,"slug":11141,"title":11142,"dynasty":177,"author":11143,"museum":135,"description":11144,"tags":11145,"thumbUrl":11146,"material":139,"size":11147,"collection":44,"collections":11148,"showCount":11032,"zanCount":48,"manualWeight":48,"mainColor":75},216968,"li-zhu-cui-xiu-ce-liang-mu-lan-he-da-zi-216968","丽珠萃秀册-梁木兰","赫达资","梁木兰是清朝著名的艺术家，她是在《丽珠萃秀册》中被介绍的。《丽珠萃秀册》是一部清朝时期的艺术名录，其中记录了当时著名的艺术家、书画家、雕塑家、音乐家和舞蹈家的作品和生平经历。梁木兰是其中的一位艺术家，她出身于辽宁省大连市，在清朝时期以其精湛的书法和绘画技艺而闻名。",[24,25,164,28,29,103,264,7,1110,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607e3ef4147ab6d830a434d5bcc7fcb8.jpg","30.1x22.5",[44],{"id":11150,"slug":11151,"title":11152,"dynasty":54,"author":1096,"museum":135,"description":11153,"tags":11154,"thumbUrl":11155,"material":69,"size":11156,"collection":71,"collections":11157,"showCount":11032,"zanCount":48,"manualWeight":48,"mainColor":75},214590,"ji-you-hua-ce-jiao-shan-yan-yu-chang-shan-dong-qi-chang-214590","纪游画册-焦山烟雨常山","董其昌是明代著名的画家，他的作品《焦山烟雨常山》是一本纪游画册，记录了他对焦山和常山的游览所作的绘画。这本画册中包含了许多令人惊叹的景观画作，描绘了焦山和常山的自然景观，包括山峦、河流、树木和山水。\n\n董其昌的画风具有浓厚的写实主义倾向，他擅长运用细腻的笔触和精确的色彩渲染，使得他的作品生动形象，充满了真实感。他善于捕捉山水景观的细微变化，表现出了对自然的敬畏之情。\n\n在《焦山烟雨常山》中，董其昌运用了各种不同的画法和技巧，将焦山和常山的自然景观表现得栩栩如生。他擅长运用水墨画的质朴和透明感，使得山水画作充满了韵味。此外，他还注重色彩的运用，运用暖色和冷色的对比，使得画面更加丰富多彩。\n\n总的来说，董其昌的《焦山烟雨常山》是一本绝妙的纪游画册，值得收藏和品味。它不仅体现了董其昌的出色的绘画技巧，而且也展现了他对自然的敏锐观察力和对传统山水画的热爱。董其昌的作品中蕴含着深厚的文化内涵，是中国传统艺术的瑰宝。",[24,25,164,59,65,7,9031,318,165,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","31.9x17.5cm",[71],{"id":11159,"slug":11160,"title":11161,"dynasty":177,"author":672,"museum":673,"description":674,"tags":11162,"thumbUrl":11164,"material":349,"size":677,"collection":127,"collections":11165,"showCount":11032,"zanCount":48,"manualWeight":48,"mainColor":49},214350,"san-jue-shan-shui-ce-12-hua-yan-214350","三绝山水册-12",[23,24,25,164,59,65,7,64,34,347,11163,101],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d645bd7614b93420bcf09623d61f35a.jpg",[],{"id":11167,"slug":11168,"title":11169,"dynasty":18,"author":2535,"museum":135,"description":11170,"tags":11171,"thumbUrl":11173,"material":596,"size":11174,"collection":127,"collections":11175,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":49},289562,"jing-ting-song-feng-tu-ma-lin-289562","静听松风图","图绘迎风高松三株，偃仰盘曲，宛若苍龙。枝干遒劲，山风阵阵，枝叶飘洒，藤条飞舞。一老者屈腿悠然坐于临岸松树下，衣襟微开，姿态随意，似侧耳聆听松涛，神气舒畅，有道骨仙风，一童执扇立于前。此画中树干用浓墨线密皴，用笔密实，细枝用线刚劲又不乏柔挺之意。山石用小斧劈皴，远山以线条勾勒后多用水墨渲染，使画面更为清润。人物衣纹劲利流畅，秀逸柔润。",[23,100,24,25,149,28,65,103,7,583,64,61,11172,6501],"松风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf04368e056b821d8008c1e1d3ddd623.jpg","226.6x110.3",[],66,{"id":11178,"slug":11179,"title":11180,"dynasty":177,"author":10457,"museum":119,"description":11181,"tags":11182,"thumbUrl":11183,"material":127,"size":127,"collection":71,"collections":11184,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":49},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,26,28,7,65,106,60,61,62,63,64,199,34,2505,3987,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[71,45],{"id":11186,"slug":11187,"title":10121,"dynasty":80,"author":160,"museum":20,"description":10122,"tags":11188,"thumbUrl":11189,"material":349,"size":10125,"collection":127,"collections":11190,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":75},233825,"xi-jiao-cao-tang-tu-zhou-wang-meng-233825",[24,25,149,59,28,65,7,347,34,64,61,33,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06eebb0aebdc366ff00a27db47c4ad97.jpg",[],{"id":11192,"slug":11193,"title":11194,"dynasty":177,"author":4707,"museum":20,"description":11195,"tags":11196,"thumbUrl":11198,"material":375,"size":11199,"collection":127,"collections":11200,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":75},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,25,149,7,59,65,28,3260,11197,199,60,61,167,756,34,64,104,826,63],"叠壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],{"id":11202,"slug":11203,"title":11204,"dynasty":54,"author":96,"museum":119,"description":11205,"tags":11206,"thumbUrl":11207,"material":127,"size":127,"collection":127,"collections":11208,"showCount":11176,"zanCount":961,"manualWeight":48,"mainColor":49},228430,"jiang-shan-zao-chun-tu-juan-chou-ying-228430","江山早春图卷","此卷以青绿敷色晕染山峦，石青浅绛晕出早春烟岚空濛之态，平远构图铺展百里江南。层峦如螺黛迤逦，汀渚蜿蜒如带，茂林村居散缀江畔，渔舟横波独行，将早春清灵秀雅尽数铺陈。\n\n笔墨工致细腻，青绿设色古雅妍丽却无俗艳之感，远山轻描淡写含黛色，近树苍劲已带新翠，茅庐隐于林泉，尽显逸世幽居之趣。画作融院体精工与文人山水淡远意境于一体，暗藏清寂悠然，将山水静穆与早春生机相融，引人身临其境，静赏江南早春的温柔诗意。",[23,24,25,26,29,27,28,65,7,30,34,104,60,61,3764,5118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08aa96f29fa17783d88d6937cda876e.jpg",[],{"id":11210,"slug":11211,"title":11212,"dynasty":177,"author":4747,"museum":135,"description":11213,"tags":11214,"thumbUrl":11215,"material":292,"size":11216,"collection":71,"collections":11217,"showCount":11176,"zanCount":1080,"manualWeight":48,"mainColor":49},224488,"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[23,24,26,27,28,7,318,979,165,106,278,533,199,64,4828,35,38,204,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[71],{"id":11219,"slug":11220,"title":11221,"dynasty":54,"author":55,"museum":135,"description":11222,"tags":11223,"thumbUrl":11224,"material":11225,"size":11226,"collection":45,"collections":11227,"showCount":11176,"zanCount":961,"manualWeight":48,"mainColor":75},222122,"qiu-jing-shan-shui-tu-shen-zhou-222122","秋景山水图","高冈突起，茅亭翼然。红叶树一株，与茅亭回护而有致。其左连林数树，茂密修长，黝然苍润。冈之右，一山高耸露山脚，其中围墙半露，竹影翳然。门前宾主对揖，似临歧作别者。全幅笔墨劲挺秀练，用色鲜明澹雅。款署己酉八月，六十三岁作。著录：故宫书画录卷八。收传印记：香垣审定、听颿楼藏、集虚斋。",[23,24,100,25,2484,28,65,7,63,165,64,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d84463f0eb70c2a4e32848900fbb953.jpg","泥金纸本设色","19.7×57.3cm",[45],{"id":11229,"slug":11230,"title":11231,"dynasty":54,"author":1652,"museum":135,"description":11232,"tags":11233,"thumbUrl":11234,"material":87,"size":11235,"collection":71,"collections":11236,"showCount":11176,"zanCount":712,"manualWeight":48,"mainColor":75},221996,"hu-xi-cao-tang-hua-xin-wen-zheng-ming-221996","浒溪草堂画芯","作品是作者六十六岁时所作。描绘的是吴邑沉天民的浒溪草堂，既反映了草堂主人淡泊明志，不追逐名利的品格，又对映了主人热情好客的秉性，同时也折射出了作者本人的好恶。\n《浒溪草堂图》原藏沉天民家中，明末遗失。沉天民曾孙沈培风少时曾在朋友姚子文家见到此画，想要购回，却终究没好意思开口，一直是心头的一块心病，念念不忘。二十年后的一天，得知姚子文已于一年前的冬天患病不治而逝的讯息后，沈培风立即前往浙江的姚宅，欲觅得此画，可惜宅内已空无一物。有道是功夫不负有心人，不久有人将画送上门来。经过二十年世事沧桑，百变流转，培风又遇此画，便下定决心说什么也不能让机会从自己身边再次溜走。于是，几乎倾其所有，重金购得，并请工匠重新装裱后珍藏起来。此举显示出培风与其曾祖一样不忘本，具有难得的孝心。当年天民虽生活在城市，但仍不忘先祖的桑梓生活而在城市中修建草堂，取名为浒溪，才得以有画作《浒溪草堂图》留传至今，让后人一睹名家画作的风采。\n此画画法秀润，意境清幽，构图严谨，笔法细腻，设色明快。画面上描绘的是高木浓荫，掩映草堂，群山环抱，清波蜒曲，帆樯林立，榭阁屋宇错落。近处草堂敞轩，二高士案前对坐，正在高谈阔论；远山以石青晕染，近山则石青加赭石微抹，树干纯以赭石钩染，枝叶以石绿加石青点染，背光处加渴墨，显得更加郁郁葱葱。在艺术表现手法上，用笔细腻严谨，山石仅用渴笔微抹，以点苔显出明暗，经营位置，得写生之助化出清幽境界。",[23,24,7,318,319,165,1655,36,756,28,5134,223,26,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb9da20bb028a48cc761920595df3e9.jpg","166 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31.5cm",[71,45],{"id":11238,"slug":11239,"title":11240,"dynasty":80,"author":1962,"museum":1542,"description":11241,"tags":11242,"thumbUrl":11243,"material":1865,"size":11244,"collection":71,"collections":11245,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":49},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,100,26,59,65,7,60,61,62,34,278,373,106,4496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","30.8x475.3cm",[71,212],{"id":11247,"slug":11248,"title":11249,"dynasty":80,"author":1410,"museum":135,"description":11250,"tags":11251,"thumbUrl":11252,"material":292,"size":11253,"collection":71,"collections":11254,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":75},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,25,26,59,7,65,67,473,101,104,60,61,63,520,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[71,212],{"id":11256,"slug":11257,"title":11258,"dynasty":54,"author":1096,"museum":161,"description":11259,"tags":11260,"thumbUrl":11262,"material":69,"size":11263,"collection":71,"collections":11264,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":49},220069,"gang-lan-song-shan-tu-dong-qi-chang-220069","冈岚松杉图","此图写茂林烟树，平坡浅屿之间，有村舍水榭隐现于崖边江尾。村后危峰矗起，高耸入云。山谷中飞泉奔突，大江远处，烟云弥漫，青山如黛，若在有无之间。画用巨然长披麻湿笔晕染。林际崖上，一片郁葱，仿佛被宿雨洗净，朝霞染过。崇祯元年戊辰，董其昌闲居江南，悠游湖山，耽于书画，正是艺术大成之时。此图画得轻松恬静，浑沦一体，右上所题自作诗，亦写出他功成名就乐于安闲自适的心态。读之令人入静。",[23,24,59,65,149,1019,7,413,11261,60,61,239,34,6394,150],"杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920bbb078aefd69fbac671fd7cb3446f.jpg","122×57",[71],{"id":11266,"slug":11267,"title":11268,"dynasty":54,"author":55,"museum":650,"description":651,"tags":11269,"thumbUrl":11270,"material":69,"size":655,"collection":127,"collections":11271,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":75},220027,"dong-zhuang-tu-ce-ting-zi-ping-shen-zhou-220027","东庄图册-艇子洴",[23,24,59,164,65,7,125,278,166,452,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083fb5e331396661ac55295f09115283.jpg",[],{"id":11273,"slug":11274,"title":3773,"dynasty":18,"author":604,"museum":3774,"description":11275,"tags":11276,"thumbUrl":3777,"material":139,"size":127,"collection":44,"collections":11277,"showCount":11176,"zanCount":961,"manualWeight":48,"mainColor":49},219863,"yu-le-tu-ma-yuan-219863","画面截取边角山水景致，峭壁斜出，虬松探枝舒展，笔墨刚劲爽利，斧劈皴利落勾勒山石棱角，尽显苍劲雄浑。\n\n水岸平滩处，二渔人相对促膝，姿态松弛随意，似正畅谈渔间趣事，简笔淡墨便将隐逸闲适的情态尽数铺陈。远景山峦含混于烟霭间，水色空蒙辽远，留白虚实相生，将江天寥廓的空寂意境晕染开来，把江湖渔隐的悠然意趣藏于尺幅之间，观之令人忘却尘嚣。",[24,100,25,7,103,62,125,64,166,65,59,28,373],[44],{"id":11279,"slug":11280,"title":11281,"dynasty":177,"author":219,"museum":396,"description":11282,"tags":11283,"thumbUrl":11284,"material":169,"size":11285,"collection":71,"collections":11286,"showCount":11176,"zanCount":961,"manualWeight":48,"mainColor":49},219762,"jiu-long-tan-jia-chao-tu-huang-shen-219762","九龙滩驾潮图","一位纤夫露出正脸，虽然他的眉眼五官刻画十分简单，却依然可以感受到他使出浑身力气，坚定不移的神情和姿态，似乎在这险滩之上，能清楚听到他一边喊着船工号子，一边吆喝着同行的伙计，凭借多年经验征服这险境，自信满满。\n都说眼睛是心灵的窗口，古人写意传神，正是这眼眸眉目最为关键画龙点睛的道理妇孺皆知，古画中每个人物的一个眼神，一颦一笑，都饱含着他们最为真实的情愫",[23,24,59,65,7,62,61,34,239,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad659f0445c5015ff40352ba6ebce03a.jpg","纵90横119.8",[71],{"id":11288,"slug":11289,"title":11290,"dynasty":177,"author":178,"museum":161,"description":11291,"tags":11292,"thumbUrl":11293,"material":139,"size":127,"collection":308,"collections":11294,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":49},219273,"qun-hou-xi-shui-shuang-ping-yi-ming-219273","群猴戏水双屏","松枝虬曲横斜，松针如簇。枝间群猴灵动，或攀附树干探头探脑，或倒挂金钩似的垂落，长尾轻摆，神态憨然。树下涧边，几只小猴追逐打闹，或掬水顽劣，或投石逗趣，更有仰头望枝上同伴者，姿态各异，满是天真野趣。远处淡墨晕染出山水轮廓，一轮清月隐现天际，绢色沉润如古酿，笔墨简淡却意韵盎然。整幅画将猴群的活泼与山林的静谧相融，既见自然生机，又含悠然意韵，观之令人莞尔，心生清趣。",[24,25,149,59,28,3988,9199,583,1738,7,1643,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c0347eed9f967050d2b173b7446b.jpg",[308],{"id":11296,"slug":11297,"title":11298,"dynasty":80,"author":7964,"museum":135,"description":11299,"tags":11300,"thumbUrl":11302,"material":59,"size":127,"collection":71,"collections":11303,"showCount":11176,"zanCount":961,"manualWeight":48,"mainColor":75},219004,"xi-shan-yan-yu-tu-gao-ke-gong-219004","溪山烟雨图","烟岚轻笼层岫，云气漫洇溪谷，远山如黛隐现于濛濛雾色，近树似簇点染于湿润墨痕。淡墨晕染出空濛之境，浓墨点苔显苍劲之姿，米家云山的氤氲与董巨山水的浑厚相融，笔意松秀却不失沉雄。山水间无喧嚣，唯有烟霭流动的静谧，仿佛能闻涧水潺潺，听松风低语，尽显元人寄情林泉的隐逸之思。墨色的浓淡干湿交织出自然生机，虚实之间见真意，将烟雨溪山的空灵悠远凝于尺幅，耐人细细品咂。",[23,24,25,59,65,7,34,37,9031,61,64,38,11301],"朦胧意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e73635975b8a8581b616cd3fd5575.jpg",[71],{"id":11305,"slug":11306,"title":11307,"dynasty":177,"author":8812,"museum":119,"description":11308,"tags":11309,"thumbUrl":11312,"material":139,"size":11313,"collection":44,"collections":11314,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":75},218288,"qiu-lin-dui-yin-tu-ren-yi-218288","秋林对吟图","秋林如染，丹红似火的枝桠与橙黄若霞的树冠交叠，墨绿深影衬出沉郁，青蓝树影添了清奇。虬曲树干上斑驳树瘤如岁月印记，苍劲中藏着灵动。林间两人对吟，衣袂轻扬间似有清声随林风漫溢，闲逸之态与秋林绚烂相映成趣。笔墨兼具工致与写意，树色浓淡、枝干皴擦透着自然生机；人物简笔勾勒，更显文人雅集的悠然。整卷将秋的浓郁与人文之趣融于一体，观之如临其境，仿佛触到林风温润，听见诗句回响。",[23,24,28,3865,1389,103,7,61,223,29,2329,11310,11311],"闲逸","虬干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74afa578b5504f46957f28934b0ca53.jpg","144x77.5",[44],{"id":11316,"slug":11317,"title":11318,"dynasty":18,"author":604,"museum":161,"description":1531,"tags":11319,"thumbUrl":11320,"material":139,"size":1534,"collection":127,"collections":11321,"showCount":11176,"zanCount":48,"manualWeight":48,"mainColor":75},218039,"song-di-ming-ti-ce-shi-ma-yuan-218039","宋帝命题册(十)",[23,24,25,164,59,28,65,6475,7,583,30,37,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c290a29cb2476ddf0147882bbc77cf5.jpg",[],{"id":11323,"slug":11324,"title":11325,"dynasty":18,"author":178,"museum":56,"description":11326,"tags":11327,"thumbUrl":11328,"material":139,"size":11329,"collection":71,"collections":11330,"showCount":11176,"zanCount":961,"manualWeight":48,"mainColor":49},21707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其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[23,24,304,2484,123,28,104,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","纵24.4厘米，横26.2厘米",[71,212],{"id":11409,"slug":11410,"title":11411,"dynasty":80,"author":7964,"museum":135,"description":11412,"tags":11413,"thumbUrl":11414,"material":6855,"size":11415,"collection":71,"collections":11416,"showCount":11340,"zanCount":48,"manualWeight":48,"mainColor":49},221690,"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭（1248－1310），号房山。其先回鹘人，占籍大同，后居武林。字彦敬，号房山老人，仕至刑部尚书。画山水，学米氏父子，造诣精绝。后学董源、李成、巨然笔法，专取写意气韵，亦擅长墨竹。高克恭画盛名盖世，而流传作品不多。此幅画溪边小景，云影满山，用笔含蓄凝练，用墨温婉蕴藉，突出宁静的氛围。",[23,24,149,59,28,65,7,318,979,165,583,61,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","125.1 x 99.7cm.",[71,212],{"id":11418,"slug":11419,"title":11420,"dynasty":18,"author":2391,"museum":20,"description":11421,"tags":11422,"thumbUrl":11423,"material":4566,"size":11424,"collection":42,"collections":11425,"showCount":11340,"zanCount":1080,"manualWeight":48,"mainColor":49},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,100,24,25,26,123,59,28,7,103,62,125,1643,61,106,264,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","25.9*143cm",[42,71,45],{"id":11427,"slug":11428,"title":11429,"dynasty":18,"author":604,"museum":119,"description":11430,"tags":11431,"thumbUrl":11432,"material":349,"size":11433,"collection":42,"collections":11434,"showCount":11340,"zanCount":48,"manualWeight":48,"mainColor":49},221540,"gao-shi-guan-tiao-tu-ma-yuan-221540","高士観眺图","本作是马远“边角山水”之代表作，他以简练的笔法和精致的诗画意境成功表现了山间景色，笔法劲爽，意境深邃。作品构图精巧，位置经营独到而臻极致。树木、远山集中绘于画幅左侧，以淡墨皴染的山径渐次虚淡。近处的高士持杖远眺，人物衣纹或是兰叶描、或是钉头鼠尾描，线条劲直，或如刀砍竹，或行笔略有颤掣，人物本身怡然惬意的神情已经跃然纸上。画幅右侧大量留白，虚渺空灵。另有一只白鹤转头回望，与高士相响应，款款深情，意蕴无穷，给观者以无穷遐想",[23,24,25,7,63,103,59,28,65,264,125,6475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4306c43ca294d4cdac872ca054890ff8.jpg","82x67",[42,71,212],{"id":11436,"slug":11437,"title":11438,"dynasty":18,"author":9595,"museum":11439,"description":11440,"tags":11441,"thumbUrl":11443,"material":349,"size":127,"collection":42,"collections":11444,"showCount":11340,"zanCount":48,"manualWeight":48,"mainColor":75},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[23,100,24,25,59,65,7,62,66,238,7435,11442,8249],"远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[42],{"id":11446,"slug":11447,"title":11448,"dynasty":18,"author":178,"museum":11449,"description":11450,"tags":11451,"thumbUrl":11452,"material":139,"size":127,"collection":42,"collections":11453,"showCount":11340,"zanCount":48,"manualWeight":48,"mainColor":940},220255,"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[23,24,100,1388,149,59,28,65,29,7,583,64,37,103,5387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[42],{"id":11455,"slug":11456,"title":11457,"dynasty":54,"author":4301,"museum":11458,"description":11459,"tags":11460,"thumbUrl":11461,"material":139,"size":11462,"collection":71,"collections":11463,"showCount":11340,"zanCount":961,"manualWeight":48,"mainColor":49},219979,"qiu-shan-du-shu-tu-zhao-zuo-219979","秋山读书图","武汉博物馆","此作用高远、平远构图铺展秋山胜景，山峦层叠浑厚，以淡墨皴擦间杂赭石晕染，晕开秋山苍润暖意。近林木虬枝疏朗，丹黄点染秋叶，萧疏秋意扑面而来。水岸蜿蜒错落，村居隐于林泉之间，淡笔轻勾出幽居闲致。\n\n笔墨秀雅温润，以淡远之韵绘就山居清寂，将文人寄情林泉、幽居耕读的雅逸心境融于尺幅之间。淡墨轻岚间藏着静穆萧散的诗意，观之便如踏入秋山，似能聆山涧潺湲、沐林间清风，尽显文人山水抒情之妙。",[23,24,149,7,28,65,34,64,150,3865,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d715d2c069e6ab53794d5fc6647f892.jpg","49x97cm",[71],{"id":11465,"slug":11466,"title":11467,"dynasty":177,"author":11468,"museum":135,"description":11469,"tags":11470,"thumbUrl":11471,"material":69,"size":11472,"collection":71,"collections":11473,"showCount":11340,"zanCount":961,"manualWeight":48,"mainColor":75},219377,"fang-yuan-ren-xi-ting-dui-ju-tu-wang-wu-219377","仿元人溪亭对菊图","王武","峭壁如削，云雾似练缠绕层岩，恍若仙境浮于九霄。飞瀑垂练漱石，清音暗渡幽谷。松下红叶灼灼如霞，映得山亭一角温馨。亭中之人凭栏而坐，与秋菊相对，静听松涛闲观云起。笔墨苍润，山石皴染有致，树木姿态各异，色彩淡雅却秋意盎然。整幅画融雄奇山水与文人雅趣于一体，意境清幽引人遐思，尽显传统山水画之神韵——将自然之奇、林下之逸凝于尺幅，如一首无声的秋山雅韵，叩击观者心弦。",[24,28,7,65,63,61,413,1120,103,979,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89601cd5bad2948de86aff9379129c86.jpg","167.8x45.2",[71],{"id":11475,"slug":11476,"title":11477,"dynasty":54,"author":7927,"museum":20,"description":11478,"tags":11479,"thumbUrl":11480,"material":169,"size":11481,"collection":212,"collections":11482,"showCount":11340,"zanCount":961,"manualWeight":48,"mainColor":75},219209,"ce-zhang-xun-you-tu-xie-shi-chen-219209","策杖寻幽图","图中山峰巍峨耸立，中间一条溪流将画面大体分为左右两段。山谷溪流上的桥面暗示两山间公路畅通，画左林木掩映下一文士拄杖沿山路走来，点明“寻幽”主题。谢时臣的部分作品皆自题是仿元王蒙笔法而作，如南京博物院藏正德十二年（1517年）《仿王蒙山水图》、故宫藏嘉靖二十九年（1550年）《溪亭逸思图》和上海博物馆藏《江山胜览图》等。表明王蒙在谢时臣画风的产生过程中有着重要的含义。该图是谢时臣60岁时所作（嘉靖二十五年，1546年），在山石结构、笔墨皴法上还可以看见王蒙的影子，但与王蒙典型的精细密集的牛毛皴相比，图中山石皴法粗短松动，则显著是得到了沈周的影响导致。该画整体感强，皴法晕染能较好地渗入到山石整体的构架之中，构图细腻，笔墨苍润，体现出画家融合前人笔墨创造自己风格的尽力。",[23,24,59,149,7,65,60,61,125,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e92a7653f3aa0d79eeb78387794f54.jpg","纵84.9厘米，横31.3厘米",[212],{"id":11484,"slug":11485,"title":11486,"dynasty":18,"author":604,"museum":3774,"description":11487,"tags":11488,"thumbUrl":11489,"material":139,"size":11490,"collection":71,"collections":11491,"showCount":11340,"zanCount":48,"manualWeight":48,"mainColor":75},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[23,24,25,100,2484,59,28,65,7,60,103,125,64,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[71],{"id":11493,"slug":11494,"title":11495,"dynasty":80,"author":160,"museum":20,"description":11496,"tags":11497,"thumbUrl":11498,"material":139,"size":7719,"collection":71,"collections":11499,"showCount":11340,"zanCount":48,"manualWeight":48,"mainColor":49},218423,"guan-shan-xiao-si-tu-wang-meng-218423","关山箫寺图","本幅设色，钤乾隆玉玺“大源藻”、“颛蓭”、“南韵斋印”、“荣王之印”，不见著录。",[23,24,25,149,28,7,104,34,199,106,64,201,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153baf897e72c84a87e44ac2e43245d8.jpg",[71],{"id":11501,"slug":11502,"title":11503,"dynasty":177,"author":2620,"museum":20,"description":11504,"tags":11505,"thumbUrl":11506,"material":139,"size":11507,"collection":71,"collections":11508,"showCount":11340,"zanCount":48,"manualWeight":48,"mainColor":49},218383,"han-jiang-sheng-lan-tu-yuan-yao-218383","邗江胜览图","这是一幅纪实性的作品，属袁耀早期作品。在清代中期，扬州作为江南地区的交通枢纽和商业重镇，其繁华发达称冠一时，同时也是当时的文化艺术中心之一。画家采用俯视的角度，将古扬州城北郊的景物尽收眼底。画面中扬州城为群山河流环绕，近景、中景、远景层层展现，气势宏大。袁耀素以描绘富丽堂皇的宫室楼阁著称，在这幅纪实作品中，却表现出了一种朴素的风貌。但用笔技巧绝无松懈，每一处细节都刻画入微，房屋、树木、舟船、桥梁、人物、车马等具体逼真，情趣生动。",[23,24,25,304,28,29,7,104,34,31,278,2845,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a1efb12e3fe0448aa90a94d80be4ee.jpg","纵165.2厘米，横262.8厘米",[71],{"id":11510,"slug":11511,"title":11512,"dynasty":80,"author":11513,"museum":119,"description":11514,"tags":11515,"thumbUrl":11516,"material":139,"size":11517,"collection":44,"collections":11518,"showCount":11340,"zanCount":961,"manualWeight":48,"mainColor":49},218381,"xie-qin-guan-pu-tu-liu-guan-dao-218381","携琴观瀑图","刘贯道","层岩间烟岚轻笼，飞瀑自云端垂落漱石。虬松盘曲崖畔，老干如铁，松针如簇，漏下细碎天光。树下石矶上，二三雅士或对坐清谈，或凭石凝睇飞瀑，另有一人携琴而立，似欲鼓琴和鸣山水。笔墨苍劲中见秀逸，山石勾勒简练，松枝墨色有浓淡层次，人物衣袂飘飘神态悠然。整体意境清旷淡远，尽显文人寄情山水、畅怀林泉的雅趣，松涛与瀑声相和，知己围坐论道，心随画境飘向烟水深处。",[24,25,100,149,28,65,7,103,413,199,64,34,2414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c2da0de3b85af27da0921f07f0a3cb.jpg","184.3x68.2",[44],{"id":11520,"slug":11521,"title":11522,"dynasty":80,"author":11523,"museum":369,"description":11524,"tags":11525,"thumbUrl":11526,"material":169,"size":11527,"collection":71,"collections":11528,"showCount":11340,"zanCount":961,"manualWeight":48,"mainColor":49},218328,"yan-a-qi-shu-tu-chen-xuan-218328","岩阿琪树图","陈选","图绘翠峰叠嶂，古寺高居于丛林掩映中。山间飞泉直泻，山下溪流婉转，板桥横跨于前，近处杂树参差错落，生动有致。山石以披麻皴、点子皴两种笔法相参并用。树叶则点勾结合，表现出树木葱茏、烟云变幻、一派江南山川苍郁浑厚景象，给人以山高气爽、幽深静谧之感。",[23,24,1388,59,65,149,66,101,7,64,34,201,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9252782007aff5c85e16028cb6ed04f.jpg","纵66.6厘米，横27.5厘米",[71],{"id":11530,"slug":11531,"title":11532,"dynasty":80,"author":7040,"museum":20,"description":11533,"tags":11534,"thumbUrl":11535,"material":169,"size":11536,"collection":71,"collections":11537,"showCount":11340,"zanCount":48,"manualWeight":48,"mainColor":75},218305,"ping-lin-yuan-shan-tu-shen-xuan-218305","平林远山图","此图为《张观等五家集绘卷》之一。画丛林远岫，平溪小桥。远山平缓，意境幽静冷寂。无款识，",[24,59,7,65,125,607,167,60,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc305432fdd2052683afa0a54e0506946.jpg","30x40.9cm",[71],{"id":11539,"slug":11540,"title":11541,"dynasty":1051,"author":3001,"museum":119,"description":11542,"tags":11543,"thumbUrl":11544,"material":127,"size":127,"collection":127,"collections":11545,"showCount":11546,"zanCount":961,"manualWeight":48,"mainColor":49},230931,"song-yin-tu-li-zhao-dao-230931","松荫图","此作山峦以皴笔写就，淡墨晕染远山，铺展出沉浑苍劲的山水底色，幽壑层叠间漾出清远意境。近景村舍错落檐下，酒客围坐谈笑，道旁行骑缓辔徐行，田埂间牛犊悠游，草木扶疏间尽是乡野烟火气。将山水幽寂与市井温情相融，以精工笔致摹写太平乡居日常，盛唐雄浑的山水意趣间揉进鲜活的俗世意韵，绘出盛世里的田园悠然图景，尽显大唐乡野风物的温煦情致。",[24,28,7,65,318,319,165,335,1586,103,60,61,64,63,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2028546aabb46cc23747564a9c5f49d.jpg",[],64,{"id":11548,"slug":11549,"title":11550,"dynasty":54,"author":368,"museum":119,"description":11551,"tags":11552,"thumbUrl":11553,"material":127,"size":127,"collection":127,"collections":11554,"showCount":11546,"zanCount":48,"manualWeight":48,"mainColor":75},228427,"fang-huang-gong-wang-shan-shui-juan-lan-ying-228427","仿黄公望山水卷","此作用淡墨晕开漫谷烟岚，山石以枯淡勾勒皴擦，简劲松灵间带着萧散元人意趣。高岭危岩朴拙厚重，几株苍松杂木卓立云岫，枝桠舒展，暗涌生机。留白氤氲云气衔接远近山景，虚实相生，衬出林泉幽寂的空濛意境。\n\n右上角鉴藏朱印排布规整，朱红米黄绢底相映，为古雅山水更添金石气韵。全卷师法元人笔意却自出清隽格调，将江南山水的静穆淡远融于尺幅间，尽显文人山水的悠然雅韵。",[24,25,26,28,59,7,65,264,34,238,37,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8cc00462f6de4e96e3d6c62025f165e.jpg",[],{"id":11556,"slug":11557,"title":11558,"dynasty":54,"author":11559,"museum":135,"description":11560,"tags":11561,"thumbUrl":11562,"material":28,"size":11563,"collection":71,"collections":11564,"showCount":11546,"zanCount":48,"manualWeight":48,"mainColor":75},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,25,26,28,65,7,60,104,34,64,167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- 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,24,26,28,65,7,64,34,31,199,722,2845,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[71,45],{"id":11694,"slug":11695,"title":11696,"dynasty":177,"author":2017,"museum":119,"description":4358,"tags":11697,"thumbUrl":11698,"material":337,"size":937,"collection":127,"collections":11699,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":75},239430,"shan-shui-hua-hui-ce-yun-shou-ping-239430","山水花卉册",[24,59,65,7,62,106,125,890,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131190f5d73525615989a121640b7a89.jpg",[],{"id":11701,"slug":11702,"title":7594,"dynasty":177,"author":178,"museum":119,"description":11703,"tags":11704,"thumbUrl":11705,"material":127,"size":127,"collection":44,"collections":11706,"showCount":11675,"zanCount":961,"manualWeight":48,"mainColor":75},235155,"hong-ren-shan-shui-ce-yi-ming-235155","此作为书画合璧，题字行书清隽疏朗，诗文自带幽寂襟怀，与下幅山水浑然相融。\n\n画面以淡墨皴擦写秋山，山石造型方硬简劲，不作繁复修饰，尽显冷峻清瘦之态。几株疏木错落林间，枝叶简淡萧疏，衬出空山寥落之境。林下二人对坐晤谈，于幽寂山境中添上几分文人情致，不见烟火气，只余林泉高致。整幅笔墨极简，却将静穆淡远的出世意趣尽数铺陈，淡而不枯、简而不空，尽显文人山水画以简驭繁的悠远意境，藏着寄心林泉的幽然雅怀。",[24,25,164,59,65,7,34,64,103,1738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5652b925f461d694a5eb18ea56028f.jpg",[44,927],{"id":11708,"slug":11709,"title":11710,"dynasty":80,"author":616,"museum":135,"description":11711,"tags":11712,"thumbUrl":11715,"material":349,"size":11716,"collection":127,"collections":11717,"showCount":11675,"zanCount":961,"manualWeight":48,"mainColor":75},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","元代画家倪瓒喜爱梧桐，相传他每日令童子汲水清洗院中的桐树，“门前杨柳密藏鸦，春事到桐花。敲火试新茶。想月珮，云衣故家。苔生雨馆，尘凝锦瑟，寂寞听鸣蛙。芳草际天涯。蝶栩栩，春晖梦赊。”春日阶前桐花开，画家试新茶时想起故家，有如庄周梦蝶，已是芳草天涯。这首《太常引 伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[24,59,7,65,67,101,318,165,1738,35,264,3223,11713,11714,4563,7043,1458,201,239],"题款","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 厘米",[],{"id":11719,"slug":11720,"title":11721,"dynasty":177,"author":395,"museum":119,"description":11722,"tags":11723,"thumbUrl":11724,"material":127,"size":127,"collection":127,"collections":11725,"showCount":11675,"zanCount":961,"manualWeight":48,"mainColor":49},229000,"jiao-ye-mo-se-tu-ce-12-kai-shi-tao-229000","郊野墨色图册12开","《石涛花卉》是219年中国书店出版的图书，作者是孙棋。\n石涛是一位多才多艺的艺术家，善画山水，兼工墨竹、花卉、人物。\n他吸收传统文化的精髓，但不受传统精神束缚，反对墨守成规，敢于打破陈法，主张对绘画技法进行变革和创新，是中国绘画史上出类拔萃、屈指可数的人物之一。\n石涛精于花卉蔬果，尤其是传统的“四君子”题材的绘画。\n他在继承传统的基础上进行创新，花卉潇洒隽朗、天真烂漫、清气袭人，人物生拙古朴、别具一格。\n可以说，石涛开清代花鸟画之先河，在中国花鸟画史上有着不可替代的地位。\n着色花卉图册八帧 岷江春色图 花卉图册十二帧 细笔花卉图册十帧 山水花卉图册八帧 郊野墨色图册十二帧 苦瓜和尚书画册十二帧 人物花鸟图册八帧 陶渊明诗意图册十二帧 写枝山诗意图册十帧",[24,59,28,65,164,7,318,319,34,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a1d8a7dff20448467a31c175199486.jpg",[],{"id":11727,"slug":11728,"title":11729,"dynasty":177,"author":11730,"museum":119,"description":11731,"tags":11732,"thumbUrl":11733,"material":127,"size":127,"collection":127,"collections":11734,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":75},226639,"shan-shui-shan-mian-pu-ru-226639","山水扇面","溥儒","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,24,2484,7,28,583,103,64,61,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1194f3f821239671a24fdd604c5306ed.jpg",[],{"id":11736,"slug":11737,"title":11738,"dynasty":18,"author":899,"museum":119,"description":11739,"tags":11740,"thumbUrl":11741,"material":127,"size":127,"collection":127,"collections":11742,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":940},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,100,24,25,149,59,65,7,62,61,63,106,34,103,167,707,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],{"id":11744,"slug":11745,"title":11746,"dynasty":177,"author":301,"museum":135,"description":5347,"tags":11747,"thumbUrl":11748,"material":454,"size":5352,"collection":71,"collections":11749,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":379},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[23,100,24,29,28,304,7,104,103,559,64,34,2127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[71,45],{"id":11751,"slug":11752,"title":11753,"dynasty":54,"author":368,"museum":135,"description":11754,"tags":11755,"thumbUrl":11756,"material":11757,"size":11758,"collection":71,"collections":11759,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":49},222605,"xue-xi-tu-lan-ying-222605","雪溪图","蓝瑛擅长山水、花卉、兰石，师法宋元名家，早年主要得力于黄公望，作品清 简秀润，韩昴在《图绘宝鉴续纂》中说他：“画从黄子久（即黄公望），入门而醒悟。”中年自立门庭，上窥晋、唐、两宋，遍摹元代诸家笔法，集取优长,由此入门，始能各极变化。不但取法郭熙、李唐及马、夏，而且对二米、云山也精心研究过。对黄公望的画悉心尤力。当代前辈沈周的画也热心师效。加之漫游南北涉猎既广，眼界自宽，故落笔纵横奇古，风格秀润。他的画风是从多方面变代出来的。晚年作品渐趋苍劲疏宕。画风又有多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。晚年他的笔法益苍劲，颇类沈周。他兼工人物、花鸟、兰竹、俱得古人三昧。他虽力追古法，但能融会贯通，自成风范，对以后的明末清初绘画影响很大。",[23,24,28,304,7,104,62,372,64,61,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186dde280fbc8429c16567c2833ffe8a.jpg","绫本","27×38",[71,45],{"id":11761,"slug":11762,"title":11763,"dynasty":54,"author":368,"museum":369,"description":11764,"tags":11765,"thumbUrl":11766,"material":225,"size":11767,"collection":71,"collections":11768,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":49},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[23,24,25,149,28,7,413,165,104,61,199,64,533,63,7318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","160x55cm",[71,212],{"id":11770,"slug":11771,"title":11772,"dynasty":54,"author":11773,"museum":135,"description":11774,"tags":11775,"thumbUrl":11776,"material":292,"size":127,"collection":71,"collections":11777,"showCount":11675,"zanCount":1080,"manualWeight":48,"mainColor":49},222430,"dong-li-qiu-se-tu-li-xiang-222430","东篱秋色图","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[23,100,24,25,7,59,65,64,34,722,61,199,35,167,5068,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[71,212],{"id":11779,"slug":11780,"title":11781,"dynasty":54,"author":96,"museum":20,"description":8205,"tags":11782,"thumbUrl":11784,"material":40,"size":8213,"collection":127,"collections":11785,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":75},222188,"ren-wu-gu-shi-tu-zi-lu-wen-jin-chou-ying-222188","人物故事图-子路问津",[23,24,164,8207,28,103,7,34,64,2855,3434,11783,8210,5387],"子路问津","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3113aa636a1969d1889567021aaf7551.jpg",[],{"id":11787,"slug":11788,"title":1420,"dynasty":54,"author":410,"museum":135,"description":11789,"tags":11790,"thumbUrl":11791,"material":292,"size":11792,"collection":71,"collections":11793,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":49},222029,"shan-shui-zhou-dai-jin-222029","此画从构图看全幅构图取近景形式，自下而上，呈上、中、下三段层次。上端即远山迷漾，峰峦环抱，群山侧于画面的左上角，山上和山腰杂木丛生。山下即中景为宽阔水面，汪洋一片，把远景与近景遥遥相隔，河水中无渔舟停泊，亦无水阁临溪，显得十分幽静。近景为此画的主体部分。坡石连绵，坡石高矮不一，其问有几株盘根虬曲的树木，树下山上有数间楼阁，楼阁围有 栏杆，一位长者端坐在楼阁内，正在观赏美丽的山水景致。\n款署，“景泰壬申春三月钱塘戴文进写。”",[23,24,149,7,28,65,63,61,62,103,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4043ef01c707ccd4702333f8460033.jpg","纵139．0厘米，横79．8厘米",[71,212],{"id":11795,"slug":11796,"title":11797,"dynasty":18,"author":11798,"museum":275,"description":11799,"tags":11800,"thumbUrl":11801,"material":87,"size":11802,"collection":42,"collections":11803,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":49},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,100,25,26,59,65,7,238,34,583,37,60,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[42],{"id":11805,"slug":11806,"title":11807,"dynasty":18,"author":11808,"museum":1542,"description":11809,"tags":11810,"thumbUrl":11811,"material":40,"size":11812,"collection":42,"collections":11813,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":49},221316,"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[23,100,24,25,164,29,28,7,2127,630,61,199,106,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[42,308,45],{"id":11815,"slug":11816,"title":11817,"dynasty":18,"author":234,"museum":135,"description":11818,"tags":11819,"thumbUrl":11821,"material":139,"size":11822,"collection":42,"collections":11823,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":940},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,100,25,149,59,28,65,7,878,34,64,36,2845,722,11820],"流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[42,71,212],{"id":11825,"slug":11826,"title":11827,"dynasty":54,"author":1096,"museum":369,"description":11828,"tags":11829,"thumbUrl":11830,"material":225,"size":127,"collection":71,"collections":11831,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":75},220960,"fang-shu-yao-feng-tu-dong-qi-chang-220960","芳树遥峰图","绘河两岸景色，远处山峰高耸，最高峰中部留白，山顶半悬，实乃绝妙之笔；近处河岸上树木林立，叶已枯槁，杆直修长，与河对岸的山峰遥遥相望。画项端题诗一首：桂树及冬荣，瑶草待春发。惟闻鸾鹤声，寥寥上烟月。",[23,24,25,149,59,65,7,30,239,31,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25884801024ed867821988d30206d287.jpg",[71,212],{"id":11833,"slug":11834,"title":11835,"dynasty":80,"author":1410,"museum":135,"description":11836,"tags":11837,"thumbUrl":11838,"material":87,"size":11839,"collection":212,"collections":11840,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":49},220771,"shuang-song-tu-zhou-wu-zhen-220771","双松图轴","画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝枒纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。",[24,25,149,59,65,7,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddcec95a642bee2f102e970fa2af7cc8.jpg","纵155.5cm，横66cm",[212,6795],{"id":11842,"slug":11843,"title":11844,"dynasty":2272,"author":4322,"museum":11845,"description":11846,"tags":11847,"thumbUrl":11848,"material":127,"size":127,"collection":127,"collections":11849,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":75},220490,"fan-zhou-xin-an-jiang-zhang-da-qian-220490","泛舟新安江","Indianapolis Museum of Art at Newfields","以高远危崖呼应平阔水汀，淡赭晕开朝暮霞光，江雾轻笼天地。枯笔勾出崖石筋骨，焦墨点簇顶间林木，苍劲里暗含秀雅疏朗。水色留白晕染浅青，浅滩枯木枝桠清瘦，间缀浅红秋意，冷寂中晕开暖意。\n\n扁舟横斜汀渚，舟上人影简淡，尽显江湖散人的从容闲逸。整幅画笔简意足，将江乡清灵旷远融于淡墨轻色之间，淡而弥永，尽显萧散简远的文人林下风流。",[23,24,28,65,149,7,62,34,64,31,37,35,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30913e83fe79ae7e565b04344eaf69a.jpg",[],{"id":11851,"slug":11852,"title":11853,"dynasty":177,"author":4747,"museum":20,"description":11854,"tags":11855,"thumbUrl":11856,"material":169,"size":11857,"collection":71,"collections":11858,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":75},220115,"liu-cun-qiu-si-tu-wu-li-220115","柳村秋思图","此图是吴历晚年的代表作之一，为其好友民誉（姓金，名造士）所藏。图中重点描绘了近景的柳树。其柳叶以中锋落笔点染，表现出秋风中柳叶含烟带露的柔美，又通过水墨的浓淡层次变化显现出柳叶交叠错落的自然风貌，体现了吴历工细写实的画风特点。",[23,24,59,7,149,65,1478,165,106,103,335,3765,318,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12ddaee3bf0639e8563322f28ebc8fb.jpg","纵67.7厘米，横26.5厘米",[71,212],{"id":11860,"slug":11861,"title":11862,"dynasty":54,"author":55,"museum":650,"description":651,"tags":11863,"thumbUrl":11864,"material":69,"size":655,"collection":127,"collections":11865,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":75},220010,"dong-zhuang-tu-ce-zhi-nan-gang-shen-zhou-220010","东庄图册之南港",[23,24,59,164,7,65,34,61,62,4203,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bc3277507cd2055dd3e64f96a29d1e.jpg",[],{"id":11867,"slug":11868,"title":11869,"dynasty":177,"author":2620,"museum":20,"description":11870,"tags":11871,"thumbUrl":11872,"material":139,"size":11873,"collection":71,"collections":11874,"showCount":11675,"zanCount":961,"manualWeight":48,"mainColor":49},219092,"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[24,28,304,29,65,7,104,64,34,103,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[71],{"id":11876,"slug":11877,"title":11878,"dynasty":54,"author":580,"museum":396,"description":11879,"tags":11880,"thumbUrl":11881,"material":139,"size":11882,"collection":308,"collections":11883,"showCount":11675,"zanCount":1080,"manualWeight":48,"mainColor":49},219028,"qun-lu-tu-wen-zheng-ming-219028","群鹿图","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[23,24,28,29,65,7,3987,3988,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[308],{"id":11885,"slug":11886,"title":3375,"dynasty":177,"author":683,"museum":1748,"description":9452,"tags":11887,"thumbUrl":11888,"material":69,"size":127,"collection":71,"collections":11889,"showCount":11675,"zanCount":48,"manualWeight":48,"mainColor":75},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987",[24,25,149,7,65,28,122,64,34,61,60,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[71],{"id":11891,"slug":11892,"title":11893,"dynasty":80,"author":997,"museum":56,"description":11894,"tags":11895,"thumbUrl":11896,"material":596,"size":11897,"collection":71,"collections":11898,"showCount":11675,"zanCount":961,"manualWeight":48,"mainColor":49},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[24,59,7,65,66,101,125,607,62,61,264,167,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[71],{"id":11900,"slug":11901,"title":11902,"dynasty":80,"author":178,"museum":135,"description":11903,"tags":11904,"thumbUrl":11905,"material":139,"size":11906,"collection":44,"collections":11907,"showCount":11675,"zanCount":961,"manualWeight":48,"mainColor":49},214667,"sui-chao-tu-yi-ming-214667","岁朝图","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[24,28,29,7,103,104,372,559,35,63,106,64,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[44],{"id":11909,"slug":11910,"title":11911,"dynasty":80,"author":81,"museum":135,"description":11912,"tags":11913,"thumbUrl":11914,"material":337,"size":937,"collection":127,"collections":11915,"showCount":11916,"zanCount":1080,"manualWeight":48,"mainColor":49},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[100,24,25,149,59,7,30,34,61,63,264,65,66,101,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":11918,"slug":11919,"title":1420,"dynasty":177,"author":2075,"museum":20,"description":11920,"tags":11921,"thumbUrl":11923,"material":632,"size":11924,"collection":71,"collections":11925,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},237575,"shan-shui-zhou-wang-shi-min-237575","本幅款署：“己酉初夏为公超词兄画。王时敏。” 钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[100,24,25,149,59,7,241,1616,201,60,150,815,11922],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[71,212],{"id":11927,"slug":11928,"title":11929,"dynasty":177,"author":4707,"museum":20,"description":4708,"tags":11930,"thumbUrl":11931,"material":11046,"size":11932,"collection":71,"collections":11933,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},234264,"wu-wai-tian-yuan-tu-ce-kun-can-234264","物外田园图册",[23,24,59,164,65,66,7,125,264,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651a5a2e1ca54204c673178db5637fc.jpg","纵21.5cm，横16.9cm",[71],{"id":11935,"slug":11936,"title":11937,"dynasty":54,"author":55,"museum":20,"description":11938,"tags":11939,"thumbUrl":11940,"material":537,"size":127,"collection":127,"collections":11941,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,59,28,65,66,67,473,7,64,34,201,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":11943,"slug":11944,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":11945,"thumbUrl":11946,"material":349,"size":2207,"collection":127,"collections":11947,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},234096,"wu-zhong-shan-shui-ce-shen-zhou-234096",[24,25,164,59,67,65,7,60,61,62,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff615aa6731f6aad97ced3ec6ba894313.jpg",[],{"id":11949,"slug":11950,"title":11951,"dynasty":80,"author":160,"museum":135,"description":11952,"tags":11953,"thumbUrl":11954,"material":127,"size":127,"collection":127,"collections":11955,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":49},232799,"shan-shui-tu-xi-shan-fang-you-wang-meng-232799","山水图(溪山访友)","此画写深秋山水。凌云而出的高山，清冽的溪水，巨石突兀，长松乔木，点缀着寻幽访友的高士，表现了寄情林泉的雅兴。",[24,25,149,59,65,7,60,61,63,34,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3f4507d7ed0adacc32cb42699c50a5.jpg",[],{"id":11957,"slug":11958,"title":11959,"dynasty":177,"author":395,"museum":119,"description":11960,"tags":11961,"thumbUrl":11962,"material":127,"size":127,"collection":127,"collections":11963,"showCount":11916,"zanCount":961,"manualWeight":48,"mainColor":49},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[23,24,59,65,149,25,67,7,1478,978,60,61,413,734,2527,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ee2c58c5ce1b367e94b44021285a3.jpg",[],{"id":11965,"slug":11966,"title":11967,"dynasty":54,"author":9356,"museum":135,"description":11968,"tags":11969,"thumbUrl":11971,"material":139,"size":11972,"collection":127,"collections":11973,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":49},228363,"xian-kan-er-tong-zhuo-liu-hua-ju-yi-zhou-zhou-chen-228363","闲看儿童捉柳花句意轴","生动形象地描绘了杨万里的诗意，清新闲适，童趣横生",[24,25,149,28,29,7,103,11970,165,63,101],"儿童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34e09c91adaceb2e568e701e04b643c.jpg","116.6×63.5",[],{"id":11975,"slug":11976,"title":11977,"dynasty":18,"author":288,"museum":119,"description":11978,"tags":11979,"thumbUrl":11980,"material":127,"size":127,"collection":127,"collections":11981,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[23,24,25,26,59,65,67,101,7,62,106,373,34,64,61,1777,495,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":11983,"slug":11984,"title":11985,"dynasty":11986,"author":178,"museum":119,"description":11987,"tags":11988,"thumbUrl":11990,"material":337,"size":937,"collection":127,"collections":11991,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":49},223909,"song-shan-hua-shan-shui-tu-yi-shou-jing-mu-tuo-fu-jian-yi-ming-223909","嵩山画山水图，益寿镜木托附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,25,28,29,7,104,60,61,34,64,278,11989],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":11993,"slug":11994,"title":11995,"dynasty":54,"author":368,"museum":556,"description":11996,"tags":11997,"thumbUrl":11998,"material":2147,"size":11999,"collection":71,"collections":12000,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":49},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水作品。",[23,24,26,59,65,7,2682,150,34,61,62,106,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","26.3x246.5",[71,212],{"id":12002,"slug":12003,"title":12004,"dynasty":54,"author":1096,"museum":20,"description":12005,"tags":12006,"thumbUrl":12007,"material":12008,"size":12009,"collection":71,"collections":12010,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},220940,"fang-gu-shan-shui-dong-qi-chang-220940","仿古山水","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。\n此图册作于明天启元年（1621年），董其昌时年67岁。",[24,25,164,59,7,372,64,61,122,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ec528469518e200ec75e5ee4b32691.jpg","纸本,水墨和设色","每开纵26.3厘米,横25.5厘米",[71,212],{"id":12012,"slug":12013,"title":12014,"dynasty":80,"author":8313,"museum":1542,"description":12015,"tags":12016,"thumbUrl":12017,"material":596,"size":12018,"collection":212,"collections":12019,"showCount":11916,"zanCount":961,"manualWeight":48,"mainColor":49},220369,"mo-ji-shi-yi-tu-tang-di-220369","摩诘诗意图","《摩诘诗意图》毫无疑问是唐棣山水画的代表作。画面近景巨树磅礴有力，远景平野延展不绝，树木是典型的蟹爪枝，山石是典型的鬼面石，皴法是典型的卷云皴，真可谓得李郭“真传”。",[23,24,59,7,125,64,65,149,167,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd21367e223c6a2061d4a44ff001c3.jpg","71x46cm",[212],{"id":12021,"slug":12022,"title":12023,"dynasty":54,"author":55,"museum":650,"description":651,"tags":12024,"thumbUrl":12029,"material":349,"size":655,"collection":127,"collections":12030,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},220033,"dong-zhuang-tu-ce-zhi-dao-qi-shen-zhou-220033","东庄图册之稻畦",[23,24,25,164,59,7,12025,12026,61,165,2527,12027,12028],"稻","田","屋","田埂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5694bd462c6b7cd7977b9ef743f30161.jpg",[],{"id":12032,"slug":12033,"title":12034,"dynasty":54,"author":12035,"museum":135,"description":12036,"tags":12037,"thumbUrl":12039,"material":139,"size":12040,"collection":45,"collections":12041,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":49},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[100,24,25,149,28,29,65,7,104,63,60,61,64,34,12038,559,201,532],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[45],{"id":12043,"slug":12044,"title":12045,"dynasty":18,"author":12046,"museum":119,"description":12047,"tags":12048,"thumbUrl":12049,"material":139,"size":127,"collection":71,"collections":12050,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":49},218611,"han-lin-ce-zhang-tu-hu-yan-long-218611","寒林策杖图","胡彦龙","寒林枝干虬曲如铁，墨色浓淡交织出萧瑟之态。右侧山石以沉凝皴笔勾勒，纹理苍劲，与疏林相映成趣。坡岸之上，策杖者孑然独立，衣袂轻扬似携山风，身影虽小却意态悠然。古雅的棕褐底色衬出笔墨清劲，虚实间藏着宋人的隐逸情怀——林泉之致，不在喧嚣，而在山、树、人的静默相对里。笔墨简淡却韵味悠长，冬日清寒与心境澄明揉进每一笔，观者仿佛能听见林间风声，触到山石凉，读懂那份寄情山水的淡然。",[24,25,7,103,125,64,65,28,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60709ae11956c61255df326d8727958c.jpg",[71],{"id":12052,"slug":12053,"title":12054,"dynasty":177,"author":4747,"museum":20,"description":12055,"tags":12056,"thumbUrl":12057,"material":169,"size":12058,"collection":71,"collections":12059,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},218497,"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","画中远处山峦起伏，层层叠叠，由近及远，矾头突兀，山顶冲入云端，似与天际相连，深山溪水，泉涌不息。中景为广阔的湖面和平坦的沙滩，溪水潺潺；近景为岩石坡，树木茂密，树荫下有几座木屋和草亭，或隐或现，山间有蜿蜒的小路，坡的两边有木板路。",[23,24,25,149,59,65,122,7,60,61,34,238,347,201,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[71],{"id":12061,"slug":12062,"title":12063,"dynasty":18,"author":604,"museum":161,"description":1531,"tags":12064,"thumbUrl":12065,"material":139,"size":1534,"collection":127,"collections":12066,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},218059,"song-di-ming-ti-ce-wu-ma-yuan-218059","宋帝命题册(五)",[23,24,25,164,28,7,372,60,103,66,101,67,61,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7665b03ac750068444024f2eb3650a7.jpg",[],{"id":12068,"slug":12069,"title":1979,"dynasty":177,"author":12070,"museum":161,"description":12071,"tags":12072,"thumbUrl":12073,"material":139,"size":12074,"collection":71,"collections":12075,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":49},217880,"xue-jing-shan-shui-tu-li-yin-217880","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[24,25,7,28,65,878,318,765,60,372,3434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[71],{"id":12077,"slug":12078,"title":12079,"dynasty":18,"author":10549,"museum":161,"description":12080,"tags":12081,"thumbUrl":12082,"material":139,"size":12083,"collection":308,"collections":12084,"showCount":11916,"zanCount":961,"manualWeight":48,"mainColor":49},216669,"yuan-xi-tu-yi-yuan-ji-216669","猿戏图","枝间猿猱倒挂，长尾如丝垂悬，似欲探取下方轻物，姿态灵动若脱纸而出。虬枝盘曲如铁，缀以青果繁叶，墨色浓淡交错间，见苍劲中含生机。远山以淡墨皴染，近石用粗笔勾勒，虚实相映间拓开清旷空间。猿之毛发细劲蓬松，根根可见；果叶晕染鲜活，如沐朝露。笔墨工致却不失野趣，于方寸圆扇内凝注山林间的灵动瞬间——风过枝颤，猿眸流转，似能闻叶隙间的轻响。宋画的精微与诗意在此尽显：以细致笔触捕捉生命本真，用简淡意境传递自然野逸，让观者仿若置身深林，与这灵物共醉于片刻闲趣。风过枝摇时，灵猿的每一寸毛发都似在轻颤，果叶的脉络里藏着晨露的光，深林的野趣与宋人的雅致，尽凝于这一方圆幅中。",[24,100,28,29,3988,9199,165,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e09b8ae55b49ba935e0ab9aca615986.jpg","26x26cm",[308],{"id":12086,"slug":12087,"title":12088,"dynasty":54,"author":9356,"museum":20,"description":12089,"tags":12090,"thumbUrl":12091,"material":69,"size":12092,"collection":44,"collections":12093,"showCount":11916,"zanCount":48,"manualWeight":48,"mainColor":75},216085,"ming-huang-you-yue-gong-tu-zhou-chen-216085","明皇游月宫图","这是一幅带有作者美好想象的画作。表现的是唐人小说中明皇李隆基曾偕方士梦游月中宫殿的情景。全图笔法工细，继承了南宋笔墨精妙的传统，注重人物个性的展示、人物与环境的配合，以及不同社会阶层人物神态、服饰的刻画，从中可见唐明皇高贵典雅的神态，侍从恭敬谦卑的表情和侍女们端庄优雅的气质等。此图是周臣优秀的人物画之一。",[23,24,100,2484,28,103,1643,34,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb23230d53038694868c25d0ae2a93d4.jpg","纵18.6厘米，横50厘米",[44],{"id":12095,"slug":12096,"title":12097,"dynasty":54,"author":1096,"museum":135,"description":12098,"tags":12099,"thumbUrl":12100,"material":169,"size":127,"collection":71,"collections":12101,"showCount":11916,"zanCount":961,"manualWeight":48,"mainColor":75},214613,"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[24,25,164,59,65,66,7,30,34,35,239,533,238,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[71],{"id":12103,"slug":12104,"title":12105,"dynasty":80,"author":616,"museum":135,"description":12106,"tags":12107,"thumbUrl":12108,"material":337,"size":937,"collection":127,"collections":12109,"showCount":12110,"zanCount":961,"manualWeight":48,"mainColor":75},287665,"yuan-xiu-shu-shi-tu-ni-zan-287665","远岫树石图","图中绘平坡远岫，疏林草亭，笔简意远，惜墨如金，干中见湿，躁中带润。以侧锋干笔作皴，名为“折带皴”。书法从隶入，有晋人风度。倪瓒擅画山水、墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。",[24,100,25,149,59,7,372,167,264,63,67,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d5d71527524ae1af5a4236a60b1794.jpg",[],61,{"id":12112,"slug":12113,"title":12114,"dynasty":80,"author":5576,"museum":119,"description":12115,"tags":12116,"thumbUrl":12119,"material":337,"size":937,"collection":127,"collections":12120,"showCount":12110,"zanCount":961,"manualWeight":48,"mainColor":49},287337,"long-zhou-jing-du-tu-juan-wang-zhen-peng-287337","龙舟竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,100,24,26,304,27,28,7,104,12117,103,31,12118],"龙舟","龙舟竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d38c779987285d7530e29b1984cd1b.jpg",[],{"id":12122,"slug":12123,"title":12124,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":12125,"thumbUrl":12126,"material":337,"size":937,"collection":127,"collections":12127,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},283738,"fang-gu-shan-shui-ce-shi-kai-dong-qi-chang-283738","仿古山水册（十开）",[100,24,164,59,7,64,61,34,150,101,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9ee79f5dfee7fbf9889135e8f1f2b7.jpg",[],{"id":12129,"slug":12130,"title":12131,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":12132,"thumbUrl":12133,"material":127,"size":127,"collection":71,"collections":12134,"showCount":12110,"zanCount":961,"manualWeight":48,"mainColor":75},237470,"yuan-ji-tao-shi-cai-ju-tu-zhou-shi-tao-237470","原济陶诗采菊图轴",[24,59,149,7,65,318,583,372,239,347,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3235b3438219ed07d2bd0482e005116.jpg",[71,212],{"id":12136,"slug":12137,"title":3693,"dynasty":177,"author":178,"museum":20,"description":1028,"tags":12138,"thumbUrl":12140,"material":40,"size":307,"collection":127,"collections":12141,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":49},236168,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236168",[24,29,28,304,65,7,104,103,630,64,61,106,559,278,34,4193,12139,7988,3695,35,4376],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg",[],{"id":12143,"slug":12144,"title":12145,"dynasty":177,"author":12146,"museum":119,"description":12147,"tags":12148,"thumbUrl":12150,"material":127,"size":127,"collection":127,"collections":12151,"showCount":12110,"zanCount":961,"manualWeight":48,"mainColor":49},235273,"gao-shan-liu-shui-tu-zhou-mei-qing-235273","高山流水图轴","梅清","《梅清高山流水图轴》是清代梅清创作的一幅画。\n图绘景象奇伟的山川之貌，陡峭的山石于群峰中傲然而立，如练的瀑布从山壁上飞流而下。\n瀑布与山峦点明高山流水的主题，亦营造出清幽疏旷的意境。\n款题虽言系仿“石田老人笔意”（沈周）之作，但体现出的完全是梅氏晚年粗笔皴擦、焦墨点苔、笔力老健的画风特点。\n款署：“高山流水。\n仿石田老人笔意。\n甲戌中秋前一日，瞿山梅清时年七十有二。\n”钤“矍硎清”白文印、“渊公”朱文印、“老去看山眼倍青”白文印、“天延阁图书”朱文印。\n鉴藏印有“槃斋秘玩”等。\n“甲戌”是清康熙三十三年（1649年），梅清时年72岁。",[24,25,149,59,65,7,12149,61,583,239,103,199,167],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576afd75771412f0b050afdd574d2698.jpg",[],{"id":12153,"slug":12154,"title":12155,"dynasty":177,"author":5740,"museum":20,"description":12156,"tags":12157,"thumbUrl":12158,"material":632,"size":12159,"collection":71,"collections":12160,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},233870,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233870","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,59,7,65,164,165,35,167,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a2da2721f9dffe79fcc1e72526d712f.jpg","纵32.8cm，横52.8cm",[71,212],{"id":12162,"slug":12163,"title":12164,"dynasty":54,"author":96,"museum":20,"description":8205,"tags":12165,"thumbUrl":12170,"material":40,"size":12171,"collection":71,"collections":12172,"showCount":12110,"zanCount":961,"manualWeight":48,"mainColor":75},233754,"ren-wu-gu-shi-ce-chou-ying-233754","人物故事册",[24,25,164,29,28,12166,103,7,104,12167,5387,12168,1522,1249,8210,722,2595,61,12169,8211],"重彩","仕女","知音","寓言传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","纵41.4厘米，横33.8厘米",[71,44,45],{"id":12174,"slug":12175,"title":1800,"dynasty":177,"author":12146,"museum":20,"description":12176,"tags":12177,"thumbUrl":12178,"material":375,"size":12179,"collection":44,"collections":12180,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},233152,"huang-shan-tu-ce-mei-qing-233152","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,59,65,164,7,165,63,60,103,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239d3facce2a658eb2b134f4725799.jpg","纵26厘米，横33厘米",[44,71],{"id":12182,"slug":12183,"title":12184,"dynasty":80,"author":1715,"museum":135,"description":12185,"tags":12186,"thumbUrl":12187,"material":40,"size":12188,"collection":127,"collections":12189,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[100,24,25,26,28,27,29,7,101,66,67,473,318,319,62,34,167,6476,103,31,37,1695,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd6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创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,100,24,25,304,29,28,7,104,878,6299,34,278,559,64,12232,6643,6850,766,722,2559],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":12236,"slug":12237,"title":12238,"dynasty":18,"author":288,"museum":20,"description":12239,"tags":12240,"thumbUrl":12241,"material":87,"size":12242,"collection":127,"collections":12243,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":49},223340,"yun-feng-yuan-tiao-tu-xia-gui-223340","云峰远眺图","图绘群山相拥，山腰中云雾霭霭，一平坦处二人观景寒暄，一小童拿一长竿站立其后；远处松木成林，楼台庭院坐落于山腰中，隐约的山峰高耸陡峭，侧面如刀削般平整。此画画风近夏圭风格，画面简而不空，所画山峰线条刚劲、峰顶尖利！",[23,100,24,25,59,7,65,103,30,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728ca2ae2c5d24dda0b691a4c2b1e73f.jpg","24.8*26.4cm",[],{"id":12245,"slug":12246,"title":12247,"dynasty":177,"author":301,"museum":135,"description":5347,"tags":12248,"thumbUrl":12249,"material":454,"size":5352,"collection":71,"collections":12250,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":49},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,100,24,29,28,304,449,103,104,7,5932,34,559,35,5034,3695,64,10237,278,7988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[71,45],{"id":12252,"slug":12253,"title":12254,"dynasty":177,"author":12255,"museum":56,"description":12256,"tags":12257,"thumbUrl":12258,"material":11572,"size":12259,"collection":71,"collections":12260,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,24,25,26,59,28,65,7,318,319,34,64,35,62,61,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","26×455",[71,212],{"id":12262,"slug":12263,"title":2095,"dynasty":80,"author":997,"museum":20,"description":12264,"tags":12265,"thumbUrl":12266,"material":596,"size":12267,"collection":71,"collections":12268,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":379},221790,"han-lin-tu-cao-zhi-bai-221790","曹知白(1272—1355), 字又元, 号云西, 又字贞素, 人称贞素先生, 华亭(今上海松江县) 人。至元中任昆山教谕, 曾北上大都(今北京), 不久辞归, 隐居不仕, 饱览经书和研究道家之说。自写书斋匾额曰：“常清净”, 以示求闲适恬静意趣。《寒林图》画枯林一行于坡石之间, 树干劲挺, 疏落有致, 笔墨带有秀润气, 属中年之作。",[23,24,25,7,59,65,607,125,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[71,212],{"id":12270,"slug":12271,"title":12272,"dynasty":80,"author":160,"museum":135,"description":12273,"tags":12274,"thumbUrl":12275,"material":87,"size":12276,"collection":71,"collections":12277,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":49},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,100,24,25,149,59,28,65,7,34,61,60,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[71,45],{"id":12279,"slug":12280,"title":7196,"dynasty":54,"author":4764,"museum":56,"description":12281,"tags":12282,"thumbUrl":12283,"material":139,"size":12284,"collection":308,"collections":12285,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":49},220339,"tan-mei-tu-chen-hong-shou-220339","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[23,24,25,149,29,28,103,335,2127,7,165,239,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[308,45],{"id":12287,"slug":12288,"title":12289,"dynasty":177,"author":2075,"museum":369,"description":2076,"tags":12290,"thumbUrl":12291,"material":69,"size":2079,"collection":71,"collections":12292,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[24,25,59,122,7,318,319,34,37,278,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[71],{"id":12294,"slug":12295,"title":3517,"dynasty":18,"author":9595,"museum":12296,"description":12297,"tags":12298,"thumbUrl":12299,"material":596,"size":127,"collection":71,"collections":12300,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},219920,"dong-ting-qiu-yue-tu-yu-jian-219920","日本文化厅","南宋玉涧的《洞庭秋月图》描绘了楼阁、圆月和树枝等，栩栩如生在大片的留白处题诗一首：“四面平湖月满出，一阿螺髻镜中看，岳阳楼上听长笛，诉尽崎岖行路难。洞庭秋月。”月光如泻，笛声悠扬，画中有声，诗画辉映，足见玉涧是一位集诗、书、画三绝为一身的僧人。",[23,100,24,25,26,59,66,101,7,1643,63,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e259371a089172ab221af814ccd9dc.jpg",[71],{"id":12302,"slug":12303,"title":12304,"dynasty":18,"author":8392,"museum":119,"description":12305,"tags":12306,"thumbUrl":12307,"material":139,"size":12308,"collection":44,"collections":12309,"showCount":12110,"zanCount":961,"manualWeight":48,"mainColor":49},219755,"zhong-xing-zhen-ying-tu-liu-duan-ben-xiao-zhao-219755","中兴祯应图六段本","萧照（公元1131年-公元1162年），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”。",[23,24,100,26,29,28,65,7,103,104,335,63,34,6756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba4eb15be72fe5d39ab5fa3b3fd957.jpg","31x1148厘米",[44],{"id":12311,"slug":12312,"title":12313,"dynasty":18,"author":178,"museum":56,"description":12314,"tags":12315,"thumbUrl":12316,"material":139,"size":12317,"collection":71,"collections":12318,"showCount":12110,"zanCount":1080,"manualWeight":48,"mainColor":49},218662,"song-feng-lou-guan-tu-yi-ming-218662","松风楼观图","山顶上的松树被涂上了颜色，天空中出现了奇特的山峰，山坡上的森林中矗立着建筑和房屋。悬崖边上有围栏和行人。艺术家用长线和水流来画山和石头，用各种点和线来画森林。近处的山是沉重的，远处的山是缥缈的，近处的树是苍白的，远处的树是缥缈的，显示出由于空气的阻隔，近处和远处的景物在视觉上的差异。",[23,24,25,100,2484,65,28,7,413,104,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05aa16083afb2ee32eae9a2801aa5c94.jpg","25.6x27.1",[71],{"id":12320,"slug":12321,"title":12322,"dynasty":18,"author":2391,"museum":20,"description":12323,"tags":12324,"thumbUrl":12325,"material":596,"size":12326,"collection":44,"collections":12327,"showCount":12110,"zanCount":1080,"manualWeight":48,"mainColor":49},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,24,25,164,123,103,7,34,63,106,335,61,334,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[44],{"id":12329,"slug":12330,"title":12331,"dynasty":18,"author":178,"museum":56,"description":12332,"tags":12333,"thumbUrl":12334,"material":139,"size":12335,"collection":71,"collections":12336,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":49},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","雪江归棹图","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[23,24,25,59,7,62,238,34,35,878,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[71],{"id":12338,"slug":12339,"title":12340,"dynasty":18,"author":604,"museum":135,"description":10467,"tags":12341,"thumbUrl":12343,"material":139,"size":10470,"collection":127,"collections":12344,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},218569,"hua-niao-shan-shui-xiao-pin-ce-shan-jing-zhang-xing-ma-yuan-218569","花鸟山水小品册-山径杖行",[23,2538,24,25,164,28,65,7,103,12342,34,239,101],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6032da58b059d48a3d1b48a9d58189.jpg",[],{"id":12346,"slug":12347,"title":12348,"dynasty":54,"author":580,"museum":20,"description":12349,"tags":12350,"thumbUrl":12351,"material":69,"size":12352,"collection":927,"collections":12353,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,25,26,1019,59,28,29,7,104,60,61,63,34,64,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[927,71],{"id":12355,"slug":12356,"title":909,"dynasty":54,"author":12357,"museum":20,"description":12358,"tags":12359,"thumbUrl":12360,"material":69,"size":12361,"collection":71,"collections":12362,"showCount":12110,"zanCount":1080,"manualWeight":48,"mainColor":75},218374,"shan-shui-tu-li-yong-chang-218374","李永昌","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,24,59,65,149,101,7,64,34,372,583,35,2216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[71],{"id":12364,"slug":12365,"title":12366,"dynasty":18,"author":178,"museum":20,"description":12367,"tags":12368,"thumbUrl":12374,"material":169,"size":127,"collection":71,"collections":12375,"showCount":12110,"zanCount":1080,"manualWeight":48,"mainColor":49},218320,"lu-hong-cao-tang-shi-zhi-tu-yi-ming-218320","卢鸿草堂十志图","长卷徐徐展开，十帧隐逸图景次第铺呈。峰岫含烟，林麓交映，古树盘曲如铁，流泉飞泻似练。其间草堂错落，或临溪筑榭，或依山构宇，隐者或凭轩观瀑，或策杖行吟，或围坐论道，意态悠然。墨色浓淡相宜，皴擦点染间见丘壑之妙；题辞穿插其间，笔意与画意相生，文气氤氲。整幅作品古雅沉静，尽得林泉高致之趣，仿佛能闻松风竹韵，听山涧清音，令人心向往之，沉醉于那片远离尘嚣的幽居天地。",[23,100,24,26,59,7,1458,333,6084,12369,12370,12371,65,11163,9755,12372,12373],"峰岫","林麓","隐者","古雅","林泉高致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96939053844aa2166756d34301b6320a.jpg",[71],{"id":12377,"slug":12378,"title":12379,"dynasty":18,"author":274,"museum":119,"description":12380,"tags":12381,"thumbUrl":12384,"material":349,"size":127,"collection":44,"collections":12385,"showCount":12110,"zanCount":961,"manualWeight":48,"mainColor":75},218088,"bai-miao-shi-liu-luo-han-du-hai-tu-li-gong-lin-218088","白描十六罗汉渡海图","宋朝时期，有一位名叫李公麟的画家，他创作了一幅名为“白描十六罗汉渡海图”的作品。这幅画描绘了十六位罗汉在海上渡江的情景。\n\n在这幅画中，十六位罗汉都站在船上，举着经书，准备渡江。他们身穿红袈裟，头戴黄色的僧帽，神情肃穆。周围的水面上有许多小鱼和蝴蝶在玩耍。\n\n这幅画的背景是一片蔚蓝的天空和海水，上面有云朵在飘动。整幅画的画风简洁明快，线条流畅，色彩明亮，充满了生机和动感。\n\n这幅画反映了宋朝佛教文化的特点，也是李公麟作品中的经典之作。",[23,24,26,123,1042,103,7,12382,12383],"罗汉","渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fe367beaa46b579b2e0e93d18fe367.jpg",[44],{"id":12387,"slug":12388,"title":12389,"dynasty":18,"author":604,"museum":161,"description":1531,"tags":12390,"thumbUrl":12391,"material":139,"size":1534,"collection":127,"collections":12392,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},218055,"song-di-ming-ti-ce-liu-ma-yuan-218055","宋帝命题册(六)",[23,24,25,164,28,65,583,103,7,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b3aa4b6ef4e2b674f3089d196e80f2.jpg",[],{"id":12394,"slug":12395,"title":12396,"dynasty":18,"author":604,"museum":161,"description":1531,"tags":12397,"thumbUrl":12398,"material":139,"size":1534,"collection":127,"collections":12399,"showCount":12110,"zanCount":48,"manualWeight":48,"mainColor":75},218051,"song-di-ming-ti-ce-qi-ma-yuan-218051","宋帝命题册(七)",[23,24,164,28,7,63,165,167,653,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8981171a12069285c26c5b92cd367aa4.jpg",[],{"id":12401,"slug":12402,"title":1225,"dynasty":54,"author":945,"museum":119,"description":7266,"tags":12403,"thumbUrl":12405,"material":337,"size":937,"collection":127,"collections":12406,"showCount":12407,"zanCount":961,"manualWeight":48,"mainColor":75},290852,"pin-cha-tu-zhou-tang-yin-290852",[100,24,25,149,59,66,101,67,4768,7,103,372,64,35,12404],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c39e34cc459a2556e9473dfeb7bd579.jpg",[],60,{"id":12409,"slug":12410,"title":12411,"dynasty":54,"author":2842,"museum":119,"description":12412,"tags":12413,"thumbUrl":12415,"material":337,"size":937,"collection":127,"collections":12416,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":75},237824,"fang-zhang-seng-yao-mei-gu-shan-shui-shan-zhang-hong-237824","仿张僧繇没骨山水扇","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,2484,12414,28,122,7,62,34,347,167,31,1120,101],"没骨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e8df82dfc9d045a62c3ee52c28183e.jpg",[],{"id":12418,"slug":12419,"title":12420,"dynasty":177,"author":683,"museum":119,"description":12421,"tags":12422,"thumbUrl":12423,"material":349,"size":12424,"collection":71,"collections":12425,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":75},234876,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234876","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,25,164,28,7,65,122,101,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3906ab5fe733b92e1b4dac6a6a17ae.jpg","纵21厘米，横27厘米",[71,45],{"id":12427,"slug":12428,"title":159,"dynasty":54,"author":1096,"museum":20,"description":6074,"tags":12429,"thumbUrl":12430,"material":375,"size":2597,"collection":71,"collections":12431,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":75},233800,"shan-shui-ce-dong-qi-chang-233800",[24,25,164,59,28,7,65,318,319,34,1738,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[71],{"id":12433,"slug":12434,"title":12435,"dynasty":177,"author":1801,"museum":119,"description":12436,"tags":12437,"thumbUrl":12438,"material":127,"size":127,"collection":127,"collections":12439,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":75},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","《雨余柳色图》是 僧侣画家 的国画作品。\n该画为立轴，纸本墨笔，纵84.4厘米，横45.厘米，现藏于 。\n《雨余柳色图》奥境奇辟，缅邈幽深，峰峦俊逸，水渚错落，林木萧疏，江水辽阔，远山浮动。\n全幅以山、坡为主，图右缀有几株垂柳，一座小小木桥；图左设有几栋屋宇，远处画一道流水。\n此画笔墨苍劲整洁，以细笔为主，兼用侧锋，并用乾笔皴擦，有秀逸清幽之气。\n弘仁（161--1664）[清]僧。\n明诸生，甲申后为僧，号渐江，一号无智，人称梅花古衲，俗姓江，名韬，字六奇，后改名舫，字鸥盟， 人。\n少孤贫，性癖，以铅椠养母。\n一日负米行三十里，不逮期，欲赴练江死。\n母殡后不婚不宦。\n明亡后清兵进逼 时，曾参加反清复明斗争，后于 落发为僧，法名弘仁，字无智，号 ，又号梅花古衲，数年后重返故里，一心研习画学。\n游 之幔亭，皈依报亲寺古航师为圆顶焉。",[24,100,25,149,59,65,7,571,60,104,264,7727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],{"id":12441,"slug":12442,"title":12443,"dynasty":18,"author":178,"museum":135,"description":12444,"tags":12445,"thumbUrl":12447,"material":28,"size":12448,"collection":42,"collections":12449,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":49},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,100,149,7,65,59,318,765,34,201,12446,62,1674],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[42,71,212],{"id":12451,"slug":12452,"title":5293,"dynasty":177,"author":12453,"museum":1542,"description":12454,"tags":12455,"thumbUrl":12456,"material":12457,"size":12458,"collection":71,"collections":12459,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":49},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,24,25,26,59,28,7,65,318,319,31,62,583,35,239,167,707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[71,212],{"id":12461,"slug":12462,"title":12463,"dynasty":54,"author":12464,"museum":20,"description":12465,"tags":12466,"thumbUrl":12467,"material":632,"size":12468,"collection":71,"collections":12469,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":75},222674,"ting-song-tu-zhou-xiang-sheng-mo-222674","听松图轴","项圣谟","本幅自题：“偶寻鹿迹来游此，坐听松风亦爽然。庚寅登高日寓江城西郊，喜此二言，骤笔补图。项圣谟。”钤“胥山樵项伯子”等印3方。“庚寅”乃清顺治七年（1650年），项氏54岁。“登高”为重阳节之古俗。据题可知此图系项氏于顺治七年重阳节与友人登高时为吟得佳句而绘。\n作品画云崖雾涌，长松虬枝，高士临流吟赏。树石用笔浑厚沉着，人物线条圆秀朴拙，意境清旷高古，具项圣谟山水人物画的典型风貌。",[23,24,59,149,7,583,103,239,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76a9e06e51c1074aa07a48f7d377c6c.jpg","纵138.5厘米，横60厘米",[71,212],{"id":12471,"slug":12472,"title":12473,"dynasty":54,"author":1652,"museum":369,"description":1653,"tags":12474,"thumbUrl":12475,"material":454,"size":12476,"collection":71,"collections":12477,"showCount":12407,"zanCount":1080,"manualWeight":48,"mainColor":49},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷",[23,24,25,26,28,7,67,66,65,29,238,31,104,60,61,62,63,106,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[71,45],{"id":12479,"slug":12480,"title":12481,"dynasty":18,"author":178,"museum":776,"description":12482,"tags":12483,"thumbUrl":12484,"material":349,"size":12485,"collection":42,"collections":12486,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":49},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,25,26,59,65,7,34,239,37,200,318,319,264,334,63,106,607,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[42,71,212],{"id":12488,"slug":12489,"title":12490,"dynasty":18,"author":2391,"museum":20,"description":12491,"tags":12492,"thumbUrl":12493,"material":40,"size":12494,"collection":42,"collections":12495,"showCount":12407,"zanCount":961,"manualWeight":48,"mainColor":49},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,24,25,26,123,28,67,66,103,104,34,3209,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[42,71,45],{"id":12497,"slug":12498,"title":12499,"dynasty":54,"author":1096,"museum":135,"description":12500,"tags":12501,"thumbUrl":12502,"material":292,"size":12503,"collection":71,"collections":12504,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":75},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,25,59,7,65,122,66,67,101,60,61,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[71,212],{"id":12506,"slug":12507,"title":193,"dynasty":177,"author":12508,"museum":1542,"description":12509,"tags":12510,"thumbUrl":12511,"material":169,"size":12512,"collection":71,"collections":12513,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":75},220009,"xi-shan-xing-lv-tu-liu-yu-220009","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[23,24,25,26,59,65,7,60,61,62,63,106,125,104,199,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[71],{"id":12515,"slug":12516,"title":12517,"dynasty":54,"author":12518,"museum":3323,"description":12519,"tags":12520,"thumbUrl":12521,"material":139,"size":12522,"collection":71,"collections":12523,"showCount":12407,"zanCount":961,"manualWeight":48,"mainColor":49},219944,"jiang-shan-sheng-lan-tu-yan-zong-219944","江山胜览图","颜宗","颜宗（1393—约1453）广东南海人，字学渊。永乐二十一年举人。授邵武知县，为政清明，以救荒悯旱为先。招抚邓茂七余部，全活甚众。景泰中擢兵部主事，署员外郎。奔母丧归，卒于途中。善画山水，时人有“颜老天趣不可及”之语，当时名画师如林良，视之尚有逊色。",[100,24,25,26,59,7,238,37,3601,85,722,34,1778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F366483a10fdb6cde35d65da1131e8083.jpg","35.5x610厘米",[71],{"id":12525,"slug":12526,"title":909,"dynasty":18,"author":12527,"museum":2156,"description":12528,"tags":12529,"thumbUrl":12530,"material":139,"size":12531,"collection":71,"collections":12532,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":49},219076,"shan-shui-tu-li-gong-nian-219076","李公年","画幅上端山峦在浮云中层层叠起，山脚隐于漠漠暮霭之中，寒溪曲折自远而近， 滩岸布置崖冈枯木，通幅用淡墨图写，景物出没于空旷有无之间，明润秀雅，较李郭山水更为虚灵简远。此图是李公年传世的唯一的画迹。",[24,59,65,149,7,238,607,125,264,63,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[71],{"id":12534,"slug":12535,"title":909,"dynasty":80,"author":12536,"museum":12537,"description":12538,"tags":12539,"thumbUrl":12540,"material":139,"size":12541,"collection":71,"collections":12542,"showCount":12407,"zanCount":961,"manualWeight":48,"mainColor":49},218242,"shan-shui-tu-yan-hui-218242","颜辉","开封市博物馆","层岩叠壑间云雾氤氲，似将山峦晕染成流动的诗行。枯木虬枝如墨笔狂舞，皴擦点染间尽显苍劲力道，却又于虬曲中藏着生机。山间屋舍隐于林麓，半露半藏，似有逸士凭窗观云，将尘嚣隔绝在外。水墨淋漓处，浓淡干湿交织，远山如黛，近石如铁，树木扶疏间，光影流转成幽寂之境。\n\n这幅山水将自然丘壑化为心象，笔墨既见法度又含写意，于沉郁中透出空灵。它以苍劲的笔触勾勒天地骨架，用氤氲的墨气晕开文人幽怀，仿佛能让人听见山风穿林、涧水潺潺，在静默中与天地精神往来，尽显元人寄情山水、以笔抒怀的意趣。",[24,59,28,65,7,64,34,63,35,125,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8acb54e2e79d4575f1c162e13375372.jpg","136x127cm",[71],{"id":12544,"slug":12545,"title":12546,"dynasty":177,"author":4747,"museum":161,"description":12547,"tags":12548,"thumbUrl":12549,"material":169,"size":127,"collection":71,"collections":12550,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":75},217980,"fang-bei-yuan-qiu-shan-ting-zi-tu-wu-li-217980","仿北苑秋山亭子图","吴历的画风清新自然，笔法简洁流畅。在这幅画中，他巧妙地运用了构图、色彩和线条的对比，使得整幅画面显得格外生动。他还细心地捕捉了自然界的细节，比如山亭的屋顶上长满青苔，树叶上的露珠闪闪发光。\n\n这幅画被认为是吴历的杰作之一，其独特的画风和精细的绘画技巧得到了广泛赞誉。它不仅是一幅美丽的画作，也是对中国古代山水画的精湛再现。",[24,25,59,7,63,165,64,65,122,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd29e36c3ff5f94f648797f2e11c33d.jpg",[71],{"id":12552,"slug":12553,"title":12554,"dynasty":54,"author":12555,"museum":161,"description":12556,"tags":12557,"thumbUrl":12558,"material":69,"size":12559,"collection":44,"collections":12560,"showCount":12407,"zanCount":48,"manualWeight":48,"mainColor":75},214882,"quan-sheng-yu-sheng-shan-ye-wen-zhen-heng-214882","泉声语声扇页","文震亨","皴染的山石间，细泉蜿蜒而下，似携泠泠清音穿林过隙。二三文士散坐岩畔，衣袂轻扬处，或侧耳凝听泉鸣，或执手低语清谈，语声与泉声相和，融于松风竹韵间。笔墨简淡却意韵悠长，古雅绢色衬出山林的清幽，人物情态生动传神，尽显文人林下雅聚的悠然意趣。不必刻意铺陈，却于方寸扇面间，藏尽自然之妙与人文之雅，仿佛能让人暂离尘嚣，静享这片刻的泉声语声交织的清宁。",[2484,24,25,28,7,103,65,64,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3285efdae6163e4d15a75b0ff14abde9.jpg","16.5x50.5cm",[44],{"id":12562,"slug":12563,"title":12564,"dynasty":54,"author":12565,"museum":20,"description":12566,"tags":12567,"thumbUrl":12568,"material":337,"size":937,"collection":127,"collections":12569,"showCount":12570,"zanCount":1080,"manualWeight":48,"mainColor":49},289995,"chan-gong-yue-tu-tu-tao-cheng-289995","蟾宫月兔图","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。",[24,100,149,29,28,27,630,9211,1643,7,61,64,8414,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c9583ba3902ef676ff0c13ef74bb75.jpg",[],59,{"id":12572,"slug":12573,"title":12574,"dynasty":811,"author":1137,"museum":119,"description":12575,"tags":12576,"thumbUrl":12578,"material":337,"size":937,"collection":127,"collections":12579,"showCount":12570,"zanCount":48,"manualWeight":48,"mainColor":49},289926,"xue-tu-ju-ran-289926","雪图","其画面分为三个层次，组成一个硕头小脚“之”字。上层双峰并立，左低右高，危岩耸立，白雪皑皑，令人生畏；眼恋意留，不敢攀附。雪峰之上，古木郁郁，生机勃勃。特别是锯齿状的岩裂，触目惊心，将北方的雪映衬得更加雄浑、霸气。中层雪景呈斜倚之势漫漶开来，楼阁深入，分布有别；古树对峙，雪路茫然；骑者行于山径之上，左顾右盼，两岸风光引人入胜。它恰好将近景生动地连接起来，苍松如帘，层次分明却又浑然一体。仿佛听见覆雪之下，冬泉泠泠；雪压松枝，不时跌落，飒飒有声。",[23,100,24,25,7,149,59,65,1262,12577,104,878,101],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d1b6444505baf420412d317f53a4fb.jpg",[],{"id":12581,"slug":12582,"title":6055,"dynasty":18,"author":6965,"museum":119,"description":12583,"tags":12584,"thumbUrl":12586,"material":337,"size":937,"collection":127,"collections":12587,"showCount":12570,"zanCount":961,"manualWeight":48,"mainColor":49},289105,"chi-bi-tu-yang-shi-xian-289105","宫廷画家杨士贤根据苏轼《赤壁赋》创作《前赤壁图》，亦从一个角度看出文人画对宫廷绘画审美观念的影响，文人画的某些价值、观念和精神内容已经不可避免影响到了中国绘画的各个方面，并作为后世中国画的主要特色、主导画风出现在历史的视野之中。",[23,100,24,25,26,7,59,65,3601,2515,4660,62,12585],"赤壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744ec93b40bc54ec26757c2c3d518075.jpg",[],{"id":12589,"slug":12590,"title":1883,"dynasty":18,"author":744,"museum":119,"description":12591,"tags":12592,"thumbUrl":12594,"material":337,"size":937,"collection":127,"collections":12595,"showCount":12570,"zanCount":1080,"manualWeight":48,"mainColor":49},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,100,24,26,25,28,29,103,7,60,61,64,2315,413,6300,2911,2329,4377,12593,101],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":12597,"slug":12598,"title":12599,"dynasty":80,"author":178,"museum":20,"description":12600,"tags":12601,"thumbUrl":12602,"material":632,"size":12603,"collection":71,"collections":12604,"showCount":12570,"zanCount":48,"manualWeight":48,"mainColor":75},239526,"ni-zan-qiu-ting-jia-shu-tu-zhou-yi-ming-239526","倪瓒秋亭嘉树图轴","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，幽静雅洁，仿佛笼罩在一片月色之中。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本幅自题：“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。”\n本卷上诗塘有吴宽、朱果二家题记。曾经清内府收藏。",[24,59,149,66,101,65,7,165,63,630,167,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08768391940841042688571157736a1b.jpg","纵114cm，横34.3cm",[71,927],{"id":12606,"slug":12607,"title":4040,"dynasty":177,"author":395,"museum":20,"description":2028,"tags":12608,"thumbUrl":12609,"material":349,"size":127,"collection":71,"collections":12610,"showCount":12570,"zanCount":48,"manualWeight":48,"mainColor":75},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235",[24,59,149,25,100,7,182,34,199,239,1674,61,101,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[71],{"id":12612,"slug":12613,"title":7594,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":12614,"thumbUrl":12615,"material":337,"size":937,"collection":71,"collections":12616,"showCount":12570,"zanCount":961,"manualWeight":48,"mainColor":75},235611,"hong-ren-shan-shui-ce-hong-ren-235611",[24,25,59,7,104,583,182,64,532,2145,65,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[71],{"id":12618,"slug":12619,"title":12620,"dynasty":54,"author":5427,"museum":119,"description":12621,"tags":12622,"thumbUrl":12623,"material":127,"size":127,"collection":127,"collections":12624,"showCount":12570,"zanCount":712,"manualWeight":48,"mainColor":75},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 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八六边寿民芦帷册 八七张庚仿北苑夏山图幅 八八李鱓芍药图轴 八九李鱓风雨芭蕉图轴 九○李鱓、陈撰等（六人合作）花果扇页 九一金农香林扫塔图轴 九二黄慎群盲聚讼人物轴 九三黄慎八仙 九四高翔临倪瓒竹树小山图扇页 九五方士庶野云晚濑图轴 九六郑燮竹石图轴 九七李方膺松石图 九八钱维城五君子图轴 九九罗聘篦谷像 一○○罗聘兰花图 一○一方薰柏龄图轴. 一○二奚冈陂塘秋水图轴 一○三张崟临顿新居第三图卷 一○四张培敦玉溪梦隐图 一○五改琦竹石幽兰图轴 一○六屠倬为南雅作山水轴 一○七王礼琵琶仕女图 一○八虚谷松鹤中堂 一○九任薰茹叶蜻蜓图 一一○任薰花鸟册 一一一任颐风云三侠图轴 一一二任颐狸猫竹石图轴 一一三吴昌硕杞菊延年图轴 一一四吴觳祥深山水秀图卷 一一五任预射雁图 一一六陆远仿子久溪山秋霭图幅 一一七方大猷为敬翁作山水 一一八翟大坤草堂赏泉图轴 一一九蔡嘉山水册 一二○张风 一二一祝昌溪水无尽图 一二二华浚仿周文矩临镜美人图幅 一二三张弼草书册 一二四沈周 一二五陈献章七绝赛兰香诗轴 一二六王鏊草书七律轴 一二七祝允明行草九愍等诗卷 一二八祝允明滕王阁序诗卷 一二九文徵明行书七律二首 一三○文徵明尺牍 一三一文徵明小楷落花诗卷 一三二唐寅行书七律轴 一三三王问草书五律金面扇页 一三四周天球楷书子凉览古一首金面扇页 一三五徐渭行草应制咏墨诗轴 一三六徐渭行草应制咏剑诗轴 一三七王樨登行书五言诗轴 一三八申时行行草摺扇面 一三九董其昌草书五言诗轴 一四○范允临行书五言绝句轴 一四一赵宦光等二十家诗词册 一四二张瑞图行草五律诗轴 一四三张瑞图行草陶诗册 一四四文震孟行书登麻姑山诗轴 一四五文从简行书册页 一四六倪元璐行书五律金面扇页 一四七傅山草书七绝轴 一四八傅山、傅眉手书诗词册 一四九归庄行草七言诗轴 一五○徐枋草书五律 一五一查士标行草七绝诗 一五二查士标行书轴 一五三张照临朱子行书轴 一五四郑燮行草七律轴 一五五刘墉致英和信札册 一五六梁同书 一五七翁方纲七言行书轴 一五八钱沣行书欧阳公李公李欣诗句轴 一五九黄易七言篆书联 一六○铁保七言行书联 一六一陈豫钟五言篆书联 一六二陈鸿寿七言隶书联 一六三赵之谦为理卿行书七言诗轴 一六四翁同龠禾八言行书联 一六五沈曾植行书七绝",[23,24,25,100,149,28,29,65,7,103,335,63,607,125,413,765,318,239,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":12626,"slug":12627,"title":12628,"dynasty":177,"author":1825,"museum":119,"description":12629,"tags":12630,"thumbUrl":12631,"material":337,"size":937,"collection":127,"collections":12632,"showCount":12570,"zanCount":961,"manualWeight":48,"mainColor":75},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,100,24,25,2484,28,59,65,7,62,106,34,347,1738,167,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],{"id":12634,"slug":12635,"title":12636,"dynasty":177,"author":2075,"museum":135,"description":12637,"tags":12638,"thumbUrl":12639,"material":292,"size":12640,"collection":71,"collections":12641,"showCount":12570,"zanCount":1080,"manualWeight":48,"mainColor":75},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[24,28,7,122,65,149,101,318,765,165,60,61,35,239,37,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[71],{"id":12643,"slug":12644,"title":12645,"dynasty":177,"author":3973,"museum":135,"description":12646,"tags":12647,"thumbUrl":12648,"material":292,"size":12649,"collection":71,"collections":12650,"showCount":12570,"zanCount":48,"manualWeight":48,"mainColor":75},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,25,26,28,7,65,304,101,104,60,61,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[71],{"id":12652,"slug":12653,"title":12654,"dynasty":177,"author":1872,"museum":704,"description":12655,"tags":12656,"thumbUrl":12657,"material":12658,"size":12659,"collection":71,"collections":12660,"showCount":12570,"zanCount":48,"manualWeight":48,"mainColor":49},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,100,24,25,149,59,11368,7,61,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[71,212],{"id":12662,"slug":12663,"title":4968,"dynasty":80,"author":1962,"museum":135,"description":12664,"tags":12665,"thumbUrl":12667,"material":292,"size":12668,"collection":71,"collections":12669,"showCount":12570,"zanCount":961,"manualWeight":48,"mainColor":75},221752,"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,100,24,25,149,59,28,65,7,878,766,34,35,12666,31,533,64,5932,1695],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[71,212],{"id":12671,"slug":12672,"title":12673,"dynasty":18,"author":274,"museum":4678,"description":12674,"tags":12675,"thumbUrl":12677,"material":40,"size":12678,"collection":42,"collections":12679,"showCount":12570,"zanCount":1080,"manualWeight":48,"mainColor":49},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,100,24,25,26,123,59,28,103,7,34,35,62,61,63,67,4768,12676,630,106,334],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 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cm",[42,44,212],{"id":12681,"slug":12682,"title":12683,"dynasty":18,"author":592,"museum":135,"description":12684,"tags":12685,"thumbUrl":12686,"material":139,"size":12687,"collection":42,"collections":12688,"showCount":12570,"zanCount":48,"manualWeight":48,"mainColor":75},218968,"da-jiang-fu-yu-tu-li-tang-218968","大江浮玉图","图片显示的是一条大河，波涛汹涌，两艘河船一起停泊在附近的码头上。有一些岛屿升入河中，几块巨石与主山遥相呼应，而森林树木、寺庙和漂浮的人物被描绘得非常详细。其笔法与郭熙的《早春》相似，结构与徽宗的《溪山秋色》相似。它可能是郭熙在宣和、绍兴年间（1119-1162）制作的。",[23,24,25,59,7,65,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[42,71],{"id":12690,"slug":12691,"title":12692,"dynasty":18,"author":178,"museum":119,"description":12693,"tags":12694,"thumbUrl":12695,"material":139,"size":12696,"collection":44,"collections":12697,"showCount":12570,"zanCount":961,"manualWeight":48,"mainColor":49},218446,"qiu-lin-mu-tong-tu-yi-ming-218446","秋林牧童图","两个小孩子在树下的平坦石坡上玩耍，两只山羊在右下方的田地里觅食，处处显示出乡村的平静和轻松气氛。",[23,24,3988,7,318,319,165,28,29,149,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cdd3ff23c4835631b4aef170505acb.jpg","88x49",[44],{"id":12699,"slug":12700,"title":12701,"dynasty":18,"author":12702,"museum":6966,"description":12703,"tags":12704,"thumbUrl":12705,"material":139,"size":12706,"collection":127,"collections":12707,"showCount":12570,"zanCount":961,"manualWeight":48,"mainColor":940},217004,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217004","五百罗汉之观舍利光图","周季常","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[23,24,25,149,29,28,1042,103,7,64,199,34,11135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e2fafd5ebc853e0a35328f40becb95.jpg","111.5x53.1",[],{"id":12709,"slug":12710,"title":4859,"dynasty":80,"author":887,"museum":119,"description":12711,"tags":12712,"thumbUrl":12713,"material":337,"size":937,"collection":127,"collections":12714,"showCount":12715,"zanCount":961,"manualWeight":48,"mainColor":49},290935,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-290935","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。",[23,100,24,26,25,1388,28,59,65,7,34,35,3865,891,31,67,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3acdbfa403f50624d802c30aec9c15a.jpg",[],58,{"id":12717,"slug":12718,"title":12719,"dynasty":864,"author":865,"museum":119,"description":866,"tags":12720,"thumbUrl":12722,"material":337,"size":937,"collection":127,"collections":12723,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},290098,"you-chun-tu-quan-juan-zhan-zi-qian-290098","游春图全卷",[23,24,100,26,27,28,7,1856,12721,238,61,102,34,106,66,67,101],"游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],{"id":12725,"slug":12726,"title":12727,"dynasty":18,"author":288,"museum":119,"description":4835,"tags":12728,"thumbUrl":12730,"material":337,"size":937,"collection":127,"collections":12731,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":49},288509,"ceng-ya-yin-si-tu-xia-gui-288509","层崖隐寺图",[24,100,1388,59,65,7,2813,4660,62,31,12729],"隐寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feefa0c49568056df7a5e749eaca47808.jpg",[],{"id":12733,"slug":12734,"title":12735,"dynasty":177,"author":12736,"museum":119,"description":12737,"tags":12738,"thumbUrl":12739,"material":127,"size":127,"collection":71,"collections":12740,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[24,25,26,59,122,65,7,60,61,62,63,125,64,103,583,571,35,33,167,720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[71],{"id":12742,"slug":12743,"title":12744,"dynasty":54,"author":9184,"museum":119,"description":12745,"tags":12746,"thumbUrl":12747,"material":127,"size":127,"collection":71,"collections":12748,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":49},239193,"shan-chuan-ming-sheng-ce-song-xu-239193","山川名胜册","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[24,28,7,65,164,318,319,165,533,103,201,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518b2ae9119abeee9db28c3ed23d5e41.jpg",[71,45],{"id":12750,"slug":12751,"title":8592,"dynasty":177,"author":4707,"museum":119,"description":9648,"tags":12752,"thumbUrl":12753,"material":127,"size":127,"collection":71,"collections":12754,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},237873,"shan-shui-tu-zhou-kun-can-237873",[24,59,65,149,25,67,101,7,238,34,199,722,201,239,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[71,927],{"id":12756,"slug":12757,"title":12758,"dynasty":177,"author":178,"museum":20,"description":12759,"tags":12760,"thumbUrl":12762,"material":127,"size":12763,"collection":127,"collections":12764,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,28,29,304,149,7,103,104,63,34,878,559,4828,3695,64,278,6850,5349,12761],"宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],{"id":12766,"slug":12767,"title":12768,"dynasty":177,"author":395,"museum":20,"description":12769,"tags":12770,"thumbUrl":12771,"material":375,"size":12772,"collection":127,"collections":12773,"showCount":12715,"zanCount":712,"manualWeight":48,"mainColor":75},233959,"dui-ju-tu-zhou-shi-tao-233959","对菊图轴","图绘双松虬结的庭院内梅、竹互映，房舍错落，屋内高士观赏秋菊，其品菊的举止生动传神，点明了“对菊”的画作主题。庭院外是迂回盘桓的山峦和自远而近的江水，它们为高士远离世俗的隐居之地平添了几分清幽。此图与石涛贯有的笔墨雄健纵恣、豪放洒脱的画风不同，刻画工整细腻，或徐或疾的笔致和富于节奏变化的朱点、墨点自得一股苍莽之气。此幅当属石涛居住扬州时期创作的一幅难得的精细之作。",[24,25,59,65,149,101,7,413,12676,1433,64,34,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7030dd986967133b9acf5ab16c143856.jpg","纵99.5厘米，横40.2厘米",[],{"id":12775,"slug":12776,"title":9493,"dynasty":177,"author":2017,"museum":119,"description":9494,"tags":12777,"thumbUrl":12778,"material":127,"size":127,"collection":127,"collections":12779,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},233910,"hua-hui-shan-shui-ce-yun-shou-ping-233910",[24,100,59,7,34,62,35,67,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f978b31f4e82d9cf3cbe5710996a355.jpg",[],{"id":12781,"slug":12782,"title":12783,"dynasty":18,"author":604,"museum":119,"description":12784,"tags":12785,"thumbUrl":12786,"material":127,"size":127,"collection":127,"collections":12787,"showCount":12715,"zanCount":961,"manualWeight":48,"mainColor":49},227822,"jiang-yin-du-shu-tu-ye-ma-yuan-227822","江荫读书图页","此作用边角取景，绘就江天寥廓之境。淡墨晕染远山，隐现烟霭之中，愈显空濛悠远。近岸危崖虬曲，寒梅凝枝、丹枫缀艳，冷暖相映为萧索冬色添几分鲜活。板桥之上，二人围坐展卷，在幽寂江隅漫品诗书，闲雅意趣随江风漾开。\n笔意苍劲洗练，大片留白拓宽了江天之境，将冬日江隅的清寂与文人林下雅兴相融，尽显空灵隽秀的诗意之美。",[23,100,24,25,164,28,29,65,7,103,372,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2d753a9bb5372213332d31fe07b403.jpg",[],{"id":12789,"slug":12790,"title":12791,"dynasty":18,"author":717,"museum":119,"description":12792,"tags":12793,"thumbUrl":12794,"material":127,"size":127,"collection":127,"collections":12795,"showCount":12715,"zanCount":961,"manualWeight":48,"mainColor":49},227514,"ting-pu-tu-mi-fei-227514","听瀑图","北宋·米芾《听瀑图》(传)，纸本，42x35厘米，美国弗利尔美术馆藏。世已无米芾画迹传世，应该是明、清好事者按记载中的米芾画法为蓝本而进行的臆造之迹。\n\n元代以后，由苏轼（1037-1101）、米芾等人倡导的“文人画”审美趣味大为发展，并逐渐成为画坛主流，苏轼、米芾等人因首倡之功而备受推崇。一些“文人画”家和持“文人画”观点的理论家更是将米芾提升到画圣的高度。\n\n晚明大书画家、理论家董其昌（1555-1636）便极力推崇米芾，他说：“诗至少陵，书至鲁公，画至二米，古今之变，天下之能事毕矣。”在董其昌看来，米芾不仅是严格意义上的画家，而且还是一代宗师，画史地位是非常高的。\n\n董其昌在整个明清画坛的影响是毋庸置疑的，米芾因董其昌的极力推崇，在明清画坛上牢牢占据着重要地位。清书画鉴赏家卞永誉（1645-1712）评米芾画：“岂知南宫迥不群，一扫千古丹青尘。”显然，卞永誉也将米芾作为开宗立派的大家看待",[23,100,24,25,59,123,7,103,199,630,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b61a781aa7191005d890d7f6abbfaf4.jpg",[],{"id":12797,"slug":12798,"title":12799,"dynasty":177,"author":5768,"museum":20,"description":12800,"tags":12801,"thumbUrl":12802,"material":12803,"size":12804,"collection":71,"collections":12805,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":49},223136,"shi-wan-tu-ce-ren-xiong-223136","十万图册","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,25,164,28,27,7,65,64,34,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665e6202ad6aba5ebcf701093a7cb813.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[71],{"id":12807,"slug":12808,"title":12809,"dynasty":54,"author":96,"museum":135,"description":12810,"tags":12811,"thumbUrl":12812,"material":87,"size":127,"collection":127,"collections":12813,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,24,25,2484,29,28,7,630,653,34,347,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":12815,"slug":12816,"title":12817,"dynasty":54,"author":410,"museum":704,"description":12818,"tags":12819,"thumbUrl":12820,"material":40,"size":12821,"collection":71,"collections":12822,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":49},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,100,24,25,149,59,28,65,7,63,60,61,34,199,103,64,37,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[71,212],{"id":12824,"slug":12825,"title":12826,"dynasty":54,"author":12827,"museum":1542,"description":12828,"tags":12829,"thumbUrl":12831,"material":375,"size":12832,"collection":71,"collections":12833,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,25,26,28,7,29,65,59,12830,104,60,61,63,106,64,34,37,103,756,334],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[71,45],{"id":12835,"slug":12836,"title":12837,"dynasty":80,"author":12838,"museum":135,"description":12839,"tags":12840,"thumbUrl":12841,"material":28,"size":12842,"collection":308,"collections":12843,"showCount":12715,"zanCount":961,"manualWeight":48,"mainColor":75},221743,"gu-he-yun-song-tu-zhou-ba-yan-bu-ha-221743","古壑云松图轴","巴颜布哈","该幅构景很突出，苍松高耸，峰岭出于云表。\n笔墨颇具文人画的趣味。\n【规格】该幅12242.2公分；全幅6公分 【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 巴颜布哈（生年不详，卒于公元一三五九年），元史列传作伯颜不花的斤。\n蒙古人，姓畏吾儿氏，高昌王的孙子。\n字苍巖，号苍崖。\n是元朝大书法家鲜于枢的外甥。\n作官至江东廉访副使。\n通晓音乐，以画龙出名。",[23,24,25,149,59,65,7,413,979,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6532dd4672785d8ba523288a0bcec6ec.jpg","122x42.2公分",[308,212],{"id":12845,"slug":12846,"title":11052,"dynasty":54,"author":1096,"museum":369,"description":12847,"tags":12848,"thumbUrl":12849,"material":736,"size":12850,"collection":71,"collections":12851,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},220956,"shu-lin-yuan-xiu-tu-dong-qi-chang-220956","董其昌为同年袁可立而作。\n此图为近景画，坡石错落，勾勒圆浑。坡上疏林，用笔虽简而各蕴姿态。\n中景水面空旷，一山耸峙，在平远的构图上颇见险势。整幅画简洁朴拙。",[23,24,25,149,59,65,7,7043,399,239,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9762e8762c363347fa3b81bfaec84.jpg","纵98.7厘米，横38.6厘米",[71,212],{"id":12853,"slug":12854,"title":12855,"dynasty":54,"author":1096,"museum":135,"description":12856,"tags":12857,"thumbUrl":12859,"material":292,"size":12860,"collection":71,"collections":12861,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},220941,"yan-shu-mao-tang-zhou-dong-qi-chang-220941","烟树茆堂轴","董其昌流连于西湖一带，于寺院中绘成此轴。画上题诗原本是为好友陈继儒题画所书，后来亦常使用于其它画作上",[23,24,25,149,59,65,7,8350,12858,318,165,305,61],"茆堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c95aa5cb46913f3d622bdcbc5a0246.jpg","107.6x37.4公分、全幅 61公分",[71,212],{"id":12863,"slug":12864,"title":12865,"dynasty":54,"author":12866,"museum":369,"description":12867,"tags":12868,"thumbUrl":12869,"material":169,"size":12870,"collection":71,"collections":12871,"showCount":12715,"zanCount":1080,"manualWeight":48,"mainColor":75},219948,"fang-mi-fei-yun-shan-tu-mo-shi-long-219948","仿米芾云山图","莫是龙","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[23,24,25,26,59,122,66,67,65,7,5099,238,34,37,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1550e95af95b112efd3574d713c9812.jpg","20.8x233厘米",[71],{"id":12873,"slug":12874,"title":12875,"dynasty":54,"author":12876,"museum":275,"description":12877,"tags":12878,"thumbUrl":12879,"material":169,"size":127,"collection":71,"collections":12880,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},219705,"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","邵弥。字僧弥，后以字为名，号瓜畴、芬陀居士。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《云山平远图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[23,24,59,26,65,7,979,318,319,34,62,63,106,37,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[71,212],{"id":12882,"slug":12883,"title":12884,"dynasty":177,"author":2907,"museum":396,"description":12885,"tags":12886,"thumbUrl":12887,"material":139,"size":12888,"collection":308,"collections":12889,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":49},219351,"mu-ma-tu-shen-quan-219351","牧马图","画面中数匹骏马姿态各异，或卧地休憩，或昂首侧望，或缓步前行。毛发晕染细腻温润，斑纹勾勒清晰写实，轮廓线条灵动传神，尽显马匹的鲜活气韵。背景枯树虬枝盘结，枝干以干笔皴擦，苍劲中透出古意；地面浅草碎石点缀，淡墨晕染出悠远空间。整体工写结合，设色雅致，马儿的悠闲神态与萧瑟树影相映成趣，传递出牧歌式的宁静安适。于细腻笔触中藏生机，于古朴意境里显情韵，尽显传统走兽画的精妙功力与悠远意趣。",[23,24,100,25,149,29,28,335,372,125,3988,7,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[308,45],{"id":12891,"slug":12892,"title":12893,"dynasty":177,"author":5885,"museum":135,"description":12894,"tags":12895,"thumbUrl":12896,"material":2416,"size":12897,"collection":45,"collections":12898,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},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。",[100,24,25,149,1388,28,7,104,60,61,63,34,35,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","63.7x31.8",[45],{"id":12900,"slug":12901,"title":12902,"dynasty":80,"author":9857,"museum":135,"description":12903,"tags":12904,"thumbUrl":12905,"material":169,"size":12906,"collection":71,"collections":12907,"showCount":12715,"zanCount":961,"manualWeight":48,"mainColor":49},218907,"gao-ting-tu-fang-cong-yi-218907","高亭图","这幅画中，云雾缭绕，青苔点点，风格轻松奔放，而山水的精髓在水墨的细微处可见，体现了元代道士通过山水寻求宁静自然和精神解脱的理念。",[23,24,59,65,25,7,318,63,165,979,4342,182,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8948b78b7c41e70b03f086f6137a9.jpg","62.1x27.9厘米",[71],{"id":12909,"slug":12910,"title":12911,"dynasty":54,"author":178,"museum":396,"description":12912,"tags":12913,"thumbUrl":12914,"material":139,"size":12915,"collection":44,"collections":12916,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":49},218516,"fang-li-tang-cai-wei-tu-yi-ming-218516","仿李唐采薇图","这一页是模仿李唐画的伯夷和叔齐在首阳山上爬行的故事，以浙派画家的风格画出服装图案，并加上项元汴的募捐图案。",[24,28,122,65,103,607,125,64,2394,629,7,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48fcd4411154c6a9a5705445bf616bd6.jpg","30.7x28.6",[44],{"id":12918,"slug":12919,"title":12920,"dynasty":18,"author":178,"museum":12921,"description":12922,"tags":12923,"thumbUrl":12924,"material":139,"size":12083,"collection":71,"collections":12925,"showCount":12715,"zanCount":961,"manualWeight":48,"mainColor":49},218460,"gao-shi-lin-tiao-tu-yi-ming-218460","高士临眺图","松美术馆","虬松盘枝如铁，松针密织似筛，泼墨染出苍劲骨相。树下亭榭檐角轻挑，隐见幽人凭栏，目光随流水漫向天际。波光敛于绢素，小桥横卧如带，行人二三，步痕轻浅入烟霭。远山淡赭晕染，与空濛天色相融，留白处尽是宋人山水的清寂况味。笔墨简而意远，构图疏朗却藏深致——苍松古拙、亭榭雅致、流水悠缓、远山虚渺，交织成文人临眺的诗意图景，将天地旷远与内心悠然凝作绢上无声诗行，尽显宋画山水的韵致与哲思。",[24,100,2484,28,7,103,125,60,61,264,104,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff551be231d4f0968312bf052ea0c1438.jpg",[71],{"id":12927,"slug":12928,"title":909,"dynasty":54,"author":178,"museum":3774,"description":12929,"tags":12930,"thumbUrl":12931,"material":169,"size":12932,"collection":71,"collections":12933,"showCount":12715,"zanCount":48,"manualWeight":48,"mainColor":75},217942,"shan-shui-tu-yi-ming-217942","明朝时期，山水图在中国传统绘画中占有重要地位。这类图画以山水为主题，通常呈现出自然美景，如山川、河流、森林、花草等。佚名的山水图具有浓郁的哲学性，蕴含了对自然、人生和境界的深刻思考。\n\n山水图多以立体透视的手法呈现，描绘出丰富多彩的山水景观。在这类图画中，山川是最为突出的元素，其次是水流、树木、建筑物、人物等。在佚名的山水图中，山川往往呈现出巍峨雄伟的姿态，从而给人以肃穆、庄严的感觉。",[24,59,26,7,62,125,63,101,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a784136cd3caac172854cd7b62d81a.jpg","10.5x58.7cm",[71],{"id":12935,"slug":12936,"title":12937,"dynasty":80,"author":81,"museum":119,"description":12938,"tags":12939,"thumbUrl":12940,"material":337,"size":937,"collection":127,"collections":12941,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":75},290433,"ceng-yan-qu-jian-tu-huang-gong-wang-290433","层岩曲涧图","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[100,24,25,149,59,7,239,61,60,2315,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":12944,"slug":12945,"title":12946,"dynasty":18,"author":288,"museum":119,"description":12947,"tags":12948,"thumbUrl":12950,"material":337,"size":937,"collection":127,"collections":12951,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":49},289947,"song-xi-fan-yue-tu-xia-gui-289947","松溪泛月图","为夏圭的典型之作，近景几株松树，渔翁泛舟江上，明月高悬，烟波浩淼，水天一色。简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。",[23,2484,24,100,59,65,583,62,1643,7,12949,101,6501],"泛舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2945a3cf2401ced6554359bde119ad.jpg",[],{"id":12953,"slug":12954,"title":12955,"dynasty":18,"author":10140,"museum":135,"description":12956,"tags":12957,"thumbUrl":12959,"material":596,"size":12960,"collection":42,"collections":12961,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":940},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。",[24,1388,59,65,878,7,372,766,5329,12958,264,373,9410],"溪岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[42],{"id":12963,"slug":12964,"title":12965,"dynasty":18,"author":775,"museum":119,"description":4125,"tags":12966,"thumbUrl":12967,"material":337,"size":937,"collection":127,"collections":12968,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":49},289660,"song-xia-gao-shi-tu-li-cheng-289660","松下高士图",[23,24,100,149,59,7,103,372,2683,65,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f602d1c6e4474cdb9b8901a8eac0943.jpg",[],{"id":12970,"slug":12971,"title":12972,"dynasty":177,"author":1825,"museum":119,"description":12973,"tags":12974,"thumbUrl":12975,"material":349,"size":127,"collection":71,"collections":12976,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":49},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[100,24,25,149,59,65,7,63,61,34,64,347,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[71,212],{"id":12978,"slug":12979,"title":12980,"dynasty":177,"author":2620,"museum":20,"description":12981,"tags":12982,"thumbUrl":12983,"material":40,"size":12984,"collection":71,"collections":12985,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":75},236719,"shan-shui-lou-ge-zhou-yuan-yao-236719","山水楼阁轴","此图是袁耀中年时期创作的大幅画作。绘高山峻岭，山石陡峭，树木葱郁，楼阁华丽壮观，境界幽美。图中用笔严谨精到，山水以工笔画出，墨色富于浓淡变化，明净雅致，意境恬淡，别有一番韵致。",[24,304,28,29,65,7,104,64,34,31,62,278,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[71,45],{"id":12987,"slug":12988,"title":12989,"dynasty":177,"author":11730,"museum":135,"description":12990,"tags":12991,"thumbUrl":12992,"material":349,"size":12993,"collection":127,"collections":12994,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":75},231958,"song-shu-ren-wu-tu-zhou-pu-ru-231958","松树人物图轴","松树画的苍劲有力。不过，要说到画松树的高手，还是要提到明代的听松老人过仪，他画的松树是最值得称道的。\n溥心畬[yú]（1896年9月2日—1963年11月18日），满族，原名爱新觉罗·溥儒，初字仲衡，改字心畬，自号羲皇上人、西山逸士，北京人，著名书画家、收藏家。为清恭亲王奕訢之孙。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,59,65,149,583,103,7,264,37,64,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd4de942e3134374eef408c4a33d.jpg","130x32cm",[],{"id":12996,"slug":12997,"title":12998,"dynasty":18,"author":274,"museum":3157,"description":12999,"tags":13000,"thumbUrl":13001,"material":349,"size":13002,"collection":127,"collections":13003,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":75},231424,"xiao-xiang-wo-you-tu-juan-li-gong-lin-231424","潇湘卧游图卷","《潇湘卧游图》为纸本墨笔，纵30.2厘米，横399.4厘米，意境开阔，大开大阖，随着观者视觉的移动，描绘了潇湘美景。 卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[23,24,25,26,59,7,65,66,67,101,167,3796,34,535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":13005,"slug":13006,"title":13007,"dynasty":177,"author":13008,"museum":119,"description":13009,"tags":13010,"thumbUrl":13011,"material":127,"size":127,"collection":127,"collections":13012,"showCount":12942,"zanCount":961,"manualWeight":48,"mainColor":75},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","陈枚","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[24,304,28,29,164,101,7,104,60,34,64,278,559,37,167,372,4828,3695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":13014,"slug":13015,"title":10329,"dynasty":177,"author":395,"museum":119,"description":13016,"tags":13017,"thumbUrl":13018,"material":127,"size":127,"collection":127,"collections":13019,"showCount":12942,"zanCount":961,"manualWeight":48,"mainColor":75},228983,"tao-yuan-tu-shi-tao-228983","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,25,26,28,7,59,65,238,37,85,35,34,106,61,533,5118,102,8008,201,167,5068,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],{"id":13021,"slug":13022,"title":13023,"dynasty":1051,"author":178,"museum":8528,"description":8529,"tags":13024,"thumbUrl":13025,"material":337,"size":937,"collection":127,"collections":13026,"showCount":12942,"zanCount":1080,"manualWeight":48,"mainColor":49},226285,"ku-zhu-shi-nan-bi-yi-ming-226285","窟主室南壁",[3985,1042,28,304,29,103,104,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573bae825e97fe194a68b5e2a3d28eb3.jpg",[],{"id":13028,"slug":13029,"title":13030,"dynasty":177,"author":395,"museum":119,"description":13031,"tags":13032,"thumbUrl":13033,"material":127,"size":127,"collection":127,"collections":13034,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":49},224529,"zi-yun-jing-kai-yi-zhi-yan-shi-tao-224529","自云荆开一支眼","此作用开合之法排布丘壑，左右双峰雄峙，清溪自幽谷蜿蜒而出，层层铺展山水景深。笔法师法自然却不拘成法，方折勾勒山石轮廓，皴擦间带出苍厚质感，以赭石晕染岩面、花青点染林木苔痕，冷暖色调交织晕融，让雄奇山势裹着清润秀逸。\n\n谷间山居隐于林麓，暗合幽栖林下的野逸意趣，题识与画面相映成趣，诗画共生。笔墨纵恣灵变，摆脱摹古桎梏，以己心观照山水，将丘壑藏于笔底，尽显洒脱疏朗的性灵意趣，是借山川写胸臆的佳构。",[23,24,25,7,28,65,64,34,35,101,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d708bf201803287d6fb36b1c9262a54.jpg",[],{"id":13036,"slug":13037,"title":13038,"dynasty":18,"author":178,"museum":119,"description":13039,"tags":13040,"thumbUrl":13041,"material":127,"size":127,"collection":127,"collections":13042,"showCount":12942,"zanCount":961,"manualWeight":48,"mainColor":75},223668,"xue-shan-xing-qi-tu-ye-yi-ming-223668","雪山行骑图页","此作用淡墨晕染萧寒天色，以敷粉留白晕染山石积雪，遍铺清寂冷冽的冬日元气。琼峰素裹，梢顶微缀暖色苔点，打破素白单调。近岸丹枫凝红，暖色调破开漫天寒意，冷暖和融，愈显冬日山林的幽寂旷远。\n天际寒鸦数点，更衬天地空茫。溪岸小径之上，行旅策蹇徐行，身影渺小却点睛，将羁旅的萧索孤清缓缓铺陈，把冬日行役的荒寒况味藏于尺幅小景之中。笔意简淡清润，以小见大，尽显幽远冷隽的山水意趣，藏着细腻的冬旅体察。",[23,100,24,25,164,28,29,7,1262,335,103,34,1643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9779e57a11c43e5207a10113109fa36.jpg",[],{"id":13044,"slug":13045,"title":13046,"dynasty":54,"author":96,"museum":20,"description":8205,"tags":13047,"thumbUrl":13048,"material":40,"size":8213,"collection":127,"collections":13049,"showCount":12942,"zanCount":961,"manualWeight":48,"mainColor":49},222191,"ren-wu-gu-shi-tu-song-lin-liu-yi-chou-ying-222191","人物故事图-松林六逸",[23,24,100,25,29,28,103,413,7,63,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65ad3deb6636a800eff9db2e999c190.jpg",[],{"id":13051,"slug":13052,"title":909,"dynasty":18,"author":604,"museum":2801,"description":4374,"tags":13053,"thumbUrl":13054,"material":13055,"size":13056,"collection":42,"collections":13057,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":75},221666,"shan-shui-tu-ma-yuan-221666",[23,100,24,59,2484,65,4343,7,372,64,167,3796,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25749570680d4776f70b7c2eecee4f5.jpg","绢本 淡设色","25.5X25.7",[42,71,212],{"id":13059,"slug":13060,"title":13061,"dynasty":54,"author":1096,"museum":704,"description":13062,"tags":13063,"thumbUrl":13064,"material":2147,"size":13065,"collection":71,"collections":13066,"showCount":12942,"zanCount":48,"manualWeight":48,"mainColor":75},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,26,59,65,67,66,101,7,979,34,35,167,3658,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","卷纵29.3厘米横340.8厘米",[71,212],{"id":13068,"slug":13069,"title":13070,"dynasty":54,"author":945,"museum":20,"description":13071,"tags":13072,"thumbUrl":13073,"material":169,"size":13074,"collection":212,"collections":13075,"showCount":12942,"zanCount":712,"manualWeight":48,"mainColor":75},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[23,24,25,26,59,28,65,67,66,7,104,125,264,60,61,63,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 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水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[24,25,26,59,7,122,5089,37,34,64,199,63,61,167,720,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],{"id":13158,"slug":13159,"title":13160,"dynasty":18,"author":288,"museum":119,"description":13161,"tags":13162,"thumbUrl":13163,"material":127,"size":127,"collection":127,"collections":13164,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":75},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,24,25,100,2484,59,65,7,583,199,103,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],{"id":13166,"slug":13167,"title":13168,"dynasty":54,"author":178,"museum":119,"description":13169,"tags":13170,"thumbUrl":13171,"material":454,"size":13172,"collection":71,"collections":13173,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":49},223460,"shan-shui-lou-ge-tu-ye-yi-ming-223460","山水楼阁图页","图中绘高山峻岭，山石陡峭，树木葱郁，群山中有一楼阁，作为画中心，色彩不同于高山树木的墨绿，采用偏黄绘画，具有中国建筑特色，极为突出",[23,24,25,164,304,59,28,7,104,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae4ea4a3f42436225874305e3ba8ce.jpg","40X43",[71,212],{"id":13175,"slug":13176,"title":13177,"dynasty":177,"author":178,"museum":1542,"description":13178,"tags":13179,"thumbUrl":13183,"material":127,"size":13184,"collection":127,"collections":13185,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":49},223357,"fang-dong-yuan-jiang-nan-yan-luan-tu-juan-yi-ming-223357","仿董源江南烟峦图卷","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。\n画面上有山峦复叠、烟树沙川的夏日景致。画面中央山峦起伏连绵，上方水面空阔回转；一道道沙川和坡丘在水上和岸边延伸推展，两人泛舟水上；岸上树木丛生，百草丰茂，其间有牛羊悠闲吃草，有农人从容劳作；一道一道的冈峦，苍苍茫茫由近向远渐渐推展开去，忽明忽暗，层峦叠嶂，极具自然掩映的趣味。",[24,25,26,59,122,65,7,37,34,62,31,13180,1239,13181,13182],"丘陵","丛竹","亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff949cfedb91c38ffe9314bf3c1e04eb8.jpg","30x600厘米",[],{"id":13187,"slug":13188,"title":13189,"dynasty":54,"author":7355,"museum":135,"description":13190,"tags":13191,"thumbUrl":13192,"material":69,"size":13193,"collection":212,"collections":13194,"showCount":13138,"zanCount":961,"manualWeight":48,"mainColor":75},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,25,149,59,28,65,101,7,413,630,63,60,61,64,34,106,125,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[212,45],{"id":13196,"slug":13197,"title":13198,"dynasty":54,"author":4301,"museum":135,"description":13199,"tags":13200,"thumbUrl":13202,"material":59,"size":13203,"collection":71,"collections":13204,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":75},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,100,24,25,149,59,65,64,372,37,199,13201,766,7],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[71,45],{"id":13206,"slug":13207,"title":13208,"dynasty":18,"author":604,"museum":3157,"description":13209,"tags":13210,"thumbUrl":13211,"material":87,"size":13212,"collection":127,"collections":13213,"showCount":13138,"zanCount":961,"manualWeight":48,"mainColor":49},221531,"jiang-shang-xiao-chuan-tu-ma-yuan-221531","江上小船图","马远（约1140－约1225年后），南宋画家。字遥父，号钦山，原籍河中（今山西永济），侨寓钱塘（今浙江杭州）。出身绘画世家，南宋光宗、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。",[23,24,100,25,2484,59,28,103,62,7,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9920e6cf5cd9c356e5072e6bc0e4c7e.jpg","纵26厘米，横26.5厘米",[],{"id":13215,"slug":13216,"title":13217,"dynasty":18,"author":13218,"museum":20,"description":13219,"tags":13220,"thumbUrl":13221,"material":40,"size":13222,"collection":42,"collections":13223,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":49},221436,"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[23,100,24,25,26,59,65,7,1586,103,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[42],{"id":13225,"slug":13226,"title":6157,"dynasty":18,"author":3684,"museum":119,"description":13227,"tags":13228,"thumbUrl":13229,"material":28,"size":13230,"collection":42,"collections":13231,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":49},221424,"shan-shui-tu-ye-yan-wen-gui-221424","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,100,24,25,164,28,65,7,34,278,2845,167,707,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[42,71,212],{"id":13233,"slug":13234,"title":13235,"dynasty":177,"author":13236,"museum":220,"description":13237,"tags":13238,"thumbUrl":13239,"material":169,"size":13240,"collection":212,"collections":13241,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":75},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[23,24,25,149,59,65,122,7,2315,167,125,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[212],{"id":13243,"slug":13244,"title":13245,"dynasty":177,"author":1825,"museum":20,"description":13246,"tags":13247,"thumbUrl":13248,"material":139,"size":13249,"collection":71,"collections":13250,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":49},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[23,100,24,25,149,28,7,61,64,34,122,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[71],{"id":13252,"slug":13253,"title":13254,"dynasty":18,"author":178,"museum":119,"description":13255,"tags":13256,"thumbUrl":13257,"material":87,"size":13258,"collection":42,"collections":13259,"showCount":13138,"zanCount":961,"manualWeight":48,"mainColor":49},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,100,24,25,28,65,7,125,63,61,103,335,101,64,60,2127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[42],{"id":13261,"slug":13262,"title":13263,"dynasty":177,"author":3973,"museum":135,"description":13264,"tags":13265,"thumbUrl":13267,"material":69,"size":13268,"collection":127,"collections":13269,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":75},218726,"yu-hua-yuan-gu-bai-tu-dong-bang-da-218726","御花园古柏图","乾隆吟成古柏行，命董邦达作图。工笔界画摛藻堂，殿宇结构严谨，色彩华丽，似是内廷供奉所作。古柏则以写意笔趣画成，这才是董氏之笔。",[24,25,304,28,7,104,13266,65],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9fbe8158fef5a7328b02c3d23c2004.jpg","194.2x111.5cm",[],{"id":13271,"slug":13272,"title":13273,"dynasty":54,"author":178,"museum":3793,"description":13274,"tags":13275,"thumbUrl":13276,"material":139,"size":13277,"collection":44,"collections":13278,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":49},218451,"mao-nv-tu-yi-ming-218451","毛女图","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[24,25,2484,28,29,103,3988,7,61,264,3696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[44],{"id":13280,"slug":13281,"title":13282,"dynasty":177,"author":1825,"museum":20,"description":13283,"tags":13284,"thumbUrl":13285,"material":169,"size":13286,"collection":71,"collections":13287,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":75},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,24,59,7,65,122,318,319,63,165,264,61,372,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[71],{"id":13289,"slug":13290,"title":13291,"dynasty":18,"author":604,"museum":161,"description":1531,"tags":13292,"thumbUrl":13293,"material":139,"size":1534,"collection":127,"collections":13294,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":75},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)",[23,24,25,164,28,7,65,583,1674,878,167,37,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg",[],{"id":13296,"slug":13297,"title":1409,"dynasty":54,"author":178,"museum":3793,"description":13298,"tags":13299,"thumbUrl":13300,"material":139,"size":13301,"collection":44,"collections":13302,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":49},215036,"yu-fu-tu-yi-ming-215036","渔父图是明朝时期的一幅杂技图画。该图画描绘了一位渔夫和他的儿子在渔池里捕鱼的情景。这幅图画的画风简洁流畅，构图巧妙，笔触简练而富有力量。\n\n杂技图画是明朝时期流行的一种艺术形式，通常由多幅图画组成，每幅图画都描绘了一个故事或场景。杂技图画的特点是通过精细的线条和色彩描绘人物形象，并使用富有表现力的肢体语言和动作来讲述故事。\n\n渔父图是明朝时期著名的杂技图画之一，其中渔夫和他的儿子的形象鲜活生动，描绘了渔民勤劳的生活方式。这幅图画的画风鲜明独特，对后世产生了深远的影响。",[24,28,29,103,7,106,34,239,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f55a0d1c2d8e2093168ae785f5d24f.jpg","23x25.8cm",[44],{"id":13304,"slug":13305,"title":13306,"dynasty":177,"author":1925,"museum":161,"description":13307,"tags":13308,"thumbUrl":13309,"material":69,"size":127,"collection":127,"collections":13310,"showCount":13138,"zanCount":48,"manualWeight":48,"mainColor":75},214368,"tian-guang-yun-jing-tu-ce-zhu-da-214368","天光云景图册","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,25,164,59,7,34,35,264,106,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cfec1f032a3c376c5af72892319e611.jpg",[],{"id":13312,"slug":13313,"title":1304,"dynasty":811,"author":13314,"museum":119,"description":13315,"tags":13316,"thumbUrl":13320,"material":337,"size":937,"collection":127,"collections":13321,"showCount":13322,"zanCount":48,"manualWeight":48,"mainColor":49},289774,"kan-shu-tu-wang-qi-han-289774","王齐翰","此图绘一文士勘书之暇挑耳自娱的情景。文人白衣长髯，袒胸赤足，坐于书几前，左手扶椅，右手作挑耳状，神态怡然自得。书几上有摊开的书卷，一书童于几旁侍立。文人身后为三叠屏风，上画青绿设色山水。屏风前横一长案，上陈卷帙。画家十分巧妙地选取画中人“校读间隙挑耳”这一看似平常的动作，着意刻画了其惬意的神情。加之环境的铺陈、烘托，生动地表现了南唐贵族文人闲适的情状，展示出他们日常生活的一个侧面\n该图描写手法高超，形神兼备，反映了昔日勘书者的荡然性格与狂放的气质。画中环境，为室内陈设着的屏风、几案、卷册之类。全图构思十分精密，合适有度。",[24,100,103,28,7,101,5387,13317,13318,13319,25],"室内","书桌","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4a6cead538d88190b79a941501ae13.jpg",[],55,{"id":13324,"slug":13325,"title":13326,"dynasty":18,"author":288,"museum":119,"description":4835,"tags":13327,"thumbUrl":13328,"material":337,"size":937,"collection":127,"collections":13329,"showCount":13322,"zanCount":48,"manualWeight":48,"mainColor":75},289444,"gao-shi-guan-hua-tu-xia-gui-289444","高士观花图",[2484,24,59,1388,304,65,583,104,7,103,6501,1815,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff727011fb484f5d3322b69c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出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 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chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,24,25,26,29,28,890,765,62,106,13440,10671,7,101,67,66],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[42,71,212],{"id":13445,"slug":13446,"title":13447,"dynasty":1051,"author":1052,"museum":20,"description":6781,"tags":13448,"thumbUrl":13449,"material":87,"size":13450,"collection":71,"collections":13451,"showCount":13322,"zanCount":48,"manualWeight":48,"mainColor":75},221100,"jiu-cheng-bi-shu-tu-ye-li-si-xun-221100","九成避暑图页",[23,24,27,28,7,304,104,238,34,278,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acc632af78cc169721bcff835e47cd6.jpg","纵28.5厘米，横31.6厘米",[71,45],{"id":13453,"slug":13454,"title":13455,"dynasty":54,"author":410,"museum":161,"description":13456,"tags":13457,"thumbUrl":13458,"material":169,"size":13459,"collection":71,"collections":13460,"showCount":13322,"zanCount":48,"manualWeight":48,"mainColor":379},219993,"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[23,24,59,149,65,7,62,495,103,583,182,61,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[71],{"id":13462,"slug":13463,"title":13464,"dynasty":177,"author":5740,"museum":1542,"description":13465,"tags":13466,"thumbUrl":13467,"material":169,"size":127,"collection":71,"collections":13468,"showCount":13322,"zanCount":48,"manualWeight":48,"mainColor":75},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[24,59,7,62,495,165,167,166,508,223,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[71],{"id":13470,"slug":13471,"title":13472,"dynasty":18,"author":744,"museum":396,"description":13473,"tags":13474,"thumbUrl":13475,"material":139,"size":13476,"collection":927,"collections":13477,"showCount":13322,"zanCount":961,"manualWeight":48,"mainColor":49},219554,"san-sheng-tu-liu-song-nian-219554","三生图","画中所绘的情景，正是李源在侍从的陪同下前去赴约，已长成十三岁的今生骑牛牧童即前世园泽，唱着歌谣徐徐而来，是为“三生”也。",[23,100,24,25,26,29,28,65,103,7,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306c01041dc84d596efb145b5bd7b859.jpg","24x100厘米",[927,44],{"id":13479,"slug":13480,"title":13481,"dynasty":54,"author":178,"museum":396,"description":13482,"tags":13483,"thumbUrl":13484,"material":139,"size":13485,"collection":44,"collections":13486,"showCount":13322,"zanCount":961,"manualWeight":48,"mainColor":49},219545,"qi-lv-ren-wu-shan-shui-tu-yi-ming-219545","骑驴人物山水图","此作以水墨写意秋寒山行之景，高崖斜出，枯木虬枝缀着残叶，淡墨晕染远山烟岚，虚实相生间漾出清远萧疏之境。前景行旅意趣盎然，骑驴策缓者衣衫宽博，似在缓赏山光，仆役负囊随行，将羁旅况味藏于画面细节。笔墨简括苍劲，以留白衬出山野空寂，尽显文人山水重意境、简笔墨的写意风神，铺陈出寒秋远行的清寂悠然。",[23,24,59,65,103,7,5044,372,64,334,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19352433e6cbac8b95bb8f0f5f3d2250.jpg","92x46.5厘米",[44,71],{"id":13488,"slug":13489,"title":3375,"dynasty":177,"author":2075,"museum":135,"description":13490,"tags":13491,"thumbUrl":13492,"material":169,"size":127,"collection":71,"collections":13493,"showCount":13322,"zanCount":961,"manualWeight":48,"mainColor":75},219375,"fang-huang-gong-wang-shan-shui-tu-wang-shi-min-219375","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，是清初画坛“四王”之首，年少时就开始从摹古入手，尤其对董其昌推崇备至的“吾家北苑”与黄公望山水，一直心摹手追。",[24,28,65,7,34,64,201,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ea8c386ca0491e6a6611eba2c86d73.jpg",[71],{"id":13495,"slug":13496,"title":4533,"dynasty":18,"author":775,"museum":135,"description":13497,"tags":13498,"thumbUrl":13499,"material":139,"size":13500,"collection":42,"collections":13501,"showCount":13322,"zanCount":961,"manualWeight":48,"mainColor":75},218933,"bu-yu-tu-li-cheng-218933","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[23,24,100,25,164,59,65,7,125,62,495,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[42],{"id":13503,"slug":13504,"title":13505,"dynasty":18,"author":178,"museum":135,"description":13506,"tags":13507,"thumbUrl":13508,"material":139,"size":13509,"collection":42,"collections":13510,"showCount":13322,"zanCount":48,"manualWeight":48,"mainColor":75},218837,"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[23,24,248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马兴祖 山西永济人，绍兴1131年-1162年间画院待诏。擅画花鸟，人物，山水，杂画。《浪图》纵20，8厘米，横22厘米，东京国立美术馆藏。",[23,100,24,25,1555,2484,59,29,319,13609,7],"浪涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a18ac02739bb609ce29d13ab637a86f.jpg",[],{"id":13613,"slug":13614,"title":13615,"dynasty":177,"author":2907,"museum":2503,"description":13616,"tags":13617,"thumbUrl":13619,"material":454,"size":13620,"collection":127,"collections":13621,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":49},223159,"bai-lu-tu-shen-quan-223159","柏鹿图","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。\n此画场面雄奇壮阔，波涛汹涌的溪边，在坡石平地处，幽憩着两只梅花鹿：其中一只雄性的梅花鹿屹立于坡上，二足着地，前左腿略微弯曲上提，仰首远眺，汲角往后，短尾微翘，背复部梅花斑纹清晰可见；另一只雌性梅花鹿，卧伏于山石上，两耳耸立，伸着脖颈，双目远视，画面下端为山石横卧，山石下急流滚滚，波纹起伏。在画幅右侧下坡石后，一棵巨大的柏树拔地而起，树干粗壮，枝干曲直向上，虬枝盘旋，相互交织在一起，其中有数枝横入画幅左侧和中部。在画幅打上侧款署“乾隆丙寅二秋”即1746年。\n此图极为清丽活泼。画面内容是柏树下、溪流畔的风景，两只梅花鹿一立一卧，神态悠然，动态生动，极是传神。最为引人注意的是鹿的描绘，十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，十分细致而并非完全照抄写实，显得画面既真实又不泥于细节。\n画家所作笔墨用意有二：其一，横出的柏树枝叶，使上端牢旷的画面得以填补，起到了使画面构图充满和平衡作用；其二，浓密枝叶形成大片的树荫，正是梅花鹿憩息最好去处和场所。在古柏后有石壁远崖，隐约可见山涧泉水顺流而下，汇聚在宽阔无际的江河中，构成一幅清丽娴雅的景致，令人心旷神怡。作者在创作此画时，特别注意虚笔在背景处理中的运用，虚实相生，阴阳分明，赋色妍丽清雅。此画题材富有吉庆寓意。",[23,100,24,25,29,28,3988,7,3987,13618,199,64,1738],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e97721781d653cc08291b2edf0edcd7.jpg","纵98 .2厘米，横47.2厘米",[],{"id":13623,"slug":13624,"title":13625,"dynasty":54,"author":13626,"museum":704,"description":13627,"tags":13628,"thumbUrl":13629,"material":349,"size":13630,"collection":71,"collections":13631,"showCount":13536,"zanCount":961,"manualWeight":48,"mainColor":75},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,24,25,149,28,65,29,7,630,165,35,61,103,239,12666,533,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[71,45],{"id":13633,"slug":13634,"title":13635,"dynasty":54,"author":13636,"museum":220,"description":13637,"tags":13638,"thumbUrl":13640,"material":349,"size":13641,"collection":71,"collections":13642,"showCount":13536,"zanCount":961,"manualWeight":48,"mainColor":75},222323,"song-bai-tu-fang-yi-zhi-222323","松柏图","方以智","图绘松柏两棵，一棵虬枝叶茂，另一棵上半段已残缺，仍坚强孤傲立于山石之上，树下隐约现长亭横顶，此处为观景纳凉之佳地；远处山色浓重，云蒸雾绕，透出孤寂冷清之意境。方以智，字密之，号曼公，明代哲学家、画家，明末清初出家为僧",[23,24,59,65,149,13639,7,264,63,182,64,34,167],"松柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60d9e5554f54a559543073dca6744eb.jpg","47.3x125.6厘米",[71,212],{"id":13644,"slug":13645,"title":13646,"dynasty":54,"author":7355,"museum":1748,"description":13647,"tags":13648,"thumbUrl":13652,"material":736,"size":13653,"collection":71,"collections":13654,"showCount":13536,"zanCount":961,"manualWeight":48,"mainColor":75},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","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。",[23,24,59,149,7,630,9031,61,13649,5474,65,54,13650,1871,3696,1434,223,13651,5942],"石块","传统","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","48X123cm",[71,212],{"id":13656,"slug":13657,"title":13658,"dynasty":80,"author":1715,"museum":1542,"description":13659,"tags":13660,"thumbUrl":13662,"material":349,"size":13663,"collection":127,"collections":13664,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":75},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[23,24,25,26,28,29,67,101,7,103,63,630,34,13661],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":13666,"slug":13667,"title":11438,"dynasty":18,"author":1747,"museum":3157,"description":13668,"tags":13669,"thumbUrl":13670,"material":349,"size":13671,"collection":42,"collections":13672,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":75},221503,"yuan-pu-gui-fan-tu-mu-xi-221503","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[23,24,59,7,26,62,34,106,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[42,71,212],{"id":13674,"slug":13675,"title":13676,"dynasty":18,"author":194,"museum":1542,"description":5493,"tags":13677,"thumbUrl":13678,"material":454,"size":5496,"collection":42,"collections":13679,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":49},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[23,24,25,26,7,65,28,64,34,37,722,3865,201,826,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[42,71,212],{"id":13681,"slug":13682,"title":13683,"dynasty":18,"author":13684,"museum":119,"description":13685,"tags":13686,"thumbUrl":13687,"material":87,"size":13688,"collection":42,"collections":13689,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":75},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[23,24,25,26,28,7,104,63,61,62,34,64,103,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[42,71,212],{"id":13691,"slug":13692,"title":13693,"dynasty":80,"author":887,"museum":135,"description":13694,"tags":13695,"thumbUrl":13696,"material":349,"size":13697,"collection":71,"collections":13698,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":75},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[24,25,26,59,65,7,1777,30,239,34,167,1897,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 28.4x474公分",[71,212],{"id":13700,"slug":13701,"title":1420,"dynasty":80,"author":160,"museum":135,"description":13702,"tags":13703,"thumbUrl":13704,"material":349,"size":1424,"collection":71,"collections":13705,"showCount":13536,"zanCount":961,"manualWeight":48,"mainColor":75},220809,"shan-shui-zhou-wang-meng-220809","王蒙（1308-1385），元代著名画家，字叔明（一作叔铭），晚年居黄鹤山，号黄鹤山樵。又自称香光居士。王蒙是元初著名书画家赵孟頫的外甥，出身书画世家，曾一度任官。绘画主要师法董、巨，与倪瓒、黄公望、吴镇齐名并有交往，后人称“元四家”。",[23,24,25,149,59,65,7,64,34,61,60,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6dcb4762f048b8615a5bade13370e9.jpg",[71,212],{"id":13707,"slug":13708,"title":13709,"dynasty":80,"author":887,"museum":673,"description":13710,"tags":13711,"thumbUrl":13712,"material":139,"size":13713,"collection":44,"collections":13714,"showCount":13536,"zanCount":1080,"manualWeight":48,"mainColor":75},220304,"shen-qi-tu-zhao-meng-fu-220304","神骑图","赵孟頫（1254年10月20日 －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[23,26,29,28,66,101,335,3988,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[44,45],{"id":13716,"slug":13717,"title":13718,"dynasty":80,"author":6897,"museum":135,"description":13719,"tags":13720,"thumbUrl":13721,"material":139,"size":13722,"collection":71,"collections":13723,"showCount":13536,"zanCount":961,"manualWeight":48,"mainColor":49},220239,"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[23,24,25,149,59,65,7,583,2612,64,63,34,201,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[71],{"id":13725,"slug":13726,"title":13727,"dynasty":54,"author":55,"museum":650,"description":651,"tags":13728,"thumbUrl":13729,"material":69,"size":655,"collection":127,"collections":13730,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":49},220012,"dong-zhuang-tu-ce-zhi-xi-xi-shen-zhou-220012","东庄图册之西溪",[23,24,7,59,65,164,630,61,63,64,34,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffae0634223bab0bddda020aa4d2825f9.jpg",[],{"id":13732,"slug":13733,"title":13734,"dynasty":18,"author":2391,"museum":396,"description":13735,"tags":13736,"thumbUrl":13737,"material":139,"size":13738,"collection":42,"collections":13739,"showCount":13536,"zanCount":1080,"manualWeight":48,"mainColor":49},219730,"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[23,24,25,26,123,28,7,103,104,63,34,60,61,67,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[42],{"id":13741,"slug":13742,"title":13743,"dynasty":18,"author":2213,"museum":135,"description":13744,"tags":13745,"thumbUrl":13746,"material":169,"size":13747,"collection":71,"collections":13748,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":49},219183,"han-yan-ji-xue-tu-yan-su-219183","寒岩积雪图","此画面上重岩积雪，亭戴雪帽，老树寒疏，山村洁白，溪水冰结，孤舟停泊，却在旁边水岸两旁架有一座木桥，桥上有策杖、挑担二人，给雪景去掉几分寒意，而带来了几分情趣，虽是一派万丈雪崖、冰冻二尺的寒冷景象，但也是着浓厚的生活情调。鉴藏玺印有：“乾隆御览之宝”、“乾隆鉴赏”、五玺全、“宝笈三编”、“宣统鉴赏”、“宣统御览之宝”、“无逸斋精鉴玺”。收传印记有：“天籁阁”、“退密”、“项墨林鉴赏章”、“项墨林父秘笈之印”、“项子京家收藏”、“六艺之圃”、“净因庵主”、“太符真赏”、“李继泉真赏章”、“长水李氏珍藏”。",[23,100,24,25,7,59,65,318,6850,60,61,63,372,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdf1b23bd716de35f8b6425cecd63c.jpg","136.3x64",[71],{"id":13750,"slug":13751,"title":13752,"dynasty":18,"author":2391,"museum":135,"description":13753,"tags":13754,"thumbUrl":13755,"material":139,"size":13756,"collection":42,"collections":13757,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":49},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[23,24,100,28,29,7,104,34,106,5474,239,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[42],{"id":13759,"slug":13760,"title":13761,"dynasty":18,"author":178,"museum":135,"description":13762,"tags":13763,"thumbUrl":13764,"material":169,"size":13765,"collection":42,"collections":13766,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":49},218836,"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[23,100,24,25,59,65,7,318,241,34,239,167,720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[42],{"id":13768,"slug":13769,"title":13770,"dynasty":54,"author":7576,"museum":20,"description":13771,"tags":13772,"thumbUrl":13773,"material":139,"size":13774,"collection":71,"collections":13775,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":49},218760,"hong-nong-du-hu-tu-zhu-duan-218760","弘农渡虎图","此画构图奇突，场面壮观，景物与人物活动相辅相成，充满生趣。画法上看，其人物、马匹的线条简练，姿态土动。人物多承马远，用线顿挫。画树木，笔法曲折多顿挫变化，枝如鹰爪；画山石顿笔勾描，略施皴染，间用马、夏的斧劈皴和水墨渍染。天与水皆用淡墨晕染，烘托出了雪景。从此图的内容到形式来看，都体现了明代院体画的特色。",[23,24,25,149,28,29,65,103,335,3986,7,64,34,334,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886a91eebdb1ac1117494daf67ec29d6.jpg","纵174厘米，横113.6厘米",[71,44],{"id":13777,"slug":13778,"title":4056,"dynasty":18,"author":2434,"museum":3774,"description":13779,"tags":13780,"thumbUrl":13781,"material":169,"size":13782,"collection":71,"collections":13783,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":75},218638,"yun-shan-tu-mi-you-ren-218638","画面以淡墨晕染出空濛烟霭，山峦在云雾间若隐若现，如幻如真。米点皴错落铺陈，墨色浓淡相间，既显山石肌理，又衬云气轻盈流动。近景树木简笔勾勒，与远处朦胧峰峦形成虚实对比，平远构图延展空间悠远感。水面留白与墨色交融，似有波光粼粼，更添清寂之韵。整幅画不重细节描摹，而以气韵生动取胜，将江南山水的湿润灵秀与文人闲适心境融为一体，尽显“米家山水”空灵淡远之美。",[24,25,59,7,65,37,30,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea101c3fbc9a743e0b8c3bb0bdac1ade.jpg","18.3x72.1",[71],{"id":13785,"slug":13786,"title":13787,"dynasty":18,"author":10102,"museum":3774,"description":13788,"tags":13789,"thumbUrl":13790,"material":139,"size":13791,"collection":71,"collections":13792,"showCount":13536,"zanCount":961,"manualWeight":48,"mainColor":75},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[23,24,25,7,607,125,65,28,4257,64,34,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[71],{"id":13794,"slug":13795,"title":13796,"dynasty":80,"author":8323,"museum":161,"description":13797,"tags":13798,"thumbUrl":13799,"material":169,"size":13800,"collection":71,"collections":13801,"showCount":13536,"zanCount":961,"manualWeight":48,"mainColor":49},218256,"xi-ting-shan-se-tu-lu-guang-218256","溪亭山色图","峰峦层叠如黛，飞瀑如练悬垂崖间，水汽似漫过纸面。坡岸旁枯木疏枝意态萧散，秋意清寂尽现。临流筑榭，隐者凭栏或对谈，时光缓缓流淌。笔墨苍润兼具，皴擦间见山石肌理，线条灵动藏古雅韵致。整幅画清幽淡远，文人丘壑化为纸上烟霞，尽显元人山水空灵超脱。观之如入静谧之境，尘心渐息，仿佛能闻瀑声松涛，触到溪畔清风。",[24,149,59,65,7,63,165,199,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143810d1b0b02dc21227e0b62f9768c8.jpg","89.1x25.4cm",[71],{"id":13803,"slug":13804,"title":909,"dynasty":54,"author":13805,"museum":161,"description":13806,"tags":13807,"thumbUrl":13808,"material":139,"size":13809,"collection":71,"collections":13810,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":940},218098,"shan-shui-tu-li-zai-218098","李在","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,25,100,149,59,28,65,7,30,34,60,61,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[71],{"id":13812,"slug":13813,"title":5336,"dynasty":80,"author":7964,"museum":3774,"description":13814,"tags":13815,"thumbUrl":13816,"material":139,"size":13817,"collection":71,"collections":13818,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":940},217926,"gao-shi-tu-gao-ke-gong-217926","高士图是中国元朝时期的著名画家高克恭的代表作之一。这幅画描绘了一位儒家士人的形象，体现了高克恭对传统文化的尊敬。\n\n高士图的画风典雅、精致，采用了传统的山水画的手法，但又有别于传统的山水画，展现出高克恭独特的艺术风格。在这幅画中，高士端坐在池塘边，手托着下巴，神态沉静、自若，表现出了儒家士人的谦逊、淡泊的态度。\n\n高士图被认为是高克恭的代表作之一，因为它体现了高克恭对中国传统文化的尊敬，以及他对儒家哲学的理解。这幅画也被认为是元朝时期艺术发展的里程碑，因为它展现了艺术家对传统文化的传承与创新的完美结合。",[24,25,7,59,28,125,607,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f7a2c46e365347d66d4983ee269969.jpg","179.7x101.6cm",[71],{"id":13820,"slug":13821,"title":13822,"dynasty":177,"author":3973,"museum":135,"description":13823,"tags":13824,"thumbUrl":13825,"material":169,"size":13826,"collection":71,"collections":13827,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":75},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[24,25,100,149,59,65,7,60,61,63,103,1586,165,630,35,167,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[71],{"id":13829,"slug":13830,"title":13831,"dynasty":80,"author":9857,"museum":673,"description":13832,"tags":13833,"thumbUrl":13834,"material":69,"size":13835,"collection":71,"collections":13836,"showCount":13536,"zanCount":48,"manualWeight":48,"mainColor":75},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,24,25,149,59,65,7,165,31,103,2527,264,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[71],{"id":13838,"slug":13839,"title":13840,"dynasty":54,"author":96,"museum":135,"description":13841,"tags":13842,"thumbUrl":13843,"material":139,"size":13844,"collection":71,"collections":13845,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":49},290878,"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[100,24,149,28,29,7,63,583,103,61,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[71],53,{"id":13848,"slug":13849,"title":13850,"dynasty":177,"author":13851,"museum":119,"description":13852,"tags":13853,"thumbUrl":13854,"material":127,"size":127,"collection":71,"collections":13855,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[100,24,25,164,59,65,7,104,60,61,34,64,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[71,45],{"id":13857,"slug":13858,"title":13859,"dynasty":177,"author":13860,"museum":119,"description":13861,"tags":13862,"thumbUrl":13872,"material":127,"size":127,"collection":127,"collections":13873,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":75},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,25,2484,27,28,7,61,62,34,64,37,63,7890,13863,13864,13865,13866,13867,13868,13869,13870,13871],"设色山水","扇面画","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],{"id":13875,"slug":13876,"title":13877,"dynasty":54,"author":1652,"museum":135,"description":13878,"tags":13879,"thumbUrl":13880,"material":349,"size":13881,"collection":127,"collections":13882,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,24,26,25,67,59,7,34,64,35,60,61,106,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],{"id":13884,"slug":13885,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":13886,"thumbUrl":13887,"material":349,"size":2207,"collection":127,"collections":13888,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},234093,"wu-zhong-shan-shui-ce-shen-zhou-234093",[24,25,164,59,7,63,34,64,67,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8897142206a362f22c1dbeaf4b0aeea3.jpg",[],{"id":13890,"slug":13891,"title":13892,"dynasty":177,"author":395,"museum":20,"description":8348,"tags":13893,"thumbUrl":13894,"material":375,"size":8352,"collection":127,"collections":13895,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":75},233770,"tao-yuan-ming-shi-yi-tu-ce-shi-tao-233770","陶渊明诗意图册",[24,25,164,59,28,67,66,7,34,35,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21739288ecf9a96bf144d35e36186e18.jpg",[],{"id":13897,"slug":13898,"title":13899,"dynasty":54,"author":1652,"museum":20,"description":13900,"tags":13901,"thumbUrl":13902,"material":13903,"size":13904,"collection":127,"collections":13905,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":75},233711,"wen-zheng-ming-lv-yin-chang-hua-tu-zhou-wen-zheng-ming-233711","文徵明绿荫长话图轴","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[24,149,59,65,7,125,60,61,103,64,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16c50eb1cb998daffc1a6e2435c3d91.jpg","纸本 ，水墨","纵131.1cm，横32cm",[],{"id":13907,"slug":13908,"title":13909,"dynasty":177,"author":1825,"museum":20,"description":13910,"tags":13911,"thumbUrl":13912,"material":11046,"size":13913,"collection":127,"collections":13914,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":75},233403,"meng-jing-tu-zhou-wang-jian-233403","梦境图轴","本幅墨笔，局部设色，上自识一段，款：“丙申夏六月，哉生明王鉴识”。又“静岩老亲翁索画，即以此帧清政弟鉴”。钤“玄照”。\n王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,25,149,7,59,65,64,34,63,60,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26480f906c21c22bebed88bc4047ff5e.jpg","纵91.8cm，横49.5cm",[],{"id":13916,"slug":13917,"title":13918,"dynasty":80,"author":178,"museum":4678,"description":13919,"tags":13920,"thumbUrl":13921,"material":349,"size":127,"collection":127,"collections":13922,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},231496,"fang-liu-song-nian-song-xia-lun-dao-tu-yi-ming-231496","仿刘松年松下论道图","苍松虬曲如卧龙，扎根危岩之间，飞泉叠落撞碎成雪，循着层岩汇入深涧。右下角平坡上，二人相对晤谈，一人敛衽凝神静听，一人凭石畅意抒怀，山林幽寂将这场论辩衬得愈发悠然。\n\n画作以水墨晕染层叠山势，皴擦勾勒出岩壁嶙峋肌理，松枝笔触老辣苍劲，将山野清旷出尘之态尽数铺展。以景托人，把林下寄情、坐而论道的隐逸雅趣融于山水烟岚，尽显文人寄心林泉的林下风流，笔墨间萧散简远，于沉静古雅色调晕染出出世闲情。",[23,24,59,28,65,122,7,583,199,61,103,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ece85a22e089d31138e99f0a6f7bf48.jpg",[],{"id":13924,"slug":13925,"title":13926,"dynasty":811,"author":812,"museum":135,"description":13927,"tags":13928,"thumbUrl":13929,"material":596,"size":13930,"collection":71,"collections":13931,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[24,25,7,149,59,28,65,318,979,7782,413,34,63,734,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[71],{"id":13933,"slug":13934,"title":13935,"dynasty":177,"author":3832,"museum":119,"description":13936,"tags":13937,"thumbUrl":13938,"material":127,"size":127,"collection":127,"collections":13939,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":49},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,25,149,27,28,29,304,7,103,104,583,64,61,533,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":13941,"slug":13942,"title":13943,"dynasty":18,"author":5720,"museum":119,"description":5721,"tags":13944,"thumbUrl":13945,"material":127,"size":127,"collection":127,"collections":13946,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":379},227689,"shi-long-tu-juan-chen-rong-227689","十龙图卷",[23,24,25,26,59,181,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6cf259cdc833e34e4a030ea74ea01f.jpg",[],{"id":13948,"slug":13949,"title":13950,"dynasty":811,"author":1137,"museum":135,"description":13951,"tags":13952,"thumbUrl":13953,"material":596,"size":13954,"collection":71,"collections":13955,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":49},226699,"xi-shan-lin-sou-tu-zhou-ju-ran-226699","溪山林薮图轴","本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧签，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐钟陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨",[24,25,149,59,65,7,34,64,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaea97df204f97573ac4f38769fcb90c.jpg","221.3x119.7",[71],{"id":13957,"slug":13958,"title":13959,"dynasty":177,"author":4747,"museum":13960,"description":13961,"tags":13962,"thumbUrl":13964,"material":225,"size":13965,"collection":71,"collections":13966,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":75},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","中国国家博物馆","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[23,24,28,65,149,7,64,61,62,583,13963,63,34],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 横75.01CM",[71,212],{"id":13968,"slug":13969,"title":13970,"dynasty":177,"author":3760,"museum":119,"description":13971,"tags":13972,"thumbUrl":13973,"material":127,"size":127,"collection":127,"collections":13974,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},224445,"fang-wang-meng-shan-shui-wang-hui-224445","仿王蒙山水","此作用笔繁密苍厚，以解索皴堆叠山峦，积墨反复晕染，层岩叠嶂尽显郁茂深秀，得古贤山水苍茫沉雄之韵。下方山居临溪而筑，堂内文士围坐清谈，溪桥畔仆役缓步而行，林泉间动静相映，晕染出萧散野逸的幽居意趣。题诗佐于左上，笔墨文心相融，既循古意，又自含灵秀笔致，将林泉高致的雅逸山居图景铺陈开来，尽释传统山水里的文人幽怀。",[23,24,25,149,59,65,7,64,34,35,60,61,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7404689f6258b3af226d1aefaddbcb2.jpg",[],{"id":13976,"slug":13977,"title":13978,"dynasty":54,"author":368,"museum":135,"description":5594,"tags":13979,"thumbUrl":13980,"material":454,"size":13981,"collection":45,"collections":13982,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},222595,"xi-shan-qiu-se-tu-quan-juan-lan-ying-222595","溪山秋色图全卷",[23,24,25,26,28,7,65,67,101,34,167,31,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d35e8af764e515efb05842ae219d1.jpg","27×183cm",[45],{"id":13984,"slug":13985,"title":13986,"dynasty":54,"author":368,"museum":220,"description":13987,"tags":13988,"thumbUrl":13989,"material":454,"size":13990,"collection":71,"collections":13991,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},222582,"yun-he-gao-yi-tu-lan-ying-222582","云壑高逸图","图绘高山大岭，如坠欲倾。山间飞云腾雾，峡谷流泉落瀑，绿松、红枫相映。\n林下一隅一高士结庐独坐，屋外板桥横担，有朋自远方来。\n全图构象饱满，层次分明，笔力苍劲雄厚。既有山林泉壑的自然景观，又有人事活动的细节描绘，加之浓郁的诗意气氛，视野开阔，古韵动人，把读者带到这一“风景这边独好”的境地，尽情地享受着眼观耳听的乐趣。图左上自题“云壑高逸画于西溪梅花香雪阁，甲午春三月七十山公蓝瑛”。钤“蓝瑛之印”、“田叔父”印。",[23,24,100,149,7,28,65,63,60,61,583,64,199,103,372,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44481e7379a6f6ddec878c0676e82e74.jpg","172.7x67厘米",[71,212],{"id":13993,"slug":13994,"title":13995,"dynasty":54,"author":945,"museum":135,"description":13996,"tags":13997,"thumbUrl":13998,"material":292,"size":13999,"collection":71,"collections":14000,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},222364,"zhen-ze-yan-shu-tu-tang-yin-222364","震泽烟树图","诗塘 御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[23,24,59,7,62,630,165,64,166,101,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[71,212],{"id":14002,"slug":14003,"title":5293,"dynasty":54,"author":14004,"museum":556,"description":14005,"tags":14006,"thumbUrl":14007,"material":87,"size":14008,"collection":71,"collections":14009,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":49},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,24,26,28,65,29,7,63,60,61,104,34,64,35,2833,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[71,212],{"id":14011,"slug":14012,"title":14013,"dynasty":80,"author":13080,"museum":135,"description":14014,"tags":14015,"thumbUrl":14016,"material":454,"size":14017,"collection":71,"collections":14018,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},221823,"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[23,24,59,65,149,7,583,62,103,61,125,607,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[71,212],{"id":14020,"slug":14021,"title":14022,"dynasty":18,"author":592,"museum":20,"description":14023,"tags":14024,"thumbUrl":14025,"material":14026,"size":14027,"collection":127,"collections":14028,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},221581,"cai-wei-tu-juan-quan-juan-li-tang-221581","采薇图卷全卷","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[23,24,26,59,28,103,7,34,239,65,2527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f5d231ca2edb3f9d85a65a937277ec.jpg","绢本，水墨淡设色","纵27.2厘米，横90.5厘米",[],{"id":14030,"slug":14031,"title":14032,"dynasty":54,"author":1096,"museum":135,"description":3545,"tags":14033,"thumbUrl":14034,"material":3548,"size":127,"collection":71,"collections":14035,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[24,25,7,59,65,122,28,64,34,104,60,61,334,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[71,212],{"id":14037,"slug":14038,"title":14039,"dynasty":54,"author":1096,"museum":424,"description":14040,"tags":14041,"thumbUrl":14042,"material":537,"size":14043,"collection":71,"collections":14044,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":75},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,100,24,25,26,59,65,7,318,319,34,101,66,67,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[71,45],{"id":14046,"slug":14047,"title":14048,"dynasty":177,"author":14049,"museum":3962,"description":14050,"tags":14051,"thumbUrl":14052,"material":169,"size":14053,"collection":212,"collections":14054,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},220418,"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[23,24,59,65,25,7,63,34,583,64,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[212,71],{"id":14056,"slug":14057,"title":14058,"dynasty":80,"author":9857,"museum":56,"description":14059,"tags":14060,"thumbUrl":14062,"material":169,"size":14063,"collection":212,"collections":14064,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":49},220407,"bai-yun-shen-chu-tu-fang-cong-yi-220407","白云深处图","以水墨横点浓淡烘染峰峦重叠，写出了云烟掩映，风雨迷濛的江南景色。山峦、杂树以焦墨点染、益见秀润可爱。溪水小桥平添了江南平淡恬静的情趣，引人进入白云深处的佳境。",[24,59,65,7,1617,30,34,60,31,37,6394,14061,201,238,4998],"树木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a430378f5317098ee833066a2ed7d.jpg","纵25.8厘米、横57.9厘米",[212],{"id":14066,"slug":14067,"title":14068,"dynasty":54,"author":368,"museum"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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",[23,24,25,7,28,65,765,201,62,2505,34,64,347,878,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[71],{"id":14075,"slug":14076,"title":14077,"dynasty":54,"author":14078,"museum":396,"description":14079,"tags":14080,"thumbUrl":14081,"material":596,"size":14082,"collection":71,"collections":14083,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},219734,"xie-qin-fang-you-tu-jiang-song-219734","携琴访友图","蒋嵩","此作用高远之法构景，主峰拔地参天，以水墨晕染出漫山烟霭，远景山峦隐没在空蒙雾气里，晕染出萧疏冷寂的天地氛围。\n\n近岸枯木虬曲苍劲，枯枝硬挺如戟，笔力老辣苍拙，尽显荒寒之态。下方旅人策杖徐行，仆从携琴缓步郊野，渺小身影衬出山川寥廓，暗合寻幽访友的雅意。\n\n全幅以浓淡水墨铺陈，简淡间尽显沉郁苍茫，将林泉寄怀的隐逸之思藏在烟岚丘壑中，纵放笔意里裹挟含蓄悠邈的林下闲情，尽显淡远疏离的山水意境。",[23,24,25,149,59,65,7,103,125,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537ec875cb6c627561f0a23bede3fac.jpg","纵148.6横89.4厘米",[71],{"id":14085,"slug":14086,"title":14087,"dynasty":80,"author":13080,"museum":135,"description":14088,"tags":14089,"thumbUrl":14090,"material":139,"size":127,"collection":71,"collections":14091,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[23,24,25,2484,59,65,7,583,61,103,1522,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[71],{"id":14093,"slug":14094,"title":1420,"dynasty":177,"author":2492,"museum":135,"description":14095,"tags":14096,"thumbUrl":14097,"material":169,"size":14098,"collection":71,"collections":14099,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":75},219481,"shan-shui-zhou-huang-ding-219481","这幅画中，江亭空旷，江山深邃，秀美。",[24,59,149,65,101,7,165,64,60,347,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[71],{"id":14101,"slug":14102,"title":14103,"dynasty":54,"author":368,"museum":135,"description":14104,"tags":14105,"thumbUrl":14106,"material":139,"size":14107,"collection":71,"collections":14108,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},219397,"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[24,25,149,28,7,63,61,62,165,64,347,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[71],{"id":14110,"slug":14111,"title":14112,"dynasty":18,"author":3684,"museum":135,"description":14113,"tags":14114,"thumbUrl":14115,"material":139,"size":14116,"collection":71,"collections":14117,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,100,24,25,2484,59,28,65,7,61,62,6850,34,878,201,766,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[71,42],{"id":14119,"slug":14120,"title":909,"dynasty":18,"author":604,"museum":6665,"description":14121,"tags":14122,"thumbUrl":14123,"material":139,"size":14124,"collection":71,"collections":14125,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},218665,"shan-shui-tu-ma-yuan-218665","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[23,24,25,149,28,65,7,104,60,103,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[71],{"id":14127,"slug":14128,"title":14129,"dynasty":54,"author":12464,"museum":20,"description":14130,"tags":14131,"thumbUrl":14132,"material":139,"size":14133,"collection":71,"collections":14134,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[23,24,7,28,59,65,34,106,62,60,61,63,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[71],{"id":14136,"slug":14137,"title":14138,"dynasty":80,"author":160,"museum":161,"description":14139,"tags":14140,"thumbUrl":14141,"material":139,"size":14142,"collection":71,"collections":14143,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,24,25,26,59,28,65,67,101,66,7,104,60,61,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[71],{"id":14145,"slug":14146,"title":14147,"dynasty":54,"author":14148,"museum":135,"description":14149,"tags":14150,"thumbUrl":14152,"material":69,"size":14153,"collection":44,"collections":14154,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,25,29,28,1042,103,335,165,7,64,450,31,101,1631,14151],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[44],{"id":14156,"slug":14157,"title":14158,"dynasty":18,"author":274,"museum":119,"description":14159,"tags":14160,"thumbUrl":14161,"material":87,"size":127,"collection":42,"collections":14162,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":75},216911,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-216911","万方职贡图全卷","万方职贡图全卷是宋朝时期由李公麟编写的一部职贡图书。这本书是在宋朝时期编写的，主要记录了宋朝时期各级官员的职贡规定以及他们的权力和职责。这本书是宋朝时期的一部重要史料，可以为我们了解宋朝时期的政治体制、官员制度以及官员的权力和职责提供重要的参考。",[23,100,24,25,26,123,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552a9310b7ab1d2dce73c8120542c88b.jpg",[42],{"id":14164,"slug":14165,"title":14166,"dynasty":80,"author":178,"museum":14167,"description":14168,"tags":14169,"thumbUrl":14170,"material":139,"size":14171,"collection":71,"collections":14172,"showCount":13846,"zanCount":48,"manualWeight":48,"mainColor":49},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[100,24,28,304,27,7,104,34,61,64,37,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[71],{"id":14174,"slug":14175,"title":14176,"dynasty":18,"author":178,"museum":673,"description":14177,"tags":14178,"thumbUrl":14179,"material":139,"size":14180,"collection":71,"collections":14181,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":49},214830,"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[23,24,25,149,59,65,7,238,34,199,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[71],{"id":14183,"slug":14184,"title":14185,"dynasty":54,"author":14186,"museum":673,"description":14187,"tags":14188,"thumbUrl":14189,"material":69,"size":14190,"collection":71,"collections":14191,"showCount":13846,"zanCount":961,"manualWeight":48,"mainColor":75},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,25,149,59,65,7,125,607,60,61,335,103,64,34,101,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[71],{"id":14193,"slug":14194,"title":14195,"dynasty":1051,"author":1157,"museum":119,"description":14196,"tags":14197,"thumbUrl":14198,"material":337,"size":937,"collection":127,"collections":14199,"showCount":14200,"zanCount":48,"manualWeight":48,"mainColor":49},290239,"wan-shan-ji-xue-tu-wang-wei-290239","万山积雪图","王维（701年—761年），字摩诘，号摩诘居士。河东蒲州（今山西永济）人，祖籍山西祁县。唐朝诗人、画家。\n王维出身河东王氏，于唐玄宗开元九年（721年）中进士第，为太乐丞。历官右拾遗、监察御史、河西节度使判官。天宝年间，拜吏部郎中、给事中。安禄山攻陷长安时，被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，世称“王右丞”。\n王维参禅悟理，精通诗书音画，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，因笃诚奉佛，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。著有《王右丞集》《画学秘诀》，存诗约400首。北宋苏轼评云：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”",[23,100,24,26,7,878,1262,61,34,63,65,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784f5c4fab22ae5e6ea7f75c69dcfa56.jpg",[],52,{"id":14202,"slug":14203,"title":14204,"dynasty":18,"author":178,"museum":119,"description":14205,"tags":14206,"thumbUrl":14208,"material":337,"size":937,"collection":127,"collections":14209,"showCount":14200,"zanCount":48,"manualWeight":48,"mainColor":379},288349,"fang-ma-yuan-dong-tian-lun-dao-tu-yi-ming-288349","仿马远洞天论道图","此作截取山林一角取景，虬松盘桓苍劲，松萝垂拂摇曳，尽显古木苍莽野趣。幽壑洞天深处，二人相对清谈，逸韵飘然恍如世外。右下角山道之上，负杖策蹇的行者缓行而来，似赴雅约，动静之间，让画面生出悠远意趣。\n\n笔墨承袭院体风骨，山石以硬劲水墨皴擦，棱线清刚利落，林木晕染秀润柔和，虚实相映间，铺展出林泉高隐的悠然意境，将文人林下谈玄、寄情丘山的雅逸襟怀尽数铺陈，空灵雅致，尽显宋画小品的隽永韵味。",[2484,24,100,59,65,7,4660,64,103,14207,9755],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f673a57d4c4662982d4368a198aef3.jpg",[],{"id":14211,"slug":14212,"title":14213,"dynasty":811,"author":812,"museum":119,"description":14214,"tags":14215,"thumbUrl":14217,"material":337,"size":937,"collection":127,"collections":14218,"showCount":14200,"zanCount":48,"manualWeight":48,"mainColor":49},287703,"hua-xia-shan-yu-yu-dong-yuan-287703","画夏山欲雨","该幅画重峦叠嶂，曲涧迤逦。作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,100,24,149,59,65,7,238,1616,150,14216],"阴雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3115f2a48367716514ea86733373e74e.jpg",[],{"id":14220,"slug":14221,"title":14222,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":14223,"thumbUrl":14224,"material":337,"size":937,"collection":127,"collections":14225,"showCount":14200,"zanCount":48,"manualWeight":48,"mainColor":75},283750,"xi-shan-yue-guan-tu-zhou-dong-qi-chang-283750","溪山樾馆图轴",[100,24,25,149,59,7,34,7987,64,65,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778662d1b02ed3453eaa167d51351294.jpg",[],{"id":14227,"slug":14228,"title":14229,"dynasty":54,"author":1096,"museum":20,"description":14230,"tags":14231,"thumbUrl":14232,"material":632,"size":7226,"collection":927,"collections":14233,"showCount":14200,"zanCount":48,"manualWeight":48,"mainColor":75},237781,"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[24,25,149,59,65,100,7,318,165,35,31,33,305,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg",[927],{"id":14235,"slug":14236,"title":14237,"dynasty":177,"author":2075,"museum":20,"description":14238,"tags":14239,"thumbUrl":14240,"material":632,"size":14241,"collection":71,"collections":14242,"showCount":14200,"zanCount":48,"manualWeight":48,"mainColor":75},237574,"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[24,59,149,7,65,583,30,199,61,150,34,60,64,37,2683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[71,212],{"id":14244,"slug":14245,"title":14246,"dynasty":177,"author":5740,"museum":20,"description":14247,"tags":14248,"thumbUrl":14249,"material":349,"size":14250,"collection":71,"collections":14251,"showCount":14200,"zanCount":48,"manualWeight":48,"mainColor":75},236457,"nan-cun-cao-tang-tu-zhou-cha-shi-biao-236457","南村草堂图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,25,149,59,65,7,60,61,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e38e76e472e20cbb1711c4106bd889c.jpg","49cm×122.5cm",[71,212],{"id":14253,"slug":14254,"title":14255,"dynasty":177,"author":395,"museum":20,"description":14256,"tags":14257,"thumbUrl":14258,"material":537,"size":127,"collection":127,"collections":14259,"showCount":14200,"zanCount":961,"manualWeight":48,"mainColor":75},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,26,59,65,67,123,7,103,62,64,34,571,583,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":14261,"slug":14262,"title":14263,"dynasty":18,"author":288,"museum":20,"description":4095,"tags":14264,"thumbUrl":14265,"material":225,"size":4099,"collection":127,"collections":14266,"showCount":14200,"zanCount":48,"manualWeight":48,"mainColor":49},234069,"xue-tang-ke-hua-tu-ye-xia-gui-234069","雪堂客话图页",[100,24,59,65,164,7,765,4097,62,372,64,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e55a19b946913db261fab13dbdda68c.jpg",[],{"id":14268,"slug":14269,"title":14270,"dynasty":54,"author":96,"museum":20,"description":14271,"tags":14272,"thumbUrl":14273,"material":40,"size":14274,"collection":127,"collections":14275,"showCount":14200,"zanCount":1080,"manualWeight":48,"mainColor":49},233416,"tao-cun-cao-tang-tu-zhou-chou-ying-233416","桃村草堂图轴","自题：“仇实父为少岳先生制”，钤“十洲”朱文葫芦形印。此图是仇英师承南宋“二赵”风格的作品，描绘的是幽深静逸的隐居环境。草堂位于山坳，其后桃林一片，溪流出其下，一童子踞溪侧洗砚。更上则高岭白云，丛树列布，意境幽深。画作富有诗意，画法精细工谨，细致入微。通幅大青绿着色，色彩艳丽深重。方薰在《山静居论画》中说：“设色不以深浅为难，难于色彩相合，合则神气生动。”此图将滴翠的石绿、秀雅的淡赭、温润的墨色自然和谐地统一在一起，具有一种雅俗共赏的艺术效果。此图为仇英青绿山水画的代表作之一。\n据徐石雪题跋考证，画中主人公为项元淇。仇英此图是应项元淇之约而作。项元淇，字子瞻，号少岳。工诗文，善草书，著名收藏家项元汴之兄。图中项氏襟带飘然，风度高雅，四周环境清幽，景色宜人，宛如人间仙境。裱边有董其昌、昆虔、徐宗浩题跋。经清内府收藏，后为徐石雪所得。",[24,149,29,28,27,7,34,63,61,60,103,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b542990eb17d240c9f1d39023cb377.jpg","纵150厘米，横53厘米",[],{"id":14277,"slug":14278,"title":14279,"dynasty":18,"author":592,"museum":14280,"description":14281,"tags":14282,"thumbUrl":14283,"material":349,"size":14284,"collection":127,"collections":14285,"showCount":14200,"zanCount":961,"manualWeight":48,"mainColor":49},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,100,24,25,26,28,7,65,29,318,319,62,165,63,106,60,61,373,103,264,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":14287,"slug":14288,"title":14289,"dynasty":80,"author":616,"museum":135,"description":14290,"tags":14291,"thumbUrl":14292,"material":349,"size":14293,"collection":127,"collections":14294,"showCount":14200,"zanCount":48,"manualWeight":48,"mainColor":75},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[100,24,25,26,59,7,65,67,101,167,4780,372,1674,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 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[1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,26,28,29,59,7,103,62,61,34,335,508,2855,125,63,334,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":14550,"slug":14551,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":14552,"thumbUrl":14553,"material":349,"size":2207,"collection":127,"collections":14554,"showCount":14519,"zanCount":48,"manualWeight":48,"mainColor":75},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094",[24,25,164,59,7,67,101,65,66,60,61,34,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg",[],{"id":14556,"slug":14557,"title":14558,"dynasty":80,"author":1410,"museum":135,"description":14559,"tags":14560,"thumbUrl":14561,"material":14562,"size":14563,"collection":127,"collections":14564,"showCount":14519,"zanCount":1080,"manualWeight":48,"mainColor":49},231333,"zhong-shan-tu-yuan-dai-ji-jin-zhi-si-wu-zhen-231333","中山图-元代集锦之四","《中山图》绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。\n吴镇的艺术精髓在这副平淡无比的画作中体现无遗，《中山图》平铺直叙的描绘了再平凡不过的景象：七座山头大致左右对称簇拥一座主峰，即画题中的“中山”。较高大的山峰全都是特殊的平顶圆锥形，侧面微微隆起，这是吴镇绘画典型的造型。这几座山峰周边散布着山峦丘陵起起伏伏，一如荡漾的波浪；无论大小浓淡全都只有几种简单的形状；山峦没有真正的远近之别。谷间的树木被描绘得相当大，还有山头上灌木丛，几座山峰相形之下也显得不那么高峻。\n画中没有溪流、瀑布、人物、屋宇，甚至小径等等点缀。画面也没有表现任何能够显示季节和气候的特征，更没有云雾这种“通山川之气”的物象可以暗示流动或变化，全画沉浸在一种永恒的沉寂之中。即使在元代绘画之中也很难找到另外一幅画比《中山图》更显平静的。画中疏朗闲放的笔法，反复出现的简单物象在视觉上安抚镇定的效果，充分体现了平淡的境界。",[24,25,59,7,65,318,241,34,583,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75ab4b46854a6856c1d08010e0d4333.jpg","纸本 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等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n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。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n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。\n十九年（1754年）授户部主事。\n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。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[100,24,25,7606,59,28,65,583,103,7,239,199,201,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],{"id":14752,"slug":14753,"title":14754,"dynasty":177,"author":6184,"museum":119,"description":14755,"tags":14756,"thumbUrl":14759,"material":127,"size":127,"collection":127,"collections":14760,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":49},235977,"peng-lai-xian-dao-tu-zhou-yuan-jiang-235977","蓬莱仙岛图轴","《蓬莱仙岛图》是清代袁江创作的绢本设色画。\n本幅题：“蓬莱仙岛，戊子凃月邗上袁江画”，钤“袁江之印”、“文涛”印2方。\n“蓬莱仙岛”是中国古代神话传说中的“海上神山”，岛上的宫殿建筑全用黄金白银盖成，奇花异草、珍禽怪兽不计其数，更是藏有“不死之药”。\n此图就是袁江以这些古代神话传说为题材，加上自己的艺术想象而构思创作的仙山仙境。\n作者在描绘这座海上仙山时，着重突出了云烟缭绕的仙境氛围，精美细致的楼阁、雄奇伟岸的山石与烟涛微茫的大海烘托出画家理想的生活境界，令人悠然神往。\n袁江（约 1671—1746年以后），字文涛，江都（今江苏扬州）人。\n擅画山水楼阁。\n早年师法仇英，中年时曾得无名氏画谱，技艺大进。\n其界画在清代被推为第一。",[24,304,29,28,87,14757,386,104,64,8260,14758,7,8414],"蓬莱仙岛","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7046a2be5c72aa6e5af46b7e932afdb.jpg",[],{"id":14762,"slug":14763,"title":14764,"dynasty":177,"author":395,"museum":119,"description":14765,"tags":14766,"thumbUrl":14767,"material":127,"size":127,"collection":127,"collections":14768,"showCount":14689,"zanCount":961,"manualWeight":48,"mainColor":75},235908,"yuan-ji-shan-shui-ren-wu-tu-ye-shi-tao-235908","原济山水人物图页","这幅水墨小景以平远之法铺陈，淡墨晕染的远山如笼轻烟，虚灵悠远，将江天的空寂缓缓铺展。近岸茅舍错落，枯木遒劲疏朗，不着片叶，清寒萧索之意扑面而来。两位策杖逸士缓行低语，简括的衣纹里藏着松弛意趣，为冷寂山水晕开鲜活的人间烟火气。\n\n笔墨枯淡松秀，皴擦简省，只以淡墨扫出山形轮廓，留白疏密相宜，将江村冬日的清旷淡远尽数勾勒，禅意与野趣相融，于尺幅小景中尽显萧散简远的文人意趣，淡而有味，简中见深，藏着林泉幽居的悠悠雅怀。",[100,24,59,65,164,7,103,372,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fcbddf539067fbbc2e5d9fd3d589cc.jpg",[],{"id":14770,"slug":14771,"title":159,"dynasty":177,"author":5740,"museum":119,"description":14772,"tags":14773,"thumbUrl":14774,"material":337,"size":937,"collection":71,"collections":14775,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":75},235509,"shan-shui-ce-cha-shi-biao-235509","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,25,164,59,7,318,979,165,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4280bacbc5da11ddb8e014095b837d.jpg",[71],{"id":14777,"slug":14778,"title":14779,"dynasty":177,"author":178,"museum":119,"description":14780,"tags":14781,"thumbUrl":14782,"material":127,"size":127,"collection":127,"collections":14783,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":49},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[24,304,28,29,7,104,62,239,34,14599,37,167,1897,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":14785,"slug":14786,"title":14787,"dynasty":54,"author":55,"museum":20,"description":4245,"tags":14788,"thumbUrl":14789,"material":14790,"size":4248,"collection":127,"collections":14791,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":75},234971,"yun-shan-tu-zhou-shen-zhou-234971","云山图轴",[24,149,59,7,65,318,979,34,63,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63fbcf4ecea4aec65a5d0eb188770189.jpg","纸本 ，局部淡设色",[],{"id":14793,"slug":14794,"title":14795,"dynasty":1051,"author":1052,"museum":20,"description":14796,"tags":14797,"thumbUrl":14798,"material":40,"size":14799,"collection":127,"collections":14800,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":49},233221,"gong-yuan-tu-juan-li-si-xun-233221","宫苑图卷","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,27,28,304,29,26,7,104,103,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f27739550c87b246fdfc42c398a96ff.jpg","纵23.9厘米，横77.2厘米",[],{"id":14802,"slug":14803,"title":14804,"dynasty":80,"author":5576,"museum":119,"description":14805,"tags":14806,"thumbUrl":14807,"material":87,"size":14808,"collection":127,"collections":14809,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":49},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,24,25,26,304,28,29,27,103,104,60,61,62,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":14811,"slug":14812,"title":14813,"dynasty":54,"author":945,"museum":1326,"description":14814,"tags":14815,"thumbUrl":14816,"material":349,"size":14817,"collection":127,"collections":14818,"showCount":14689,"zanCount":961,"manualWeight":48,"mainColor":49},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,25,149,28,65,7,30,60,61,34,64,199,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":14820,"slug":14821,"title":3619,"dynasty":18,"author":234,"museum":119,"description":14822,"tags":14823,"thumbUrl":14824,"material":127,"size":127,"collection":127,"collections":14825,"showCount":14689,"zanCount":961,"manualWeight":48,"mainColor":49},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,2538,24,25,26,7,28,65,238,239,208,34,35,36,103,2716,201,6093,826,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],{"id":14827,"slug":14828,"title":14829,"dynasty":80,"author":1990,"museum":119,"description":14830,"tags":14831,"thumbUrl":14832,"material":127,"size":127,"collection":127,"collections":14833,"showCount":14689,"zanCount":961,"manualWeight":48,"mainColor":49},228035,"shan-shui-hua-ce-12-ye-guan-dao-sheng-228035","山水画册12页","此作以水墨晕染铺就烟岚浮动的幽寂之境，山峦隐现于流云薄雾之间，虚实相生，似有若无，将江南山水的氤氲柔婉尽数铺陈。坡岸修竹清挺秀逸，枝叶以细劲墨线勾勒，在朦胧烟霭中愈见清雅灵秀，与淡墨晕开的云山相映成趣。\n\n全画舍去繁复皴法，以淡墨烘染出云雾流荡之态，留白与晕染交织，令观者仿若身临幽寂空茫的山林，听溪声、沐烟霞，尽显元画尚意的审美意趣，于尺幅间藏万千丘壑，将文人画简淡空灵的意境抒发得淋漓尽致。",[24,25,164,59,65,7,630,64,61,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fa9d27742c0b2b8d4e4c85f9f39255.jpg",[],{"id":14835,"slug":14836,"title":14837,"dynasty":18,"author":3342,"museum":119,"description":14838,"tags":14839,"thumbUrl":14840,"material":127,"size":127,"collection":127,"collections":14841,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":49},227742,"lou-ge-tu-li-song-227742","楼阁图","李嵩(1166—1243)，宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190—1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。如《明皇斗鸡图》《花篮图》；有白描淡色之风俗画，如《货郎图》；也有水墨渲染之山水画，如《西湖图》等。\n\n传世作品有嘉定四年（1211）作《货郎图》卷、《花篮图》页、《骷髅幻戏图》轴藏故宫博物院；《西湖图》卷藏上海博物馆；《听阮图》、《夜月看湖图》及传为李嵩的山水小品画《水殿招凉图》等藏台北故宫博物院。传世作品还有《椿溪渡牛图》、《服田图》、《采莲图》和《观潮图》等，题材后世论画者题其画说：“李师最识农家趣”。\n\n李嵩的风俗画更为知名，他画过许多表现下层社会生活的农村生活风俗画，把劳动人民的生活作为审美对象来描绘，这在中国古代美术发展史上有着重要的意义。 其《货郎图》有多种本子存世，以故宫博物院收藏的一卷为最佳。此画描写一挑担货郎在乡村被孩童围住的情景，充满浓厚的乡土气息。藏于故宫博物院的《骷髅幻戏图》轴，人物表情甚佳，衣纹丁头鼠尾，多用直线，细而有力。",[24,25,304,29,28,7,104,165,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee79b8cdce1dc5eed5659beb992a37f.jpg",[],{"id":14843,"slug":14844,"title":14845,"dynasty":177,"author":14846,"museum":119,"description":14847,"tags":14848,"thumbUrl":14850,"material":127,"size":127,"collection":127,"collections":14851,"showCount":14689,"zanCount":961,"manualWeight":48,"mainColor":75},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,25,26,59,123,65,7,64,34,722,31,238,399,5068,14849,583,532,85,37,60],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":14853,"slug":14854,"title":14855,"dynasty":18,"author":274,"museum":704,"description":14856,"tags":14857,"thumbUrl":14858,"material":349,"size":14859,"collection":44,"collections":14860,"showCount":14689,"zanCount":961,"manualWeight":48,"mainColor":49},223398,"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[23,24,25,26,123,28,103,7,64,34,722,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46ace2e8df223b406f8896937f90bac.jpg","30.7，横：238厘米",[44,212],{"id":14862,"slug":14863,"title":14864,"dynasty":80,"author":14865,"museum":20,"description":14866,"tags":14867,"thumbUrl":14868,"material":375,"size":14869,"collection":71,"collections":14870,"showCount":14689,"zanCount":961,"manualWeight":48,"mainColor":75},221807,"shan-lin-qing-qu-tu-zhang-guan-221807","山林清趣图","张观","描绘江岸老树坡石之中，一老者独坐，一童子抱琴，渺茫江面一帆归来之景，右下款署“至正戊戌八月，张观制”，现藏故宫博物院；另有《月下人物图》册页，相传为其所作，藏美国纽约大都会博物馆。",[23,24,59,65,7,125,103,64,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8247aabb43e9b76e19440df1094c1f30.jpg","纵30厘米，横54．7厘米",[71,45],{"id":14872,"slug":14873,"title":14874,"dynasty":18,"author":274,"museum":135,"description":14875,"tags":14876,"thumbUrl":14877,"material":2147,"size":14878,"collection":42,"collections":14879,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":49},221408,"long-mian-shan-tu-li-gong-lin-221408","龙眠山图","《龙眠山庄图》亦称《山庄图》，是宋代杰出画家李公麟的白描山水画。画面表现的是由建德馆至垂云片的龙眠山庄图景。自西而东凡数里，岩谔隐见，泉源相属，山行者路穷于此。《宣和画谱》称《山庄图》，可以配王维《辋川图》；《佩文斋书画谱》亦说《山庄图》用王维《辋川图》的画法：“而行笔细润，乃有超越之意”。苏轼为之记，苏辙为之赋诗，凡二十首。《山庄图》既出，便为世人所珍爱。《山庄图》不仅是一幅远离尘嚣的山村风俗画卷，更体现了山庄主人思想倾向和生活情致。苏轼在《题李伯时〈山庄图〉后》说，李公麟在龙眠山，并非留意一草一木，然而《山庄图》“其神与万物交，其智与百工通。”所以他称李公麟为“有道有艺”的画家。",[23,100,24,25,123,65,7,199,34,103,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb03915a38cf74d256514b6749816117.jpg","纵28.9厘米，横364.6厘米",[42,71,212],{"id":14881,"slug":14882,"title":14883,"dynasty":177,"author":2017,"museum":220,"description":14884,"tags":14885,"thumbUrl":14886,"material":14887,"size":14888,"collection":71,"collections":14889,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":49},220972,"shuang-song-liu-quan-tu-yun-shou-ping-220972","双松流泉图","双松流泉图描绘巍峨高耸的远山被浮云游雾隔于天外，远处的瀑布从山崖之间逶迤婉转地涌出，因矶石抵柱而迥旋激荡，如同泉流。近景堤岸沙坡之上灵石伫立，苔草凝碧；临水的山角处双松并峙，针茂如冠，楮竹相生，杂然成林。一溪春水波光粼粼，仿佛正有和煦春风从水面掠过。画上虽然杳无人迹尘嚣，但并不荒疏冷寂。回荡壑谷的风声，击石鸣涧的水声，松涛如潮的树声，或许还有空山飞鸟的啼声，都为这本来幽静的画面平添了许多的幽趣，共同唱响一曲自然生趣的清歌，大有声情并茂的韵味。上端有画家自题语和款署：“双松流泉图，为六朋词兄六十寿。”落款：“毗陵恽寿平。”",[23,24,25,149,59,7,583,61,64,65,1738,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b3e81025a8acac7cd4862aa16daff2.jpg","轴，卷本设色","纵172厘米，横67厘米",[71,212],{"id":14891,"slug":14892,"title":14893,"dynasty":18,"author":178,"museum":135,"description":14894,"tags":14895,"thumbUrl":14896,"material":139,"size":14897,"collection":44,"collections":14898,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":49},220424,"du-fu-li-ren-xing-tu-yi-ming-220424","杜甫丽人行图","《丽人行》是唐代大诗人杜甫的作品，约作于唐天宝十二载（753年）。此诗通过描写杨氏兄妹曲江春游的情景，揭露了统治者荒淫腐朽作威作福的丑态，从一个角度反映了安史之乱前夕的社会现实。诗分三段：先泛写游春仕女的体态之美和服饰之盛，引出主角杨氏姐妹的娇艳姿色；次写宴饮的豪华及所得的宠幸；末写杨国忠的骄横。全诗场面宏大，鲜艳富丽，笔调细腻生动，讽刺含蓄不露，通篇只是写“丽人”们的生活情形，却达到了如前人所说“无一刺讥语，描摹处语语刺讥；无一慨叹声，点逗处声声慨叹”的艺术效果。",[23,24,25,100,1555,29,28,7,103,278,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd607f74f9590044dbe2c25f94a50f5f.jpg","40.1x41厘米",[44,45],{"id":14900,"slug":14901,"title":14902,"dynasty":80,"author":1962,"museum":424,"description":14903,"tags":14904,"thumbUrl":14905,"material":139,"size":14906,"collection":44,"collections":14907,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":49},220410,"shui-bian-gao-shi-tu-sheng-mao-220410","水边高士图","盛懋（生卒年不详）字子昭，嘉兴（今属浙江）武塘人，与吴镇同时代，且为乡邻，“比门而居”，主要活动于元至正年间。其父盛洪，是民间画工。盛懋承家学，人物、山水、花鸟，无所不工，尤善山水。其山水画多作丛山密林，表现四时朝暮的江山胜景，结构严整，笔墨清润。早年得到陈琳(赵孟頫的学生)的指点，画山石多用披麻皴或解索皴，笔法工整，设色明丽。所以他早期的画“精致有余”，而意趣不足，被时人称作“画工”之作。但他后来逐渐接受元代文人画家的影响，吸收文人画的意趣，一定程度上摆脱了“匠气”，故其作品越来越合士大夫阶层的审美情趣，元至正年间享有盛名。盛懋的画当时也很受老百姓的欢迎，“四方以金帛求子昭画者甚众”。他的传世作品较多，如《秋林高士图》《秋江待渡图》《坐看云起图》《秋溪放艇图》《山居纳凉图》等。",[23,24,59,28,65,103,7,125,61,264],"htt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图笔触苍劲，墨色敷彩浓淡有致，层次分明。",[24,28,7,65,149,64,34,61,62,104,238,826,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6464c85911fb2dd25ec5ae4d6085248b.jpg","241.8x128.1cm",[71],{"id":15015,"slug":15016,"title":15017,"dynasty":177,"author":15018,"museum":56,"description":15019,"tags":15020,"thumbUrl":15022,"material":69,"size":15023,"collection":44,"collections":15024,"showCount":14689,"zanCount":961,"manualWeight":48,"mainColor":75},218262,"ren-wu-ping-ren-yu-218262","人物屏","任预","任预（1853年—1901年），一名豫，字立凡，浙江萧山人，晚清著名海派画家，为早期海派大师任熊之子，山水、人物、花鸟，无所不精。在“四任”（任熊、任薰、任颐、任预）中，最为年轻。",[24,25,28,29,103,7,1249,15021,630],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38c449c612a80a7b8bd1ad1f8c975450.jpg","131.6x32",[44],{"id":15026,"slug":15027,"title":15028,"dynasty":80,"author":178,"museum":161,"description":15029,"tags":15030,"thumbUrl":15031,"material":139,"size":127,"collection":71,"collections":15032,"showCount":14689,"zanCount":961,"manualWeight":48,"mainColor":49},217985,"zhong-ling-chun-se-tu-yi-ming-217985","重岭春色图","重岭春色图这幅画以其精美的绘画技巧和优美的风景吸引了许多人的目光。画中的景观描绘了一座重岭，周围是翠绿的树林，清新的空气中弥漫着春天的气息。轻轻飘荡的云彩似乎都在为这片美景增添一份神秘感。\n\n尽管这幅画作的作者是佚名，但它仍然是元朝时期艺术史上的一个重要作品。它的出现说明了元朝时期艺术家们对自然风光的描绘的技巧和热爱。如今，这幅画作仍然是许多人喜爱的艺术品，它代表了中国古代艺术的精华。",[24,25,7,59,65,318,165,607,125,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ad62fdde2984f5c83ea59ddf31b1f0.jpg",[71],{"id":15034,"slug":15035,"title":15036,"dynasty":54,"author":9356,"museum":2801,"description":15037,"tags":15038,"thumbUrl":15039,"material":69,"size":15040,"collection":71,"collections":15041,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":75},217921,"shan-jing-xing-lv-tu-zhou-chen-217921","山径行旅图","画面中可以看到蜿蜒的山径，周臣巧妙地运用了线条和色彩来表现山径的弯曲起伏。顶部的云朵和树林以及画面下方的山峰和溪流，使得整幅画充满了生机和动感。\n\n此外，周臣还细致地描绘了山径两侧的植物和动物，包括花草、山石、鸟类、鹿等。这些细节使得画面更加丰富多彩，也展示了周臣对生物的热爱和观察力。\n\n总的来说，《山径行旅图》是周臣的杰作，它展现了他对自然的热爱和描绘能力，也是中国画史上的一颗明珠。",[24,2484,7,12342,200,103,335,34,64,59,28,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a6eebb70a11f31cd71bd92a3caf50.jpg","33.5x61cm",[71],{"id":15043,"slug":15044,"title":15045,"dynasty":177,"author":5885,"museum":15046,"description":15047,"tags":15048,"thumbUrl":15049,"material":139,"size":127,"collection":71,"collections":15050,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":75},216904,"qian-long-nan-xun-zhu-bi-tu-ye-ce-qian-wei-cheng-216904","乾隆南巡驻跸图页册","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,24,25,164,304,28,29,104,7,34,63,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdded9f524bd90de54bf710ce3491c184.jpg",[71],{"id":15052,"slug":15053,"title":15054,"dynasty":177,"author":219,"museum":119,"description":15055,"tags":15056,"thumbUrl":15057,"material":349,"size":15058,"collection":44,"collections":15059,"showCount":14689,"zanCount":48,"manualWeight":48,"mainColor":75},216734,"liu-shui-zhi-yin-tu-huang-shen-216734","流水知音图","《高山流水遇知音》是钟子期和俞伯牙的故事，用插图的方式再现了这个故事，虽然意境不是很高，但笔触粗拙，是黄慎的典型面目。",[23,24,25,100,5254,149,59,223,103,61,34,305,1522,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8719be88666ba739e59fcf8f941b3ab1.jpg","164x82",[44],{"id":15061,"slug":15062,"title":15063,"dynasty":177,"author":178,"museum":119,"description":15064,"tags":15065,"thumbUrl":15066,"material":337,"size":937,"collection":127,"collections":15067,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":75},290186,"fang-gong-xian-shan-shui-ce-5-kai-yi-ming-290186","仿龚贤山水册5开","此作用积墨之法写山林幽境，层层晕染铺就氤氲烟岚。右侧崖壁以焦墨勒定轮廓，淡墨反复皴擦堆就厚重质感，石间点植杂木，苍拙古茂，崖巅古亭半隐，暗合林泉幽居之趣。左侧以留白糅合淡墨晕染云烟，虚实相生，将山壑深渺朦胧之态铺陈开来，与沉凝崖壁形成虚实对照，尽显开合之妙。边角题字与山水相映成趣，诗画相融，暗合原作静穆苍润之韵，将江南山水的空寂淡远藏于尺幅间，笔墨间尽是林泉高致的悠然意趣。",[24,164,59,7,104,64,37,101,66,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904f9bc9a41f1ddb33e9bbe19d78320f.jpg",[],49,{"id":15070,"slug":15071,"title":15072,"dynasty":80,"author":178,"museum":119,"description":15073,"tags":15074,"thumbUrl":15076,"material":337,"size":937,"collection":127,"collections":15077,"showCount":15068,"zanCount":961,"manualWeight":48,"mainColor":49},290145,"chang-e-wang-yue-tu-yi-ming-290145","嫦娥望月图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,2484,28,29,103,124,15075,1643,583,4459,8414,7,1401],"嫦娥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe276658f8ba399b9ffd66097b8fbe89b.jpg",[],{"id":15079,"slug":15080,"title":15081,"dynasty":80,"author":616,"museum":119,"description":15082,"tags":15083,"thumbUrl":15084,"material":337,"size":937,"collection":127,"collections":15085,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":75},289458,"an-nan-shuang-shu-tu-zhuang-biao-ni-zan-289458","岸南双树图（装裱）","倪瓒(1301～1374)元代画家、诗人。一说初名珽。字泰宇，后字元镇，号云林，又署云林子，或云林散人，别号荆蛮民、净名居士、朱阳馆主、莆闲仙卿、幻霞子、东海农、无住庵主、绝听子、曲全叟、沧海漫士、懒瓒、东海瓒、奚元朗。无锡（今属江苏）人。世居无锡祗陀里，多乔木，建堂名云林，因以云林自号。他一生不做官，其家是吴中有名的富户；但倪瓒不愿管理生产，自称懒瓒，亦号倪迂。性好洁,服巾日洗数次，屋前后树木也常洗拭。家中藏书数千卷，亲手勘定。擅山水、竹石、枯木等，其山水师法董源、荆浩、关仝、创“折带皴”写山石，画树木则兼师法李成，加以发展 ， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[100,24,25,149,59,66,101,372,630,264,7,1401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d7e6387dfc02f12dc56969477fdceb.jpg",[],{"id":15087,"slug":15088,"title":15089,"dynasty":18,"author":2155,"museum":119,"description":15090,"tags":15091,"thumbUrl":15092,"material":337,"size":937,"collection":127,"collections":15093,"showCount":15068,"zanCount":961,"manualWeight":48,"mainColor":49},288939,"xiao-xiang-ba-jing-yu-cun-luo-zhao-wang-hong-288939","潇湘八景-渔村落照","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。",[24,25,100,26,59,7,4622,1642,62,125,2856,10513,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc3334d2253ee018f96ae13d2a02c85.jpg",[],{"id":15095,"slug":15096,"title":8484,"dynasty":811,"author":812,"museum":119,"description":8485,"tags":15097,"thumbUrl":15098,"material":337,"size":937,"collection":127,"collections":15099,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":49},288840,"jiang-di-wan-jing-tu-dong-yuan-288840",[100,24,25,149,27,28,7,103,60,61,125,334,104,1642,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb6c45faab9facbb27c89e848862159.jpg",[],{"id":15101,"slug":15102,"title":15103,"dynasty":18,"author":604,"museum":135,"description":15104,"tags":15105,"thumbUrl":15108,"material":454,"size":15109,"collection":127,"collections":15110,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":49},288416,"xian-lv-guan-pu-tu-ma-yuan-288416","仙侣观瀑图","此画精妙之处莫过于两位相对而坐的文士所面对的一大片空白——悬瀑飞下，能量极大，激起大量水气，蒸腾弥漫，善用留白的马远在此便以大幅空白来体现。根据透视原理画成的近处的山石和松树体积稍大，略有压迫感，更衬出所留空白通透自然，难能可贵。马远素有“马一角”之名，喜作边角小景。此画虽为立轴，但如此空灵有趣的布局与笔墨，也仍见马远的功力与志趣。",[24,100,149,59,65,7,103,199,583,239,61,15106,15107],"仙侣","观瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f922f451d46e8658cf24b0f7a66217.jpg","148.1x80.1cm",[],{"id":15112,"slug":15113,"title":15114,"dynasty":18,"author":288,"museum":119,"description":4835,"tags":15115,"thumbUrl":15116,"material":337,"size":937,"collection":127,"collections":15117,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":49},288224,"song-xia-guan-pu-tu-xia-gui-288224","松下观瀑图",[23,100,24,2484,59,7,583,199,64,103,65,15107,6501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ecc0a7025721416ab7cb43a1afd43.jpg",[],{"id":15119,"slug":15120,"title":15121,"dynasty":177,"author":178,"museum":119,"description":15122,"tags":15123,"thumbUrl":15127,"material":337,"size":937,"collection":127,"collections":15128,"showCount":15068,"zanCount":1080,"manualWeight":48,"mainColor":49},267345,"xiu-ran-deng-fo-xiang-zhou-yi-ming-267345","绣燃灯佛像轴","此作以刺绣为骨，晕染出浓郁的宗教静穆氛围。主尊趺坐莲台，面容慈悲恬和，双手结说法印，朱红织金法衣细密华贵，绣纹流转间尽显堂皇质感。背景以绣线晕织出层叠祥云、青绿峰峦，层次柔和分明，铺就出空灵祥瑞的圣域图景。两侧胁侍菩萨身姿舒展安闲，衣袂飘然，与主尊呼应共生出平和肃穆的场域。外框以重复梵字绣纹环绕，规整庄重，将画面牢牢托于神圣氛围之中。整作针线细密入微，配色饱满浓郁，将藏地唐卡的宗教审美与刺绣工艺精妙融合，尽显匠心与信仰的交融之美。",[149,14485,1042,15124,15125,103,28,4459,7,14486,15126],"佛教","燃灯佛","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F998f92cc28a96bf3f9ffa3b1bd164074.jpg",[],{"id":15130,"slug":15131,"title":15132,"dynasty":177,"author":15133,"museum":20,"description":15134,"tags":15135,"thumbUrl":15136,"material":127,"size":127,"collection":71,"collections":15137,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":75},236645,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236645","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,164,59,65,67,101,7,264,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbecd6fb60f813cf83d989c822dd4c04b.jpg",[71,927],{"id":15139,"slug":15140,"title":15141,"dynasty":177,"author":3760,"museum":119,"description":10519,"tags":15142,"thumbUrl":15143,"material":337,"size":937,"collection":127,"collections":15144,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":75},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面",[24,25,2484,59,122,65,66,101,7,63,165,64,199,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":15146,"slug":15147,"title":15148,"dynasty":177,"author":15149,"museum":119,"description":15150,"tags":15151,"thumbUrl":15152,"material":127,"size":15153,"collection":127,"collections":15154,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":75},234137,"xi-hu-zai-he-tu-xiang-juan-xie-bin-234137","西湖载鹤图像卷","谢彬","谢彬，字文侯，上虞人，为曾鲸高足，善画人物，兼长山水，清朱彝尊云：“谢彬学曾鲸氏而有得者也。”所作《朱葵石像》录于《中国绘画史图录》，《颜修来题壁图像》册页录于《中国书画过目汇考附目》，《渔乐图》录于《赖古堂书画集》。张学曾，字尔唯，号学庵，会稽人，自幼好画，为“画中九友”之一，山水师董源，喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩，传世作《仿倪云林山水图》，藏故宫博物院，《秋兴诗意图》册录于《虚斋名画录》，《赠别图》录于《中国绘画史册》。金古良，字射堂，山阴人，善画人物，作《无双谱》，集书、画、诗为一体，甚杰出，称誉海内。李因，字今生，号是庵，会稽人，女画家，工花卉禽鸟，画多水墨，苍老无闺阁气，精于写生，点染生动，大幅更佳，亦善刻，曾刻其师陈白阳像奉之，传世作《墨花鸟》卷藏故宫博物院，《鸟竹图》扇面，录于《铁琴铜剑楼藏扇集锦》，《荷花鸳鸯图》藏南京博物院。李因之夫葛无征，亦善山水。",[23,24,100,25,26,28,27,29,7,104,60,61,62,106,63,34,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349f77f272eba5b173d116e21d035d63.jpg","横：419.3cm，纵：16.7cm",[],{"id":15156,"slug":15157,"title":15158,"dynasty":80,"author":1410,"museum":20,"description":15159,"tags":15160,"thumbUrl":15161,"material":1066,"size":1414,"collection":127,"collections":15162,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":75},234099,"yu-fu-tu-zhou-wu-zhen-234099","渔父图轴","在中国古代，渔、樵、耕、读，常常被文人士大夫视为理想化的生活方式，并常被用作文艺作品的主题，以表达作者避世遁隐的愿望，其中尤以“渔隐”的素材最为普遍。时至元代，汉族文人仕进无门，社会地位骤降，江南士人遭遇尤甚。于是，“渔隐”就更频繁地出现在绘画作品中，其中以吴镇的《渔父图》最为典型。吴镇善作“渔隐”题材的山水画，传世《渔父图》即有多幅，此图是其中较有代表性的一幅。图中描绘江南水乡景色，平冈丛树，一渔父驾小舟逍遥于湖弯水色之间。全图墨色苍润，山石、树木、枝叶都注意到了墨色浓淡的交替运用，借以表现层次关系并突出主要物象。笔法多变，皴擦点染，均可看出作者高超的控笔能力。湖山间幽僻清寂的意境跃然纸上，给人以远离尘俗之感。吴镇的《渔父图》大都以秀劲潇洒的草书《渔父群》相配，诗、书、画相得益彰。即如此图中所书：“目斷煙波青有無，霜凋楓葉錦模糊。千尺浪，四鰓鱸，詩筒相對酒葫蘆。”诗为画图点睛，真切地表达出 “一叶随风万里身”的隐逸情思。",[24,25,149,59,65,67,101,7,62,61,125,495,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg",[],{"id":15164,"slug":15165,"title":15166,"dynasty":54,"author":55,"museum":20,"description":15167,"tags":15168,"thumbUrl":15169,"material":632,"size":15170,"collection":127,"collections":15171,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":75},233147,"fang-dong-ju-shan-shui-tu-zhou-shen-zhou-233147","仿董巨山水图轴","五代南唐董源、巨然的风格受到明代吴门画家的重视，成为他们效仿、取法的对象，根据本幅左上角画家自题，图中仿董巨的风格是受民度本人所请。该图在狭长的尺幅中作长林巨壑之景，近处松石陂陀，中间有较大面积的湖水，水面上二人乘小舟垂钓，一座桥从画外延伸至山脚下的彼岸，桥上一文士策杖而行，岸上有茅亭屋舍。再往上山势连绵，景致层层深入，中间一条“S”形的山谷使两边的山峰在狭长的构图中并不显得拥挤，凸显了高远、深远的特色。图中皴笔短促繁密，圆润松秀，用笔注重层层渲染，笔锋内敛，具有外柔内刚的特点。该图在构图、笔墨上受到“董巨”的影响，但是画家融合古人的笔意而又有自己的特点，用笔颇为苍润醇厚，此外策杖归来、舟上垂钓均为当时吴门文士生活的真实写照。",[24,25,149,59,65,122,7,318,319,165,413,6299,63,201,239,533,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],{"id":15173,"slug":15174,"title":15175,"dynasty":177,"author":15176,"museum":424,"description":15177,"tags":15178,"thumbUrl":15179,"material":127,"size":127,"collection":127,"collections":15180,"showCount":15068,"zanCount":961,"manualWeight":48,"mainColor":49},228921,"qiu-shan-hong-shu-tu-li-jian-228921","秋山红树图","黎简","这幅山水以没骨青绿晕染山峦，留白烘出流云如絮，将山谷裹在空濛仙气之中。丹红的枫林点染在青碧峰峦间，冷暖撞色鲜活明快，打破了青绿基调的沉静，映着澄澈秋水，板桥卧波引渡。隅侧茅舍隐在红树之后，野趣横生。\n\n山石勾勒圆浑，设色厚而不浊，在堂皇明艳的大青绿底色中，融入文人山水的清寂澹远，将秋山的绚烂丹枫与幽寂林泉相融，把秋日山林明丽又安宁的意韵尽数铺展，诗意悠然。",[100,24,25,149,28,29,65,7,1263,60,35,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea6ed7e98b0f5962716eadac4fb205f7.jpg",[],{"id":15182,"slug":15183,"title":15184,"dynasty":54,"author":368,"museum":119,"description":15185,"tags":15186,"thumbUrl":15187,"material":127,"size":127,"collection":127,"collections":15188,"showCount":15068,"zanCount":961,"manualWeight":48,"mainColor":49},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[23,24,100,25,149,59,28,65,7,199,34,1707,239,201,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],{"id":15190,"slug":15191,"title":15192,"dynasty":18,"author":592,"museum":119,"description":15193,"tags":15194,"thumbUrl":15195,"material":127,"size":127,"collection":127,"collections":15196,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":49},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[100,24,25,26,59,28,7,103,104,60,61,63,165,64,978,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":15198,"slug":15199,"title":15200,"dynasty":18,"author":1085,"museum":119,"description":15201,"tags":15202,"thumbUrl":15203,"material":127,"size":127,"collection":127,"collections":15204,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":49},227955,"gu-gong-tu-ce-zhao-bo-ju-227955","故宫图册","此作以青绿晕染层叠丘壑，色调古雅厚重，界画楼阁精工严整，飞檐斗拱分毫毕现，尽显宫苑富丽堂皇。云气缭绕于台榭林麓之间，虚实相生，让恢宏楼宇掩映得灵动缥缈，消解了建筑的刻板厚重。\n\n山道间行旅策蹇徐行，板桥卧于溪上，潺潺流水隐于其间，鲜活点缀为静谧宫晕开几分林泉雅趣。画作糅合院体山水的精工法度与青绿设色的古艳雅致，将皇家苑囿的恢宏气度，与林泉丘壑的清逸空濛相融，尽显工丽秀雅的宋画风韵。",[23,24,27,28,304,29,7,104,60,103,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd9ee1df76dc0919e8b19de41238e03.jpg",[],{"id":15206,"slug":15207,"title":15208,"dynasty":54,"author":15209,"museum":119,"description":15210,"tags":15211,"thumbUrl":15212,"material":15213,"size":15214,"collection":71,"collections":15215,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":75},222139,"shan-shui-shou-juan-li-liu-fang-222139","山水手卷","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。\n万历三年（1575）李流芳出生于嘉定南翔一户官宦人家。原籍南直隶徽州府歙县（今安徽歙县南丰），祖父李文邦为迁翔始祖，任成山卫指挥使，封赠公爵。父亲李汝筠系县学生。伯父李汝节是嘉靖进士，官至安吉知州。堂兄李先芳，万历进士，四川参议。李流芳兄弟四人：长兄李元芳，诸生，诗人；仲兄李名芳万历进士，翰林院庶吉士；弟李三芳，定海县丞。李流芳排行第三，人称李三长蘅。\n李流芳青少年时，潜身东林庵中，认真读书，企求科举入仕。万历三十四年(1606)，32岁中举，后又两度赴京参加殿试皆不第。时朝廷为太监魏忠贤及其党羽把持，仕途凶吉难料。他感到气馁，回到家乡，自建“檀园”，绝意仕途。他经常游览杭州西湖，一边游湖一边作画，并提笔写下一系列题跋，一派高人逸士之风度。为人耿直，诗风清新自然，文品为士林翘楚。魏忠贤建生祠不往拜，与人云：“拜，一时事，不拜，千古事。”\n李流芳和程嘉燧，诗文书画齐名，曾对好友钱谦益说：“精舍轻舟，晴窗明己，看孟阳（程嘉燧）吟诗作画乃是生平第一快事。”钱谦益曰：“吾却有二快，兼看兄与孟阳耳。”崇祯元年（1628），钱谦益被放，坐帐论牍，病中的李流芳闻讯，扶枕浩叹：“不可为矣！”\n崇祯二年 (1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[23,24,25,26,59,65,7,318,319,34,35,85,3765,167,5068,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[71,212],{"id":15217,"slug":15218,"title":15219,"dynasty":18,"author":288,"museum":1542,"description":15220,"tags":15221,"thumbUrl":15222,"material":6195,"size":15223,"collection":127,"collections":15224,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":75},221508,"bu-yu-tu-tuan-shan-ye-xia-gui-221508","捕鱼图团扇页","按《捕鱼图》团扇页题签，此画传为南宋画家夏圭所作。有学者认为可能是明代画家的作品。夏珪腕力刚劲，运笔迅速，与此画文静秀逸的笔法不同；《捕鱼图》人物温雅的面容，简洁而细腻的衣纹，也不是夏珪的风格，反而与马远的画风一致。尽管《捕鱼图》可能不是宋代作品，但画得依然很出色，能妙笔入神，情景交融，表现出雅静虚和的韵味。",[23,24,2484,59,65,7,62,495,373,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90038fa4d4f5868eee3e4e06e13086.jpg","23.2x24.1厘米",[],{"id":15226,"slug":15227,"title":15228,"dynasty":18,"author":2434,"museum":119,"description":15229,"tags":15230,"thumbUrl":15231,"material":28,"size":15232,"collection":42,"collections":15233,"showCount":15068,"zanCount":48,"manualWeight":48,"mainColor":49},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[23,100,24,25,26,59,65,66,101,7,318,979,319,62,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[42,71,212],{"id":15235,"slug":15236,"title":15237,"dynasty":18,"author":10140,"museum":119,"description":15238,"tags":15239,"thumbUrl":15240,"material":87,"size":15241,"collection":42,"collections":15242,"showCount":15068,"zanCount":961,"manualWeight":48,"mainColor":49},221417,"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[23,24,100,25,164,59,65,7,125,607,1389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 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将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,164,28,7,65,64,34,583,35,60,61,37,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa443f86659d1246ce2824ef78b06a3ac.jpg",[71,45],{"id":15409,"slug":15410,"title":15411,"dynasty":177,"author":15412,"museum":20,"description":15413,"tags":15414,"thumbUrl":15415,"material":127,"size":127,"collection":71,"collections":15416,"showCount":15346,"zanCount":961,"manualWeight":48,"mainColor":75},238539,"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[24,25,149,59,65,7,104,1042,101,334,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[71,212,927],{"id":15418,"slug":15419,"title":2027,"dynasty":177,"author":395,"museum":119,"description":5750,"tags":15420,"thumbUrl":15421,"material":127,"size":127,"collection":127,"collections":15422,"showCount":15346,"zanCount":48,"manualWeight":48,"mainColor":75},234168,"yuan-ji-shan-shui-tu-juan-shi-tao-234168",[23,24,25,26,59,65,7,30,34,35,31,37,67,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815dd148ee14a764573968a252a39549.jpg",[],{"id":15424,"slug":15425,"title":15426,"dynasty":1051,"author":178,"museum":8528,"description":8529,"tags":15427,"thumbUrl":15428,"material":337,"size":937,"collection":127,"collections":15429,"showCount":15346,"zanCount":961,"manualWeight":48,"mainColor":49},226283,"ku-zhu-shi-bei-bi-yi-ming-226283","窟主室北壁",[24,25,100,3985,1042,304,28,103,104,7,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20a829b1e7a26c782be3b06a09edbd8.jpg",[],{"id":15431,"slug":15432,"title":15433,"dynasty":1051,"author":178,"museum":8528,"description":8529,"tags":15434,"thumbUrl":15437,"material":337,"size":937,"collection":127,"collections":15438,"showCount":15346,"zanCount":961,"manualWeight":48,"mainColor":49},226186,"ku-zhu-shi-xi-pi-yi-ming-226186","窟主室西披",[15435,3985,28,1042,103,7,104,34,15436],"唐代风格","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2cf7e3d349a2d63c2f7b9a261c0abf.jpg",[],{"id":15440,"slug":15441,"title":15442,"dynasty":177,"author":13350,"museum":135,"description":15443,"tags":15444,"thumbUrl":15446,"material":15447,"size":15448,"collection":127,"collections":15449,"showCount":15346,"zanCount":48,"manualWeight":48,"mainColor":75},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[23,24,149,1042,29,28,103,7,4459,184,1110,101,5254,12166,15445,34,61],"神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 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设色","114.5x66.5厘米",[],{"id":15451,"slug":15452,"title":15453,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":15456,"thumbUrl":15462,"material":87,"size":15463,"collection":127,"collections":15464,"showCount":15346,"zanCount":48,"manualWeight":48,"mainColor":49},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,29,28,304,103,7,878,104,559,34,4827,35,124,8185,15457,15458,15459,15460,15461],"桌椅","红楼梦题材","室内场景","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg","纵43.3厘米、横76.5厘米",[],{"id":15466,"slug":15467,"title":15468,"dynasty":54,"author":15469,"museum":3157,"description":15470,"tags":15471,"thumbUrl":15472,"material":127,"size":127,"collection":71,"collections":15473,"showCount":15346,"zanCount":961,"manualWeight":48,"mainColor":75},222837,"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[23,24,26,28,7,65,2682,200,238,34,60,61,62,104,63,5118,413,239,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[71,45],{"id":15475,"slug":15476,"title":15477,"dynasty":177,"author":10457,"museum":135,"description":15478,"tags":15479,"thumbUrl":15481,"material":15482,"size":15483,"collection":127,"collections":15484,"showCount":15346,"zanCount":961,"manualWeight":48,"mainColor":75},222658,"lu-shan-pu-bu-tu-zhou-gao-qi-pei-222658","庐山瀑布图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,149,15480,59,65,7,199,583,103,61,239,66,101],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0731b38bbf14d460f6ddc5b90c3f50.jpg","绢本，水墨，浅设色","纵98.4厘米，横49.9厘米",[],{"id":15486,"slug":15487,"title":15488,"dynasty":177,"author":12255,"museum":1542,"description":15489,"tags":15490,"thumbUrl":15491,"material":15492,"size":15493,"collection":71,"collections":15494,"showCount":15346,"zanCount":48,"manualWeight":48,"mainColor":49},222631,"shan-shui-ce-ye-gao-cen-222631","山水册页","高岑（1621-1691），字善長，又字蔚生，杭州人，居金陵（今南京）。高阜弟，為“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……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[23,24,25,164,59,65,7,60,61,413,35,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 X21.3厘米",[71,212],{"id":15496,"slug":15497,"title":3773,"dynasty":54,"author":15498,"museum":135,"description":15499,"tags":15500,"thumbUrl":15507,"material":243,"size":15508,"collection":71,"collections":15509,"showCount":15346,"zanCount":961,"manualWeight":48,"mainColor":49},222241,"yu-le-tu-ding-yu-chuan-222241","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,28,7,29,62,373,630,15501,167,37,61,508,165,2527,890,33,15502,372,15503,14732,2833,5069,15504,13181,707,399,15505,1815,1695,322,756,2382,15506],"渔夫","岸石","汀渚","浅滩","霭气","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[71,212],{"id":15511,"slug":15512,"title":15513,"dynasty":54,"author":410,"museum":135,"description":15514,"tags":15515,"thumbUrl":15516,"material":139,"size":15517,"collection":71,"collections":15518,"showCount":15346,"zanCount":48,"manualWeight":48,"mainColor":49},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[23,24,25,100,28,65,7,103,61,125,264,167,5360,34,2382,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[71,45],{"id":15520,"slug":15521,"title":15522,"dynasty":54,"author":1096,"museum":1542,"description":15523,"tags":15524,"thumbUrl":15525,"material":15526,"size":15527,"collection":927,"collections":15528,"showCount":15346,"zanCount":48,"manualWeight":48,"mainColor":75},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,25,26,59,7,65,1019,66,67,101,238,34,722,60,61,37,85,533,64,535,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[927],{"id":15530,"slug":15531,"title":15532,"dynasty":80,"author":160,"museum":135,"description":10131,"tags":15533,"thumbUrl":15534,"material":292,"size":15535,"collection":127,"collections":15536,"showCount":15346,"zanCount":961,"manualWeight":48,"mainColor":75},220813,"qin-shu-zi-yu-tu-zhou-wang-meng-220813","琴书自娱图轴",[23,24,25,149,59,65,7,34,104,64,826,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8731d7e633af79f8819632ef335518d0.jpg","144.6x41.9",[],{"id":15538,"slug":15539,"title":15540,"dynasty":177,"author":1872,"museum":424,"description":15541,"tags":15542,"thumbUrl":15543,"material":169,"size":127,"collection":71,"collections":15544,"showCount":15346,"zanCount":48,"manualWeight":48,"mainColor":49},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[23,24,25,149,7,11368,65,30,37,34,201,199,64,2216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[71],{"id":15546,"slug":15547,"title":15548,"dynasty":177,"author":15549,"museum":135,"description":15550,"tags":15551,"thumbUrl":15553,"material":69,"size":15554,"collection":71,"collections":15555,"showCount":15346,"zanCount":48,"manualWeight":48,"mainColor":75},220112,"yan-bo-diao-ting-tu-qian-long-220112","烟波钓艇图","乾隆","清高宗爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。",[23,24,25,59,149,7,62,495,571,890,15552,101],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0610d85cb942d3d36056cbf98c91f3.jpg","58.8x30.7",[71],{"id":15557,"slug":15558,"title":15559,"dynasty":80,"author":11648,"museum":15560,"description":15561,"tags":15562,"thumbUrl":15563,"material":139,"size":15564,"collection":71,"collections":15565,"showCount":15346,"zanCount":48,"manualWeight":48,"mainColor":49},220084,"lou-ge-shan-shui-tu-sun-jun-ze-220084","楼阁山水图","日本静嘉堂文库","孙君泽（生卒年不详），元代画家，生活在14世纪，杭州人。工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。孙君泽的山水是在继承和吸收了马、夏的画法的基础上加以发展和创造，进而形成自己风格的。",[23,24,25,7,304,28,65,103,104,583,64],"https:\u002F\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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 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布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[24,25,149,304,28,7,104,63,34,103,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[71],{"id":15715,"slug":15716,"title":1420,"dynasty":177,"author":1925,"museum":119,"description":15717,"tags":15718,"thumbUrl":15719,"material":127,"size":127,"collection":127,"collections":15720,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},235620,"shan-shui-zhou-zhu-da-235620","此作用淡墨干笔写层叠峰峦，删繁就简，以极简的勾勒皴擦塑造奇崛冷峻的山石体态，不着浓艳，尽是荒寒萧索。画面留白肆意，纵长构图牵引视线游走于丘壑之间，山居错落、枯木寒松点缀其间，愈发衬出山水空寂冷逸。笔墨疏淡却意韵悠长，将沉郁的遗世心绪尽数融于林泉丘壑，冷寂禅意漫溢纸面，尽显孤高疏淡的品格风骨。",[24,25,149,59,65,7,264,125,607,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666b9b8a9dd9e1bad95d24e8eaa187e7.jpg",[],{"id":15722,"slug":15723,"title":15724,"dynasty":54,"author":5538,"museum":20,"description":15725,"tags":15726,"thumbUrl":15727,"material":375,"size":15728,"collection":71,"collections":15729,"showCount":15666,"zanCount":961,"manualWeight":48,"mainColor":75},234806,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,25,164,28,7,65,103,63,64,34,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[71],{"id":15731,"slug":15732,"title":7983,"dynasty":54,"author":7927,"museum":119,"description":15733,"tags":15734,"thumbUrl":15736,"material":127,"size":127,"collection":127,"collections":15737,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":49},234805,"ren-wu-zhou-xie-shi-chen-234805","谢时臣（1487—？），明代画家。字思忠，号樗仙。长洲（今江苏苏州）人，八十一岁时尚在世。工书法，长于隶书 。擅山水 ，师法吴镇、沈周，稍作变化，兼有“浙派”和“吴门派”笔法，风格独特。\n作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作 山峦重叠 ，高耸险峻 ，笔墨 或细密苍劲 ，或劲健沉郁，或纵横纷披，富有变化。有《溪山揽胜图》《策杖寻幽图》《武当霁雪图》《谪仙玩月图》等传世。",[24,25,149,28,65,103,34,15735,106,7,334,61],"推车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581618327747e74a9a86d6201e888d63.jpg",[],{"id":15739,"slug":15740,"title":15741,"dynasty":177,"author":10574,"museum":20,"description":15742,"tags":15743,"thumbUrl":15744,"material":87,"size":127,"collection":308,"collections":15745,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},234108,"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,25,26,28,7,31,2845,5146,520,34,64,101,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[308,71,45],{"id":15747,"slug":15748,"title":15749,"dynasty":54,"author":7355,"museum":20,"description":15750,"tags":15751,"thumbUrl":15752,"material":375,"size":15753,"collection":127,"collections":15754,"showCount":15666,"zanCount":961,"manualWeight":48,"mainColor":75},232954,"wan-he-song-feng-tu-zhou-wen-bo-ren-232954","万壑松风图轴","作者绘高峰巨嶂、松竹叠翠和隐庐数间，构图和笔墨、造型尽得元代王蒙的形与神。构图繁密而不拥塞，行笔细密却不琐碎，山路松声，云壑泉涌，满幅风动。气韵浑然一体，纯系文徵明传派的风韵。",[24,25,149,7,59,65,583,64,199,6093,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f80f6c03b7173bd4fc3b16e9e9bfec6.jpg","纵104.7厘米，横25.8厘米",[],{"id":15756,"slug":15757,"title":3572,"dynasty":18,"author":15758,"museum":119,"description":15759,"tags":15760,"thumbUrl":15761,"material":127,"size":127,"collection":127,"collections":15762,"showCount":15666,"zanCount":961,"manualWeight":48,"mainColor":940},231022,"xia-shan-tu-qu-ding-231022","屈鼎","此作以全景铺展夏景山水，层峦叠嶂间烟岚轻萦，将盛夏山野的湿润苍翠晕染开来。山脚林木蓊郁繁茂，涧水穿林漱石，奔涌有声；江面波平水阔，帆影悠悠漾开水乡清宁。\n笔墨兼南北之妙，山石以硬朗勾勒配浅淡皴擦，既塑出雄奇山势，又以水墨晕染衬出山岚水汽的空濛柔润。整体意境兼具山野深幽与江天开阔，将盛夏山林的蓬勃生机与静谧空寂相融，尽显山水间的诗意野趣，藏着宋画写实又写意的隽永意韵。",[23,100,24,25,26,59,28,7,30,34,31,62,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923d6bb1796e097af3fbb0e3372b8990.jpg",[],{"id":15764,"slug":15765,"title":15766,"dynasty":177,"author":5740,"museum":119,"description":15767,"tags":15768,"thumbUrl":15769,"material":127,"size":127,"collection":127,"collections":15770,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},230298,"fang-ni-zan-shan-shui-ce-cha-shi-biao-230298","仿倪瓒山水册","此作用淡墨轻写，意境萧疏清寂。双松挺峙画面中心，枝干枯笔皴擦，清瘦古劲，松针簇簇写意点染，简而有神。旁侧湖石奇崛，勾勒皴擦极简，尽显玲珑古拙之态。远山以淡墨晕染留白，虚实相生，漾着空濛淡远之致。边角茅舍板桥静立，不见人影却暗合幽居雅意，暗承逸笔草草的旨趣。全幅笔墨松灵简净，淡墨轻岚间尽显林下幽冷出尘的意趣，于极简淡的尺幅里，藏着澹然出尘的文人情思。",[24,59,65,122,101,66,164,7,125,264,533,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ea8fd0934d7a09654b2d44ef119846.jpg",[],{"id":15772,"slug":15773,"title":15774,"dynasty":177,"author":301,"museum":119,"description":15775,"tags":15776,"thumbUrl":15777,"material":127,"size":127,"collection":127,"collections":15778,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,149,28,29,7,103,63,4192,413,2505,1522,734,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":15780,"slug":15781,"title":15782,"dynasty":54,"author":945,"museum":135,"description":15783,"tags":15784,"thumbUrl":15785,"material":169,"size":15786,"collection":71,"collections":15787,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":379},228481,"guan-pu-tu-zhou-tang-yin-228481","观瀑图轴","画面上方描绘瀑布倾泻而下，正是李白《望庐山瀑布水（二首）》其二中的名句“飞流直下三千尺，疑是银河落九天”的意境。近景浓荫之下，巨石突兀，一文士仰卧其上，满目青翠欲滴的树色，远望则千岩万壑。想必那水声、树声交织出的华美乐章令画中人沉醉。此图构图雄奇，笔法狂放，或横，或竖，或卷，不拘一格，任意挥洒，看似草草，实则内蕴雄浑沉厚的张力。",[24,25,149,59,7,199,34,64,103,61,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d863025c22e5c994d3525d679e99f5.jpg","103.6x30.3",[71],{"id":15789,"slug":15790,"title":15791,"dynasty":80,"author":160,"museum":119,"description":15792,"tags":15793,"thumbUrl":15795,"material":127,"size":127,"collection":127,"collections":15796,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":49},228083,"shuang-song-tu-wang-meng-228083","双松图","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[23,100,24,25,149,59,65,223,583,64,7,34,347,15794],"土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],{"id":15798,"slug":15799,"title":15800,"dynasty":177,"author":3760,"museum":369,"description":15801,"tags":15802,"thumbUrl":15803,"material":15804,"size":15805,"collection":71,"collections":15806,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},224463,"shui-ge-you-shan-tu-wang-hui-224463","水阁幽山图","作者称此图仿云西老人（曹知白）画法。曹知白工画山水，兼师宋李成、郭熙、董源、巨然诸古代大家。然此图并非具体临摹曹氏作品，乃是融合宋、元绘画的不同画法的创作。王翚曾言，以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成。该图正是典型作品之一",[23,24,7,65,59,28,1447,318,165,61,199,239,583,533,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e27b235c5ee9ec6af8ea24552f3e55.jpg","纸本、设色","纵25cm，横236cm",[71,212],{"id":15808,"slug":15809,"title":15810,"dynasty":177,"author":2075,"museum":119,"description":15811,"tags":15812,"thumbUrl":15813,"material":15814,"size":15815,"collection":71,"collections":15816,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":49},224408,"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,25,164,28,65,7,30,199,201,34,35,2845,239,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[71,927,45],{"id":15818,"slug":15819,"title":15820,"dynasty":177,"author":15821,"museum":119,"description":15822,"tags":15823,"thumbUrl":15824,"material":127,"size":127,"collection":127,"collections":15825,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},224354,"lin-quan-chun-mu-tu-zhou-jian-jiang-224354","林泉春暮图轴","渐江","此作用笔瘦硬峭拔，以极简勾勒写危崖峻立，皴擦淡简却见山石棱骨清奇。崖间古木槎枒、幽居隐现，水岸扁舟系于浅汀，茅舍独处一隅，寥寥数笔便晕开暮春空山的静寂清寒。\n\n画面留白空灵通透，淡墨轻岚里裹挟着出尘禅意，题诗与画意相融，将杜鹃啼暮的春深意趣和林泉幽隐的襟怀合而为一。笔底萧疏淡远，把江南山水的冷雅秀逸，化作洗尽铅华的林下高致，尽显静穆出尘的画中真意。",[23,24,25,149,59,65,123,7,64,34,35,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e89fcb2f45dbcaccf688fec7a72e8a.jpg",[],{"id":15827,"slug":15828,"title":15829,"dynasty":177,"author":3973,"museum":135,"description":15830,"tags":15831,"thumbUrl":15833,"material":349,"size":15834,"collection":71,"collections":15835,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},223118,"qiu-shan-xiao-si-zhou-dong-bang-da-223118","秋山萧寺轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,7,59,149,65,64,34,61,15832,35,60],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffd24cfe5738efc1434df698a67139a.jpg","159.3x83.9",[71,212],{"id":15837,"slug":15838,"title":15839,"dynasty":54,"author":13805,"museum":20,"description":15840,"tags":15841,"thumbUrl":15842,"material":1865,"size":15843,"collection":71,"collections":15844,"showCount":15666,"zanCount":961,"manualWeight":48,"mainColor":75},222160,"kuo-zhu-yao-feng-tu-zhou-li-zai-222160","阔渚遥峰图轴","此作曾经被误定为北宋郭熙所绘，后在画面上发现李在的印记，于是正名。\n作品取全景式山水，气势宏阔，皴笔细密扎实，墨韵浑厚，画树木呈“蟹爪枝”状，从意境和笔法来看，确实与郭熙极为相似，是典型的北派山水面貌。",[23,24,100,149,7,65,104,60,61,62,125,64,34,35,1778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb459656d4d1747466ba4346c2db73e.jpg","纵165.2厘米，横90.4厘米",[71,212],{"id":15846,"slug":15847,"title":15848,"dynasty":18,"author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此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,24,25,149,59,28,65,7,34,64,31,35,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","12×48.7厘米",[71,45],{"id":15879,"slug":15880,"title":15881,"dynasty":54,"author":1096,"museum":135,"description":3545,"tags":15882,"thumbUrl":15883,"material":3548,"size":127,"collection":71,"collections":15884,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},220933,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册",[100,24,25,164,122,7,878,264,59,65,101,67,87,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg",[71,212],{"id":15886,"slug":15887,"title":15888,"dynasty":2272,"author":6800,"museum":15889,"description":15890,"tags":15891,"thumbUrl":15892,"material":127,"size":127,"collection":127,"collections":15893,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},220581,"shan-hu-shui-qing-qi-huang-bin-hong-220581","山湖水清气","Hong Kong Museum of Art","此作用笔苍浑华滋，以焦墨积染绘近处茂林，层叠草木间晕开青绿淡赭，将山野蓬勃生机尽数铺展。水畔茅舍静立，泊岸小舟轻倚，行船渔者悠然划破水面，动静相生，把山居渔隐的闲逸揉入湖山之间。\n\n远景山峦以淡墨轻勾，朦胧清浅，与近景的浓郁苍郁形成虚实对照，留白处晕出水气氤氲的浩渺湖面，清润之意扑面而来。笔墨兼具浑厚与灵秀，将江南山湖的清寂温润凝于笔底，仿若踏入这幽宁天地，浸在清润山野气息中，漫品这份静谧悠然的林下意趣。",[23,24,59,28,65,7,34,31,62,12027,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b60bc42a4857c41184dcc898aecd8d.jpg",[],{"id":15895,"slug":15896,"title":15897,"dynasty":54,"author":55,"museum":650,"description":651,"tags":15898,"thumbUrl":15900,"material":349,"size":11608,"collection":127,"collections":15901,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},220028,"dong-zhuang-tu-ce-zhi-mai-shan-shen-zhou-220028","东庄图册之麦山",[23,24,59,65,164,7,34,35,15899],"麦田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0570bce3a0471b6a4cdf4fab5fb6e623.jpg",[],{"id":15903,"slug":15904,"title":15905,"dynasty":80,"author":6897,"museum":6577,"description":15906,"tags":15907,"thumbUrl":15908,"material":169,"size":15909,"collection":71,"collections":15910,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,100,24,25,149,59,65,7,60,61,64,34,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[71],{"id":15912,"slug":15913,"title":15914,"dynasty":54,"author":945,"museum":396,"description":15915,"tags":15916,"thumbUrl":15917,"material":169,"size":15918,"collection":71,"collections":15919,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[24,26,59,28,7,1458,34,35,33,167,65,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[71],{"id":15921,"slug":15922,"title":2095,"dynasty":54,"author":580,"museum":396,"description":15923,"tags":15924,"thumbUrl":15925,"material":169,"size":15926,"collection":71,"collections":15927,"showCount":15666,"zanCount":961,"manualWeight":48,"mainColor":75},219772,"han-lin-tu-wen-zheng-ming-219772","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,59,149,65,7,372,125,64,61,766,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[71],{"id":15929,"slug":15930,"title":15931,"dynasty":18,"author":604,"museum":6577,"description":15932,"tags":15933,"thumbUrl":15934,"material":69,"size":15935,"collection":42,"collections":15936,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},219697,"shang-shan-si-hao-tu-ma-yuan-219697","商山四皓图","《商山四皓图》绘秦末汉初隐居于商山（今陕西省商洛市境内）的四位高士之超迈风神。画中绘冈峦起伏、老树横斜之景，四位高士或策杖而立，或对弈酣战，俊逸磊落。全卷以水墨绘成，山石用马远标志性的“大斧劈皴”，笔法流畅淋漓，苍劲有力。即便该作并非马远亲笔，就其珍贵的艺术性和历史价值，仍应为世人所重。",[23,24,25,2538,29,28,103,7,34,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4b037bb9f139acf9d6f48ab5a68345.jpg","纵33.0厘米 横307.3厘米",[42,44],{"id":15938,"slug":15939,"title":15940,"dynasty":80,"author":7127,"museum":1497,"description":15941,"tags":15942,"thumbUrl":15943,"material":139,"size":127,"collection":44,"collections":15944,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":940},219396,"ce-ma-jiang-pan-tu-zhao-yong-219396","策马江畔图","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,28,29,103,335,165,7,1815,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c44a61a340e34488548d8875de51ea0.jpg",[44],{"id":15946,"slug":15947,"title":15948,"dynasty":18,"author":2391,"museum":275,"description":15949,"tags":15950,"thumbUrl":15951,"material":69,"size":15952,"collection":308,"collections":15953,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":49},219133,"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[100,24,25,2484,28,7,3988,2962,64,61,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[308],{"id":15955,"slug":15956,"title":3097,"dynasty":18,"author":178,"museum":135,"description":15957,"tags":15958,"thumbUrl":15959,"material":139,"size":15960,"collection":42,"collections":15961,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},218852,"kong-shan-guan-pu-tu-yi-ming-218852","画面上画的是悬崖上的松树，枝干粗壮，分叉有致，一位高僧坐在松树下的空位上，看着叮咚作响的泉水，俗话说得好。智者乐水。这幅画复制了李唐和夏圭的笔法，但笔法过分转折，可能是明代浙派画家的作品。",[23,24,25,100,59,65,7,199,583,239,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[42],{"id":15963,"slug":15964,"title":15965,"dynasty":80,"author":1962,"museum":135,"description":15966,"tags":15967,"thumbUrl":15968,"material":139,"size":127,"collection":127,"collections":15969,"showCount":15666,"zanCount":1080,"manualWeight":48,"mainColor":75},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,24,25,2484,28,7,34,60,61,37,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":15971,"slug":15972,"title":15973,"dynasty":80,"author":15974,"museum":6665,"description":15975,"tags":15976,"thumbUrl":15978,"material":139,"size":15979,"collection":308,"collections":15980,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":49},218742,"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[23,100,24,25,59,65,7,106,372,5932,15977,167],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[308],{"id":15982,"slug":15983,"title":15984,"dynasty":811,"author":1137,"museum":135,"description":15985,"tags":15986,"thumbUrl":15987,"material":596,"size":15988,"collection":71,"collections":15989,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,24,25,59,28,7,63,318,34,239,37,65,815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[71],{"id":15991,"slug":15992,"title":15993,"dynasty":18,"author":234,"museum":135,"description":15994,"tags":15995,"thumbUrl":15997,"material":139,"size":15998,"collection":71,"collections":15999,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":75},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[24,25,59,28,65,7,9031,9434,62,64,34,37,2855,167,720,15996],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[71],{"id":16001,"slug":16002,"title":909,"dynasty":80,"author":8313,"museum":135,"description":16003,"tags":16004,"thumbUrl":16005,"material":139,"size":16006,"collection":71,"collections":16007,"showCount":15666,"zanCount":961,"manualWeight":48,"mainColor":49},218462,"shan-shui-tu-tang-di-218462","岩石被涂成了小绿，而特写中通往房子的楼梯被涂上了边框，这是一种干净整洁的技术。桌椅的轮子上涂有红色的朱砂，与石头的绿色相映成趣，给人一种古老而优雅的感觉。",[23,24,100,7,27,28,103,104,125,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb9e8dcf01ecc2b0641455fe02e2a43.jpg","114x57.5",[71],{"id":16009,"slug":16010,"title":16011,"dynasty":177,"author":3760,"museum":20,"description":16012,"tags":16013,"thumbUrl":16014,"material":69,"size":16015,"collection":71,"collections":16016,"showCount":15666,"zanCount":1080,"manualWeight":48,"mainColor":75},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[23,24,25,149,59,65,7,34,583,64,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[71],{"id":16018,"slug":16019,"title":3375,"dynasty":54,"author":16020,"museum":161,"description":16021,"tags":16022,"thumbUrl":16023,"material":139,"size":16024,"collection":71,"collections":16025,"showCount":15666,"zanCount":961,"manualWeight":48,"mainColor":49},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[100,24,25,7,122,28,65,59,318,34,35,61,239,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[71],{"id":16027,"slug":16028,"title":16029,"dynasty":80,"author":178,"museum":56,"description":16030,"tags":16031,"thumbUrl":16032,"material":139,"size":16033,"collection":71,"collections":16034,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":49},218220,"xue-xi-mai-yu-tu-yi-ming-218220","雪溪卖鱼图","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[24,25,2484,59,28,7,34,35,103,9920,765,61,373,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb9e36dd9d614a500c0ddfca9e4b48b.jpg","25.2x24.6cm",[71],{"id":16036,"slug":16037,"title":16038,"dynasty":54,"author":178,"museum":396,"description":16039,"tags":16040,"thumbUrl":16046,"material":139,"size":127,"collection":71,"collections":16047,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":49},217262,"jiang-nan-nong-shi-tu-yi-ming-217262","江南农事图","江南农事图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了江南农村的生活场景，包括农田耕作、收割、加工、运输、种植和养殖等内容。\n\n图画中有许多细节生动地展现了当时农村的生活方式。例如，图中的农夫们正在用牛耕地、用手提灌溉水桶灌溉农田，农妇们则在用手提筐采摘水果和蔬菜。图中还有农民们用手车运输农产品\n的场景。\n\n江南农事图还描绘了许多农村的建筑物，例如水井、磨坊、茅草屋等。这些建筑物是农民们生活中不可或缺的部分，在图中也得到了生动的展现。\n\n总之，江南农事图是一幅生动形象的作品，展现了明朝时期江南农村生活的精彩细节。它不仅是一幅艺术杰作，同时也是对历史的珍贵记录。",[23,24,100,28,16041,6951,1586,103,16042,16043,16044,7,16045],"农耕","茅草屋","水井","磨坊","农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364f4bcc6551cb321b7a8a08cdfe4ee.jpg",[71],{"id":16049,"slug":16050,"title":16051,"dynasty":54,"author":96,"museum":119,"description":16052,"tags":16053,"thumbUrl":16054,"material":139,"size":127,"collection":127,"collections":16055,"showCount":15666,"zanCount":48,"manualWeight":48,"mainColor":49},216290,"er-shi-si-xiao-tu-5-chou-ying-216290","二十四孝图-5","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[24,25,29,28,103,7,372,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c3a9804fb203921bac19a332163675.jpg",[],{"id":16057,"slug":16058,"title":16059,"dynasty":54,"author":55,"museum":119,"description":1845,"tags":16060,"thumbUrl":16061,"material":337,"size":937,"collection":127,"collections":16062,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":75},290882,"hua-bai-cai-shen-zhou-290882","画白菜",[24,59,164,7,878,60,61,34,85,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd825cee9559ff66734a5ef59f26de2b.jpg",[],46,{"id":16065,"slug":16066,"title":16067,"dynasty":80,"author":1410,"museum":119,"description":16068,"tags":16069,"thumbUrl":16070,"material":337,"size":937,"collection":127,"collections":16071,"showCount":16063,"zanCount":1080,"manualWeight":48,"mainColor":49},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[24,25,149,59,7,62,264,106,103,61,34,101,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],{"id":16073,"slug":16074,"title":16075,"dynasty":177,"author":16076,"museum":119,"description":16077,"tags":16078,"thumbUrl":16080,"material":337,"size":937,"collection":127,"collections":16081,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":49},290394,"chang-cheng-nei-wai-li-zhou-qian-song-nie-290394","长城内外立轴","钱松喦","此作用笔苍厚老辣，以浓墨重笔皴染危崖巨嶂，长城如苍龙盘亘山脊，雄姿尽显。山间留白晕染流云雾气，虚实相生里拉开空间层次。\n\n画作打破传统山水的古意局限，将山脊上的新旧烽塔、山下的新式厂区与高原驼队并置，把山河厚重的古韵与新生的蓬勃生机融为一体，既保留了传统山水画的悠远意境，又以细腻视角定格时代变迁，让长城不再只是关山隘口的符号，更成为连接古今、见证山河新生的载体，尽显家国山河的壮阔温情。",[23,24,149,7,28,59,65,16079,238,37,85,335,101],"长城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f285f6425982a1654d5b14d945ea01.jpg",[],{"id":16083,"slug":16084,"title":16085,"dynasty":177,"author":1801,"museum":119,"description":16086,"tags":16087,"thumbUrl":16088,"material":337,"size":937,"collection":127,"collections":16089,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":75},290003,"mei-hua-shu-wu-tu-zhou-hong-ren-290003","梅花书屋图轴","该图画一座房屋，一棵梅树，景物简洁。该图干墨皴擦，但在亭子上用淡墨渲染，形成大对比。用笔很少，但意趣很丰富。",[24,59,149,2446,372,630,66,101,878,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157a432cd94e76aaf0d5824a4e063eb9.jpg",[],{"id":16091,"slug":16092,"title":16093,"dynasty":54,"author":2524,"museum":119,"description":16094,"tags":16095,"thumbUrl":16096,"material":337,"size":937,"collection":127,"collections":16097,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":75},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[24,164,7,59,28,630,102,60,106,63,62,35,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],{"id":16099,"slug":16100,"title":16101,"dynasty":18,"author":2535,"museum":119,"description":16102,"tags":16103,"thumbUrl":16106,"material":337,"size":937,"collection":127,"collections":16107,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},289788,"shen-tang-qin-qu-tu-ma-lin-289788","深堂琴趣图","此图描写山斋数楹，葱树掩映，一人于堂中抚琴，二鹤在琴声中闲步。远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。",[23,2484,24,100,28,29,7,104,60,34,16104,2414,16105,101],"厅堂","雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f01482f6dbe10ed17a90037b2e3219.jpg",[],{"id":16109,"slug":16110,"title":1572,"dynasty":18,"author":234,"museum":119,"description":16111,"tags":16112,"thumbUrl":16113,"material":337,"size":937,"collection":127,"collections":16114,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":49},288643,"shu-se-ping-yuan-tu-guo-xi-288643","描绘的是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。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《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。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。",[100,24,25,26,59,7,125,63,60,62,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cf467d4d396a0fbafbe38d1de4739.jpg",[],{"id":16116,"slug":16117,"title":159,"dynasty":177,"author":16118,"museum":119,"description":16119,"tags":16120,"thumbUrl":16121,"material":127,"size":127,"collection":71,"collections":16122,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},238137,"shan-shui-ce-yun-xi-238137","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,28,7,65,164,372,35,60,61,64,32,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d89a59d4ebcdbd28b9133d9dda8babf.jpg",[71,45],{"id":16124,"slug":16125,"title":8592,"dynasty":177,"author":4707,"museum":56,"description":16126,"tags":16127,"thumbUrl":16128,"material":349,"size":127,"collection":71,"collections":16129,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":75},237413,"shan-shui-tu-zhou-kun-can-237413","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,59,65,149,7,125,607,103,334,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56594c944a308240a31198566a2cbc4f.jpg",[71],{"id":16131,"slug":16132,"title":9558,"dynasty":80,"author":616,"museum":20,"description":16133,"tags":16134,"thumbUrl":16138,"material":2147,"size":9563,"collection":127,"collections":16139,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":49},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[24,25,149,59,7,16135,16136,4563,399,16137,372,35,64,61,8249,67,264],"干笔皴擦","留白","林亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg",[],{"id":16141,"slug":16142,"title":3490,"dynasty":80,"author":81,"museum":20,"description":3491,"tags":16143,"thumbUrl":16144,"material":375,"size":3494,"collection":127,"collections":16145,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745",[24,25,149,7,59,65,2813,34,583,64,238,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg",[],{"id":16147,"slug":16148,"title":16149,"dynasty":18,"author":234,"museum":20,"description":16150,"tags":16151,"thumbUrl":16152,"material":1865,"size":16153,"collection":127,"collections":16154,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":75},232992,"chun-jiang-fan-bao-tu-ye-guo-xi-232992","春江帆饱图页","《春江帆饱图》传为郭熙作品，其画风也与郭熙相似。原载《四朝选藻册》，绘远岫高松，中分一水。右岸竹离茅舍，窜石丛林。岸边二帆船停泊。远方夕阳西下，江水如潮。二小船饱帆破浪前进，从而点出了画面的主题。图中远山用淡墨勾染，浓墨点小树，松树，帆船用细笔勾描。全图笔法缜密严谨，画风学郭熙一派而又另立新意，不愧是宋期小幅山水的佳作。画面无款。对幅有清高宗弘历的题诗。此作曾经清内府收藏，《石渠宝笈续编》著录。",[24,25,164,7,59,65,62,125,64,61,34,1673,2856,167,15552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757940eae81773af499baea0cc31c22e.jpg","纵26.2厘米，横27厘米",[],{"id":16156,"slug":16157,"title":16158,"dynasty":177,"author":6184,"museum":56,"description":16159,"tags":16160,"thumbUrl":16161,"material":87,"size":16162,"collection":127,"collections":16163,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":49},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,304,29,28,7,104,63,34,64,1815,60,559,278,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 厘米",[],{"id":16165,"slug":16166,"title":16167,"dynasty":8332,"author":178,"museum":119,"description":16168,"tags":16169,"thumbUrl":16170,"material":337,"size":937,"collection":127,"collections":16171,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":49},230546,"shan-shui-ping-feng-yi-ming-230546","山水屏风","泥金为底，石青石绿晕染出层叠丘壑，斑驳残损的绢面晕开岁月晕染的朦胧诗意。画面铺展开合间，远岫浮空，浅渚横陈，近岸疏林错落，将山野清趣与人间烟火揉为一体。\n\n林间隐着村居茅舍，有人正于门前流连；一侧道旁，行旅牵马暂歇，三两山客徐行林麓。没有枯寂的出世幽冷，反将隐逸山居的闲静与俗世行旅的暖意相融，笔致简淡却意韵悠长。古旧的肌理裹着山水古意，让丘壑烟岚与市井日常温柔相逢，漫溢出沉静古朴的雅致意趣。",[23,24,25,28,27,7,165,103,335,35,318,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86e9104c686a6523976541b0b99df0c.jpg",[],{"id":16173,"slug":16174,"title":16175,"dynasty":177,"author":395,"museum":119,"description":16176,"tags":16177,"thumbUrl":16178,"material":127,"size":127,"collection":127,"collections":16179,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},228976,"shan-shui-ce-12-kai-shi-tao-228976","山水册12开","此帧取峡谷行舟之景，以淡赭浅绿晕染峰峦，笔墨清润秀雅。江流蜿蜒淌过春色，两岸崖石简括空灵，枯槎倒挂于危岩，野趣暗生。扁舟篷屋静立，舟子缓棹行于碧波，将羁旅闲意揉进烟岚里。\n\n左侧题诗与山水相契，把远客随波逐流的幽寂心境藏在空濛山色中。画师以灵动简约的笔法，融山川清旷与江湖行旅的澹泊诗意于一纸。不着浓艳重彩，仅以浅墨淡彩铺陈暮春江峡的柔婉空蒙，寥寥数笔便勾画出天地间的悠然意趣，引观者随舟驶入这片清远绝尘的山水烟霞，沉醉于疏朗安闲的世外情致之中。",[24,25,164,28,59,7,62,61,64,34,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eda3d02caac8e2863fc2d9a4078a1ad.jpg",[],{"id":16181,"slug":16182,"title":3646,"dynasty":54,"author":16183,"museum":119,"description":16184,"tags":16185,"thumbUrl":16186,"material":127,"size":127,"collection":127,"collections":16187,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},228349,"zhu-lin-tu-tao-hong-228349","陶红","以水墨晕写坡岸幽篁，修竹错落层叠，运笔秀劲灵动，竹叶以个字、介字点簇，笔断意连，尽显竹之清逸风骨。浅墨轻笼烟岚远山，淡赭晕染坡脚水岸，虚实相生间铺展出空濛雅致的林麓之景。\n\n山石以淡墨勾勒皴擦，简淡不饰雕琢，留白拓出水天相融的空阔意境，将文人画尚简重意的意趣融于尺幅间。观之如临幽林，似聆林风穿叶，清寂淡远的林下雅韵扑面而来，尽显静穆淡远的林下幽居之趣。",[24,25,59,630,7,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b74b593200ac6a53a7c1f309a38c8b.jpg",[],{"id":16189,"slug":16190,"title":16191,"dynasty":80,"author":1962,"museum":135,"description":16192,"tags":16193,"thumbUrl":16194,"material":87,"size":16195,"collection":127,"collections":16196,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":49},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,25,149,28,65,7,104,34,64,201,347,167,3796,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],{"id":16198,"slug":16199,"title":9902,"dynasty":18,"author":194,"museum":119,"description":16200,"tags":16201,"thumbUrl":16202,"material":127,"size":127,"collection":127,"collections":16203,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":49},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","北宋，范宽作, 绢本设色，传范宽，纵182.4 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树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[23,24,25,28,7,65,318,319,165,104,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[71,45],{"id":16235,"slug":16236,"title":16237,"dynasty":177,"author":1825,"museum":119,"description":16238,"tags":16239,"thumbUrl":16240,"material":127,"size":127,"collection":127,"collections":16241,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,24,25,149,59,65,122,7,199,34,104,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":16243,"slug":16244,"title":16245,"dynasty":177,"author":3760,"museum":424,"description":16246,"tags":16247,"thumbUrl":16248,"material":16249,"size":15805,"collection":71,"collections":16250,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,24,25,26,59,28,7,65,66,67,101,318,319,583,104,34,264,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纸本，淡设色",[71,212],{"id":16252,"slug":16253,"title":16254,"dynasty":54,"author":15469,"museum":704,"description":16255,"tags":16256,"thumbUrl":16257,"material":225,"size":16258,"collection":71,"collections":16259,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,25,26,28,7,65,59,238,239,34,201,37,60,85,264,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[71,45],{"id":16261,"slug":16262,"title":16263,"dynasty":54,"author":15469,"museum":369,"description":16264,"tags":16265,"thumbUrl":16270,"material":5071,"size":16271,"collection":71,"collections":16272,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,26,28,65,7,64,34,104,63,60,61,37,167,5068,1616,16266,826,150,201,241,240,16267,16268,16269],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[71,45],{"id":16274,"slug":16275,"title":16276,"dynasty":54,"author":368,"museum":16277,"description":16278,"tags":16279,"thumbUrl":16280,"material":40,"size":16281,"collection":127,"collections":16282,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":49},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","河北省博物馆","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,24,149,7,65,28,318,319,62,34,104,64,31,534,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":16284,"slug":16285,"title":16286,"dynasty":54,"author":14078,"museum":20,"description":16287,"tags":16288,"thumbUrl":16289,"material":16290,"size":16291,"collection":71,"collections":16292,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":49},222418,"yu-zhou-du-shu-tu-zhou-jiang-song-222418","渔舟读书图轴","画家用简练概括的手法，表现群山绕湖、轻舟横渡的清旷之景。湖面上一条篷船荡漾，船尾一人静坐读书，船头渔夫用力撑篙，钓竿斜插于船上，表现了文人士大夫闲适安逸的生活情趣。在画法风格上，山石虽有斧劈皴的痕迹，但不像马远、夏圭那样坚硬外露，而是落笔草草，水墨晕染浓淡相宜，此为蒋嵩粗笔水墨山水画的典型之作。",[23,24,25,149,59,28,7,62,103,34,239,61,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a10da506d8018ca9417d66edb6c543f.jpg","绢本设色粗笔墨","纵171厘米，横107.5厘米",[71,212],{"id":16294,"slug":16295,"title":16296,"dynasty":18,"author":234,"museum":4678,"description":11818,"tags":16297,"thumbUrl":16298,"material":16299,"size":16300,"collection":42,"collections":16301,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},221287,"dai-du-tu-ye-guo-xi-221287","待渡图页",[23,24,25,164,59,28,7,372,62,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946bc8b1acd959ef038570ca597f5d99.jpg","册页绢本设色","26.1x30.4厘米",[42,71,212],{"id":16303,"slug":16304,"title":11221,"dynasty":177,"author":3760,"museum":1542,"description":16305,"tags":16306,"thumbUrl":16307,"material":169,"size":16308,"collection":71,"collections":16309,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,59,28,65,7,64,34,61,63,3865,238,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[71],{"id":16311,"slug":16312,"title":16313,"dynasty":177,"author":4747,"museum":20,"description":16314,"tags":16315,"thumbUrl":16316,"material":69,"size":16317,"collection":71,"collections":16318,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,100,24,25,26,59,65,7,34,37,31,62,167,3658,38,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[71,45],{"id":16320,"slug":16321,"title":16322,"dynasty":54,"author":55,"museum":650,"description":651,"tags":16323,"thumbUrl":16324,"material":349,"size":655,"collection":127,"collections":16325,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},220029,"dong-zhuang-tu-ce-zhi-guo-lin-shen-zhou-220029","东庄图册之果林",[23,24,59,164,65,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7883293037442bb32ef56c41bce1454.jpg",[],{"id":16327,"slug":16328,"title":16329,"dynasty":54,"author":55,"museum":650,"description":651,"tags":16330,"thumbUrl":16331,"material":69,"size":655,"collection":127,"collections":16332,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":49},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[23,24,25,164,59,65,7,60,61,62,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":16334,"slug":16335,"title":7039,"dynasty":80,"author":1410,"museum":135,"description":16336,"tags":16337,"thumbUrl":16338,"material":169,"size":16339,"collection":71,"collections":16340,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":75},219964,"shu-lin-yuan-shan-tu-wu-zhen-219964","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[23,24,100,25,7,59,65,167,7043,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[71],{"id":16342,"slug":16343,"title":16344,"dynasty":18,"author":1715,"museum":20,"description":16345,"tags":16346,"thumbUrl":16347,"material":69,"size":16348,"collection":44,"collections":16349,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,26,28,29,67,101,103,7,264,2127,2505,13318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[44],{"id":16351,"slug":16352,"title":16353,"dynasty":54,"author":7927,"museum":135,"description":16354,"tags":16355,"thumbUrl":16356,"material":139,"size":127,"collection":71,"collections":16357,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":49},219472,"si-hao-tu-xie-shi-chen-219472","四皓图","幅中所绘，是秦汉间隐居于商山的四位老人悠闲的生活。他们或下棋，或闲步。四围则是云雾蒸腾，溪泉潺潺，松树盘踞，驯鹿嬉游，山石险阻，与外隔绝，似是为高人隐士所设的福地洞天。用笔苍劲有力，墨色变化丰富，气势雄浑。以画水闻名的谢时臣，尤其长于表现云烟之变幻多端。",[24,334,7,318,319,1655,165,979,223,149,87,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[71],{"id":16359,"slug":16360,"title":16361,"dynasty":54,"author":14936,"museum":135,"description":16362,"tags":16363,"thumbUrl":16364,"material":59,"size":127,"collection":212,"collections":16365,"showCount":16063,"zanCount":961,"manualWeight":48,"mainColor":49},219373,"shan-shui-tu-dan-chi-qiao-ge-wang-wen-219373","山水图-丹池樵歌","山峦层叠如浪涌，皴笔与墨染交织，苍润中透着秀逸之气。峰麓间林木葱茏，几椽屋舍隐于幽径旁，似藏着尘外闲情。右下角人影孑立，许是负薪而归的樵者，虽无歌声入耳，却能从那悠然的姿态里，想见林泉间清歌回荡。淡墨晕出空濛氛围，山石的厚重与林木的疏朗相映，既显自然雄浑，又含文人雅致。丹池边的樵歌意趣，融于山水静谧之中，仿佛踏入一片远离尘嚣的桃源，心随画境渐次安宁。",[24,28,65,149,7,34,103,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f213dfe3146bfc7ca66ed0f86cc217.jpg",[212],{"id":16367,"slug":16368,"title":909,"dynasty":54,"author":2842,"museum":3962,"description":16369,"tags":16370,"thumbUrl":16371,"material":16372,"size":127,"collection":71,"collections":16373,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":75},219099,"shan-shui-tu-zhang-hong-219099","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,100,24,25,149,59,65,7,318,319,34,35,37,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[71],{"id":16375,"slug":16376,"title":909,"dynasty":80,"author":9857,"museum":135,"description":16377,"tags":16378,"thumbUrl":16380,"material":169,"size":16381,"collection":71,"collections":16382,"showCount":16063,"zanCount":48,"manualWeight":48,"mainColor":49},218826,"shan-shui-tu-fang-cong-yi-218826","这幅画显示了云层耸立在山峰之上，笔触犀利而清晰。人们怀疑这幅画被后来的人裁剪过，而且画的下部有很大一部分缺失，其含义也不完整。张大千捐赠",[23,24,25,59,65,7,64,34,607,125,16379],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[71],{"id":16384,"slug":16385,"title":932,"dynasty":18,"author":592,"museum":135,"description":16386,"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n-pan-shi-tu-li-cheng-289657","松泉磐石图","访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[23,24,100,149,59,7,583,5657,264,372,61,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f220f1417c19f0f96eedf7c750a5ade.jpg",[],{"id":16460,"slug":16461,"title":16462,"dynasty":18,"author":274,"museum":119,"description":16463,"tags":16464,"thumbUrl":16466,"material":337,"size":937,"collection":127,"collections":16467,"showCount":74,"zanCount":961,"manualWeight":48,"mainColor":49},287701,"lan-ting-xiu-qi-tu-juan-li-gong-lin-287701","兰亭修契图卷","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。",[23,24,26,100,28,103,7,1616,64,16465,2329,473,67,66],"兰亭修禊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046924a3ed3772eda7257e744e0eb0d8.jpg",[],{"id":16469,"slug":16470,"title":3535,"dynasty":18,"author":4777,"museum":119,"description":16471,"tags":16472,"thumbUrl":16473,"material":337,"size":937,"collection":127,"collections":16474,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},287639,"shui-cun-tu-zhao-ling-rang-287639","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[100,24,25,149,28,27,7,60,61,62,125,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56a88b1052bfbea871f84835d854fc0.jpg",[],{"id":16476,"slug":16477,"title":16478,"dynasty":177,"author":1925,"museum":20,"description":16479,"tags":16480,"thumbUrl":16481,"material":16482,"size":16483,"collection":927,"collections":16484,"showCount":74,"zanCount":961,"manualWeight":48,"mainColor":75},240307,"shu-tao-hua-yuan-ji-juan-zhu-da-240307","书桃花源记卷","释文：\n晋武陵人渔，忘路之远近，忽逢桃花夹岸，数百步中无杂林，落英缤纷。渔人甚异之，复前行，欲穷其林。尽水源，得一山，山有小口，初极狭，才通人。复行数十步，豁然开朗。土地平旷，屋舍俨然，有良田、美池、桑竹之属。阡陌交通，鸡犬相闻。其中往来耕作，男女衣着，悉如外人。黄发垂髫，并怡然自乐。见渔人，乃大惊，问所从来，具答之。便要还家，设酒杀鸡作食。村中闻此人，咸来问讯。自云先世避秦时乱，率妻子邑人来此绝境，遂不复出焉，既与外人间隔。问今是何世，乃不知有汉，无论魏、晋。此人一一具言所闻，皆叹惋。余人各复延至其家，皆出酒食。停数日，辞去。此中人语云：“不足为外人道也。”既出，得其舟，便扶向路，处处志之。及郡下，诣太守，说如此。太守即遣人随其往，寻向所志，遂迷不复得路。南阳刘子骥，高尚士也。欣然规往，未果。后遂无问津者。丙子六月既望，纳凉在芙山房书，八大山人。\n下钤“可得神仙”、“八大山人”、“遥属”等4印。书前配有清无名氏山水画一段，尾纸有近代陈师曾、齐白石题跋二则。\n此为朱耷书录东晋陶渊明《桃花源记》之作。《桃花源记》系东晋隐逸诗人陶渊明之代表作。当时东晋朝廷腐败，内乱不止，陶渊明不欲从仕，一心归隐，故书此篇。\n朱耷身为前明宗室，面对家国之悲，民族之恨，却无力抗争，只得出家为僧。他习静修真，参研书画，以此抚慰内心的亡国之痛，故朱耷深爱《桃花源记》，时常书之，以表达其誓不与清廷合作而追求世外桃源生活之意。\n据署款，此书写于清康熙三十五年（1696年），作者时年71岁。该书学东晋王献之，兼融小篆之体，笔法纯朴圆润，笔势流畅，意尽笔止，有傲岸之情态和奇妙之格调。此作品为朱氏晚年佳作。",[23,24,25,26,59,67,7,103,5614,102,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aeebef5d9d61f7776caf9efc2c0472.jpg","纸本，行草书","纵26厘米，横211厘米",[927],{"id":16486,"slug":16487,"title":16488,"dynasty":177,"author":178,"museum":119,"description":16489,"tags":16490,"thumbUrl":16491,"material":127,"size":127,"collection":308,"collections":16492,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},238811,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238811","董诰律宣韶景册","此作绘春日花溪胜境，浅青晕染重峦，烟岚轻笼远山，虚实相生间晕出空濛雅致。溪谷桃林遍绽，丹红如云霞漫过翠嶂，柔化了峰石的硬朗。涧水穿林漱石，湍波映着花光，灵动清冽。林麓深处隐见屋舍，暗合春深幽居之趣。\n\n笔法秀雅工致，青绿设色明丽温润，以淡墨烘衬烟霭，糅合工笔精细与写意空灵，将暮春山乡的融融春意铺展纸上，观之便如身临桃源，尽览静雅恬和的东方山水意韵。",[24,25,164,28,7,65,34,64,61,102,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe181bd02ef517366b84f0e2f5bc99ff.jpg",[308,71,45],{"id":16494,"slug":16495,"title":16496,"dynasty":177,"author":16497,"museum":20,"description":16498,"tags":16499,"thumbUrl":16500,"material":127,"size":127,"collection":44,"collections":16501,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},237550,"shang-rui-xiu-gu-song-chun-tu-juan-shang-rui-237550","上睿绣谷送春图卷","上睿","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文",[24,25,26,28,29,65,7,104,103,34,64,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d5b813ae5e5ea9f4cfb1e7bcd2096a.jpg",[44],{"id":16503,"slug":16504,"title":16505,"dynasty":54,"author":1096,"museum":20,"description":16506,"tags":16507,"thumbUrl":16508,"material":16509,"size":16510,"collection":127,"collections":16511,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,25,26,59,7,65,66,101,123,34,3764,60,61,167,891,35,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":16513,"slug":16514,"title":6771,"dynasty":811,"author":5337,"museum":20,"description":16515,"tags":16516,"thumbUrl":16517,"material":40,"size":16518,"collection":127,"collections":16519,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},233964,"gao-shi-tu-juan-wei-xian-233964","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。",[24,25,26,29,304,28,65,7,103,104,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F808ff35be6fd1a88daf86e0d0ff1dac1.jpg","纵134.5厘米，横52.5厘米",[],{"id":16521,"slug":16522,"title":16523,"dynasty":177,"author":3760,"museum":119,"description":16524,"tags":16525,"thumbUrl":16526,"material":127,"size":127,"collection":127,"collections":16527,"showCount":74,"zanCount":961,"manualWeight":48,"mainColor":49},229018,"song-shan-cao-tang-tu-li-zhou-wang-hui-229018","嵩山草堂图立轴","此作以高远、深远之法铺展画面，主峰奇崛巍峨，层岩叠嶂间流泉隐现，尽显山川雄浑苍劲。苍松虬曲盘桓，枝叶繁茂掩映山居草堂，山道萦回穿梭林麓，藏露有度。山脚烟岚轻笼水渚，村居错落生息，晕染出幽寂的林下栖居意趣。\n笔墨糅合南北二宗意趣，干笔皴擦勾勒山石肌理，苔点攒簇皴染，朴拙厚重中不失秀润灵韵，将山野林泉的隐逸雅致与山川壮美联为一体，尽显林泉幽居的清逸意境。",[23,24,25,149,28,65,7,64,34,583,1458,278,535,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537957a672adead014ed280a86cc9ac3.jpg",[],{"id":16529,"slug":16530,"title":16531,"dynasty":177,"author":1872,"museum":369,"description":16532,"tags":16533,"thumbUrl":16535,"material":127,"size":127,"collection":127,"collections":16536,"showCount":74,"zanCount":961,"manualWeight":48,"mai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出版。",[23,24,25,149,59,65,7,16534,347,34,239,372],"山岗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c33871e5f3f8e6492d8428c33b2d3a.jpg",[],{"id":16538,"slug":16539,"title":5701,"dynasty":18,"author":234,"museum":119,"description":16540,"tags":16541,"thumbUrl":16542,"material":127,"size":127,"collection":127,"collections":16543,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},228914,"dai-du-tu-guo-xi-228914","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,100,24,25,26,7,65,28,60,61,62,63,34,64,103,167,707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":16545,"slug":16546,"title":16547,"dynasty":18,"author":1085,"museum":673,"description":16548,"tags":16549,"thumbUrl":16550,"material":127,"size":127,"collection":127,"collections":16551,"showCount":74,"zanCount":961,"manualWeight":48,"mainColor":49},228734,"wang-chuan-bie-shu-tu-juan-zhao-bo-ju-228734","辋川别墅图卷","以石青石绿敷染峰峦，古雅绢底晕开明丽苍润的山水气象。峰峦连绵开合，汀渚回环萦带，山居殿宇错落林泉，平湖轻舟泛波，林木蓊郁点染山野。笔法精细秀雅，青绿设色妍丽沉稳，承唐人青绿的华贵明艳，又融宋人的雅致意境，将林泉高致铺叙成一卷悠远山居长卷，把山水、村居、舟游融为和谐整体，尽显文人寄情丘山的雅逸意趣，是青绿山水里工致兼具写意的佳构。",[23,24,25,26,27,28,7,104,34,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ab89b8018cc96566364f4966f4c51.jpg",[],{"id":16553,"slug":16554,"title":422,"dynasty":54,"author":9356,"museum":119,"description":16555,"tags":16556,"thumbUrl":16557,"material":127,"size":127,"collection":127,"collections":16558,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},228365,"xiang-shan-jiu-lao-tu-zhou-chen-228365","《香山九老图》是明代画家 创作的一幅绢本设色画，该画现藏于 。\n名称：香山九老图轴 作者：周臣 年代：明代 周臣，明代中期的著名职业画家。\n他生活在成化至嘉靖年间，生卒年不详。\n字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖14年（即155年）。\n擅长画人物和山水，画法严整工细。\n他有两个学生特别著名，一个唐寅，另一个仇英，唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。\n曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。\n画山石坚凝，章法严谨，用笔纯熟。\n曾与戴进并驱，则互有所长。\n人物画也非常出色，古貌奇姿，绵密萧散，各极意态。\n南京博物院收藏的周臣代表作《柴门送别图》，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。\n周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》、《春泉山隐图》等，济南博物馆收有《访友图》，及台湾、国外大博物馆内也收藏一些作品。\n周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,25,28,29,65,103,7,583,34,239,1522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaa0c43decd43702693cac01a030852.jpg",[],{"id":16560,"slug":16561,"title":16562,"dynasty":177,"author":16563,"museum":14378,"description":16564,"tags":16565,"thumbUrl":16566,"material":349,"size":16567,"collection":308,"collections":16568,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},222823,"shan-yin-cao-tang-tu-xu-gu-222823","山阴草堂图","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。",[23,100,24,25,26,59,65,66,67,7,34,64,1458,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d1a7fdce3cd4a97891e59a5fb55386.jpg","283.6x29",[308,212],{"id":16570,"slug":16571,"title":16572,"dynasty":177,"author":301,"museum":135,"description":5347,"tags":16573,"thumbUrl":16574,"material":454,"size":5352,"collection":71,"collections":16575,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},222762,"shi-er-yue-ling-tu-3-yue-lang-shi-ning-222762","十二月令图（3月）",[23,24,25,29,28,304,7,104,60,103,2127,102,125,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb50432efba99c7f32f6febcb77dac6.jpg",[71,45],{"id":16577,"slug":16578,"title":16579,"dynasty":54,"author":7927,"museum":97,"description":16580,"tags":16581,"thumbUrl":16582,"material":59,"size":16583,"collection":127,"collections":16584,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,25,26,59,28,7,65,67,101,66,104,60,61,62,63,34,64,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 x 210厘米",[],{"id":16586,"slug":16587,"title":16588,"dynasty":54,"author":1652,"museum":135,"description":1653,"tags":16589,"thumbUrl":16590,"material":225,"size":16591,"collection":71,"collections":16592,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},221990,"xie-qin-fang-you-li-zhou-wen-zheng-ming-221990","携琴访友立轴",[23,24,25,149,59,7,60,61,64,34,347,103,201,1329,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348dbe09730d98eb99fa54d20f74dedf.jpg","纵63.4厘米，横29.2厘米",[71,212],{"id":16594,"slug":16595,"title":16596,"dynasty":80,"author":9857,"museum":20,"description":16597,"tags":16598,"thumbUrl":16599,"material":537,"size":16600,"collection":71,"collections":16601,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[23,24,59,65,149,101,66,67,7,62,61,34,239,37,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[71,212],{"id":16603,"slug":16604,"title":16605,"dynasty":18,"author":2391,"museum":20,"description":11421,"tags":16606,"thumbUrl":16607,"material":4566,"size":11424,"collection":927,"collections":16608,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},221620,"hou-chi-bi-tu-zhao-gou-shu-fu-juan-quan-juan-ma-he-zhi-221620","后赤壁图赵构书赋卷全卷",[23,24,100,26,25,67,59,65,101,62,61,125,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccaebc0284553636c09753513a1edf6.jpg",[927],{"id":16610,"slug":16611,"title":16612,"dynasty":18,"author":604,"museum":20,"description":16613,"tags":16614,"thumbUrl":16626,"material":4566,"size":16627,"collection":127,"collections":16628,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},221530,"shui-tu-juan-ma-yuan-221530","水图卷","《水图》共有十二段。除第一段因残缺半幅而无图名外，其余图名分别是：“洞庭风细”、“层波叠浪”、“寒塘清浅”、“长江万顷”、“黄河逆流”、“秋水回波”、“云生沧海”、“湖光潋滟”、“云舒浪卷”、“晓日烘山”、“细浪漂漂”。这十二段作品，专门画水，除个别幅有极少岩岸之外，其它没有任何别的景色，完全通过对水的不同姿态的描写，表现出种种不同的意境。作者对水观察的细致入微，以及创造出来的形态美感和笔墨技能，都令人惊叹不已。如“洞庭风细”，波浪如鳞，不激不怒，近大远小以至于水天一色，彷佛觉得微风习习，轻轻掠过了那开阔的湖面，使人心旷神怡，宠辱皆忘。“层波叠浪”是以颤抖的笔法，描写浪涛的起落，彷佛其下有蛟龙蛰伏。那汹涌澎湃的气势，使人精神振奋而感到豪壮。“湖光潋滟”一幅，画家以轻快流畅的笔法，画出水波的跳动，浪峰无规则的排列，显然受到乱风的吹荡，即使画家不染上红色，也使观者感到阳光明媚，不由得想起“湖光潋滟晴偏好”的杭州西湖景象来。“云舒浪卷”一幅，却又是另外一番境界。画家以凝涩的笔触，画出一个浪头，它彷佛咆哮着要腾空而起，天空中黑云滚动，与水相接，更增加有如冲锋陷阵的气概。画面虽小，而气魄宏大壮观。其它各幅，都各有不同的笔法特点和意境，就留待读者自己体会。",[23,24,26,25,59,28,7,319,183,6852,3601,16615,6969,979,16616,16617,16618,16619,16620,16621,16622,16623,16624,16625],"沧海","晓日","细浪","叠浪","逆流","回波","潋滟","浪卷","心旷神怡","豪壮","气魄宏大","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608b77553133468e4bb46dc87ada9d69.jpg","纵26.8厘米，横41.6厘米",[],{"id":16630,"slug":16631,"title":16632,"dynasty":18,"author":4777,"museum":119,"description":16633,"tags":16634,"thumbUrl":16635,"material":87,"size":16636,"collection":42,"collections":16637,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},221438,"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","趙令穰（生卒年不詳），字大年，北宋汴京（今河南開封）人，畫家。宋太祖趙匡胤五世孫。官至光州防禦使﹑崇信軍觀察留後，卒贈“開府儀同三司”，追封“榮國公”。其孫趙伯駒為宋代著名畫家，官至浙東兵馬鈐轄。趙令穰工畫山水、花果、翎毛，筆致秀麗，尤長金碧山水。遠師李思訓父子。代表作品《風雲期會圖》《春山圖》《阿閣圖》《後赤壁圖 》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[23,24,25,7,28,65,125,106,61,60,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[42],{"id":16639,"slug":16640,"title":909,"dynasty":18,"author":194,"museum":135,"description":1980,"tags":16641,"thumbUrl":16642,"material":87,"size":16643,"collection":127,"collections":16644,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},221388,"shan-shui-tu-fan-kuan-221388",[23,24,100,25,7,65,28,318,34,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c64cfa9031857b41416378a5e4b8cc.jpg","24.6x25.6",[],{"id":16646,"slug":16647,"title":16648,"dynasty":18,"author":5994,"museum":135,"description":16649,"tags":16650,"thumbUrl":16653,"material":16654,"size":16655,"collection":127,"collections":16656,"showCount":74,"zanCount":961,"manualWeight":48,"mainColor":49},221241,"song-ke-xiu-kai-tai-tu-zhou-song-ren-221241","宋缂绣开泰图轴","南宋踏踏歌行图轴为宋人缂丝作品仲裁取的一部分，能独立成篇。\n构缂、平缂交替使用。\n远处云气流动，近处山石野草情趣盎然。\n人物造型准确生动，手持击板，嘴中吟唱，轻踏脚步，逍遥自在。",[23,16651,149,28,29,103,335,13568,16652,7,4459,31,34,2911,64],"缂绣","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401a0692f0ab7135bf602629e7f6c91.jpg","织绣","349x95.8",[],{"id":16658,"slug":16659,"title":2970,"dynasty":1051,"author":3001,"museum":135,"description":16660,"tags":16661,"thumbUrl":16663,"material":292,"size":16664,"collection":71,"collections":16665,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},221094,"ming-huang-xing-shu-tu-li-zhao-dao-221094","作品描绘人马行走于崇山峻岭间。画上有乾隆三十九年（1774）的御题诗：青绿关山迥，崎岖道路长。客人各结束，行李自周详。总为名和利，那辞劳与忙。年陈失姓氏，北宋近乎惠”。《明皇幸蜀图》体现了二李画派的典型风格，时代特征明显，是反映唐代山水画面貌的重要传世作品。",[23,24,7,318,319,165,979,28,29,16662,87],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a04cfa4068831cfeaed0b412c23431.jpg","纵55.9厘米，横81厘米",[71,45],{"id":16667,"slug":16668,"title":16669,"dynasty":117,"author":16670,"museum":135,"description":16671,"tags":16672,"thumbUrl":16673,"material":28,"size":16674,"collection":71,"collections":16675,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},221013,"yun-tai-shan-tu-xun-xu-221013","云台山图","旬勗","荀勖（xù）（？～289年），字公曾。颍川颍阴（今河南省许昌市）人。三国至西晋时音律学家、文学家、藏书家，西晋开国功臣。为东汉司空荀爽曾孙。\n荀勖少年时聪慧好学。初仕于魏，为大将军曹爽掾属，后迁中书通事郎。曹爽被诛后，历任安阳令、骠骑从事中郎、廷尉正等职。又任大将军司马昭记室，屡进策谋，深见信任，与裴秀、羊祜共掌机密。西晋建立后，封济北郡侯。后拜中书监兼侍中，领著作。累官至光禄大夫、仪同三司、守尚书令。在尚书台时，核罢省中不称职之人。\n太康十年（289年），荀勖去世。获赠司徒，谥号为成。\n荀勖善于逢迎，被时人比作倾覆国家、搅乱时局的贰臣。但他为人谨慎，每有参预的国家大政，都闭口不言，不愿让别人知道他参与其中。荀勖博学多才，曾与贾充一起修订法令；掌管乐事时，又修正律吕；领秘书监时，曾与张华一同按刘向《别录》整理典籍。有文集三卷，今已佚。",[23,24,25,7,28,65,61,104,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda584db27dc18d7eff1e357a5a49a9e.jpg","73.4x98.6厘米",[71,45],{"id":16677,"slug":16678,"title":16679,"dynasty":54,"author":1096,"museum":20,"description":16680,"tags":16681,"thumbUrl":16682,"material":40,"size":16683,"collection":71,"collections":16684,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 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lection":45,"collections":16759,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},219408,"shan-shui-tu-xia-mu-chui-yin-xie-shi-chen-219408","山水图-夏木垂阴","层岩叠嶂间，飞瀑如练坠幽谷，云雾轻笼远岫，添几分空濛。近景浓荫匝地，夏木枝繁叶茂，墨色沉郁中见灵秀。茅舍隐于林麓，小桥横卧溪畔，行人缓步、屋中对坐，皆含闲适之趣。笔致兼具雄健与秀逸，山石皴擦刚劲，树木点染细密，云雾淡扫留白，层次分明。整幅画将夏日山居的清幽与生机融于一体，既见自然之壮美，亦含人文之雅韵，尽显融浙派骨力与吴门风神的独特笔墨。",[24,7,59,65,149,318,165,63,60,61,199,103,37,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80770ddfcfa65f88c30367964f7d5a6.jpg","140x62.9",[45],{"id":16761,"slug":16762,"title":16763,"dynasty":177,"author":3760,"museum":20,"description":16305,"tags":16764,"thumbUrl":16765,"material":69,"size":16766,"collection":71,"collections":16767,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},218367,"teng-bi-qiao-song-tu-wang-hui-218367","藤薜乔松图",[23,24,149,28,7,583,239,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4939b85389cc00563a2e6e13f75696e.jpg","45.4x20.5cm",[71],{"id":16769,"slug":16770,"title":16771,"dynasty":80,"author":178,"museum":135,"description":16772,"tags":16773,"thumbUrl":16774,"material":139,"size":16775,"collection":71,"collections":16776,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},218164,"lin-ting-qiu-se-tu-yi-ming-218164","林亭秋色图","沿江罔陵起伏，霜气已深，岁将暮矣。满山寒林卓力，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收纲，朝起江村，各有所事。本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空濶，气象萧疏，使人凛然而有寒意。无款印。",[23,24,197,26,65,28,7,607,125,63,167,61,3865,1695,62,34,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","纵27.3,横50.4公分",[71],{"id":16778,"slug":16779,"title":16780,"dynasty":80,"author":160,"museum":135,"description":16781,"tags":16782,"thumbUrl":16783,"material":169,"size":2984,"collection":127,"collections":16784,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":49},218122,"hua-xi-yu-yin-tu-san-wang-meng-218122","花溪渔隐图(三)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,24,25,59,65,7,62,61,165,64,373,101,347,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f2f4aff7c235556ddedd556c4afb9c.jpg",[],{"id":16786,"slug":16787,"title":1714,"dynasty":80,"author":178,"museum":135,"description":16788,"tags":16789,"thumbUrl":16790,"material":139,"size":16791,"collection":71,"collections":16792,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},218118,"shan-ju-tu-yi-ming-218118","山居图是指以山水为主题的图画。在中国画中，山水画是一种著名的画类型，表现的是山水景色以及人与自然的关系。山居图的画法细腻，注重细节，能够生动地表现出山水的美景。\n\n山居图的风格独特，画面精细，笔墨浓转淡，构图巧妙，能够生动地再现出山林间的幽静之美。这些画作通常描绘的是山林间的景色，或者是隐居僻静的山林小屋。其中，常常融入了自然和人文的元素，如树木、山峰、溪流、房屋、建筑等。",[23,24,100,25,7,59,28,65,318,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4b59ffae7cdffb934293652f9b0153.jpg","34.8x58.9cm",[71],{"id":16794,"slug":16795,"title":16796,"dynasty":54,"author":4764,"museum":1542,"description":16797,"tags":16798,"thumbUrl":16799,"material":139,"size":127,"collection":127,"collections":16800,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},218030,"za-hua-ce-2-chen-hong-shou-218030","杂画册-2","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,28,29,164,7,125,63,64,65,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38eb9371d6aa7cd61a3084575edc15.jpg",[],{"id":16802,"slug":16803,"title":16804,"dynasty":177,"author":16805,"museum":135,"description":16806,"tags":16807,"thumbUrl":16808,"material":69,"size":16809,"collection":71,"collections":16810,"showCount":74,"zanCount":48,"manualWeight":48,"mainColor":75},214720,"chun-jiang-xing-zhou-yong-rong-214720","春江行舟","永瑢","《春江行舟图》是一幅画作，出自清代画家永瑢的手笔。这幅画描绘了一个人坐在小舟里悠然自得地漫游在春天的江水中。画中的人物身着传统的汉服，头戴轻便的草帽，手拿长矛，似乎是在寻找渔获。周围的景色十分优美，江水波光粼粼，岸边的树木和花草都迎来了春天的到来，鸟儿翩翩起舞，整个画面充满了春天的气息。\n\n永瑢（1678-1735）是清代著名的画家，他的画风清新自然，擅长写意画，作品风格独特，深受人们的喜爱。他的作品《春江行舟图》被誉为其代表作之一，在当时颇受推崇，至今仍为艺术爱好者所珍视。",[24,25,164,28,7,60,61,62,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455e3dd567e1a378f0c19d2d4d2cdf6.jpg","12.2×13.9cm",[71],{"id":16812,"slug":16813,"title":16814,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":16815,"thumbUrl":16816,"material":337,"size":937,"collection":127,"collections":16817,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},289930,"dan-ya-ju-he-tu-zhou-shi-tao-289930","丹崖巨壑图轴",[24,25,59,65,7,239,583,201,103,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff090c35d7e1dcc8c4a08bd16d3b69000.jpg",[],44,{"id":16820,"slug":16821,"title":16822,"dynasty":18,"author":16823,"museum":135,"description":16824,"tags":16825,"thumbUrl":16827,"material":292,"size":16828,"collection":127,"collections":16829,"showCount":16818,"zanCount":961,"manualWeight":48,"mainColor":49},289923,"le-zhi-lun-tu-li-cong-xun-289923","乐志论图","李从训","杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[23,24,26,29,28,103,7,2559,64,34,535,571,1433,2329,16826],"日常场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1968fcee276617eabf933115635e8bbf.jpg","画幅31.4x259公分",[],{"id":16831,"slug":16832,"title":16833,"dynasty":54,"author":410,"museum":119,"description":16834,"tags":16835,"thumbUrl":16836,"material":337,"size":937,"collection":127,"collections":16837,"showCount":16818,"zanCount":961,"manualWeight":48,"mainColor":75},289753,"chun-shan-ji-cui-tu-dai-jin-289753","春山积翠图","《春山积翠图》绘一山间小径，一老者策杖缓行，侍童携琴随后，山间深处屋宇隐约。近景冈丘作古松一组，欹斜盘曲，挺立坡侧，是画面上分量最重的部分，而松荫下山路间，便是画面的主要人物。 [1] 此图画面呈“s”形布局之特点，诸景交错，产生深远感和开阔感。画中春山染绿，翠色茫茫，展现了春光中的壮丽景色。在技法上，笔墨简劲粗放，山石以大片渲染为主，加几笔勾勒和斧劈皴。",[100,24,25,149,59,7,103,4660,334,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9526f0a780eae247d4606bd9760b2cf.jpg",[],{"id":16839,"slug":16840,"title":909,"dynasty":18,"author":604,"museum":119,"description":4374,"tags":16841,"thumbUrl":16842,"material":337,"size":937,"collection":127,"collections":16843,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},289115,"shan-shui-tu-ma-yuan-289115",[24,7,62,373,59,149,61,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8347d201c40b894c64bc9949bd45292d.jpg",[],{"id":16845,"slug":16846,"title":16847,"dynasty":18,"author":288,"museum":135,"description":16848,"tags":16849,"thumbUrl":16850,"material":243,"size":937,"collection":127,"collections":16851,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},288370,"chang-jiang-wan-li-tu-qian-juan-xia-gui-288370","长江万里图前卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[23,100,24,26,59,7,65,238,2855,583,104,63,62,37,1616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e9a3edd0ece6ad4727600c15137ec4.jpg",[],{"id":16853,"slug":16854,"title":16855,"dynasty":80,"author":1962,"museum":135,"description":16856,"tags":16857,"thumbUrl":16858,"material":596,"size":16859,"collection":127,"collections":16860,"showCount":16818,"zanCount":961,"manualWeight":48,"mainColor":49},287543,"song-xi-fan-yue-zhou-sheng-mao-287543","松溪泛月轴","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[100,24,25,149,7,59,28,65,1643,61,62,125,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b41217752380df4d2fb17d949ad269.jpg","135.3x59",[],{"id":16862,"slug":16863,"title":16864,"dynasty":18,"author":717,"museum":119,"description":16865,"tags":16866,"thumbUrl":16876,"material":337,"size":937,"collection":127,"collections":16877,"showCount":16818,"zanCount":1080,"manualWeight":48,"mainColor":49},287400,"xiao-xing-ba-xia-mi-fei-287400","晓行巴峡","米芾（1051年-1107年），初名黻，后改芾，字元章，自署姓名米或为芊，祖居太原，后迁湖北襄阳，谪居润州(现江苏镇江)，时人号海岳外史，又号鬻熊后人、火正后人。北宋书法家、画家、书画理论家，与蔡襄、苏轼、黄庭坚合称“宋四家”。曾任校书郎、书画博士、礼部员外郎。\n米芾书画自成一家，枯木竹石，山水画独具风格特点。在书法也颇有造诣，擅篆、隶、楷、行、草等书体，长于临摹古人书法，达到乱真程度。 主要作品有《张季明帖》《李太师帖》《紫金研帖》《淡墨秋山诗帖》等。\n米芾所书《蜀素帖》，亦称《拟古诗帖》，是天下第八行书，被后人誉为中华第一美帖",[23,66,5055,67,16867,7,106,9598,16868,16869,16870,16871,16872,16873,16874,16875],"字帖","殿宇","烟岚","苍松","林径","野岭","宫阙","晴雨","龙宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16030e95c6e55de3a713fc2e76a24cc.jpg",[],{"id":16879,"slug":16880,"title":16881,"dynasty":177,"author":8812,"museum":20,"description":16882,"tags":16883,"thumbUrl":16884,"material":375,"size":16885,"collection":71,"collections":16886,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},239548,"ren-yi-yun-shan-ce-ma-tu-zhou-ren-yi-239548","任颐云山策马图轴","本幅自题：“山从人面起，云傍马头生。光绪丙戌长夏，山阴任颐伯年甫作图于海上寓次。”钤二白文印：“任伯年”、“任颐印”。\n又题：“霭庭仁兄先生见而谬赏即赠之就正。任颐。”钤二白文印：“任颐印”、“任伯年”。\n“丙戌”是清光绪十二年（1886年），任颐时年47岁。\n此图据李白《送友人入蜀》诗句：“山从人面起，云傍马头生”（见《全唐诗》卷一七七）拟意而作。通过描绘迎面而起的山峦，马头处浮动的白云，生动地图解了诗意，山形地势的险峻和行旅者不畏艰险的探索精神了然于目。此图在创作上摒弃了传统山水画高远、平远、深远的构图方式，以“S”形山脊为主线，突出了人、马的形象，同时也延伸了山峦的纵向走势，使画作的空间层次得以扩展，是任颐艺术成熟期的人物山水画精品之作。",[24,25,149,28,59,103,7,335,64,37,65,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddee5e93c323d07fb938845edf71c073.jpg","纵135.5厘米，横65厘米",[71,44,45],{"id":16888,"slug":16889,"title":16890,"dynasty":177,"author":16891,"museum":119,"description":16892,"tags":16893,"thumbUrl":16894,"material":127,"size":127,"collection":71,"collections":16895,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},237464,"xi-yuan-ya-ji-tu-zhou-zhang-ling-237464","西园雅集图轴","张翎","这幅全景式园林雅集图，以山石林木划分出数处雅聚小境。苍松虬劲、蕉竹扶苏，池苑溪桥蜿蜒其中。文人们三两成群，或围案观摩友人挥毫落墨，或凭栏远眺私语清谈，或坐卧林泉观鱼赏景，动静之间尽显林下风流。淡墨勾勒山石肌理，晕染出温润质感，枝叶点染细致秀逸，淡设色衬出雅致恬淡的氛围，将文人雅聚的闲散意趣与从容气度尽皆铺展于绢素之上，尽显古典文人群聚的清隽韵味。",[24,59,28,29,65,103,7,60,583,1738,64,2329,34,239,559,10154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abbe124c0e31104ad7c8467b2cb3887.jpg",[71,44],{"id":16897,"slug":16898,"title":16899,"dynasty":54,"author":16900,"museum":20,"description":16901,"tags":16902,"thumbUrl":16903,"material":349,"size":16904,"collection":44,"collections":16905,"showCount":16818,"zanCount":961,"manualWeight":48,"mainColor":75},236480,"shan-shui-ren-wu-ce-guo-fen-ya-236480","山水人物册","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,59,28,164,103,7,3987,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F829e7d3f099522e9857d1983f1256050.jpg","纵38.8厘米，横60.4厘米",[44,45],{"id":16907,"slug":16908,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":16909,"thumbUrl":16910,"material":349,"size":2207,"collection":127,"collections":16911,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},234090,"wu-zhong-shan-shui-ce-shen-zhou-234090",[24,25,164,59,7,67,101,65,104,583,62,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cc85b8ca75b41a1903f016a2209202.jpg",[],{"id":16913,"slug":16914,"title":2959,"dynasty":54,"author":96,"museum":135,"description":16915,"tags":16916,"thumbUrl":16925,"material":139,"size":16926,"collection":127,"collections":16927,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},231375,"qiu-jiang-dai-du-tu-chou-ying-231375","此画属于院体一类，造型严谨，用笔不苟，刻画十分精细。只要展开画卷仔细观察，其中无沦一砖一瓦，一枝一叶，一草一木，还是人物表情，都描绘得极其精妙。即是远景、远岸的重山峻岭，山峦连绵，也画得很瓷实，一潭宽阔无际的秋水，宛如镜面。白云下的房舍屋宁、树林画得虽细小，但十分精工，所以把白云上面的山推向远处。近景为此画的核心，近岸山峦很高，村庄座落其间，显得十分细小，但画得十分精致。画面上的树林杂木众多，通过画家的笔触，画得各有特色，成为整幅画上的重要组成部分。这是一幅煌煌巨制的画作。景界开阔，但不觉疏散。他运用自己高超的技法，特别注重意境的刻画，在他笔下的屋可居，山可游，生活气息浓郁，有着诗一般的意境。设色温和清秀，并不艳俗。所画的人物比例虽小，但通过精致刻画，神形俱全。确属雅俗共赏之作。\n这一作品画面不大，但由于构图布局得当，远处的山峦，近处的茫茫秋水和近岸的山丘与树林，空间关系处理得当，使人感到境界十分开阔，具有咫尺千里之妙。同时，秋高气爽的季节特点也得到了很好的体现。从具体画法上看，无论是景物的一枝一叶，还是人物的表情，都描绘得十分精细。与那些远离现实、表现隐逸思想的某些文人画家的山水画相比，这一作品就显得具有浓厚的生活气息，可以激起人们对生活的热爱。",[24,1388,29,28,7,16917,238,10875,62,103,16918,3764,16919,16920,16921,16922,16923,16924],"秋水","房舍","秋高气爽","咫尺千里","雅俗共赏","精工细作","生活气息浓郁","意境悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda34b84f047fd2cff2c3894ed7617045.jpg","纵155．4厘米，横133.4厘米",[],{"id":16929,"slug":16930,"title":15488,"dynasty":177,"author":9528,"museum":119,"description":16931,"tags":16932,"thumbUrl":16933,"material":127,"size":127,"collection":127,"collections":16934,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},230254,"shan-shui-ce-ye-dai-ben-xiao-230254","此作用笔枯淡简老，危崖陡立，笔墨寥寥便勾勒出崖壁的空灵高旷，下方丘石隐于淡墨晕染之中，古松斜生崖侧，自带荒寒萧疏之气。\n\n以书入画，左上角题诗与山水意境相融，淡墨轻皴间不见繁饰，尽显幽寂清寒的林下襟怀，将天地寥廓的沉静与遗民孤高的心境相合，静穆淡远间溢出清冷出尘的禅意，尽显简淡空灵的山水意趣，淡岚浅墨里皆是超然物外的悠远之致。",[24,25,164,59,7,65,264,372,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991f998630870f784c679c1986745d2c.jpg",[],{"id":16936,"slug":16937,"title":16938,"dynasty":54,"author":945,"museum":119,"description":16939,"tags":16940,"thumbUrl":16941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潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[23,24,25,100,149,59,65,7,1643,125,264,166,16948],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":16952,"slug":16953,"title":16954,"dynasty":18,"author":1085,"museum":119,"description":16955,"tags":16956,"thumbUrl":16957,"material":127,"size":127,"collection":127,"collections":16958,"showCount":16818,"zanCount":961,"manualWeight":48,"mainColor":49},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,25,24,100,26,27,28,29,65,66,101,7,103,104,60,61,62,63,264,2394,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":16960,"slug":16961,"title":16962,"dynasty":1051,"author":3001,"museum":119,"description":16963,"tags":16964,"thumbUrl":16965,"material":127,"size":127,"collection":127,"collections":16966,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},227255,"xian-shan-lou-guan-tu-li-zhao-dao-227255","仙山楼观图","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。",[23,24,26,27,28,304,29,7,104,34,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81db047a39ded106ecbb49adcb1c8b56.jpg",[],{"id":16968,"slug":16969,"title":16970,"dynasty":177,"author":3760,"museum":119,"description":10519,"tags":16971,"thumbUrl":16972,"material":337,"size":937,"collection":127,"collections":16973,"showCount":16818,"zanCount":961,"manualWeight":48,"mainColor":75},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面",[23,24,25,2484,59,65,7,63,125,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":16975,"slug":16976,"title":14077,"dynasty":177,"author":16497,"museum":119,"description":16977,"tags":16978,"thumbUrl":16979,"material":127,"size":127,"collection":127,"collections":16980,"showCount":16818,"zanCount":961,"manualWeight":48,"mainColor":75},223691,"xie-qin-fang-you-tu-shang-rui-223691","，画作，清代上睿作。\n画心纵28.1厘米，横17.厘米。\n纸本，设色。\n画中一位有琴童跟随的琴家，已离开自己的住舍，走上木桥，正在向闲卧在梧竹幽居中的知音友人那里进发。\n全图景物按排聚散合度，虚实相生。\n以极其纤美的笔触对环境进行铺垫描绘，收到了烘托人物的活动和突出主题的良好效果。\n款署“癸酉小春用文太史笔意为友桐先生补图。\n蒲室子睿。\n”钤“目存”印。\n清宫宝玺有“乾隆鉴赏”、“嘉庆御览之宝”、“宣统御览之宝”等。\n曾经清内府庋藏。\n《秘殿珠林石渠宝笈续编》著录。\n旅顺博物馆收藏。",[23,24,25,26,28,29,7,103,60,61,34,347,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bca0e59957d14b3aa934eb38c7e22eb.jpg",[],{"id":16982,"slug":16983,"title":16984,"dynasty":177,"author":2620,"museum":20,"description":16985,"tags":16986,"thumbUrl":16987,"material":40,"size":16988,"collection":71,"collections":16989,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,25,149,304,28,29,65,7,104,60,64,34,37,103,826,278,38,238,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[71,45],{"id":16991,"slug":16992,"title":16993,"dynasty":54,"author":9356,"museum":776,"description":16994,"tags":16995,"thumbUrl":16997,"material":16249,"size":16998,"collection":71,"collections":16999,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},222376,"bai-tan-tu-zhou-chen-222376","白谭图","绘四周环山水潭边，一道者盘坐席上，手执拂尘掸，静心修行，一边的童子正给炉子扇风烧火，近处树木遒劲苍翠。技法上，绘山石坚凝，线条坚挺，棱角锋利，用笔纯熟，取法于李唐派系。",[23,100,24,7,103,28,65,64,16996,34,1042,1521],"潭水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1c655c7e01bcf836590ca261bff341.jpg","38x73cm",[71,212],{"id":17001,"slug":17002,"title":17003,"dynasty":54,"author":4764,"museum":119,"description":17004,"tags":17005,"thumbUrl":17006,"material":17007,"size":17008,"collection":71,"collections":17009,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,24,149,59,28,65,7,63,165,372,583,239,61,167,264,533,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[71,45],{"id":17011,"slug":17012,"title":17013,"dynasty":18,"author":2351,"museum":56,"description":17014,"tags":17015,"thumbUrl":17017,"material":28,"size":17018,"collection":127,"collections":17019,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},221376,"yan-jiang-die-zhang-tu-wang-shen-221376","烟江叠嶂图","《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。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,100,24,25,26,7,59,28,65,17016,1777,30,34,37],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":17021,"slug":17022,"title":14039,"dynasty":54,"author":1096,"museum":424,"description":14040,"tags":17023,"thumbUrl":17024,"material":537,"size":14043,"collection":71,"collections":17025,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[23,24,25,26,59,122,65,66,101,7,30,34,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[71,45],{"id":17027,"slug":17028,"title":17029,"dynasty":177,"author":4747,"museum":20,"description":17030,"tags":17031,"thumbUrl":17032,"material":69,"size":17033,"collection":71,"collections":17034,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,25,7,878,372,35,202,61,167,63,59,28,65,149,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[71],{"id":17036,"slug":17037,"title":17038,"dynasty":54,"author":12464,"museum":20,"description":17039,"tags":17040,"thumbUrl":17041,"material":349,"size":17042,"collection":45,"collections":17043,"showCount":16818,"zanCount":961,"manualWeight":48,"mainColor":75},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[23,24,149,28,125,103,7,264,167,334,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[45],{"id":17045,"slug":17046,"title":17047,"dynasty":80,"author":1962,"museum":396,"description":17048,"tags":17049,"thumbUrl":17050,"material":139,"size":127,"collection":71,"collections":17051,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":49},219779,"shan-zhong-guan-shu-tu-er-sheng-mao-219779","山中观书图(二)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,24,25,149,28,7,103,165,1738,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[71],{"id":17053,"slug":17054,"title":17055,"dynasty":177,"author":17056,"museum":56,"description":17057,"tags":17058,"thumbUrl":17059,"material":169,"size":17060,"collection":44,"collections":17061,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},219419,"jin-gu-yuan-tu-zhou-hua-nie-219419","金谷园图轴","华喦","华喦（yán）的笔墨既有继承传统的一面，又重视写生，构图大胆新颖。他所刻画的艺术形象鲜活生动，用笔干湿浓淡灵活多变，表现力强。是图，华岩重构了西晋石崇所建别墅金谷园，潇洒淋漓的笔墨与烂漫的花草使奢华的园林带有了些许文人气韵。",[24,149,28,29,103,7,34,64,124,6393],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900b496b8d7d1df5eea57bd7f71090a2.jpg","纵178.7 厘米 横94.4 厘米",[44],{"id":17063,"slug":17064,"title":17065,"dynasty":18,"author":2351,"museum":135,"description":17066,"tags":17067,"thumbUrl":17068,"material":139,"size":17069,"collection":42,"collections":17070,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},218951,"jie-ge-yi-chun-tu-wang-shen-218951","杰阁媐春图","这幅画描绘了一栋山坡建筑的一个角落，楼上有两个女人在看围栏，而一个女人在下层的走廊上走着，后面跟着一个女仆。身材高大而修长。担架的使用和树木、山石的笔法与《景德镇四库全书》相似，疑为北宋作品，无题款，原署名王僧杰伊春。",[23,24,100,164,304,28,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0c7f409af54da8ac9c4eeee02c02cd.jpg","22.5x21.7",[42],{"id":17072,"slug":17073,"title":17074,"dynasty":18,"author":17075,"museum":135,"description":17076,"tags":17077,"thumbUrl":17078,"material":169,"size":17079,"collection":71,"collections":17080,"showCount":16818,"zanCount":1080,"manualWeight":48,"mainColor":75},218644,"yan-yu-tu-huang-qi-218644","烟雨图","黄齐","这幅画是一个小溪和山的场景，安静而遥远，全部来自写生。黄齐不知道是哪一代人或哪一个地方的人，但这幅画中的笔法几乎是元代的山水风格。",[23,24,25,59,65,7,34,37,64,61,9031],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeda478f2951b201e64af557bf02a0f7.jpg","28.9x52cm",[71],{"id":17082,"slug":17083,"title":17084,"dynasty":80,"author":9857,"museum":161,"description":17085,"tags":17086,"thumbUrl":17087,"material":169,"size":17088,"collection":71,"collections":17089,"showCount":16818,"zanCount":961,"manualWeight":48,"mainColor":75},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,100,24,25,26,59,7,65,101,67,238,37,34,722,201,167,3796,532,38,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[71],{"id":17091,"slug":17092,"title":17093,"dynasty":177,"author":17094,"museum":161,"description":17095,"tags":17096,"thumbUrl":17097,"material":69,"size":17098,"collection":71,"collections":17099,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,24,25,149,59,65,7,318,63,60,61,62,34,35,37,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[71],{"id":17101,"slug":17102,"title":17103,"dynasty":177,"author":12035,"museum":3793,"description":17104,"tags":17105,"thumbUrl":17106,"material":139,"size":17107,"collection":71,"collections":17108,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},217924,"shan-jing-tu-liu-du-217924","山景图","刘度的山景图画风细腻，笔墨流畅，富有张力，写意洒脱。他善于描绘山川的峰峦、水流的曲折、云雾的缭绕，营造出一种幽静的气氛。刘度的山水画作品常以山水中的人物为主，人物造型优美，神态自然，与山水相互映衬，互相辉映，给人以感性的享受。\n\n刘度的山景图在清朝时期颇受欢迎，被誉为“山水画圣”。他的著名作品有《山城图》、《江南图》、《渔隐图》等。这些作品不仅展现了刘度独特的艺术风格，而且也揭示了他对中国传统文化的热爱和对自然界的敬畏。\n\n在刘度的山景图中，我们不仅能感受到他对山水的热爱和描绘的精细，还能感受到他对自然的尊敬和对传统文化的执着。这些作品不仅是一种艺术的瑰宝",[24,59,65,7,60,104,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ca116a0bcaa406e268e8884a1a2c78.jpg","32.1x36.2cm",[71],{"id":17110,"slug":17111,"title":17112,"dynasty":54,"author":178,"museum":3774,"description":17113,"tags":17114,"thumbUrl":17115,"material":139,"size":17116,"collection":71,"collections":17117,"showCount":16818,"zanCount":48,"manualWeight":48,"mainColor":75},217883,"fang-li-di-shan-shui-tu-yi-ming-217883","仿李迪山水图","李迪是明朝时期著名的画家，他的作品以精细的写实和优美的构图著称。作者的仿李迪山水图也是以精细的写实和优美的构图为特点，但是与李迪不同的是，作者在作品中运用了更加丰富的色彩，使得作品更加生动。\n\n作者的仿李迪山水图展现了中国传统山水画的高超技巧，他的作品中经常出现山峦、溪流、森林、村庄等元素。他擅长运用描绘山水的技法，使作品看起来栩栩如生。此外，作者还注重作品的构图，他善于运用构图中的线条、弧线、曲线等元素，使作品看起来更加流畅。\n\n如果你是艺术爱好者，不妨去看看佚名的仿李迪山水图，感受一下中国传统山水画的魅力。",[24,25,7,122,65,28,64,34,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d43d203f636dbbfcb84fda42745f1c.jpg","36.8x33cm",[71],{"id":17119,"slug":17120,"title":17121,"dynasty":80,"author":160,"museum":119,"description":2547,"tags":17122,"thumbUrl":17124,"material":337,"size":937,"collection":127,"collections":17125,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":75},290837,"ceng-luan-song-cui-zhou-wang-meng-290837","层峦耸翠轴",[24,59,149,7,65,4564,64,34,61,62,17123,101,10513],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedd8bd1842dbdc4031e3d3b7ea5de38.jpg",[],43,{"id":17128,"slug":17129,"title":17130,"dynasty":177,"author":1872,"museum":119,"description":17131,"tags":17132,"thumbUrl":17133,"material":337,"size":937,"collection":127,"collections":17134,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":75},290427,"shan-shui-tu-ce-10-kai-gong-xian-290427","山水图册10开","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[24,25,164,59,7,64,34,66,67,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eb7410c32536a5d14c4134270b47ae.jpg",[],{"id":17136,"slug":17137,"title":2619,"dynasty":18,"author":1085,"museum":119,"description":5368,"tags":17138,"thumbUrl":17139,"material":337,"size":937,"collection":127,"collections":17140,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},290088,"han-gong-chun-xiao-tu-zhao-bo-ju-290088",[100,24,304,29,28,104,7,438,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa88892b34b877788f8b89fdee5cdd3a.jpg",[],{"id":17142,"slug":17143,"title":17144,"dynasty":18,"author":6139,"museum":119,"description":17145,"tags":17146,"thumbUrl":17147,"material":337,"size":937,"collection":127,"collections":17148,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},289957,"xue-jing-shan-shui-ye-liang-kai-289957","雪景山水页","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[24,100,2484,59,65,7,878,372,62,1401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626a1cd836e0e08dc4762048b518eb9f.jpg",[],{"id":17150,"slug":17151,"title":17152,"dynasty":18,"author":3342,"museum":119,"description":17153,"tags":17154,"thumbUrl":17155,"material":337,"size":937,"collection":127,"collections":17156,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},289331,"xi-shan-shui-ge-tu-li-song-289331","溪山水阁图","此幅绘溪水寒林，峭壁危岩，远山空蒙，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[23,100,24,2484,59,7,104,60,372,167,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a877faf9267ef285cfa4fa0ac8188a.jpg",[],{"id":17158,"slug":17159,"title":17160,"dynasty":18,"author":604,"museum":119,"description":4374,"tags":17161,"thumbUrl":17162,"material":337,"size":937,"collection":127,"collections":17163,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},289328,"song-shi-guan-pu-tu-ma-yuan-289328","松石观瀑图",[100,24,149,59,7,583,64,199,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35cd96a142e4b4b4d479be3ef608f9e2.jpg",[],{"id":17165,"slug":17166,"title":17167,"dynasty":80,"author":160,"museum":135,"description":2547,"tags":17168,"thumbUrl":17169,"material":69,"size":17170,"collection":71,"collections":17171,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},287545,"qiu-lin-wan-he-tu-wang-meng-287545","秋林万壑图",[24,59,7,65,60,61,150,64,34,1389,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb15ff69f252c13c648f2d4d7c70f811a.jpg","68.3x45.6",[71],{"id":17173,"slug":17174,"title":17175,"dynasty":18,"author":288,"museum":119,"description":4835,"tags":17176,"thumbUrl":17177,"material":337,"size":937,"collection":127,"collections":17178,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},283639,"song-yin-guan-pu-tu-zhou-xia-gui-283639","松荫观瀑图轴",[23,100,24,25,149,59,7,583,199,64,103,15107,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2244bd7660b66c06c86a83b72fb12eb0.jpg",[],{"id":17180,"slug":17181,"title":17182,"dynasty":177,"author":1825,"museum":20,"description":17183,"tags":17184,"thumbUrl":17185,"material":537,"size":17186,"collection":71,"collections":17187,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":75},236458,"dou-he-mi-lin-zhou-wang-jian-236458","陡壑密林轴","故宫博物院藏有康熙壬寅年（1662）年王鉴五十四岁作《陡壑密林图》轴，作品为纸本墨笔，纵56厘米，横35厘米。王鉴在画中自题：“黄子久有《陡壑密林图》为董思翁所藏，后归奉常烟翁，余时得纵观。雨窗岑寂，戏弄笔砚，漫师其法，不求形似也。壬寅小春望日写于染香庵中。王鉴。”下钤“王鉴之印”白文正方，起首钤“染香庵”朱文长方。画轴外题签：“廉州太守仿子久陡壑密林图山水真迹。辛丑三月重装。镂香阁惕庵珍秘。”为嘉兴王祖锡（1858－1908）旧物，画幅右下亦钤其鉴藏印：“惕安藏廉州画。”王祖锡藏有王鉴作品多件，如王鉴《溪山渔隐图》等。",[24,25,59,65,7,318,734,165,35,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a7957963c9eb5d48d2effbd1e72a07.jpg","纵56厘米，横35厘米",[71,212,927],{"id":17189,"slug":17190,"title":17191,"dynasty":54,"author":1652,"museum":119,"description":17192,"tags":17193,"thumbUrl":17194,"material":127,"size":17195,"collection":127,"collections":17196,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":75},234855,"wen-zheng-ming-shan-shui-ce-ye-wen-zheng-ming-234855","文徵明山水册页","文徵明（１４７０～１５５９），初名壁，字徵明，号衡山，４２岁后以字行，改字徵仲，江苏苏州人。他一生１０余次应试，皆未中举，１６２３年被荐授翰林院待诏，故后人称“文待诏”，但三年后即辞官回乡，此后再未出仕。他为人正直，不媚权贵，自订书画有三不应：宗藩、中贵、外国，因此清代顾复称他为“古今第一流人物，吾吴（吴县）之所以借光者也”。\n文徵明早年并不聪慧，据称曾因不善书法而被拒绝参加乡试。但他生活在一个良好的文化环境里，先后拜沈周、李应桢、吴宽和王鏊等人为师，又与吴中才子祝允明、唐寅、徐祯卿等相友善，加上本身刻苦努力，终于成为一代文宗，不仅在“吴中四才子”和书法的“吴门四家”中都占据一席，在画上也与沈周、唐寅、仇英齐名，后人称“明四家”。在沈周、祝允明等相继弃世后，主持吴门文坛艺坛数十年，影响极大。书法家周天球、王穉登、陆师道、陈淳（也厕身吴门四家）等都是他的弟子，他折辈与交的王宠（吴门四家之一）实际也曾受到他的指点。他的子弟后人，也多能书善画，风流延续数代。\u2028　　　文徵明于书法也和祝允明一样各体兼修，号称篆、隶、楷、行、草俱佳。但篆隶其实并未充分了解秦汉的传统，因而置诸书史，不足成家。真正有成就的，是小楷、行书和草书。\u2028　　　其小楷，师法锺繇、二王及欧阳询，兼及其他各家，以精严谨肃见长，至老不怠，８９岁高龄时仍能悬腕作小楷，且笔力不减，无一懈笔。代表作有《醉翁亭记》、《后赤壁赋》、《离骚经》、《四山五十咏》、《太上老君说常清净经》等，其中《离骚经》书于８５岁，４０００多字，笔画入锋爽快，横多尖起圆收，折笔干净利落，竖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mbUrl":17262,"material":337,"size":937,"collection":127,"collections":17263,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":940},224145,"shi-jia-mu-ni-fu-fo-jiao-pi-yu-tang-ka-224145","释迦牟尼佛佛教譬喻","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[12197,1042,28,29,103,104,17261,4459,2911,7],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d88855497b8bb010ad57b3cd31cb9bc.jpg",[],{"id":17265,"slug":17266,"title":17267,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":17268,"thumbUrl":17271,"material":87,"size":15463,"collection":127,"collections":17272,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":75},223073,"hong-lou-meng-59-sun-wen-223073","红楼梦59",[23,24,25,26,29,28,27,17269,17270,103,12167,104,7,61,427,2911],"红楼梦","大观园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce03b42f75b32d3656103e5544ed7796.jpg",[],{"id":17274,"slug":17275,"title":17276,"dynasty":54,"author":1305,"museum":135,"description":17277,"tags":17278,"thumbUrl":17279,"material":1576,"size":127,"collection":71,"collections":17280,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},222526,"mo-bi-shan-shui-zhou-wang-fu-222526","墨笔山水轴","明代画家王绂（1362-1416）为无锡人，号九龙山人、鳌叟。其画以墨竹最为知名，山水则承续元代文人画风，为吴派前驱。王绂密布层迭岩垒及林木，近景临岸渔船，一艘似正炊煮，一艘则在用餐，船上张挂着披晒的衣物；中景船只则正收拾风帆；右方山路行旅也疾疾赶路入城，一派日暮归人景致。\n乾隆皇帝于旅程中欣赏此图时，并非草草展阅山水大势，而是连小小的舟中生活都注意到了，并成为他吟咏的重心，由此可感受到他品画时的细腻与留心。",[24,197,149,65,7,34,583,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f6a38fa5ce0f20cabdeca5c267ff32.jpg",[71,212],{"id":17282,"slug":17283,"title":17284,"dynasty":54,"author":14148,"museum":369,"description":17285,"tags":17286,"thumbUrl":17287,"material":375,"size":17288,"collection":71,"collections":17289,"showCount":17126,"zanCount":1080,"manualWeight":48,"mainColor":49},222386,"shi-jia-mu-ni-tu-zhou-ding-yun-peng-222386","释迦牟尼图轴","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[23,24,100,149,1042,29,28,103,7,583,239,5474,1947],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cc841ece026ee2bfb0bfd92cfa7b8b.jpg","140.7×58cm",[71,45],{"id":17291,"slug":17292,"title":17293,"dynasty":54,"author":9356,"museum":2156,"description":9365,"tags":17294,"thumbUrl":17295,"material":28,"size":17296,"collection":71,"collections":17297,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴",[23,24,25,149,59,28,29,65,7,103,125,372,35,31,14977,533,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[71,212],{"id":17299,"slug":17300,"title":13359,"dynasty":54,"author":945,"museum":20,"description":17301,"tags":17302,"thumbUrl":17303,"material":736,"size":13363,"collection":71,"collections":17304,"showCount":17126,"zanCount":961,"manualWeight":48,"mainColor":75},222339,"you-ren-yan-zuo-tu-zhou-tang-yin-222339","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。\n本幅右上有清代书法家王澍于雍正丁未年（雍正五年，1727年）十二月的题识，叙述了自己收藏此图并馈赠给惠山听松庵僧的经过。裱边及包首外签有当代书画家和鉴定家吴湖帆在庚寅年（1950年）为仲麟题签并记，文中除了记载王澍所云之事外，对惠山听松庵收藏的其他古代名画如王绂《竹炉图》的流传作了介绍，并对时事离乱之际文物的劫难发出了感喟。",[23,24,25,149,59,65,7,63,34,64,61,103,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d12d445bfae2e8d760c703ae5c64b78.jpg",[71,212],{"id":17306,"slug":17307,"title":17308,"dynasty":54,"author":96,"museum":704,"description":17309,"tags":17310,"thumbUrl":17311,"material":40,"size":17312,"collection":127,"collections":17313,"showCount":17126,"zanCount":1080,"manualWeight":48,"mainColor":75},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,25,26,28,29,27,67,101,7,103,62,2855,34,64,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":17315,"slug":17316,"title":17317,"dynasty":18,"author":604,"museum":135,"description":17318,"tags":17319,"thumbUrl":17320,"material":139,"size":12706,"collection":127,"collections":17321,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},221524,"yue-ye-bo-ruan-zhou-ma-yuan-221524","月夜拨阮轴","画中采用了大量留白，近处只刻画一角。画中人物独坐，如痴如醉的弹奏阮琴，只有一只仙鹤为伴。远处层峦山脉，马远只用寥寥几笔带出，在无尽的留白中，一轮满月轻悬于空。\n马远的画作以小见大，“一沙一世界，一树一菩提”，马远所画一角，便能呈现出广袤无际的天地。",[23,24,100,25,149,59,65,7,630,1643,167,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa301730172f5443a0e5a99c9f55ffb2b.jpg",[],{"id":17323,"slug":17324,"title":17325,"dynasty":18,"author":194,"museum":135,"description":1980,"tags":17326,"thumbUrl":17327,"material":87,"size":17328,"collection":127,"collections":17329,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},221387,"bao-shan-shi-jing-ce-fan-kuan-221387","包山十景册",[23,100,24,25,164,28,7,64,34,722,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a3b1370dc9ee21fc24baeb7fb8ad8.jpg","30.2x31.8",[],{"id":17331,"slug":17332,"title":17333,"dynasty":18,"author":6977,"museum":97,"description":17334,"tags":17335,"thumbUrl":17336,"material":28,"size":17337,"collection":42,"collections":17338,"showCount":17126,"zanCount":1080,"manualWeight":48,"mainColor":49},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,24,100,25,26,28,29,103,7,979,165,66,101,184,6980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,24,25,26,59,65,7,64,34,35,2845,167,3796,583,16266,37,1779,278,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[71],{"id":17375,"slug":17376,"title":17377,"dynasty":54,"author":17378,"museum":556,"description":17379,"tags":17380,"thumbUrl":17383,"material":139,"size":17384,"collection":71,"collections":17385,"showCount":17126,"zanCount":961,"manualWeight":48,"mainColor":49},220036,"xi-shan-mu-yun-tu-zhang-lun-220036","溪山暮云图","张伦","左上自题王维《过香积寺》诗：“不知香积寺，数里入云峰。古木无人径，深山何处钟？泉声咽危石，日色冷青松。薄暮空潭曲，安禅制毒龙。”款署：“摹元人笔法，时甲辰秋前二日，画于披月草堂，瘦生张伦。”图录于《艺苑掇英》第三十五期。艺术活动约在嘉靖、万历间。",[23,24,100,59,7,149,60,61,2315,64,35,9598,66,17381,65,1042,17382],"摹古","薄暮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0da047626d853db8b7883f88e25a34c.jpg","纵174.5厘米，横78.8厘米",[71],{"id":17387,"slug":17388,"title":17389,"dynasty":177,"author":2075,"museum":369,"description":2076,"tags":17390,"thumbUrl":17391,"material":69,"size":2079,"collection":927,"collections":17392,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":75},220003,"shan-shui-ce-wen-wang-shi-min-220003","山水册-文",[24,25,164,67,101,122,7,28,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f19818f6e779018292122be7bfb88.jpg",[927],{"id":17394,"slug":17395,"title":17396,"dynasty":54,"author":14148,"museum":396,"description":17397,"tags":17398,"thumbUrl":17399,"material":69,"size":17400,"collection":71,"collections":17401,"showCount":17126,"zanCount":961,"manualWeight":48,"mainColor":75},219750,"liu-ruan-tian-tai-tu-ding-yun-peng-219750","刘阮天台图","石缘林漱玉凉，远上紫逻更苍苍。溪边列树云和静，洞口落寞水亦香。作记未应拟彭泽，成诗早见有曹唐。浙东仙境依然在，可复双鬟待二郎。乾隆戊寅春御题",[23,24,100,149,29,28,101,7,103,34,64,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151f3ed0233acb65b06439368bfeb4ac.jpg","纵136.7横33.5厘米",[71],{"id":17403,"slug":17404,"title":909,"dynasty":80,"author":9857,"museum":673,"description":17405,"tags":17406,"thumbUrl":17407,"material":169,"size":17408,"collection":71,"collections":17409,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},219729,"shan-shui-tu-fang-cong-yi-219729","右侧危崖壁立，飞泉隐于崖间垂落，左侧峰峦逶迤向远，留白晕染出浩渺烟波，虚实之间拉开山水纵深。以干笔皴擦勾勒山石肌理，苍劲老辣，林木仅以简笔点染，便生幽荒野趣。山脚村居错落藏于林泉，淡墨晕开水色，将山野幽寂缓缓铺陈。\n\n题跋朱印错落排布，诗书画印浑然一体，将元人隐逸的林下意趣藏于笔墨。整幅简淡萧疏，以笔意写尽胸中丘壑，把林泉高致的雅逸缓缓吐露，尽显超脱世外的静穆淡远。",[23,24,25,149,59,65,7,318,734,34,201,35,167,37,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[71],{"id":17411,"slug":17412,"title":17413,"dynasty":177,"author":9528,"museum":1542,"description":17414,"tags":17415,"thumbUrl":17416,"material":169,"size":17417,"collection":71,"collections":17418,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},219710,"tian-tai-yi-song-tu-dai-ben-xiao-219710","天台异松图","《天台异松图》清 戴本孝 此图意写天台山水，山岩相叠，石桥飞架，怪松参差其间，飞泉直下，一老者隐居于此。巨壑皴写不繁，枯笔勾廓，以渴墨稍事皴擦，意境荒寒幽僻，深得元人气韵。\n图中左上角作者题款：天台异松，前人尝为之图，陆龟蒙记而赞之。曩从好事家见有摹本，未善也，因追以意图之。近闻异松已多归于冥漠。盖天地山川之奇，一经为尘眼所狎，自不能久。如此不觉兴慨也。鹰阿山天根樵夫本孝似君老道兄粲鉴，时丁卯长至。",[24,25,59,65,7,413,199,239,201,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c55221cddc6bd4a49aac3df454856d0.jpg","169.9×76.2cm",[71],{"id":17420,"slug":17421,"title":17422,"dynasty":54,"author":178,"museum":3774,"description":17423,"tags":17424,"thumbUrl":17425,"material":139,"size":17426,"collection":44,"collections":17427,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":49},219620,"ming-ren-lao-zi-chu-guan-tu-yi-ming-219620","明人老子出关图","古松虬劲盘绕城关，苍枝舒展如盖。老子安卧牛车之中，仆从前后相随，道童负囊循山径而来，行旅意态松弛悠然。远景山峦以斧劈皴挥写，雄奇险峻间晕染流岚云雾，晕化开山林的幽深空寂。画作以山水衬行旅，将道家归隐出关的澹然意趣，融于苍阔山景之间，人物刻画细腻生动，山水笔力刚劲爽利，把出世的超脱与山川的雄浑相融，尽显古典山水人物画的雅致意韵，藏着悠远沉静的道家风骨。",[24,25,100,149,28,103,7,104,334,1586,5624,165,64,65,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b3b3a50865b6183c2ae52a94aaca214.jpg","纵140.3横67.5厘米",[44],{"id":17429,"slug":17430,"title":17431,"dynasty":54,"author":10318,"museum":135,"description":17432,"tags":17433,"thumbUrl":17434,"material":28,"size":17435,"collection":44,"collections":17436,"showCount":17126,"zanCount":48,"manualWeight":48,"mainColor":75},219460,"dan-lin-cui-zhang-tu-lu-zhi-219460","丹林翠嶂图","本幅以狭长画面安排景物布局，桃树繁密，变化丰富。以尖细折线勾勒山石轮廓，用笔方劲，青绿敷染细致。惜因构图过于充塞，虽工细精道，略少自然之态。",[24,25,149,28,65,7,34,1120,64,35,103,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc15e51996325c5786e52bffb0c5e172.jpg","90.2x30.7",[44],{"id":17438,"slug":17439,"title":17440,"dynasty":80,"author":17441,"museum":135,"description":17442,"tags":17443,"thumbUrl":17444,"material":139,"size":17445,"collection":71,"collections":17446,"showCount":17126,"zanCount":961,"manualWeight":48,"mainColor":49},218167,"jing-xi-tu-chen-ru-yan-218167","荆溪图","陈汝言","《元陈汝言荆溪图》是一幅中国古画，作者是陈汝言，现为台北故宫博物院收藏。此图画是应当地望族王氏后人的请求而画。近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。于古画中亦为奇格。",[23,24,25,7,59,65,28,318,319,165,583,60,61,63,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa2acf84548c365b1717352065375a2.jpg","纵129厘米 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后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,100,7,28,65,164,318,319,199,201,34,64,37,1674,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":17630,"slug":17631,"title":17632,"dynasty":54,"author":6335,"museum":119,"description":17633,"tags":17634,"thumbUrl":17635,"material":127,"size":127,"collection":127,"collections":17636,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":49},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,24,25,26,59,28,65,122,7,30,34,35,31,62,106,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":17638,"slug":17639,"title":17640,"dynasty":18,"author":10140,"museum":119,"description":17641,"tags":17642,"thumbUrl":17643,"material":127,"size":127,"collection":127,"collections":17644,"showCount":17492,"zanCount":961,"manualWeight":48,"mainColor":49},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,100,24,25,149,28,7,103,335,5624,6756,34,239,334,104,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":17646,"slug":17647,"title":17648,"dynasty":811,"author":812,"museum":119,"description":17649,"tags":17650,"thumbUrl":17651,"material":127,"size":127,"collection":127,"collections":17652,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":940},227264,"xi-an-tu-bo-wu-guan-ben-dong-yuan-227264","溪岸图(博物馆本)","《溪岸图》是五代画家董源创作的一幅绢本设色画，现收藏于美国大都会博物馆。\n\n《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[100,24,25,149,65,59,28,7,64,34,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f4bd7c9a668001f1943f2c22bc8be1.jpg",[],{"id":17654,"slug":17655,"title":17656,"dynasty":177,"author":17657,"museum":119,"description":17658,"tags":17659,"thumbUrl":17661,"material":127,"size":127,"collection":127,"collections":17662,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":75},224347,"si-shi-hua-hui-si-qun-xian-ji-zhu-juan-wang-cheng-pei-224347","四时花卉（四）群仙集祝卷","汪承霈","此作以淡赭晕染沙汀坡岸，留白简淡衬出水仙清逸之姿。丛丛水仙错落排布，叶片以中锋运笔勾勒，青绿晕染尽显修长柔韧，舒展间带着挺劲生机。白瓣黄蕊的水仙或聚或散，花瓣勾勒细腻温婉，晕染柔和，将水仙冰肌玉骨的清雅气质尽显无遗。\n\n整体画面简淡空灵，以极简布景烘托出水仙孤高脱俗的品性，带着静穆清和的雅致意趣，将花卉柔美与清雅意境相融，笔致秀逸工丽，设色明洁淡雅，尽显雅致出尘的画中况味。",[23,24,29,28,26,2911,17660,61,7],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032bbeab1a7a452a4886295a486f862e.jpg",[],{"id":17664,"slug":17665,"title":1420,"dynasty":80,"author":997,"museum":135,"description":17666,"tags":17667,"thumbUrl":17668,"material":59,"size":17669,"collection":71,"collections":17670,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":75},221789,"shan-shui-zhou-cao-zhi-bai-221789","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[23,24,25,149,59,65,7,372,1738,64,34,167,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 80x27.8公分、全幅 52.2公分",[71,212],{"id":17672,"slug":17673,"title":17674,"dynasty":18,"author":2391,"museum":704,"description":17675,"tags":17676,"thumbUrl":17677,"material":40,"size":17678,"collection":42,"collections":17679,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":49},221450,"zhou-song-qing-miao-zhi-shen-tu-quan-juan-ma-he-zhi-221450","周颂清庙之什图全卷","马和之《诗经·周颂·清庙之什图卷》取材《诗经·周颂》的内容，其内容是西周初年周王朝祭祀宗庙的舞曲歌辞，用典重的词章歌颂祖先的功德并祈求降福子孙。全图绘《清庙之什》十篇诗意，字画各十段，每段画前有《周颂》全文。右书左图，各幅相间，依次为《清庙》、《维天之命》、《维清》、《烈文》、《天作》、《昊天有成命》、《我将》、《时迈》、《执竞》、《思文》。",[23,100,24,25,26,28,29,123,66,101,103,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01c50754e74ad6bb6c4843682dac0cb.jpg","32.6*973cm",[42,71,212],{"id":17681,"slug":17682,"title":17683,"dynasty":18,"author":17684,"museum":135,"description":17685,"tags":17686,"thumbUrl":17688,"material":17689,"size":17690,"collection":42,"collections":17691,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":75},221259,"yan-guan-gu-si-jia-shi-gu-221259","岩关古寺","贾师古","圖中夜幕將降，夕輝猶存，上半部完全空白，構圖學馬遠“一角”的形式。山石皴法，雜用短釘頭，長括鐵、小斧劈諸皴法，由於夕照偏西，山體黝黑，石塊畫得岐蹭堅凝。山端聳有幾棵羅漢青松和一批古杉，石骨披滿勁硬的山草，通幅上色，染以汁綠，山石的中央一段用赫石水亮出，遂覺森嚴氣氛中有了點媚柔態，這是作者創作部署獨具匠心處。",[23,100,24,25,164,29,28,65,7,239,583,17687,238,167],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd4bd45db684e8e12f58b035f0a870.jpg","絹本，設色","縱40.0×橫40.0公分",[42,71,212],{"id":17693,"slug":17694,"title":17695,"dynasty":2272,"author":17343,"museum":6870,"description":17696,"tags":17697,"thumbUrl":17699,"material":127,"size":127,"collection":127,"collections":17700,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":75},220568,"li-jiang-chun-yu-xu-bei-hong-220568","漓江春雨","以淋漓水墨晕染出漓江烟雨空濛之态，层叠峰林隐现于烟岚之中，墨色浓淡铺就山势虚实，尽显丘林隽秀朦胧。水面如镜，将山色树影晕化在柔波里，氤氲出水墨交融的湿润意趣。\n\n扁舟渔翁持篙独行，点活了整幅静美画卷，林麓间错落村舍，晕染出乡野恬淡烟火。画作揉合中西技法，既有传统文人山水留白写意的诗意，又暗含西画光影层次，将春雨漓江的温润柔婉，野渡闲静雅趣尽数铺展，满是东方山水的悠远意境。",[24,59,223,7,238,62,495,34,166,17698,373],"倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228f0942de448fbbc8e726550e5df463.jpg",[],{"id":17702,"slug":17703,"title":17704,"dynasty":2272,"author":17343,"museum":6870,"description":17705,"tags":17706,"thumbUrl":17707,"material":127,"size":127,"collection":127,"collections":17708,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":75},220546,"xi-ma-la-ya-shan-zhi-yi-xu-bei-hong-220546","喜马拉雅山之一","以泼墨晕染翻涌的云海林雾，苍茫混沌间烘托出主峰的高绝伟岸。下半重墨铺就深幽林海云烟，裹挟着湿润朦胧的山野之气，而上半处以留白糅合淡粉提亮雪峰，将积雪覆峰的冷冽圣洁具象化。\n突破传统山水程式，融西画光影写实于水墨写意中，把雪域高原雄浑辽远的气魄尽显笔下，既有东方水墨的氤氲空灵，又兼具写实的巍峨质感，让观者恍若立于云海之上，仰望这方冷峻壮美的神山胜景，尽展创作者开阔的襟怀与独特的山水表达。",[24,59,28,5942,7,1262,37,238,10875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec56556922f3bab21e0c7a8fd702ad1e.jpg",[],{"id":17710,"slug":17711,"title":17712,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":17713,"thumbUrl":17714,"material":349,"size":1805,"collection":127,"collections":17715,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":75},220328,"huang-shan-tu-ce-3-hong-ren-220328","黄山图册-3",[23,24,25,59,65,164,7,30,104,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc1eb815cf62e85ff746ecaa76da231.jpg",[],{"id":17717,"slug":17718,"title":17719,"dynasty":18,"author":178,"museum":135,"description":17720,"tags":17721,"thumbUrl":17722,"material":139,"size":17723,"collection":71,"collections":17724,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":49},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[23,24,25,100,149,59,65,7,765,583,60,3988,64,34,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[71],{"id":17726,"slug":17727,"title":17728,"dynasty":80,"author":1962,"museum":396,"description":17048,"tags":17729,"thumbUrl":17730,"material":139,"size":17731,"collection":71,"collections":17732,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":49},219783,"shan-zhong-guan-shu-tu-yi-sheng-mao-219783","山中观书图(一)",[23,24,197,28,29,65,7,103,583,1738,571,64,61,34,5474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca7bc079a6d5dcc5b4be19f4c16a7a.jpg","纵97.3横29.2",[71],{"id":17734,"slug":17735,"title":17736,"dynasty":80,"author":12536,"museum":396,"description":17737,"tags":17738,"thumbUrl":17739,"material":139,"size":17740,"collection":44,"collections":17741,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":49},219567,"xian-ren-tu-yan-hui-219567","仙人图","苍古松壑间，三位仙者围坐清谈。左侧童子恭谨侍立，执器物垂首静听；居中仙者虬眉圆睁，神态矍铄灵动；右侧长髯仙人安坐抚膝，意态萧散出尘。\n\n画家以粗简苍劲的笔触勾勒山石古松，暗沉色调晕染出幽寂山野氛围，人物衣纹顿挫凝练，兼具写意笔趣与写实精微，将仙人各异的神采刻画入微，整体冷逸清旷，尽显出世高玄的仙道意境。",[23,24,25,149,59,28,103,7,1042,29,65,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1392a21c9e50699689313e4c79cf7f.jpg","纵144.8横82.2厘米",[44],{"id":17743,"slug":17744,"title":17745,"dynasty":54,"author":17746,"museum":396,"description":17747,"tags":17748,"thumbUrl":17749,"material":139,"size":127,"collection":44,"collections":17750,"showCount":17492,"zanCount":961,"manualWeight":48,"mainColor":49},219520,"pin-pang-tu-ni-duan-219520","聘庞图","倪端","此作以层叠山水铺就幽寂天地，远山含烟，峦峰隐现于苍莽雾气之中，将山野空阔清远之境晕染开来。近景虬木盘绕，怪石嶙峋，衬出山居的清僻冷寂。林间小径之上，聘者躬身示礼，姿态恭谨，高士神态澹然自若，将出世隐逸与入世招贤的意涵悄然对照。\n\n笔墨苍劲古雅，斧劈皴利落刻画山石肌理，枯木枝桠以折芦描写就，尽显萧寒苍劲。沉雅的设色晕开幽古氛围，以山川林泉烘托出林下高风，将先贤不慕荣利的襟怀藏于烟霞丘壑之间，院体画的精工与文人意趣相融，悠悠古意漫溢满幅。",[23,24,25,149,28,7,103,34,239,199,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50f6ffda585eb0f4926c5cca0a3fb74.jpg",[44,71],{"id":17752,"slug":17753,"title":17754,"dynasty":18,"author":178,"museum":275,"description":17755,"tags":17756,"thumbUrl":17757,"material":169,"size":127,"collection":308,"collections":17758,"showCount":17492,"zanCount":1080,"manualWeight":48,"mainColor":75},219089,"san-mu-tu-yi-ming-219089","散牧图","素净雪景铺展天地，淡墨晕染出苍茫清寂。枯树枝桠疏朗，似在寒风中轻颤；山石皴法简练，线条勾勒雪的厚重。几株老树苍劲，与留白雪地相映，更显悠远。牛群或缓步觅食，或嬉戏追逐，牧童骑于牛背，衣袂轻扬，尽展山野童趣。远处林峦朦胧，似隐似现，添了几分空濛。构图疏密有致，笔法细腻却不失洒脱，传递出人与自然相融的宁静之美，尽显雅致恬淡的意趣，仿佛能听见牧童的嬉笑声，随晚风消散在雪后的山林间。",[23,24,25,26,59,65,101,7,1586,103,372,264,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d87cbb3dc7c63f2731e50347052b00d.jpg",[308],{"id":17760,"slug":17761,"title":17762,"dynasty":18,"author":178,"museum":161,"description":17763,"tags":17764,"thumbUrl":17765,"material":139,"size":127,"collection":71,"collections":17766,"showCount":17492,"zanCount":961,"manualWeight":48,"mainColor":49},218331,"gao-shi-guan-mei-tu-yi-ming-218331","高士观梅图","虬枝如铁，横斜出崖际，疏影错落间似有暗香暗涌。二三逸士或伫立凝眸，或缓步徐行，衣袂沾霜，望梅枝低眉沉吟，仿佛与寒蕊私语。远山淡抹如黛，近石嶙峋生姿，坡下茅舍隐于林麓，添几分野逸之趣。笔墨简劲，枯笔勾枝显苍劲，淡墨晕山见悠远，将文人孤高清逸的襟怀融于萧瑟冬景。无尘嚣扰耳，唯梅香绕身、山风入怀，尽显宋画“以景托情”的深致。观之如临清寂之境，心随画中逸士，共赴一场与梅的清雅之约。",[23,24,2484,28,103,7,2127,372,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56eaa9b1aece8be3458c44b1a7f67849.jpg",[71],{"id":17768,"slug":17769,"title":17770,"dynasty":18,"author":274,"museum":119,"description":17771,"tags":17772,"thumbUrl":17773,"material":596,"size":127,"collection":44,"collections":17774,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":49},218092,"bai-miao-luo-han-tu-quan-juan-li-gong-lin-218092","白描罗汉图全卷","宋朝是中国历史上的一个朝代，它的统治时间是从960年到1279年。在这个时期，许多著名的文化遗产和艺术品被创造出来，其中之一就是李公麟的《白描罗汉图全卷》。\n\n李公麟是宋朝时期的一位著名的画家，他的《白描罗汉图全卷》是他的代表作之一。这幅画共有六十张图片，描绘了罗汉（菩萨）的各种形象。罗汉是佛教中的一种神祇，被视为慈悲、智慧、勇敢的象征。\n\n《白描罗汉图全卷》画风精细，造型优美，富有表现力。李公麟在画中运用了白色的纸张，使得整幅画显得格外纯净、灵动。此外，他还运用了许多细节处理手法，如镂空、描边和拓印等，使得画面更加丰富、生动。\n\n总的来说，李公麟的《白描罗汉图全卷》是一幅精美的艺术杰作，具有极高的艺术价值和文化意义。",[23,100,24,25,26,123,1042,103,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259cf0e940680700b94e0d92e8fa0ef6.jpg",[44],{"id":17776,"slug":17777,"title":17778,"dynasty":54,"author":1096,"museum":56,"description":1895,"tags":17779,"thumbUrl":17780,"material":69,"size":127,"collection":127,"collections":17781,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":75},214648,"qiu-xing-ba-jing-tu-ce-9-dong-qi-chang-214648","秋兴八景图册-9",[24,25,164,59,27,28,7,63,34,64,67,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be813ba30d1c9d872056dd97f176faa.jpg",[],{"id":17783,"slug":17784,"title":8592,"dynasty":177,"author":2075,"museum":56,"description":17785,"tags":17786,"thumbUrl":17787,"material":127,"size":127,"collection":71,"collections":17788,"showCount":17492,"zanCount":48,"manualWeight":48,"mainColor":17789},202026,"shan-shui-tu-zhou-wang-shi-min-202026","此作笔墨苍润古雅，山石以细密皴法勾勒肌理，尽显苍劲质感。云雾轻笼山谷，虚实相生间拓展空间纵深，将远近峰峦自然衔接。山间林木葱茏，松枝虬劲，杂树错落，屋舍隐于林麓，小桥跨溪，流水潺潺，一派静谧悠远的山居气象。笔墨追摹元人遗韵，线条沉稳，墨色层次丰富，设色淡雅，尽显文人画清逸格调，传递出超然尘俗的林下之趣。",[7,65,59,28,60,61,150,34,238,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bec74577ee026a9bdc4fd614df8982.jpg",[71],"a69c8b",{"id":17791,"slug":17792,"title":17793,"dynasty":80,"author":315,"museum":119,"description":17794,"tags":17795,"thumbUrl":17796,"material":337,"size":937,"collection":127,"collections":17797,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},290732,"xi-ting-zuo-yin-zhou-shang-qi-290732","溪亭坐隐轴","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。",[100,24,25,149,59,7,103,63,61,104,64,34,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2590d0819492c87451b3e47069e30e7d.jpg",[],41,{"id":17800,"slug":17801,"title":17802,"dynasty":177,"author":5740,"museum":119,"description":17803,"tags":17804,"thumbUrl":17805,"material":127,"size":127,"collection":71,"collections":17806,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},236571,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236571","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 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。",[23,24,28,29,65,7,103,34,239,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc9662f11c840147628ba2d5d2856d8.jpg",[],{"id":17875,"slug":17876,"title":1388,"dynasty":54,"author":14049,"museum":119,"description":17877,"tags":17878,"thumbUrl":17879,"material":127,"size":127,"collection":127,"collections":17880,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},228358,"shan-shui-hua-xi-gang-228358","近岸疏林错落，茅舍临水栖身，掩映于枝桠间，野趣悠然自生。空漾水面将视线缓缓引向后层浅渚山峦，岩岫以干笔淡墨皴擦，佐以淡赭晕染，山石肌理苍朴不失温润。远景峰峦层叠，林麓间隐约可见山道樵踪，整幅画面气脉贯通，以留白晕出水乡山居清寂萧散的意境。笔墨松灵秀雅，脱尽尘俗，以简淡勾勒出山川丘壑的幽隽之态，尽显静穆淡远的文人画旨趣，将江南山野的闲逸之景融于素雅水墨色调中，观之便如临其境，恍若置身林泉高致之间。",[23,24,59,65,7,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ee49a9b35bce4b0d7190224af61291.jpg",[],{"id":17882,"slug":17883,"title":17884,"dynasty":811,"author":1137,"museum":135,"description":17885,"tags":17886,"thumbUrl":17887,"material":243,"size":17888,"collection":127,"collections":17889,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":940},227278,"xiao-yi-zhuan-lan-ting-ju-ran-227278","萧翼赚兰亭","此图乃描述了一个脍炙人口的传说——酷爱二王书法的唐太宗，听说辩才和尚藏有王羲之的《兰亭序》手迹，久谋不得，便遣御史萧翼巧赚。萧翼微行前往辩才所居的山寺与之结交。在诗文酬答的欢悦气氛之中，辩才警觉懈怠，终于将其藏于梁上的《兰亭序》取下与萧翼共赏。萧翼趁辩才赴斋之际，遂窃之而去。图中所绘，正是萧翼访辩才的情形。",[24,100,59,7,103,65,34,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f80d433f99e4d4dc9476aa54f607c2e.jpg","纵：144.1厘米，横：59.6厘米",[],{"id":17891,"slug":17892,"title":17893,"dynasty":177,"author":16220,"museum":119,"description":17894,"tags":17895,"thumbUrl":17896,"material":127,"size":127,"collection":127,"collections":17897,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[23,24,25,149,28,29,65,7,64,34,1120,167,1897,533,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":17899,"slug":17900,"title":17901,"dynasty":177,"author":1825,"museum":14378,"description":17902,"tags":17903,"thumbUrl":17904,"material":87,"size":17905,"collection":71,"collections":17906,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,24,25,149,28,65,7,3763,34,104,60,61,63,64,3865,201,150,1616,241,208,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[71,212],{"id":17908,"slug":17909,"title":6218,"dynasty":177,"author":3760,"museum":119,"description":17910,"tags":17911,"thumbUrl":17912,"material":127,"size":127,"collection":127,"collections":17913,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,24,25,149,122,65,7,64,34,104,60,61,37,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":17915,"slug":17916,"title":17917,"dynasty":177,"author":17918,"museum":135,"description":17919,"tags":17920,"thumbUrl":17921,"material":17922,"size":17923,"collection":71,"collections":17924,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,24,25,7,164,59,65,318,413,63,734,165,199,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","浅设色","34.7x29厘米",[71,212],{"id":17926,"slug":17927,"title":4014,"dynasty":54,"author":368,"museum":135,"description":17928,"tags":17929,"thumbUrl":17930,"material":87,"size":17931,"collection":71,"collections":17932,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},222596,"xi-shan-xue-ji-tu-lan-ying-222596","画面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,28,65,7,878,62,495,372,583,64,201,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[71,45],{"id":17934,"slug":17935,"title":17936,"dynasty":54,"author":368,"museum":369,"description":17937,"tags":17938,"thumbUrl":17941,"material":537,"size":17942,"collection":71,"collections":17943,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,28,65,7,34,64,63,35,61,278,201,413,241,16266,1616,2216,533,240,17939,17940,8905],"淡赭","山石皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[71,212],{"id":17945,"slug":17946,"title":17947,"dynasty":54,"author":17948,"museum":704,"description":17949,"tags":17950,"thumbUrl":17951,"material":349,"size":17952,"collection":71,"collections":17953,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,24,25,26,59,7,65,34,64,61,37,101,17460,3865,6093,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[71,212],{"id":17955,"slug":17956,"title":17957,"dynasty":54,"author":14148,"museum":135,"description":17958,"tags":17959,"thumbUrl":17960,"material":225,"size":17961,"collection":71,"collections":17962,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,149,59,28,7,199,61,34,64,37,65,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[71,45],{"id":17964,"slug":17965,"title":17966,"dynasty":54,"author":55,"museum":650,"description":17967,"tags":17968,"thumbUrl":17969,"material":736,"size":17970,"collection":127,"collections":17971,"showCount":17798,"zanCount":1080,"manualWeight":48,"mainColor":75},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,24,25,26,28,59,67,66,65,7,34,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":17973,"slug":17974,"title":17975,"dynasty":54,"author":1652,"museum":135,"description":17976,"tags":17977,"thumbUrl":17978,"material":454,"size":17979,"collection":71,"collections":17980,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},221973,"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[23,24,28,65,149,7,64,34,583,61,103,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[71,45],{"id":17982,"slug":17983,"title":17984,"dynasty":18,"author":6139,"museum":3157,"description":17985,"tags":17986,"thumbUrl":17987,"material":349,"size":17988,"collection":127,"collections":17989,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},221606,"ku-mu-tu-liang-kai-221606","枯木图","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,24,59,123,733,264,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6ccf2251cdf9d1af34e70cbbab5720.jpg","24.1×23cm",[],{"id":17991,"slug":17992,"title":17993,"dynasty":18,"author":2535,"museum":135,"description":17994,"tags":17995,"thumbUrl":17997,"material":17998,"size":17999,"collection":127,"collections":18000,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},221179,"fang-chun-yu-ji-tu-ma-lin-221179","芳春雨霁图","《芳春雨霽圖》描繪荒野平溪，窠石疏林。枝上嫩葉初露，春意濃郁。遠方煙靄出沒，隱約可見。畫中怪石用斧劈皴，老樹用嚴謹的雙鈎填墨法，樹葉用淡褐色點染。全圖用筆瘦硬勁峭，構圖簡括，畫風學馬遠而又有自己的創新，為馬麟山水畫佳作。",[23,24,25,59,28,7,29,65,5485,17996,125,264,64,34,3004],"霁景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc250f3f66b0a8950d7b6bc515696ee5a.jpg","轴，绢本，浅设色","纵27．5厘米，横41．6厘米",[],{"id":18002,"slug":18003,"title":18004,"dynasty":54,"author":1096,"museum":20,"description":6567,"tags":18005,"thumbUrl":18006,"material":1697,"size":2597,"collection":127,"collections":18007,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},220915,"shan-shui-ce-9-dong-qi-chang-220915","山水册9",[23,24,25,164,59,7,65,372,64,1674,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c33f118062bda18bcde2cd0e0d405dc.jpg",[],{"id":18009,"slug":18010,"title":18011,"dynasty":54,"author":18012,"museum":396,"description":18013,"tags":18014,"thumbUrl":18015,"material":139,"size":18016,"collection":44,"collections":18017,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","朱邦","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,25,59,65,28,7,61,62,8008,103,125,373,33,607,1140,15502,34,2833,14732,5134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[44,71],{"id":18019,"slug":18020,"title":10709,"dynasty":80,"author":12536,"museum":135,"description":18021,"tags":18022,"thumbUrl":18023,"material":596,"size":18024,"collection":212,"collections":18025,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},220389,"yuan-an-wo-xue-tu-yan-hui-220389","画面上天寒地冻，林木萧索，积雪封山。洛阳令乘坐牛车，带领仆从逶迤而来，在寒林掩映下的袁安屋舍前停下。一名随侍前行几步，手叩柴门。图中树石以墨染晕刷而成，人物衣纹则劲健多折，称得上是画中珍品。",[23,24,25,100,59,28,65,7,878,372,64,103,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4bd070e278c143edef678f3376f82a5.jpg","本幅 160.2x105.7公分、全幅 107.7公分",[212],{"id":18027,"slug":18028,"title":18029,"dynasty":177,"author":4747,"museum":20,"description":18030,"tags":18031,"thumbUrl":18033,"material":18034,"size":18035,"collection":71,"collections":18036,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[23,24,25,149,59,65,7,413,64,278,4342,6093,34,103,201,238,37,559,4828,240,18032,16267],"笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[71],{"id":18038,"slug":18039,"title":18040,"dynasty":177,"author":5740,"museum":3962,"description":18041,"tags":18042,"thumbUrl":18043,"material":349,"size":18044,"collection":71,"collections":18045,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},220238,"nan-xu-shan-shui-tu-cha-shi-biao-220238","南徐山水图","查士标（1615-1698），字二瞻，号梅壑散人，安徽休宁人，后寓扬州。出身望族，博雅好古。富收藏，家藏古铜器和宋、元人书画真迹甚多，因此精于鉴赏。他早年作画师从倪云林，以后参用吴镇、董其昌笔法，用笔简练，惜墨如金，皴染不重，风神懒散，气韵荒寒，被推为“逸品”，画史把他和弘仁、汪云瑞、孙逸合称为“新安四家”。",[23,24,25,149,59,65,7,165,734,63,103,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b746ab0c70caf76479ceb2c83727f26.jpg","138×52厘米",[71],{"id":18047,"slug":18048,"title":18049,"dynasty":18,"author":178,"museum":135,"description":18050,"tags":18051,"thumbUrl":18054,"material":139,"size":18055,"collection":42,"collections":18056,"showCount":17798,"zanCount":1080,"manualWeight":48,"mainColor":49},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,25,26,28,29,304,4768,103,104,438,7,34,559,5034,6756,64,18052,18053],"官员","仪仗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[42],{"id":18058,"slug":18059,"title":18060,"dynasty":177,"author":2017,"museum":20,"description":18061,"tags":18062,"thumbUrl":18063,"material":169,"size":18064,"collection":71,"collections":18065,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},220105,"mao-lin-shi-bi-zhou-yun-shou-ping-220105","茂林石壁轴","恽寿平（公元1633—1690年），清代书画家。初名格，字寿平，后以字行，改字正叔，号南田、白云外史等，江苏武进人。他一生坎坷，以卖画为生。其山水宗宋、元诸家，尤得益于黄公望。后改习花鸟，其没骨花卉创一代新风，为“清初六大家”之一。 亦工诗、朽，著有《瓯香馆集》、《南田诗抄》。传世作品有《落花游鱼图》轴、《锦石秋花图》轴等。",[23,24,149,59,7,65,64,2737,1616,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[71,212],{"id":18067,"slug":18068,"title":18069,"dynasty":177,"author":9528,"museum":220,"description":18070,"tags":18071,"thumbUrl":18072,"material":349,"size":18073,"collection":71,"collections":18074,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},219991,"shan-jing-po-zhou-tu-dai-ben-xiao-219991","山径泊舟图","戴本孝（1621年－1691年），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代新安派画家之一。",[23,24,59,65,149,7,264,583,104,62,12342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e7c0febcd0f56ffa4fd38b837a6abc.jpg","132cm×60cm",[71],{"id":18076,"slug":18077,"title":18078,"dynasty":54,"author":9184,"museum":3774,"description":18079,"tags":18080,"thumbUrl":18081,"material":169,"size":18082,"collection":71,"collections":18083,"showCount":17798,"zanCount":961,"manualWeight":48,"mainColor":940},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松画派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[24,59,65,149,7,765,318,165,372,60,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[71],{"id":18085,"slug":18086,"title":18087,"dynasty":18,"author":6139,"museum":18088,"description":18089,"tags":18090,"thumbUrl":18093,"material":139,"size":18094,"collection":308,"collections":18095,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},219075,"han-tang-tu-liang-kai-219075","寒塘图","哈佛艺术博物馆","寒塘漾着薄暮的影，枯树的枝桠如写尽沧桑的笔锋，斜斜划过空濛的背景。几只水鸟依偎在岸石边，绒羽的留白透着怯怯的暖，与周遭的冷寂形成温柔对照。淡墨晕开的水面，似有若无的波纹，把清寒气息漫向画外。\n\n减笔不简意，枯槁里藏生机，空疏中含情味——萧瑟里是生命在冷意中的坚守，空濛间是天地幽远的淡然。寥寥数笔，将冬日寒塘的清寂与微芒揉合，每一处墨色浓淡、线条曲直，都藏着对自然的深刻观照：冷到极致时，反而见得生命本真的模样。这方圆镜里，是画，更是心与天地的对话。",[24,59,18091,7,607,125,106,264,18092],"减笔","寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3589e99e2899dbb7d805d459868c98e0.jpg","24.6x25.7cm",[308],{"id":18097,"slug":18098,"title":18099,"dynasty":18,"author":18100,"museum":119,"description":18101,"tags":18102,"thumbUrl":18103,"material":139,"size":127,"collection":71,"collections":18104,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},218596,"gui-zhou-tu-yang-an-dao-218596","归舟图","杨安道","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[23,24,100,2484,28,7,62,15502,238,61,101,63,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg",[71],{"id":18106,"slug":18107,"title":18108,"dynasty":80,"author":178,"museum":3793,"description":18109,"tags":18110,"thumbUrl":18111,"material":139,"size":18112,"collection":71,"collections":18113,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":49},217913,"xue-jian-shan-xing-tu-yi-ming-217913","雪涧山行图","整幅画浓烈的冬日氛围使人感到温馨舒适。画家巧妙地运用色彩与线条，使得画面生动而富有层次感。这幅画不仅展示了元朝人民的传统冬季活动，更展示了画家对冬季自然美景的热爱与描绘能力。",[24,100,25,7,28,65,878,61,318,334,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddf65cbaf189045f36b411463d3189b.jpg","22.5x24.7cm",[71],{"id":18115,"slug":18116,"title":4056,"dynasty":80,"author":9857,"museum":3774,"description":18117,"tags":18118,"thumbUrl":18119,"material":69,"size":18120,"collection":71,"collections":18121,"showCount":17798,"zanCount":48,"manualWeight":48,"mainColor":75},217890,"yun-shan-tu-fang-cong-yi-217890","这幅图画描绘了云山之间的壮丽景色。方从义精细地捕捉了云山间的层次感，并使用清晰的线条勾勒出了山体的轮廓。同时，他还运用了多种不同的颜色来表现云山的美丽，让图画整体看起来十分生动。\n\n除了描绘自然景色，云山图中还有许多人物和动物的身影。这些人物和动物与山体相互呼应，使图画看起来更加真实。\n\n总的来说，云山图是一幅令人惊叹的艺术杰作，值得一看。",[24,25,2484,59,65,7,979,318,165,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027831a0ebcaf82168a5a483608c7ea1.jpg","22.9x25.1cm",[71],{"id":18123,"slug":18124,"title":18125,"dynasty":54,"author":2524,"museum":56,"description":2525,"tags":18126,"thumbUrl":18127,"material":69,"size":2529,"collection":127,"collections":18128,"showCount":17798,"zanCount":961,"manualWeight":48,"mainColor":75},214672,"san-jue-tu-3-yao-shou-214672","三绝图-3",[24,25,28,59,65,7,62,103,125,583,890,167,106,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67ad5f71e8a0537085abdb8c153b4b0f.jpg",[],{"id":18130,"slug":18131,"title":18132,"dynasty":54,"author":2524,"museum":56,"description":2525,"tags":18133,"thumbUrl":18134,"material":69,"size":2529,"collection":127,"collections":18135,"showCount":17798,"zanCount":1080,"manualWeight":48,"mainColor":75},214669,"san-jue-tu-5-yao-shou-214669","三绝图-5",[24,25,28,7,65,164,318,165,35,33,61,103,101,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623804a452b8a760d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（1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[23,100,24,149,7,28,65,64,5408,61,34,104,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd631dc13de2e69a5451abd4d5af28756.jpg","纵184cm，横117.7cm",[308],{"id":18482,"slug":18483,"title":18484,"dynasty":177,"author":178,"museum":161,"description":18485,"tags":18486,"thumbUrl":18487,"material":139,"size":18488,"collection":71,"collections":18489,"showCount":18151,"zanCount":48,"manualWeight":48,"mainColor":75},218093,"huang-cun-du-shu-yi-ming-218093","荒村独尌","这幅画主要描写了荒凉的村庄和孤独的农夫生活。表达了农民面对贫穷和困难时的悲惨心情。该画中使用了许多自然形象，如荒芜的田野、萧条的树木、寂寞的河流等，来描绘出农民贫困的生活环境。",[23,24,149,59,28,7,125,630,35,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2315df54f03804acdb72342539551.jpg","94x44.6cm",[71],{"id":18491,"slug":18492,"title":909,"dynasty":54,"author":18493,"museum":161,"description":18494,"tags":18495,"thumbUrl":18496,"material":69,"size":18497,"collection":71,"collections":18498,"showCount":18151,"zanCount":961,"manualWeight":48,"mainColor":49},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[23,24,59,7,100,149,60,61,30,34,13182,1433,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[71],{"id":18500,"slug":18501,"title":18502,"dynasty":54,"author":178,"museum":396,"description":1663,"tags":18503,"thumbUrl":18504,"material":69,"size":127,"collection":127,"collections":18505,"showCount":18151,"zanCount":961,"manualWeight":48,"mainColor":75},217951,"ming-ren-shan-shui-hua-ce-si-yi-ming-217951","明人山水画册(四)",[23,24,59,164,65,7,62,34,2813,238,63,166,399,413,33,1695,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65090f9ae3fb49fb75219114df41c63.jpg",[],{"id":18507,"slug":18508,"title":4056,"dynasty":54,"author":18509,"museum":3774,"description":18510,"tags":18511,"thumbUrl":18512,"material":139,"size":18513,"collection":71,"collections":18514,"showCount":18151,"zanCount":961,"manualWeight":48,"mainColor":49},217944,"yun-shan-tu-he-cheng-217944","何澄","《云山图》是一幅山水画，描绘的是山峦起伏的山岭，被浓密的云雾笼罩。何澄在画中运用了笔触细腻的技巧，将云山的起伏变化和神秘感表现得淋漓尽致。画中还有几只飞鸟，增添了画面的生动感。\n\n《云山图》被认为是何澄的代表作，也是明朝山水画的经典之作。它不仅体现了何澄的艺术才华，也展示了明朝时期对自然、山水的描绘方式。",[24,25,149,59,7,979,318,319,34,264,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[71],{"id":18516,"slug":18517,"title":18518,"dynasty":18,"author":178,"museum":56,"description":18519,"tags":18520,"thumbUrl":18521,"material":139,"size":18522,"collection":71,"collections":18523,"showCount":18151,"zanCount":961,"manualWeight":48,"mainColor":940},217068,"xi-qiao-gui-qi-tu-yi-ming-217068","溪桥归骑图","《溪桥归骑图》是一幅综合了山水、人物和动物的图画。画中，山水景色非常美丽，清澈的小溪流过葱郁的山谷，山峰高耸入云，森林茂密，景色宜人。在溪边，一名骑马而归的男子和他的马从远处走来，似乎是从旅行中归来。画中还有许多生动的动物，如嬉戏的鹿、石鸡等。",[24,2484,7,335,103,60,65,28,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc46ceb389667c533df831b73b9a5047.jpg","18.3x29cm",[71],{"id":18525,"slug":18526,"title":18527,"dynasty":54,"author":1096,"museum":56,"description":1895,"tags":18528,"thumbUrl":18529,"material":69,"size":127,"collection":127,"collections":18530,"showCount":18151,"zanCount":48,"manualWeight":48,"mainColor":75},214649,"qiu-xing-ba-jing-tu-ce-8-dong-qi-chang-214649","秋兴八景图册-8",[24,25,164,28,27,67,66,65,7,62,104,34,106,61,64,979,508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cbb4fb5fa1b201a43ea69f5624d486.jpg",[],{"id":18532,"slug":18533,"title":18534,"dynasty":18,"author":18535,"museum":119,"description":18536,"tags":18537,"thumbUrl":18538,"material":337,"size":937,"collection":127,"collections":18539,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},290864,"ke-si-shan-shui-zhou-shen-zi-fan-290864","缂丝山水轴","沈子蕃","祖籍定州孟家庄。缂丝名匠。",[100,24,149,4923,27,28,7,63,60,61,62,125,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34435ac0ec43f64123746736c26b0390.jpg",[],39,{"id":18542,"slug":18543,"title":18544,"dynasty":80,"author":1410,"museum":119,"description":18545,"tags":18546,"thumbUrl":18547,"material":337,"size":937,"collection":127,"collections":18548,"showCount":18540,"zanCount":1080,"manualWeight":48,"mainColor":49},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,25,149,59,65,7,60,6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江西临川人。元代著名画家。生卒年不详，大致生活于元代前期。\n生卒年不详，大致生活于元代前期。据元代虞集（1272-1348）《空山歌》载，他于“弱冠”之年，曾见罗稚川“挥翰甚风流”，从虞氏生年（1272）下推，大约在1292年时罗稚川尚在世。虞集记载了罗氏早年生涯：“忆昔侍郎镇成都，将佐盈庭宾客趋；锦官城外笳鼓发，驷马桥边高盖车。”据此，罗稚川曾是南宋时镇守四川成都的年轻将领。理宗端平三年（1236）金兵陷成都，特别是宋亡，彻底改变了他的人生道路，他开始了隐居生活。宋亡，入元不仕，以诗画自娱。",[24,59,7,372,106,878,2704,149,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29982bf2593c2e7d2d3c6f8160d10cb9.jpg",[],{"id":18565,"slug":18566,"title":6316,"dynasty":18,"author":2155,"museum":119,"description":18567,"tags":18568,"thumbUrl":18572,"material":337,"size":937,"collection":127,"collections":18573,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":49},288940,"xiao-xiang-ba-jing-yan-si-wan-zhong-wang-hong-288940","金碧招提古，高峰最上层。喧风僧入梵，宿雾佛前灯。禅观延空寂，蒲牢忽震凌。黄昏山路险，窘步一枝藤。",[24,100,26,7,59,65,238,61,17687,1616,37,18569,18570,18571],"悠远","潇湘八景","烟寺晚钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3166e7284dc5ff42ff0284cdff74ab71.jpg",[],{"id":18575,"slug":18576,"title":18577,"dynasty":177,"author":1925,"museum":119,"description":18578,"tags":18579,"thumbUrl":18581,"material":337,"size":937,"collection":127,"collections":18582,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":75},288093,"fang-guo-zhong-shu-shan-shui-gua-zhou-zhu-da-288093","仿郭忠恕山水挂轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,24,100,25,149,59,65,122,7,64,34,18580,103,101],"亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba1eb735d31099514794c6d03e0419.jpg",[],{"id":18584,"slug":18585,"title":1562,"dynasty":18,"author":1085,"museum":119,"description":18586,"tags":18587,"thumbUrl":18589,"material":337,"size":937,"collection":127,"collections":18590,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},287567,"xian-shan-lou-ge-tu-zhao-bo-ju-287567","此页以青绿重色描绘山水、建筑，左半部山石层层叠起，楼台殿阁自山脚下湖水边随着山势逶迤推高，直至半山。右半部水面荷叶点点，远山屏立，朵朵祥云飘渺其间。山石空勾填色，线条工细，不用皴法，摹拟赵伯驹、赵伯骕兄弟风格，承续了唐人传统。画面明丽润泽，给人清新之感。",[23,100,24,2484,27,28,29,7,104,106,10821,66,67,101,8414,18588],"王母","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ead504db0a03072610e13005477678e.jpg",[],{"id":18592,"slug":18593,"title":18594,"dynasty":18,"author":1085,"museum":119,"description":5368,"tags":18595,"thumbUrl":18596,"material":337,"size":937,"collection":127,"collections":18597,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},287314,"han-gong-guan-chao-tu-juan-zhao-bo-ju-287314","汉宫观潮图卷",[23,100,24,26,304,27,28,7,104,60,333,167,722,17261,4730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b19f8ced72c7f99b773244aa679fcfb.jpg",[],{"id":18599,"slug":18600,"title":18601,"dynasty":177,"author":18602,"museum":20,"description":18603,"tags":18604,"thumbUrl":18605,"material":349,"size":127,"collection":71,"collections":18606,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":49},237451,"fei-quan-bi-liu-zhou-fu-shan-237451","飞泉壁流轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[100,24,25,149,59,65,7,6084,34,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[71,212],{"id":18608,"slug":18609,"title":1420,"dynasty":177,"author":4707,"museum":119,"description":16126,"tags":18610,"thumbUrl":18611,"material":127,"size":127,"collection":71,"collections":18612,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},236915,"shan-shui-zhou-kun-can-236915",[24,59,65,149,66,101,7,104,64,34,533,347,167,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[71,212,927],{"id":18614,"slug":18615,"title":18616,"dynasty":177,"author":178,"museum":20,"description":18617,"tags":18618,"thumbUrl":18620,"material":40,"size":127,"collection":308,"collections":18621,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},236178,"hong-li-gu-zhuang-tong-jing-ping-yi-ming-236178","弘历古装通景屏","此作以高远法铺展冬日盛景，层叠群山覆着素雪，枯木寒林错落山间，淡墨晕染留白尽显积雪清寒之气，绘出北地冬日的萧寒辽远。\n\n下方宅邸界画工整流利，屋舍俨然。庭院之内人物往来鲜活灵动，或伫立寒暄，或穿梭备事，衣饰鲜亮，为清冷天地晕开融融暖意。画面以萧寒雪景衬宅邸温煦日常，一动一静相映成趣。笔触兼具北宗山水的苍劲雄浑与院体精工之致，将幽居雅集的闲逸意趣，融在素裹天地之中，清冷意境与人间暖意交织，尽显古典园居的雅致韵味。",[24,25,18619,28,29,304,7,104,103,34,878,559],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded276fb2933bdf92b40267c15571dff.jpg",[308,71,44,45],{"id":18623,"slug":18624,"title":18625,"dynasty":177,"author":13541,"museum":20,"description":18626,"tags":18627,"thumbUrl":18628,"material":87,"size":18629,"collection":71,"collections":18630,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":49},236112,"qiu-lin-ye-zhang-tu-zhou-zhang-yu-sen-236112","秋林曳杖图轴","该图构图险中求隐，用笔多变灵活，细皴密点，石作卷云，水作横波，松枝虬曲披靡，既得茂蔚之姿，又获空灵之气，设色优美，不落俗套。\n张雨森，生卒年不详，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。",[24,100,149,7,28,65,60,61,64,1389,8604,63,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7483aa2c190af398b7e81ccbdcca24.jpg","纵157厘米，横100厘米",[71,45],{"id":18632,"slug":18633,"title":18634,"dynasty":177,"author":18635,"museum":119,"description":18636,"tags":18637,"thumbUrl":18638,"material":127,"size":127,"collection":127,"collections":18639,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":49},236043,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-236043","乾隆皇帝洗象图轴","丁观鹏","此作以洗象场景铺陈，将禅门仪轨融于山林野趣。虬松苍劲盘桓，荫蔽出一方幽凉，巨象安驯仁厚，侍者持具涤扫，动作舒展自然。画面人物神态各殊，或静立垂目，或俯身劳作，衣袂翩跹雅致，敷色明柔妍丽。远景以淡墨晕出平沙烟岚，衬出清旷悠远的林下氛围。\n\n整作工笔精细雅致，线条婉转流畅，将肃穆礼佛之意揉入悠然山野图景，兼具规整细腻与空灵澹远，把清宁禅意与林下雅趣相融，观之如临其境，见一场祥和清寂的林间佛事，韵致悠长。",[24,149,29,28,103,6239,3986,3988,7,34,64,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e64a545b5a01030f15e8610b035d154.jpg",[],{"id":18641,"slug":18642,"title":18643,"dynasty":177,"author":2017,"museum":119,"description":18644,"tags":18645,"thumbUrl":18646,"material":127,"size":127,"collection":127,"collections":18647,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},235913,"xiao-shan-zhu-shu-ye-yun-shou-ping-235913","小山竹树页","此作以修竹为画面核心，几竿新篁挺拔清劲，竹叶以浓淡墨色点染，攒聚错落间尽显阴阳开合，笔力爽利，将竹的清健风骨跃然纸上。\n远景山峦以淡墨晕染勾勒，留白为水，不着一笔却见湖光悠悠，湖畔茅亭极简勾勒，野逸闲淡之趣自生。\n全作用笔简净空灵，以少胜多，舍弃繁复皴擦，借浅淡水墨写尽丘林幽致。右上角题识与朱印呼应，书画相融，为画面添了雅致文气，将江南小景的清寂空阔藏在尺幅之中，尽显萧散淡远的文人意韵，借花木山水寄寓了幽远襟怀。",[24,59,7,630,165,63,264,65,2145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4220102cf9fcc83ce62cc8c4a1a42f1e.jpg",[],{"id":18649,"slug":18650,"title":159,"dynasty":54,"author":15209,"museum":119,"description":18651,"tags":18652,"thumbUrl":18654,"material":127,"size":127,"collection":71,"collections":18655,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},235817,"shan-shui-ce-li-liu-fang-235817","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[24,25,164,59,28,65,7,34,64,35,31,4574,18653,1616,1695,1433,166],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[71,308],{"id":18657,"slug":18658,"title":394,"dynasty":177,"author":4747,"museum":119,"description":18659,"tags":18660,"thumbUrl":18661,"material":127,"size":127,"collection":71,"collections":18662,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},235638,"shan-shui-tu-ce-wu-li-235638","此作用笔苍秀，干笔皴擦间墨色清润澹远。近岸枯木虬曲，石径隐于荒草间，寒林错落自具苍劲姿态。水畔茅亭孑立，空无一人，愈发衬出周遭岑寂。远景汀渚层叠，烟波留白晕出水天浩渺，将江南水滨冬日的荒寒淡远尽数铺陈。\n\n画面萧疏冷寂，题句呼应着幽栖独处的意趣，以简淡笔墨写尽林泉幽致，尽显文人画的雅致襟怀，把避俗幽居的澹泊心境融于山水间，空濛冷逸，意境萧散清远。",[24,59,7,164,65,63,125,61,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd513fedc147c373822b59addc09428d0.jpg",[71],{"id":18664,"slug":18665,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":18666,"thumbUrl":18667,"material":349,"size":2207,"collection":127,"collections":18668,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089",[24,25,164,59,67,65,7,318,319,165,125,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd47a46f6ca498fde781cc73a947eca.jpg",[],{"id":18670,"slug":18671,"title":18672,"dynasty":80,"author":160,"museum":20,"description":18673,"tags":18674,"thumbUrl":18675,"material":375,"size":1588,"collection":127,"collections":18676,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},233787,"ge-zhi-chuan-yi-ju-tu-zhou-wang-meng-233787","葛稚川移居图轴","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[24,25,149,28,27,7,65,103,335,64,61,34,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff523932734437a78bb03a9d5015869.jpg",[],{"id":18678,"slug":18679,"title":18680,"dynasty":54,"author":7355,"museum":135,"description":18681,"tags":18682,"thumbUrl":18683,"material":69,"size":18684,"collection":71,"collections":18685,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[23,24,28,29,101,7,979,318,319,278,34,5146,6299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[71],{"id":18687,"slug":18688,"title":18689,"dynasty":177,"author":395,"museum":119,"description":18690,"tags":18691,"thumbUrl":18692,"material":127,"size":127,"collection":127,"collections":18693,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":75},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","山水花卉图册","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[100,24,25,164,59,65,66,101,7,60,61,62,239,34,11163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":18695,"slug":18696,"title":18697,"dynasty":54,"author":6413,"museum":119,"description":18698,"tags":18699,"thumbUrl":18700,"material":127,"size":127,"collection":127,"collections":18701,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,25,26,59,7,65,66,67,318,319,34,60,61,63,106,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":18703,"slug":18704,"title":18705,"dynasty":54,"author":96,"museum":119,"description":18706,"tags":18707,"thumbUrl":18708,"material":127,"size":127,"collection":127,"collections":18709,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,27,28,29,26,25,67,7,103,62,61,63,34,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":18711,"slug":18712,"title":18713,"dynasty":80,"author":1962,"museum":119,"description":18714,"tags":18715,"thumbUrl":18716,"material":127,"size":127,"collection":127,"collections":18717,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":49},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,59,28,7,65,62,103,238,34,63,104,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":18719,"slug":18720,"title":18721,"dynasty":18,"author":178,"museum":119,"description":18722,"tags":18723,"thumbUrl":18724,"material":127,"size":127,"collection":127,"collections":18725,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[23,24,25,26,59,7,65,61,62,238,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":18727,"slug":18728,"title":314,"dynasty":18,"author":6369,"museum":119,"description":18729,"tags":18730,"thumbUrl":18731,"material":127,"size":127,"collection":127,"collections":18732,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":49},227695,"chun-shan-tu-juan-zhao-bo-su-227695","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,100,24,25,26,27,28,7,29,65,238,34,722,60,61,2833,35,37,5146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":18734,"slug":18735,"title":4737,"dynasty":811,"author":1137,"museum":424,"description":10621,"tags":18736,"thumbUrl":18737,"material":127,"size":127,"collection":127,"collections":18738,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},227597,"xi-shan-lan-re-tu-ju-ran-227597",[23,24,25,7,149,59,65,318,34,4740,201,278,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":18740,"slug":18741,"title":18742,"dynasty":18,"author":18743,"museum":119,"description":18744,"tags":18745,"thumbUrl":18746,"material":127,"size":127,"collection":127,"collections":18747,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[23,24,25,26,59,65,7,30,34,347,31,62,106,372,167,720,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":18749,"slug":18750,"title":9910,"dynasty":177,"author":178,"museum":119,"description":18751,"tags":18752,"thumbUrl":18753,"material":127,"size":127,"collection":127,"collections":18754,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,24,25,26,27,28,29,7,238,34,35,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":18756,"slug":18757,"title":18758,"dynasty":54,"author":178,"museum":20,"description":18759,"tags":18760,"thumbUrl":18763,"material":40,"size":18764,"collection":127,"collections":18765,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,24,25,26,28,27,29,7,334,3763,31,8028,34,826,18761,38,18762],"聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":18767,"slug":18768,"title":18769,"dynasty":177,"author":2620,"museum":20,"description":18770,"tags":18771,"thumbUrl":18772,"material":40,"size":18773,"collection":71,"collections":18774,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[23,24,149,304,7,104,64,34,37,62,28,65,103,495,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[71,45],{"id":18776,"slug":18777,"title":18778,"dynasty":177,"author":672,"museum":704,"description":18779,"tags":18780,"thumbUrl":18781,"material":127,"size":127,"collection":71,"collections":18782,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[24,25,28,59,7,2911,1249,1478,653,106,61,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[71,45],{"id":18784,"slug":18785,"title":18786,"dynasty":177,"author":2907,"museum":20,"description":18787,"tags":18788,"thumbUrl":18790,"material":18791,"size":18792,"collection":308,"collections":18793,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,25,149,29,28,7,9199,3988,18789,199,61,239,34,1738,7318],"蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","绢本，立轴，设色","184cm 96.6cm",[308,45],{"id":18795,"slug":18796,"title":18797,"dynasty":54,"author":18798,"museum":135,"description":18799,"tags":18800,"thumbUrl":18801,"material":454,"size":18802,"collection":44,"collections":18803,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},222550,"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[23,24,26,29,28,103,7,104,583,64,37,167,304,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[44,45],{"id":18805,"slug":18806,"title":18807,"dynasty":54,"author":7763,"museum":2503,"description":18808,"tags":18809,"thumbUrl":18810,"material":349,"size":18811,"collection":927,"collections":18812,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":75},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,67,66,26,101,59,16867,25,62,104,7,106,1642,1643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[927],{"id":18814,"slug":18815,"title":18816,"dynasty":54,"author":945,"museum":20,"description":18817,"tags":18818,"thumbUrl":18819,"material":40,"size":18820,"collection":71,"collections":18821,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},222362,"qian-tang-jing-wu-tu-zhou-tang-yin-222362","钱塘景物图轴","自题七绝并署款：“钱塘景物似围屏，路寄山崖屋寄汀。杨柳坡平人马歇，鸬鹚船过水风腥。唐寅。”钤“□郡”（白文，残，应为“吴郡”二字）、“唐白虎”（朱文）、“学圃堂”（朱文）印。\n此作在流传过程中曾经遭受损坏，唐寅题诗的顶端部分“钱”、“寄”、“船”字均为后世所补全。本幅下方二藏印模糊不可辨。\n图画崇山栈道，游骑翩翩，草阁游人独坐，江中渔舟游弋。山石、树木取法南宋李唐、夏圭，用笔方硬细峭，刻画精到，点景人物形态自然，风格细秀，显示了作者早年规步南宋“院体”风格的绘画功底。",[23,24,149,7,65,28,318,239,34,35,104,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0060a0b4d927625dc12f0a07bf48c8c6.jpg","纵71.4厘米，横37.2厘米",[71,212],{"id":18823,"slug":18824,"title":18825,"dynasty":54,"author":9301,"museum":135,"description":18826,"tags":18827,"thumbUrl":18828,"material":127,"size":18829,"collection":71,"collections":18830,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,24,25,164,28,59,7,65,60,61,372,583,535,64,278,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[71,45],{"id":18832,"slug":18833,"title":18834,"dynasty":54,"author":55,"museum":135,"description":18835,"tags":18836,"thumbUrl":18838,"material":349,"size":127,"collection":127,"collections":18839,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":75},222091,"tai-jing-lin-ting-tu-shen-zhou-222091","苔迳林亭图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,2484,59,65,7,63,125,64,18837,101],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a2b67b5b31a4fb17975c34793c69e7.jpg",[],{"id":18841,"slug":18842,"title":18843,"dynasty":80,"author":17441,"museum":135,"description":18844,"tags":18845,"thumbUrl":18846,"material":537,"size":18847,"collection":71,"collections":18848,"showCount":18540,"zanCount":1080,"manualWeight":48,"mainColor":75},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,25,149,59,65,7,199,34,278,239,37,66,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[71,212],{"id":18850,"slug":18851,"title":18852,"dynasty":18,"author":234,"museum":1542,"description":4572,"tags":18853,"thumbUrl":18854,"material":1865,"size":1577,"collection":42,"collections":18855,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[23,24,25,26,1388,59,28,65,29,66,67,101,7,165,62,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[42,71,212],{"id":18857,"slug":18858,"title":18859,"dynasty":177,"author":2017,"museum":119,"description":18860,"tags":18861,"thumbUrl":18862,"material":349,"size":127,"collection":71,"collections":18863,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},221004,"du-shu-le-zhi-tu-yun-shou-ping-221004","读书乐志图","自从恽南田以高逸的山书画和寓意的没骨花卉写生画问世后，追随者众多。常州画派就是在这种审美风尚的趋引下，自然形成的的。",[23,2484,59,65,7,607,125,278,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc2d65fab42a70cd08850963b499af.jpg",[71,212],{"id":18865,"slug":18866,"title":18867,"dynasty":54,"author":1096,"museum":3323,"description":18868,"tags":18869,"thumbUrl":18870,"material":164,"size":3327,"collection":127,"collections":18871,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":127},220754,"fang-ge-jia-shan-shui-2-dong-qi-chang-220754","仿各家山水-2","此作用淡墨晕染远山，勾勒的山石尽显嶙峋之态，留白作云气晕出空濛山意。近岸林木笔法松秀苍润，浓墨点苔添得生机勃发。山坳村居、溪畔茅舍隐于丘壑之间，板桥行人又让林泉染上烟火暖意。\n\n题字错落左上，笔墨清雅萧散与画境相融。全画以干笔皴擦营造淡远空灵意境，简淡中见层次藏雅趣，将幽居林泉的闲逸藏于尺幅之间，尽显文人山水的疏朗清旷，观之如临寂寂山林，得自然清和之味。",[23,24,25,59,65,7,318,319,165,734,199,150,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg",[],{"id":18873,"slug":18874,"title":18875,"dynasty":2272,"author":4322,"museum":4276,"description":18876,"tags":18877,"thumbUrl":18878,"material":18879,"size":127,"collection":127,"collections":18880,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},220505,"e-mei-zhang-da-qian-220505","峨眉","此作以云海托举雄峰，虚实相映间铺展蜀山灵韵。以青绿皴染勾勒峭崖肌理，晕染出层叠石壁的苍劲质感，石青石绿晕开山峦清润，赭石铺陈崖顶厚重。翻涌云涛以泼墨晕染而成，将群峰半掩半露，生出缥缈仙气。崖巅古松劲拔、梵宇隐现，为雄奇山景添上清寂禅意。既恪守传统笔墨法度，又以泼彩新意晕化山色，将巍峨与灵秀糅合，尽显天地造化之奇，静穆之中自有磅礴大气，藏着蜀中山河的万千意趣。",[24,25,7,28,59,65,30,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a6a494de0efa8d16398fba50d5288ec.jpg","纸本水墨设色",[],{"id":18882,"slug":18883,"title":18884,"dynasty":80,"author":1962,"museum":56,"description":18885,"tags":18886,"thumbUrl":18890,"material":139,"size":18891,"collection":71,"collections":18892,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},220406,"qiu-ge-qing-xiao-tu-sheng-mao-220406","秋舸清啸图","《秋舸清啸图》描绘的是在近岸陂陀上树木繁茂，一艘篷舟缓缓经过，船头有一位逸士正在仰天长啸，他身前置放酒皿瓷碗，身后古玩横陈，船尾是一个正在摇橹的一童 子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 取唐人法，描线细劲。画风与盛氏至正辛卯(1351年)所作的《沧江横琴图》近似。",[23,24,100,28,103,7,62,34,238,3836,18887,18888,18889,1521,65],"长啸","阮籍","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4c131ade18640c2b048464aebfc709.jpg","纵167.5厘米，横102.4厘米",[71,45],{"id":18894,"slug":18895,"title":18896,"dynasty":54,"author":945,"museum":161,"description":18897,"tags":18898,"thumbUrl":18899,"material":596,"size":18900,"collection":71,"collections":18901,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},219982,"jiang-shen-cao-ge-tu-tang-yin-219982","江深草阁图","此幅作品以焦墨作江千石壁,二松虬结其间,松下一座茅亭,亭中幽人清坐,山拗间流泉飞落,山间小路曲折隐现,左中部有画家自题:'五月江深草阁寒苏门唐寅写增次明吴君．'下铃朱文印'唐子畏图书'、'某景书屋'．画心及诗堂有沈周、吕秉之、叶恭绰、吴湖帆等人题跋,整幅作品皴笔清劲、缜密,于风骨奇峭中透出明洁秀爽的雅逸之气。\n此幅作品虽无年月可考,但从风格上看,确为少年真迹．按吴湖帆的考证,沈周题诗书迹为60 余岁时作,沈又长子畏43 岁．沈周与吕秉之的题均为前辈勉励后生之语．按唐寅中弘治戊午解元时年29 岁,以吕秉之所题'子且不试艺'句,此幅作于29 岁之前无疑。",[23,100,24,25,149,59,65,7,104,64,61,34,103,199,4828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece99a18e25e8053cb0da8812a3492fb.jpg","纵84 厘米,横36.7 厘米",[71],{"id":18903,"slug":18904,"title":18905,"dynasty":18,"author":2535,"museum":135,"description":18906,"tags":18907,"thumbUrl":18911,"material":139,"size":18912,"collection":44,"collections":18913,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},219599,"fu-xi-zuo-xiang-tu-ma-lin-219599","伏羲坐像图","本幅画其坐像，散发披肩，身披鹿皮，一派远古风范。远古时期，我们的先民为了御寒，以石器或骨器加工兽皮，再以骨针等工具进行缝制。此画幅足下右图1为八卦。此八卦图形表明他创制八卦的功绩。他双目凝神，似在沉思什么似的。\n画幅上方宋理宗楷书叙赞。叙曰：“朕获承祖宗右文之绪，祗通燕谋，日奉慈极，万几馀闲，博求载籍，推迹道统之传，自伏羲迄於孟子，凡达而在上，其道行，穷而在下，其教明，采其大指，各为之赞，虽未能探颐精微，姑以寓尊其所闻之意云尔。”标题：“宓牺”。赞日：“继天立极，为百王先，法度肇建，道德纯全，八卦成文，三坟不传，无言而化，至治自然”\n此画刻画高度精练，神情表现细致人微，画法新颖别致，生动自然。人物的眉毛、胡子，粗黑浓密，只是挥洒数笔便勾画出来。衣服更为简练，鹿皮下露出一双赤脚，亦一无疏漏地表现出来，真是神奇而妥贴。设色亦甚为高雅、纯朴，头部和赤脚着浅色，衣服以淡墨渲染，加深了受光面的立体感。简朴精练的笔墨，把这位始祖的形象刻画入微，给人留下了深刻的印象。",[23,24,25,149,28,29,103,7,18908,18909,66,18910],"龟","兽皮","八卦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcc5012d0f893c24fe192b64e6c7a39.jpg","纵249.8厘米，横112.0厘米",[44],{"id":18915,"slug":18916,"title":18917,"dynasty":177,"author":9047,"museum":135,"description":18918,"tags":18919,"thumbUrl":18920,"material":69,"size":127,"collection":44,"collections":18921,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},219440,"gao-xian-yu-yin-tu-zhou-jin-ting-biao-219440","高贤遇隐图轴","枯木虬枝如铁，皴笔勾勒出岁寒之姿；野径蜿蜒若带，淡墨晕染出郊原之旷。士人凭树而立，衣袂飘举间神态悠然，目光轻落向田间劳作的身影；农夫戴笠荷锄，躬身耕耘时动作朴拙，身影与苍茫大地相融。笔墨于细节处见真章：树皮的纹理、土地的肌理、衣褶的流转，皆以细腻线条与层次墨色铺陈。贤士与隐者的相遇，似无意却藏深意——尘嚣之外，静观与躬耕皆是心境之选。画面简淡清雅，将超脱世俗的悠然意趣凝于方寸，尽显文人画的韵致与哲思。",[24,25,149,29,65,103,372,334,61,495,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddd877b675099d48ee98845a7533715.jpg",[44],{"id":18923,"slug":18924,"title":18925,"dynasty":18,"author":178,"museum":135,"description":18926,"tags":18927,"thumbUrl":18928,"material":139,"size":18929,"collection":71,"collections":18930,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":49},218799,"wu-kuan-shan-shui-yi-ming-218799","无款山水","本幅绘高士乘舟赴幽谷观瀑，清谈，山远地偏，谷深树茂，正是避世绝佳处。此幅树法笔墨近于李唐，而山石又掺以郭熙卷云皴，成画年代可上溯到南宋。",[23,24,100,7,59,62,2683,2671,34,64,199,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dddbf70d238823f6026d2c535d95f7e.jpg","28.9x54",[71],{"id":18932,"slug":18933,"title":18934,"dynasty":80,"author":7238,"museum":135,"description":18935,"tags":18936,"thumbUrl":18937,"material":596,"size":127,"collection":71,"collections":18938,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":75},218741,"xi-shan-xue-yi-tu-zhang-yu-218741","溪山雪意图","雪裹溪山，素净如笺。寒林疏枝横斜，似在静默中与天地对语。山间茅舍隐于皑雪，不见人踪，却藏着一份遗世的安然。笔墨简淡而意韵深幽，枯笔勾勒的山石与留白的雪色交织，将冬日的空濛与文人的孤高心境凝于画间。每一处留白都是雪的呼吸，每一笔线条都是心的独白，似能透过画面触到那份远离尘嚣的清寂，感受元代文人笔下山水的空灵与禅意。寒枝、皑峰、幽舍，共同织就一幅冷寂却温情的冬日图景，尽显文人画的雅致与哲思。",[23,24,25,59,28,65,7,878,372,64,347,766,201,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d448db60ab16f22dad017cba7f8823.jpg",[71],{"id":18940,"slug":18941,"title":18942,"dynasty":177,"author":10191,"museum":396,"description":18943,"tags":18944,"thumbUrl":18947,"material":169,"size":18948,"collection":44,"collections":18949,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},218384,"wang-shi-zhen-yu-zhu-yi-zun-he-xiang-luo-pin-218384","王士禛与朱彝尊合像","苍松虬劲，藤蔓垂丝，幽涧边两位长衫文人对坐清谈——或拄杖凝思，或持卷浅笑，眉宇间尽是林下风致。画面以淡墨皴染山水，线条简练却神形兼备，松针的挺劲、衣袂的飘举皆见笔力。四周密布的题跋，墨色浓淡相间，与山水人物相映成趣，既是对画中人物的追慕，也为画面增添了厚重的文化底蕴。整幅作品融山水、人物、书法于一体，既展现了文人雅集的闲适氛围，也传递出对先辈的敬仰之情，笔意间流淌着传统文人画的气韵与风骨，仿佛能听见松风里的清谈声，望见涧水边的诗思流转。",[23,59,123,29,65,18945,583,103,64,201,7318,2315,533,7,8249,18946,34,452],"书画结合","文人形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389765da7665ff9ada03940d3872f88d.jpg","167.5x56.6",[44],{"id":18951,"slug":18952,"title":18953,"dynasty":54,"author":96,"museum":135,"description":18954,"tags":18955,"thumbUrl":18956,"material":139,"size":18957,"collection":44,"collections":18958,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":75},218224,"er-shi-si-xiao-ce-da-shun-xiao-gan-dong-tian-chou-ying-218224","二十四孝册-大舜孝感动天","孝感动天，《二十四孝》中第一个故事，讲述的是虞舜孝心感动上天。《二十四孝》全名《全相二十四孝诗选》，由历代二十四个孝子从不同角度、不同环境、不同遭遇行孝的故事集而成。",[24,25,164,29,28,103,7,3988,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47767f7c756281e39cccf352de4644f8.jpg","31.2x22.3",[44],{"id":18960,"slug":18961,"title":18962,"dynasty":80,"author":18963,"museum":161,"description":18964,"tags":18965,"thumbUrl":18966,"material":169,"size":18967,"collection":71,"collections":18968,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":75},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[24,25,149,59,65,67,101,7,2682,63,34,64,35,201,8249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[71],{"id":18970,"slug":18971,"title":18972,"dynasty":80,"author":178,"museum":135,"description":18973,"tags":18974,"thumbUrl":18976,"material":139,"size":18977,"collection":44,"collections":18978,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":49},216205,"han-yuan-lie-qi-tu-yi-ming-216205","寒原猎骑图","蕃骑游猎草原上，野兽惊骇逃窜。二骑追逐夹击一鹿，正挽弓欲射，最引人注目，成为画幅之焦点。画风与明画院之人马作品相近似。",[23,24,100,25,28,7,103,335,3988,65,334,106,264,18975],"荒原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45faf22c49aa6873d7c5bff973cba879.jpg","75x98.5cm",[44],{"id":18980,"slug":18981,"title":15488,"dynasty":177,"author":18982,"museum":135,"description":18983,"tags":18984,"thumbUrl":18985,"material":69,"size":127,"collection":71,"collections":18986,"showCount":18540,"zanCount":961,"manualWeight":48,"mainColor":75},214725,"shan-shui-ce-ye-hu-gui-214725","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[24,7,28,164,318,34,35,2845,106,166,508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804056f2501ac14a099ce287ab11f0cf.jpg",[71],{"id":18988,"slug":18989,"title":8592,"dynasty":18990,"author":6800,"museum":56,"description":18991,"tags":18992,"thumbUrl":18993,"material":127,"size":127,"collection":71,"collections":18994,"showCount":18540,"zanCount":48,"manualWeight":48,"mainColor":18995},202796,"shan-shui-tu-zhou-huang-bin-hong-202796","近代","此作笔墨苍劲浑厚，山石以浓淡干湿的墨色层层积染，皴擦交错间尽显山峦嶙峋质感。山间云雾以留白与淡墨晕染相济，虚实相生，营造出深远空间层次。近景松枝挺劲，枯荣树木旁小桥横跨溪涧，几间屋舍隐于林麓，添生活意趣。整体构图疏密有致，墨色浓淡相宜，既见传统山水笔墨功底，又透自然野逸生机，尽显对山水意境的深刻体悟。",[24,25,149,59,65,7,583,60,64,37,150,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aacda9025fc8a3234c1b0924a10e3a.jpg",[71],"e1d9cb",{"id":18997,"slug":18998,"title":18999,"dynasty":80,"author":19000,"museum":135,"description":19001,"tags":19002,"thumbUrl":19004,"material":139,"size":19005,"collection":127,"collections":19006,"showCount":19007,"zanCount":712,"manualWeight":48,"mainColor":49},290955,"long-zhou-duo-biao-zhou-wu-ting-hui-290955","龙舟夺标轴","吴廷晖","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[24,149,304,28,12117,104,7,34,2845,63,19003],"龙舟夺标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfaac7c9f64d3cb8ff91cd3ca0120e38.jpg","124.1x65.6",[],38,{"id":19009,"slug":19010,"title":19011,"dynasty":54,"author":96,"museum":119,"description":19012,"tags":19013,"thumbUrl":19015,"material":337,"size":937,"collection":127,"collections":19016,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},290950,"yu-dong-shao-dan-juan-chou-ying-290950","玉洞烧丹卷","乍辞紫府出仙都。来问丹成事有无。云雾衣裳芝作馔。桃花颜色雪为肤。壶中满贮长生药。卷内同看太极图。寄语群仙机尽息。何须更问玉蟾蜍。仇英实甫画玉洞烧丹图。精细工雅。深得松年千里二公神髓。诚当代绝技也。雨窓无聊。据案展阅。不觉情思飞扬。漫赋短句。嘉靖壬子（1552）征明识。",[24,26,29,28,27,103,7,583,37,19014,13343],"炼丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea85c55f212fc077fd9230bbed9a7f2.jpg",[],{"id":19018,"slug":19019,"title":19020,"dynasty":811,"author":1137,"museum":119,"description":19021,"tags":19022,"thumbUrl":19023,"material":337,"size":937,"collection":127,"collections":19024,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},290234,"qing-feng-tu-ju-ran-290234","晴峰图","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。",[23,100,24,25,149,59,7,65,104,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f767646b504d76c3e289173b139511.jpg",[],{"id":19026,"slug":19027,"title":19028,"dynasty":811,"author":1137,"museum":135,"description":19029,"tags":19030,"thumbUrl":19031,"material":337,"size":13954,"collection":127,"collections":19032,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},289894,"xi-shan-lin-sou-tu-ju-ran-289894","溪山林薮图","此画以 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anCount":712,"manualWeight":48,"mainColor":75},232645,"xuan-wen-jun-shou-jing-tu-chen-hong-shou-232645","宣文君授经图","据画面题款，是崇祯十一年（1638）陈洪绶（1598－1652）以前秦宣文君授经典故为姑母创作的祝寿图。画面正中端坐一位老年女性人物，她身后竖立的屏风上绘有一幅青绿山水。除山水画中常见的山峦、树石、溪水和人物等图像元素，画面还同时绘有圆日和弯月，让人不禁揣测它们的象征含义。\n宣文君（283~？），姓宋氏，前秦女经学家，名失传，籍贯不详。太常韦逞之母。家传周官学。苻坚曾令学生一百二十人从她受业，使周官学得以保存流传，成为中国古代历史上第一位女博士。时人称为“宣文君”。",[24,25,149,29,28,103,7,34,979,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d4b5e9e2797593d6accf0773b104f.jpg","172.8×55.7cm",[],{"id":19182,"slug":19183,"title":19184,"dynasty":54,"author":19185,"museum":4678,"description":19186,"tags":19187,"thumbUrl":19188,"material":225,"size":19189,"collection":127,"collections":19190,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":75},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","宋克","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[23,24,25,26,59,7,630,347,34,64,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":19192,"slug":19193,"title":19194,"dynasty":8332,"author":19195,"museum":119,"description":19196,"tags":19197,"thumbUrl":19198,"material":337,"size":937,"collection":71,"collections":19199,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 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日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,1388,149,65,28,7,64,583,372,35,6850,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[71],{"id":19201,"slug":19202,"title":19203,"dynasty":18,"author":178,"museum":119,"description":19204,"tags":19205,"thumbUrl":19206,"material":127,"size":127,"collection":127,"collections":19207,"showCount":19007,"zanCount":961,"manualWeight":48,"mainColor":49},227922,"cao-tang-xiao-xia-tu-yi-ming-227922","草堂消夏图","石青石绿晕染出山居底色，古雅沉静。茅舍临波而建，蕉叶舒展、修竹藏幽，枯木疏朗点破夏寂，水色澹澹漫过阶前，将暑热涤荡一空。\n\n屋内二人对坐清谈，案间茶卷相依，不必摇扇，林泉间的幽凉便漫进草堂。笔墨工秀柔润，把夏日山居的闲静雅致铺陈开来，将耽于林泉、忘忧消暑的隐逸意趣藏在尺幅团扇里，满是冲淡安和的林下之风，尽显清旷襟怀。",[23,24,25,2484,28,29,7,103,125,630,264,347,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08840f39db0cf9f63dbb5ad9f829aaed.jpg",[],{"id":19209,"slug":19210,"title":14442,"dynasty":18,"author":592,"museum":119,"description":19211,"tags":19212,"thumbUrl":19213,"material":127,"size":127,"collection":127,"collections":19214,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},227774,"mu-niu-tu-li-tang-227774","李唐牧牛图，绢本， 61X63cm ，北京故宫博物院藏。鉴藏印：奉使之印、项元汴印、退密、仙客、子京所藏、项墨林父秘籍之印、蔗田珍玩、项叔子、叶蔗田珍赏章、蔗田曾藏识者宝之、平生珍赏、畊霞溪馆、虚斋审定书画名迹 钤印：苏氏文印、西磵云樵、昌龄、苏。",[23,100,24,25,7,103,1586,125,28,59,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":19216,"slug":19217,"title":19218,"dynasty":18,"author":288,"museum":119,"description":16946,"tags":19219,"thumbUrl":19220,"material":127,"size":127,"collection":127,"collections":19221,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},227730,"dong-ting-qiu-yue-tu-xiao-xia-gui-227730","洞庭秋月图（小）",[23,24,100,25,149,59,7,1643,125,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706adea0be21d3e2be8c5b05315e7cc4.jpg",[],{"id":19223,"slug":19224,"title":13023,"dynasty":1051,"author":178,"museum":8528,"description":8529,"tags":19225,"thumbUrl":19226,"material":337,"size":937,"collection":127,"collections":19227,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},226272,"ku-zhu-shi-nan-bi-yi-ming-226272",[3985,1042,28,103,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49cf5b7ee87247ac588d9fce0749009.jpg",[],{"id":19229,"slug":19230,"title":19231,"dynasty":177,"author":395,"museum":119,"description":19232,"tags":19233,"thumbUrl":19234,"material":127,"size":127,"collection":127,"collections":19235,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":75},224519,"shan-shui-tu-ce-8-kai-6-shi-tao-224519","山水图册8开-6","此作以极简笔墨铺陈林泉幽境，虬松苍劲盘曲，焦墨攒写松针，古拙老辣尽现岁寒风骨。茅舍板桥轻勾淡染，野朴天真。浅赭花青晕染远山，留白代水，虚实相生间漾开空濛淡远的烟岚之气。\n\n桥头渔翁寥寥数笔，便勾画出垂纶忘机的闲淡模样，暗合寄情丘壑、与世无争的林下襟怀。全幅笔致纵逸灵秀，以水墨浅绛写就幽居逸趣，淡而愈远，简中见雅，将文人幽栖林泉的意趣藏入每寸笔墨，悠悠然漾出静穆清和的林下之风。",[23,100,24,25,164,59,65,7,60,347,583,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47caab48b06d630ce9946e368b7e7336.jpg",[],{"id":19237,"slug":19238,"title":19239,"dynasty":177,"author":1825,"museum":20,"description":19240,"tags":19241,"thumbUrl":19242,"material":40,"size":19243,"collection":71,"collections":19244,"showCount":19007,"zanCount":961,"manualWeight":48,"mainColor":49},224483,"ling-shang-bai-yun-tu-wang-jian-224483","岭上白云图","图绘山峦叠嶂，树木茁壮葱茏，山间、山脚处民居隐现，坐落于此犹如世外桃园，画面布局充实繁密，山石画法以黄公望为宗，于披麻皴后又用横点叠皴，或勾或点，各具风姿。笔法圆润，浓墨点苔。风格古朴高雅，具有大气淳厚之感，是幅不可多得的佳作。",[23,24,25,149,28,7,65,318,1617,165,63,104,239,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcc8e3e142af285a644cc82cafaa371.jpg","143.7x50.6cm",[71],{"id":19246,"slug":19247,"title":19248,"dynasty":177,"author":3760,"museum":119,"description":19249,"tags":19250,"thumbUrl":19251,"material":127,"size":127,"collection":127,"collections":19252,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":75},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,25,26,28,65,7,318,319,165,372,978,33,63,150,106,199,37,64,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":19254,"slug":19255,"title":1282,"dynasty":80,"author":178,"museum":20,"description":19256,"tags":19257,"thumbUrl":19258,"material":454,"size":19259,"collection":42,"collections":19260,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":940},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,24,25,59,28,65,7,238,64,34,372,62,3865,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[42,71,212],{"id":19262,"slug":19263,"title":19264,"dynasty":177,"author":672,"museum":135,"description":19265,"tags":19266,"thumbUrl":19267,"material":292,"size":19268,"collection":71,"collections":19269,"showCount":19007,"zanCount":961,"manualWeight":48,"mainColor":75},223130,"zi-hua-xiang-hua-yan-223130","自画像","本幅自题：“新罗山人小景。嗤余好事徒，性耽山野僻。每入深谷中，贪玩泉与石。或遇奇邱壑，双飞折齿屐。翩翩排烟云，如翅生两腋。此兴四十年，追思殊可惜。迩来筋骨老，迥不及畴昔。聊以孤松唫，闭之蒿间宅。洞然窥小牖，寥萧浮虚白。炎风扇大火，高天苦燔炙。倦卧竹筐床，清汗湿枕席。耶得踏层冰，散发倾崖侧。其坐捉笔砚，写我躯七尺。嬴形侣鹤臒，峭兀比霜柏。俯仰绝尘境，晨昏不相迫。草色荣空春，苔纹华石壁。古藤结游青，寒水浸僵碧。悠悠小乾坤，福地无灾厄。雍正丁未长夏新罗山人坐讲声书舍戏墨。”钤“秋岳”、“华岩”。引首钤“小园”，右下钤“离垢”。“雍正丁未”为1727年，华岩时年46岁。\n华岩是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华岩潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华岩一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华岩身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[23,24,25,149,59,223,103,7,239,199,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618e9659c8ac72917cca6831b14c9888.jpg","纵130.5厘米，横50.7厘米",[71,212],{"id":19271,"slug":19272,"title":19273,"dynasty":177,"author":3973,"museum":20,"description":19274,"tags":19275,"thumbUrl":19276,"material":292,"size":19277,"collection":71,"collections":19278,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[23,24,25,7,59,65,64,34,199,63,278,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[71,212],{"id":19280,"slug":19281,"title":19282,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":19283,"thumbUrl":19284,"material":87,"size":15463,"collection":127,"collections":19285,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},223074,"hong-lou-meng-60-sun-wen-223074","红楼梦60",[23,24,100,29,28,103,12167,104,60,7,1738,264,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc778f30d6320cf2226001639f7dbc7e6.jpg",[],{"id":19287,"slug":19288,"title":19289,"dynasty":177,"author":1872,"museum":119,"description":7754,"tags":19290,"thumbUrl":19291,"material":632,"size":19292,"collection":127,"collections":19293,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":75},222622,"shan-shui-shan-mian-3-gong-xian-222622","山水扇面-3",[23,24,25,2484,59,65,7,63,165,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6191e681c7f9801e2bd66e8502b32f.jpg","纵22.7厘米，横63.1厘米",[],{"id":19295,"slug":19296,"title":19297,"dynasty":54,"author":19298,"museum":3157,"description":19299,"tags":19300,"thumbUrl":19301,"material":19302,"size":19303,"collection":71,"collections":19304,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":49},221876,"shan-shui-tu-bi-geng-yuan-gao-ran-hui-221876","山水图(笔耕园）","高然晖","《笔耕园》是将室町时代（1336年－1573年，当时倭寇开始在我国为祸，大量文物自此流失）及以后舶来的中国画汇集而成的手鉴。\n《笔耕园》收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有一些其他朝代品质极高的作品。",[23,24,25,59,65,7,60,61,62,64,37,34,201,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b47ef1948cd9cb76d6fe494279e3f24.jpg","纸本墨画","24.3×33.2",[71,212],{"id":19306,"slug":19307,"title":19308,"dynasty":18,"author":2434,"museum":20,"description":19309,"tags":19310,"thumbUrl":19311,"material":632,"size":19312,"collection":127,"collections":19313,"showCount":19007,"zanCount":48,"manualWeight":48,"mainColor":75},221484,"yun-shan-mo-xi-tu-mi-you-ren-221484","云山墨戏图","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,24,25,26,59,7,37,34,30,65,67,101,66,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66167bb6cc21347584025b2d972b0ccf.jpg","纵21.4厘米，横195.8厘米",[],{"id":19315,"slug":19316,"title":19317,"dynasty":54,"author":1096,"museum":20,"description":2593,"tags":19318,"thumbUrl":19319,"material":1697,"size":2597,"collection":127,"collections":19320,"showCount":19007,"zanCount":48,"manualWei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r":49},287653,"hu-ting-you-qi-li-zhao-dao-287653","湖亭遊骑",[23,24,27,28,7,304,149,104,63,60,103,335,101,102,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc60d8644d255d0a078d03ec9b8a425f.jpg",[],{"id":19482,"slug":19483,"title":19484,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":19485,"thumbUrl":19486,"material":337,"size":937,"collection":127,"collections":19487,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},283755,"fang-zhao-meng-fu-qiu-shan-tu-zhou-dong-qi-chang-283755","仿赵孟頫秋山图轴",[24,149,122,27,28,7,2682,104,34,61,64,101,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8614638114781952fe09e68c6cd84e.jpg",[],{"id":19489,"slug":19490,"title":3572,"dynasty":18,"author":15758,"museum":119,"description":19491,"tags":19492,"thumbUrl":19493,"material":337,"size":937,"collection":127,"collections":19494,"showCount":112,"zanCount":1080,"manualWeight":48,"mainColor":940},283687,"xia-shan-tu-qu-ding-283687","京师（今河南开封）人。仁宗朝（一o二三）为图画院只候。工画山水，得燕文贵之髦髴。画四时风物之变态，与夫烟霞惨舒，泉石凌砾之状，善分布，涧谷间见屈曲之状。然有笔而无思致，林木皆崦霭而已，虽为许道宁之师，道宁气格似过之，学不及也。",[100,24,25,26,7,59,65,64,34,61,62,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c9182eec083f60ca90336886ce8a61.jpg",[],{"id":19496,"slug":19497,"title":19498,"dynasty":80,"author":15570,"museum":119,"description":19499,"tags":19500,"thumbUrl":19502,"material":337,"size":937,"collection":127,"collections":19503,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},283621,"wei-mo-shuo-fa-tu-he-bi-juan-li-sheng-283621","维摩说法图合璧卷","画面清波荡漾,湖上有小桥、扁舟,远望峰峦高耸,树林参差,山间古寺隐约可见,景色清幽,一派送别离人的气氛。",[23,100,24,25,26,59,65,7,104,64,34,37,15124,19501,66,67,101,14351],"维摩说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6614b55fa7f765c035cfb69c0288099.jpg",[],{"id":19505,"slug":19506,"title":19507,"dynasty":177,"author":19508,"museum":119,"description":19509,"tags":19510,"thumbUrl":19511,"material":127,"size":127,"collection":71,"collections":19512,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},239418,"fang-li-cheng-shan-shui-zhou-xu-fang-239418","仿李成山水轴","徐枋","徐枋（1622年5月3日——1694年11月7日） ，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,25,149,59,65,122,7,60,61,62,63,372,35,64,34,2845,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[71],{"id":19514,"slug":19515,"title":19516,"dynasty":177,"author":19517,"museum":119,"description":19518,"tags":19519,"thumbUrl":19524,"material":127,"size":127,"collection":127,"collections":19525,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},239360,"fang-huang-gong-wang-fu-chun-shan-tu-juan-fang-cong-239360","仿黄公望富春山图卷","方琮","此作用干笔淡墨铺展千里江山，开篇平林远渚，烟波澹荡，村舍隐于茂林，渐而山峦层叠皴染，苍秀兼具，暗合原作平淡天真的气韵。丘壑排布舒展自然，峰峦以披麻皴写就，松枝挺劲苍古，林麓间田亩交错，渔舟泛于空蒙水面，尽显江南山水的温润清远。全卷气脉贯通，将富春林峦深秀、水乡闲雅尽皆揽入，笔墨追摹古意又自含静穆简远之致，留白处烟岚浮动，复刻出原作的萧散野逸，尽显文人山水的淡远襟怀。",[23,100,24,25,26,59,7,122,65,1238,19520,3111,238,2595,10256,1778,16869,19521,19522,19523],"远渚","文人山水","萧散野逸","淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1572a10ef65de14456fc4e85525a18.jpg",[],{"id":19527,"slug":19528,"title":2582,"dynasty":177,"author":1801,"museum":119,"description":2583,"tags":19529,"thumbUrl":19530,"material":127,"size":2586,"collection":127,"collections":19531,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},238030,"hong-ren-shan-shui-tu-ce-hong-ren-238030",[100,24,25,164,59,65,7,264,61,372,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3f0273ba838ad249818da5b0f02d07.jpg",[],{"id":19533,"slug":19534,"title":1420,"dynasty":177,"author":1925,"museum":119,"description":19535,"tags":19536,"thumbUrl":19537,"material":127,"size":127,"collection":71,"collections":19538,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},237906,"shan-shui-zhou-zhu-da-237906","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,59,149,65,7,34,64,125,264,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb96d04f2547d63809c206cc57897c.jpg",[71],{"id":19540,"slug":19541,"title":19542,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":19543,"thumbUrl":19544,"material":127,"size":127,"collection":308,"collections":19545,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},237888,"wang-hui-ya-zhen-tu-heng-fang-ye-wang-hui-237888","王翚鸦阵图横方页",[24,197,2145,65,59,106,372,64,61,34,264,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f77cb5f5efef0d0dd541b2a6f81ea3a.jpg",[308,212],{"id":19547,"slug":19548,"title":19549,"dynasty":177,"author":1825,"museum":20,"description":19550,"tags":19551,"thumbUrl":19552,"material":632,"size":4915,"collection":71,"collections":19553,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},237611,"fang-wu-zhen-shan-shui-zhou-wang-jian-237611","仿吴镇山水轴","本幅上部自识长题，款署：“王原祁画并题。”钤“王原祁印”白文印，“茂京文”白朱文印，“扫华庵”朱文印。右下角钤“西庐后人”朱文印。\n此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[24,59,149,65,122,101,7,199,34,35,64,201,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg",[71,212],{"id":19555,"slug":19556,"title":19557,"dynasty":177,"author":395,"museum":20,"description":19558,"tags":19559,"thumbUrl":19560,"material":349,"size":127,"collection":71,"collections":19561,"showCount":112,"zanCount":961,"manualWeight":48,"mainColor":49},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,25,149,223,59,65,7,35,34,583,64,61,103,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[71,927],{"id":19563,"slug":19564,"title":19565,"dynasty":54,"author":19566,"museum":56,"description":19567,"tags":19568,"thumbUrl":19569,"material":225,"size":19570,"collection":71,"collections":19571,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},237262,"shen-hao-shan-shui-tu-ce-shen-hao-237262","沈灏山水图册","沈颢","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[24,25,164,59,65,7,318,165,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f016770f2129dbf2cceca137a9791c.jpg","15.2x23.6厘米",[71,212],{"id":19573,"slug":19574,"title":19575,"dynasty":177,"author":178,"museum":20,"description":19576,"tags":19577,"thumbUrl":19578,"material":40,"size":127,"collection":71,"collections":19579,"showCount":112,"zanCount":961,"manualWeight":48,"mainColor":49},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[24,100,26,28,29,7,103,335,8208,451,34,450,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[71,44,45],{"id":19581,"slug":19582,"title":19583,"dynasty":54,"author":7927,"museum":119,"description":19584,"tags":19585,"thumbUrl":19587,"material":127,"size":127,"collection":127,"collections":19588,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","雪景山水轴","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[24,25,149,59,65,7,878,583,35,103,372,64,533,19586,6850],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],{"id":19590,"slug":19591,"title":19592,"dynasty":54,"author":1652,"museum":20,"description":19593,"tags":19594,"thumbUrl":19596,"material":632,"size":19597,"collection":127,"collections":19598,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},233789,"cha-ju-shi-yong-tu-wen-zheng-ming-233789","茶具十咏图","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏•茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。",[24,25,149,59,7,34,278,106,66,65,19595],"细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078ace09b71a9b7aa104d7a634ed1d23.jpg","纵136.1厘米，横26.8厘米",[],{"id":19600,"slug":19601,"title":19602,"dynasty":54,"author":55,"museum":20,"description":19603,"tags":19604,"thumbUrl":19605,"material":19606,"size":19607,"collection":127,"collections":19608,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},233413,"jiang-ting-bi-shu-tu-shan-ye-shen-zhou-233413","江亭避暑图扇页","此图是幅笔笔紧贴诗意的画作。图绘夕阳下，高士策杖至江亭避暑的小景。扇面构图为左右开合式，设色以绿色为主，其青翠明洁的色调与简约的景致相呼应。清爽、平淡的审美意趣与消除烦燥求得清凉的避暑主题相契合，烘托出远离市俗寻幽独行高士其清逸雅淡的心境。",[24,25,2484,59,28,65,7,63,583,64,103,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f7c91afe93a2c98ff6b01f36ce6f9d.jpg","金笺，设色","纵18厘米，横46厘米",[],{"id":19610,"slug":19611,"title":9355,"dynasty":54,"author":9356,"museum":20,"description":19612,"tags":19613,"thumbUrl":19614,"material":40,"size":19615,"collection":127,"collections":19616,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,25,149,59,65,7,60,61,335,103,34,64,35,583,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":19618,"slug":19619,"title":19620,"dynasty":177,"author":10955,"museum":20,"description":19621,"tags":19622,"thumbUrl":19623,"material":40,"size":19624,"collection":127,"collections":19625,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[100,24,25,149,28,29,7,104,61,34,36,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":19627,"slug":19628,"title":19629,"dynasty":177,"author":178,"museum":20,"description":19630,"tags":19631,"thumbUrl":19634,"material":349,"size":19635,"collection":71,"collections":19636,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,25,164,28,29,304,103,7,335,60,104,64,34,6756,19632,19633,184],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[71,44,45],{"id":19638,"slug":19639,"title":9417,"dynasty":177,"author":4707,"museum":119,"description":19640,"tags":19641,"thumbUrl":19642,"material":349,"size":127,"collection":127,"collections":19643,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},231940,"qiu-shan-tu-kun-can-231940","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,100,24,25,26,59,28,65,7,372,64,61,62,1642,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":19645,"slug":19646,"title":19647,"dynasty":80,"author":6897,"museum":135,"description":19648,"tags":19649,"thumbUrl":19650,"material":736,"size":19651,"collection":127,"collections":19652,"showCount":112,"zanCount":1080,"manualWeight":48,"mainColor":75},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,25,26,59,65,7,64,34,61,62,104,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":19654,"slug":19655,"title":19656,"dynasty":8332,"author":19657,"museum":119,"description":19658,"tags":19659,"thumbUrl":19660,"material":127,"size":127,"collection":127,"collections":19661,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},230483,"an-tu-tao-shan-guan-feng-tu-ping-feng-shou-ye-xiu-lai-230483","安土桃山 观枫图屏风","狩野秀赖","的命名缘于当时的统治者织田信长，丰臣秀吉所在居城的地名而来，这个时代的文化被称为桃山文化（或安土桃山文化）。\n安土指织田信长的居城安土城，桃山指秀吉晚年的居城伏见城。\n为何伏见城又叫做桃山呢？是因为元和9年（162）幕府下令废弃伏见城，并在遗址上种植了很多桃树的原因。\n这个时期的文化主要体现在大名，豪商等阶层的繁荣奢华以及佛教影响力衰弱，西洋文化开始传播等方面。\n历来作为军事据点的城郭，由于领国经营等政治上的原因，从中世以来一直利用天险防御为中心的山城形态，渐渐过渡到小山丘上的平山城，最终形成通过濠（护城河），石垣来防御的平地上建筑的平城。\n在近世更是由于城下町的发达成为政治经济的中心。\n城郭内部的建设在这个时期也很出名，壮丽的 为军事和政治的中心，也是权力的象征，外围二丸三丸等环城和橹。\n这个时代的代表城郭有，平山城形态的有有 之美名的 （兵库县，附图2），有日本最古老的天守阁的犬山城（也称白帝城，爱知县）和彦根城（也称金龟城，滋贺县）；平城的代表有 ，松本城（又名深志城，长野县）。\n秀吉在京都的居所聚乐第，伏见城的城郭和书院式建筑的内部曾用黄金建造，光彩夺目，窗格采用镂空的雕刻。\n虽然现在已不存在，但是通过从被认为是聚乐第伏见城被拆毁时迁筑的建筑物身上可以推断出来。\n聚乐第的遗址是德大寺唐门和 飞云阁，伏见城的遗址为都久夫须麻神社本殿和西 书院·唐门。\n都久夫须麻神社为 的竹生岛上的神社。\n室内的隔扇·屏风上采用类似于浓绘的障壁画（障屏画）。\n障壁画有水墨画和金碧浓彩画两种，后者也可算作 浓绘，余白以金色和银色为地，采用绿青红等的浓彩的画法。\n障壁画的主流是狩野派。\n狩野派的奠基人 把室町时期盛行的水墨画和日本传统的大和绘巧妙的融合，运用丰富的色彩和强力的线描，雄大的构图等优点于一体的集大成者。\n永德的门人狩野山乐等创作了大量的障壁画。\n狩野永德的代表作品有《唐狮子图屏风》，《桧图屏风》（浓绘）；狩野山乐则有《松鹰图》，《牡丹图》。\n其他的还有海北派的始祖海北友松，长谷川派的始祖 等，也有很多优秀的浓绘和水墨画传世。\n海北友松的代表作《山水图屏风》（水墨画），长谷川等伯的《智积院袄绘》（浓绘）《松林图屏风》（水墨画）。\n另外，以都市和百姓生活，风俗等为题材的风俗画也很盛行。\n狩野永德所做描画京都内外名所和市民生活的《洛中洛外图屏风》。\n狩野长信的《花下游乐图屏风》，狩野吉信的《职人尽屏风图》，狩野秀赖的《高雄观枫图屏风》等为风俗画的代表作。\n武将和富裕的町众（町内的有力者）专注于茶道（茶会）和花道（插花）。\n， ， （后两人与千利休并称三宗匠）等茶人的出现，特别是 主张的“侘び茶”（静茶）由于受到秀吉和诸大名的赏识而广为流传。\n侘び茶指的是在小屋中举行茶会，感受茶道极致的意思。\n千利休的茶室以妙喜庵待庵为代表，侘び茶的精神在草庵风的单层屋顶的茶室里得到了极至的体现。\n其他的茶室如织田有乐斋的如庵也很有名。\n织田有乐（斋），即是织田信长的弟弟 。\n相对于侘び茶的茶室，秀吉修建了“黄金茶室”。\n叠的茶室里，使用大量的金和金箔。\n对于茶道的理解不同也导致了后来发生的悲剧。\n天正15年（1587），秀吉召开北野大茶会，不问身份贫富皆可参加，（但由于佐佐成政的肥后 爆发），预定1日的茶会不得不在一天就结束，极大地损害了为茶会奔走的堺商人的脸面。\n后又由于在 山门前的木像事件，愤怒的秀吉令利休切腹。\n伴随着茶道的盛行，茶室以外诸如茶器和庭园文化也得到了长足的进步。\n代表庭院为醍醐寺三宝院庭园。\n以高向寺荫绘有名。\n陶瓷器方面，乐烧为代表。\n是以京都的乐家的烧制为基础，初代的长次郎在聚乐第烧制为由而命名的。\n乐家以外的烧制者也很多。\n在桃山时代，美浓烧，赖户烧，备前烧，伊贺的 ，京的乐烧所制的陶器最受茶人们的欢迎。\n出兵朝鲜的将领中有抢抓朝鲜的陶工回国做工的事情发生。\n借由此，九州等西部沿海地区的陶业开始了急速的发展，其中 的有田烧（李参平创始）， 的上野烧， 的沙萨摩烧， 的高取烧，毛利辉元的萩烧的最为有名。\n此时，甲胄的制作也有了长足的进步。\n以 的歌舞伎，高三隆达的隆达节（曲），人形净琉璃最为盛行。\n阿国歌舞伎是指由阿国开创的かぶき踊り（歌舞）。\nかぶき踊り指异样的服装和 ，其中加入了能狂言（日本表演艺术的种类）和当时流行的念佛舞。\n阿国是就算不是首演者，也会是这项演出的来由者。\n关于阿国的最早记录是天正1年（1582） 的春日神社若宫拜殿的“ややこ踊”演出，出自于兴福寺的记录。\n“阿国自称为出云大社的巫女，边唱神歌或小歌边舞蹈。\n随后又开始念佛跳舞，更有女扮男装男扮女装的所作事（舞蹈剧名），再加入简单的动作跳かぶき踊り，这就是阿国歌舞伎的开始。\n” 庆长年间京都的四条河原等地风行，后来甚至波及到伏见城。\n由于人气的激增，模仿者辈出，才有了女歌舞伎到今天的发展。\n但是，在当时歌舞伎发展的初期，还是以歌舞为主兼带卖淫业务的，因此歌舞伎者被冠以“河原乞食”，“小屋者”，“芝居者”等蔑称，后来发展到野郎歌舞伎的时候，技艺才受到了普遍的重视。\n隆达节是界的商人高山隆达谱曲，重复吟唱《闲吟集》的小歌，也包含当时的恋歌和自作词。\n人形净琉璃是指搭配运用三味线和净琉璃来操作木偶的表演艺术。\n三味线是中国元代创作的三弦，在永禄年传来。\n本体用蛇皮包裹，故称蛇皮线，还有就是日本特有的猫皮线。\n由于国内的统一，和平的背景下都市顺利发展，生活文化也有着向上的趋势。\n服装方面，代表风格的小袖十分流行。\n小袖就是缩短了袖子的服装。\n另外木棉代替了麻成为了普通百姓的衣原料。\n豪华的表演服也出现来。\n住宅方面书院式建筑普及，京都还出现了2层的建筑。\n食文化方面，一日三餐的形式开始普及，调味料品新增了酱油和白糖。\n受到南蛮文化的广泛熏陶也是这一时期的文化特征之一。\n在绘画方面狩野派的画家有很多都是以南蛮人的风俗或和南蛮人做交易场景为主题来作画的。\n代表作品有根据舶来品世界图扩展摹写的《世界地图屏风》和据说是 命造的描画南欧骑马王侯战姿的《泰西王侯骑马图屏风》。\n许多新技术也通过贸易的开展而传入，耶稣会的传教士Valignano（意大利人）带来了西方的活字印刷术。\n出版了基督版（天草版）书籍，其中以全文葡萄牙语系罗马字记录的《天草版平家物语》和《天草版伊曾保物语》最为有名。\n另有说出兵朝鲜时也被传入印刷术，但是两者都在 被废止，原因是重版的时候非活字的方法比较经济实用。\n另外，航海术，造船术乃至天文，地理，医学等海外知识源源传入。\n服装和食物方面的专用名词也是在这个时代被定格的。\nパン、カステラ、ジュバン、タバコ、ラシャ是葡萄牙语系的外来语，ガラス、コーヒー是荷兰外来语，メリヤス、ビロード是西班牙语系。\nパン为面包，カステラ为蛋糕，ジュバン为和服的内衬衣，タバコ为烟草，ラシャ为毛衣，ガラス为杯子，コーヒー为咖啡，メリヤス为针织品，ビロード为绒毛衫",[23,28,29,103,2381,583,64,7,1120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565459c5684f9f641815ea8b1c04085c.jpg",[],{"id":19663,"slug":19664,"title":394,"dynasty":177,"author":1925,"museum":119,"description":18578,"tags":19665,"thumbUrl":19666,"material":337,"size":937,"collection":127,"collections":19667,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},230276,"shan-shui-tu-ce-zhu-da-230276",[24,59,65,164,101,7,125,64,35,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4472f7aa214cb40bd93f48ed4bffbe09.jpg",[],{"id":19669,"slug":19670,"title":159,"dynasty":177,"author":4707,"museum":119,"description":19671,"tags":19672,"thumbUrl":19673,"material":127,"size":127,"collection":127,"collections":19674,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},228965,"shan-shui-ce-kun-can-228965","淡赭晕开薄暮天色，月色悬于天际晕出朦胧清光，远山隐在烟岚之中，如被夜雾浸得温润朦胧。近林以焦墨挥写，笔意苍劲老辣，繁枝密叶错落有致，将山野草木萧森之态尽显。\n\n蜿蜒山径之上，白衣策杖人缓步行游，为幽密林色添上清寂文人气韵。画作以干湿浓淡的墨色变化，揉合出月夜空山的空濛辽远，静穆萧散的禅意藏在笔底，将夜游林麓的幽闲况味融在烟霞里，淡远悠长的林下之思随月色漫溢开来，清寂悠然直入人心。",[23,24,25,100,59,65,101,7,1643,334,34,103,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8628031461d94722f467f710beefc78.jpg",[],{"id":19676,"slug":19677,"title":19678,"dynasty":54,"author":2842,"museum":119,"description":19679,"tags":19680,"thumbUrl":19681,"material":127,"size":127,"collection":127,"collections":19682,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[23,24,26,59,65,122,7,1262,60,61,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":19684,"slug":19685,"title":19686,"dynasty":54,"author":96,"museum":673,"description":19687,"tags":19688,"thumbUrl":19689,"material":127,"size":127,"collection":127,"collections":19690,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,24,100,26,29,28,27,7,103,335,34,6756,64,19632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":19692,"slug":19693,"title":19694,"dynasty":18,"author":744,"museum":119,"description":19695,"tags":19696,"thumbUrl":19697,"material":127,"size":127,"collection":127,"collections":19698,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[23,100,24,25,28,7,29,65,34,64,104,167,37,199,103,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":19700,"slug":19701,"title":19702,"dynasty":1051,"author":1157,"museum":119,"description":19703,"tags":19704,"thumbUrl":19705,"material":127,"size":127,"collection":127,"collections":19706,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[23,100,24,25,8531,7,28,65,1262,64,372,6850,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":19708,"slug":19709,"title":19710,"dynasty":177,"author":19711,"museum":119,"description":19712,"tags":19713,"thumbUrl":19715,"material":127,"size":127,"collection":127,"collections":19716,"showCount":112,"zanCount":961,"manualWeight":48,"mainColor":379},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","清人","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[100,24,25,149,4923,28,103,7,34,4459,427,19714,3171,64,106,61],"凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":19718,"slug":19719,"title":19720,"dynasty":18,"author":178,"museum":20,"description":19721,"tags":19722,"thumbUrl":19723,"material":454,"size":19724,"collection":42,"collections":19725,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},223532,"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[23,24,25,7,28,65,104,165,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[42,71,212],{"id":19727,"slug":19728,"title":19729,"dynasty":177,"author":19730,"museum":1542,"description":19731,"tags":19732,"thumbUrl":19733,"material":7989,"size":19734,"collection":927,"collections":19735,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,25,164,59,28,7,67,65,61,238,34,520,35,3004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","31.8x24.8cm",[927,71],{"id":19737,"slug":19738,"title":19739,"dynasty":54,"author":96,"museum":776,"description":19740,"tags":19741,"thumbUrl":19743,"material":19744,"size":19745,"collection":127,"collections":19746,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},222212,"yu-di-tu-chou-ying-222212","渔笛图","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[23,24,29,28,7,34,35,62,373,61,103,239,33,65,167,19742],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":19748,"slug":19749,"title":19095,"dynasty":54,"author":1652,"museum":119,"description":19750,"tags":19751,"thumbUrl":19752,"material":19753,"size":19754,"collection":71,"collections":19755,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},221982,"shan-shui-juan-wen-zheng-ming-221982","此时文征明的山水画有两种比较典型的风格：“粗文”和“细文”。他的粗笔山水主要取法沈周和吴镇，在粗简中表现出层次和韵味；细笔山水则取法于赵孟頫、王蒙，用笔细密，布景繁密。设色多以青绿重彩或间施浅绛绘之，清雅宁静，具有很强的装饰意味。文征明性情温和儒雅，尤推崇秀润、细丽、含蓄的画风，作品以细笔山水为主。这与沈周的雄强刚健、粗犷张扬的画风明显不同。收藏界历来有“粗文细沈”之说，他的粗笔山水因数量较少而更受藏家钟爱。",[23,24,7,318,319,165,1655,59,223,26,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[71,212],{"id":19757,"slug":19758,"title":14693,"dynasty":80,"author":997,"museum":20,"description":19759,"tags":19760,"thumbUrl":19762,"material":1576,"size":19763,"collection":71,"collections":19764,"showCount":112,"zanCount":961,"manualWeight":48,"mainColor":49},221792,"xue-shan-tu-cao-zhi-bai-221792","《雪山图》卷描绘寒冬江岸景色，是沈周山水墨画的代表作。\n曲折的寒江两岸，岩崖逶迤，山峦延绵，老树槎砑，苍松傲然。\n江岸树石间点缀着紧闭门窗的房舍，静守孤舟的渔翁和身着寒装的行人，给画面增添了寒荒萧瑟的氛围。\n山石以老硬简率的笔法勾皴，以秃笔浓墨点苔，形成浓淡交错、疏密有致的韵律。\n这幅画构图宏阔，笔致挺劲凝炼，墨彩豪放雄逸，形成浑厚之势。",[23,24,59,7,149,65,1262,238,372,766,64,6850,19761],"孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27e97755cc21cee6f7621a139816eab.jpg","纵97.1厘米，横55.3厘米",[71,212],{"id":19766,"slug":19767,"title":19768,"dynasty":80,"author":997,"museum":135,"description":19769,"tags":19770,"thumbUrl":19772,"material":292,"size":19773,"collection":71,"collections":19774,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},221791,"shu-song-you-xiu-tu-zhou-cao-zhi-bai-221791","疏松幽岫图轴","描绘平溪远岫，疏林飞瀑，山谷间房舍隐现。近处高松老树疏简错落，枝干虬曲，形态优美。",[23,24,25,149,59,65,7,19771,125,64,34,101],"疏松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ce6cb5c7be500033f0c32f59285ed1.jpg","纵74.5厘米，横27.8厘米",[71,212],{"id":19776,"slug":19777,"title":11835,"dynasty":80,"author":997,"museum":135,"description":19778,"tags":19779,"thumbUrl":19780,"material":596,"size":19781,"collection":71,"collections":19782,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},221787,"shuang-song-tu-zhou-cao-zhi-bai-221787","滨水石坡上两棵虬松，拔地而起，势如参天，背衬以杂树，掩映在烟霭中，渐远渐晦。并立双松，干顶枝条向周围虬蟠伸长，旁配以远水，成无尽景，画成于1329（天历二年），时年曹知白五十八。以松树成为山水画中描摹的一重点，概与元朝整个大环境有关，画家藉事物明志，而松之坚拔，使双松正可作为友情坚贞之象徵\n在元画中这类作品甚夥，如朱德润、唐棣等大家之作。审视诸家之双松，皆可找出从李衎以来，所持有李郭派描写树石的严谨传统。但和诸家笔下略带书法性夸张的松树相较，先生在树形及用笔上，展现了平实的个人风貌。\n画家以直线皴配合鳞皴表现松干皮，并在树身上加上齐列的横点苔，显得工整规律，但伸展曲折诡谲的松枝经营，枝梢回转上仰之姿，和向四面散射细疏的松针，打破了松身的平整。杂树枯枝则取蟹爪笔法，和其晚年七九岁所作《群峰雪霁图》前景三松简淡笔墨对照，此幅用笔显得严整而厚实。",[23,24,25,149,59,65,7,583,64,34,5987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1cce535f431daf2980dd1b72ee3a27.jpg","132.1x57.4公分",[71,212],{"id":19784,"slug":19785,"title":19786,"dynasty":80,"author":3421,"museum":20,"description":19787,"tags":19788,"thumbUrl":19789,"material":40,"size":19790,"collection":71,"collections":19791,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},221736,"shu-shi-tu-wan-shan-zhao-yuan-221736","树石图纨扇","图绘疏树坡石，远岫平溪，水天一色。山势平缓，形如窠石。山峦用侧锋勾出轮廓和脉络，再以淡墨加彩皴染，类似层云。树干随写随皴，并用浓墨点疤节，树枝似龙角或凤尾，错落有致。笔法圆秀。构图平远。",[23,24,25,2484,59,65,165,734,372,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d958098ca36462d23e5bfbb73f9ed9.jpg","纵25厘米，横19．7厘米",[71,212],{"id":19793,"slug":19794,"title":19795,"dynasty":2272,"author":9848,"museum":6870,"description":19796,"tags":19797,"thumbUrl":19798,"material":2147,"size":127,"collection":127,"collections":19799,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},220475,"man-mu-qing-shan-xi-zhao-ming-zhou-li-ke-ran-220475","满目青山夕照明（轴）","此作用巨幅雄山占据画面主体，焦墨勒出山峦筋骨，赭石晕染铺就夕照暖光，将冷硬岩壁晕染出暮色鎏金的温煦。山谷间田埂溪流萦回蜿蜒，深郁林木沉黑如墨，与亮部形成强烈明暗反差，既衬出山岳巍峨厚重的体量感，又暗藏乡野灵动生机。\n以积墨反复皴擦堆叠，让山体兼具苍茫质感与雄浑气势，右上角题笔朴拙苍劲，与画风融为一体，将暮色中山川的沉浑壮美与田园静谧相融，把晚照青山的诗意凝于尺幅之间，尽显沉雄朴厚的山水意趣，藏着对山河暮色的深切眷恋。",[24,25,149,59,28,65,7,3306,1642,61,238,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a6185073b7c5986525e80316eb85c6.jpg",[],{"id":19801,"slug":19802,"title":19803,"dynasty":54,"author":6335,"museum":20,"description":19804,"tags":19805,"thumbUrl":19806,"material":375,"size":19807,"collection":127,"collections":19808,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":49},220390,"you-song-tu-du-qiong-220390","友松图","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,25,26,7,28,29,65,60,61,64,34,583,35,3695,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":19810,"slug":19811,"title":19812,"dynasty":177,"author":4747,"museum":20,"description":19813,"tags":19814,"thumbUrl":19815,"material":169,"size":19816,"collection":71,"collections":19817,"showCount":112,"zanCount":48,"manualWeight":48,"mainColor":75},220138,"quan-sheng-song-se-tu-wu-li-220138","泉声松色图","整幅构图分远、中、近铺设，层次分明。山峦层层叠嶂;溪水，曲行贯穿;树木，更加苍劲。整个画面，以凝练的笔法，展现出山水间、自然界的浑重拙朴、深醇沉郁的气韵。皴法繁密，明暗分明。较之前面两幅，笔力显得更加雄浑，墨色更加酣畅，色彩对比更加强烈。整个画面，上上下下，有众多房屋，而不见人影;有桥梁，却无人来渡;除水声外，不见人声，不闻鸟鸣，一切处在自然界的凝静之中;远山近壑之上，铺设着一层雪的白色，虽有苍劲的“松色”似有增色，但同时告知我们，此时节尚处在寒冷之中。",[23,24,59,65,7,61,583,318,60,239,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdf71ac6b48f01aaabe84b1e9f192c8.jpg","纵64.8厘米 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本幅是作者送友人汪尧德的写生之作。\n汪尧德（162—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。\n早年客居松江，与 、 等文人交往。\n晚年家居年，以书画自娱。\n此图是弘仁与友人罗逸（字远游，歙县人）游 经过潜口时所绘汪尧德隐居之所。\n其屋舍傍山而筑，临溪而建，一片离尘幽美之景。\n作者以 和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。\n其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。\n款署：“渐江学者为子翁居士作陶庵图。\n”钤“弘仁”朱文印、“渐江僧”白文印。\n画幅上方有罗逸题七律一首，款署：“八十五老友罗逸为子陶先生题。\n”钤“罗逸之印”朱文印、“远游”白文印。\n鉴藏印有“礼耕堂”等二方。\n画右中部有篆书“庚子”二字。\n“庚子”是清顺治十七年（166年），作者时年51岁。",[100,24,25,149,59,65,7,318,165,63,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],{"id":20051,"slug":20052,"title":20053,"dynasty":54,"author":9810,"museum":119,"description":20054,"tags":20055,"thumbUrl":20056,"material":127,"size":127,"collection":127,"collections":20057,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":940},234172,"xiang-jiang-chun-yu-tu-juan-xia-chang-234172","湘江春雨图卷","夏昶（188—147），字仲昭，号自在居士、玉峰， 人，后人誉其画竹高手。\n他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。\n号自在居士，又号玉峯，江苏昆山人， 弟。\n正统中官至 直内阁。\n画墨竹师 ，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为 。\n文皇十分赏识他的楷书，被推荐 内省，授 。\n永乐命书宫殿榜。\n尝侍从皇帝出巡于南、北二京。\n(公元1426一145年)中，转考工主事，仍供内直。\n正统(公元146—1449年)中升太常卿。\n他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。\n晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学 兼学 ，有自己的面目，声誉大大超过了他的老师。\n其兄 ，字孟旸，亦以书法 称旨，命与昶同拜中书舍人，时称“大小中书”。\n画山水师元画家 ；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n其孙女为 祖母，另一孙女则在其过世后嫁予 为妻。\n夏昶以 笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而 。\n当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞( )的 (字廷瑞)、钱塘(杭州)的詹和（字仲和)。\n而以屈礿为突出。\n明 《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。\n”徐沁 说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。\n所作竹枝烟姿雨色，偃值浓疎，动和 ，盖行家也。\n昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。\n尤精楷法，永乐命书宫殿榜。\n卒年八十三。\n传世作品有《湘江风雨图卷》（ 藏）、《满林春雨图轴》（ 藏）、《 》（ 藏）等。",[23,24,25,26,59,7,630,734,65,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce25658d7757cb59f52d9d91b347bb7.jpg",[],{"id":20059,"slug":20060,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":20061,"thumbUrl":20062,"material":349,"size":2207,"collection":127,"collections":20063,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":75},234085,"wu-zhong-shan-shui-ce-shen-zhou-234085",[24,25,164,59,67,65,7,104,34,60,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490de890778b4cc3370fad14bbd48de.jpg",[],{"id":20065,"slug":20066,"title":20067,"dynasty":18,"author":2434,"museum":20,"description":20068,"tags":20069,"thumbUrl":20073,"material":632,"size":19312,"collection":127,"collections":20074,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":75},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","云山墨戏图卷","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[24,25,26,59,7,979,34,101,66,65,223,8903,167,720,37,238,11163,20070,1019,1871,20071,20072],"墨笔","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],{"id":20076,"slug":20077,"title":20078,"dynasty":80,"author":3421,"museum":119,"description":20079,"tags":20080,"thumbUrl":20081,"material":349,"size":20082,"collection":127,"collections":20083,"showCount":19922,"zanCount":961,"manualWeight":48,"mainColor":75},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,100,24,25,26,122,59,65,7,318,37,61,34,31,5146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":20085,"slug":20086,"title":20087,"dynasty":18,"author":288,"museum":776,"description":20088,"tags":20089,"thumbUrl":20090,"material":1576,"size":20091,"collection":127,"collections":20092,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":75},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。",[24,25,26,59,65,67,101,7,62,61,63,106,1642,1643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","全卷长达七米",[],{"id":20094,"slug":20095,"title":159,"dynasty":177,"author":15821,"museum":119,"description":20096,"tags":20097,"thumbUrl":20098,"material":127,"size":127,"collection":127,"collections":20099,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":75},230115,"shan-shui-ce-jian-jiang-230115","这幅以渴笔淡墨绘就的山水，清劲冷逸。山石仅以疏朗线条勾勒轮廓，略施苔点，便将丘壑的清峭风骨尽数托出。留白代水，不着一笔却尽显秋江空茫之意。\n\n坡上矮屋孑然，旁立两株枯木，枝桠疏疏落落，和远山细树遥遥相对。整幅画删尽冗杂，以极简笔墨撑起满幅萧疏空寂，角落朱印如空山余温，更衬出天地静穆。于淡远简净之中藏着苍润深秀，将人带入空山无人、水流无息的幽寂禅境。",[24,25,164,59,65,7,35,34,64,1695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1421d5380835cb3a6b3385be97e94568.jpg",[],{"id":20101,"slug":20102,"title":20103,"dynasty":177,"author":6184,"museum":119,"description":20104,"tags":20105,"thumbUrl":20110,"material":127,"size":127,"collection":127,"collections":20111,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":49},228950,"jiu-cheng-gong-tu-yuan-jiang-228950","九成宫图","危崖崚嶒，古柏虬劲苍郁，云雾轻笼层峦，将殿宇台榭晕染如缥缈仙宫。界画工细严整，斗拱梁枋毫厘毕现，青蓝重彩晕染出殿宇的华贵庄重，尽显匠造精工。\n\n远景平沙远岫，烟波浩渺间晕开朦胧诗意，近景层岩叠翠，山道间商旅穿行点缀烟火气。整幅开合有度，虚实相生，将皇家宫苑的宏阔威严，与山水灵秀融为一体，以极致工笔勾勒出雄奇雅丽的山水宫苑胜境。",[23,100,24,304,29,28,27,7,104,16868,20106,13266,37,20107,3260,20108,20109],"危崖","平沙远岫","商旅","皇家宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612d9d536058ffbfac745708307b19e8.jpg",[],{"id":20113,"slug":20114,"title":20115,"dynasty":54,"author":7927,"museum":119,"description":20116,"tags":20117,"thumbUrl":20119,"material":127,"size":127,"collection":127,"collections":20120,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":49},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,24,25,149,59,28,65,7,20118,62,34,199,64,37],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":20122,"slug":20123,"title":20124,"dynasty":54,"author":96,"museum":119,"description":20125,"tags":20126,"thumbUrl":20127,"material":127,"size":127,"collection":127,"collections":20128,"showCount":19922,"zanCount":1080,"manualWeight":48,"mainColor":49},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,26,29,28,27,7,103,335,60,61,34,64,37,65,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":20130,"slug":20131,"title":20132,"dynasty":80,"author":178,"museum":119,"description":20133,"tags":20134,"thumbUrl":20135,"material":337,"size":937,"collection":127,"collections":20136,"showCount":19922,"zanCount":961,"manualWeight":48,"mainColor":49},228201,"bi-hua-tu-ye-yi-ming-228201","壁画图页","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[23,3985,24,25,28,29,103,124,165,7,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7378d93b9a62ea1e98536887833518d0.jpg",[],{"id":20138,"slug":20139,"title":20140,"dynasty":18,"author":2434,"museum":119,"description":20141,"tags":20142,"thumbUrl":20143,"material":127,"size":127,"collection":127,"collections":20144,"showCount":19922,"zanCount":961,"manualWeight":48,"mainColor":75},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,25,26,59,65,66,101,7,34,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":20146,"slug":20147,"title":20148,"dynasty":18,"author":8392,"museum":135,"description":20149,"tags":20150,"thumbUrl":20151,"material":87,"size":127,"collection":127,"collections":20152,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":49},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染，古树细笔勾勒，浓墨点小树，山石则淡青色皴染，墨线勾勒轮廓，整幅画面相融一气，极富立体灵动之感，体现了宋人卓越的绘画成就。",[23,24,100,28,65,7,103,1586,61,165,64,334,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709f3a195d6a3665c242433604b692d1.jpg",[],{"id":20154,"slug":20155,"title":20156,"dynasty":177,"author":5740,"museum":220,"description":20157,"tags":20158,"thumbUrl":20159,"material":537,"size":20160,"collection":71,"collections":20161,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":75},224253,"gu-mu-yuan-shan-tu-cha-shi-biao-224253","古木远山图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,24,59,7,149,2315,167,264,65,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbbb93b849c20f73993df993353af8.jpg","47.7x108.8cm",[71],{"id":20163,"slug":20164,"title":20165,"dynasty":177,"author":15549,"museum":119,"description":20166,"tags":20167,"thumbUrl":20173,"material":127,"size":127,"collection":127,"collections":20174,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":49},224111,"yi-jian-shuang-lu-tu-qian-long-224111","一箭双鹿图","画面中纵马弯弓的骑手利落射出箭矢，双鹿中箭颓然仆地，骏马昂首扬蹄，骑手身姿果决干练，将骑射的飒爽力道尽显无余。背景里苍松虬劲、层林尽染秋意，远山澹澹铺展，把围猎的迅疾动感揉入山野林泉的静穆悠远间。\n\n右上角题诗以笔墨追怀射猎快意，诗画相映，将驰骋校猎的豪情与秋日林野的清旷融为一体。写实笔触细致勾勒出鞍马、人物的衣饰肌理，既带着纪实性的鲜活，又晕染出诗意闲情，把骑射勇武和林下逸趣完美糅合，是兼具叙事感与审美性的精妙之作。",[23,24,28,29,103,335,3987,3988,7,16870,1389,167,20168,20169,101,20170,20171,20172],"骑射","围猎","题诗","豪情","诗意闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d24e76a0609e08c272f52e9f257d0a4.jpg",[],{"id":20176,"slug":20177,"title":3813,"dynasty":18,"author":178,"museum":20,"description":20178,"tags":20179,"thumbUrl":20180,"material":454,"size":20181,"collection":127,"collections":20182,"showCount":19922,"zanCount":48,"manualWeight":48,"mainColor":49},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背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归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,59,164,7,62,63,125,101,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d1f1866b63e635521521dd0043dc9a.jpg",[71,45],{"id":20517,"slug":20518,"title":20519,"dynasty":177,"author":4707,"museum":20,"description":20520,"tags":20521,"thumbUrl":20522,"material":375,"size":20523,"collection":127,"collections":20524,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[24,25,149,59,28,65,7,104,61,62,125,63,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":20526,"slug":20527,"title":20528,"dynasty":177,"author":395,"museum":20,"description":20529,"tags":20530,"thumbUrl":20531,"material":9188,"size":7608,"collection":127,"collections":20532,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},233957,"yuan-ji-cai-shi-tu-zhou-shi-tao-233957","原济采石图轴","《采石图》中石头峻峭奇丽，独具一格。石涛石涛山水画非常大胆新奇，他对景物的勾勒描绘灵活多变，意境高深，他人很难模仿，他笔下的景物有一种灵性和生命，是中国山水画的珍品。",[24,59,65,149,7,264,583,64,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a194ee879f1e77435ad72edf054ce3b.jpg",[],{"id":20534,"slug":20535,"title":20536,"dynasty":54,"author":13522,"museum":20,"description":20537,"tags":20538,"thumbUrl":20539,"material":375,"size":20540,"collection":127,"collections":20541,"showCount":20428,"zanCount":961,"manualWeight":48,"mainColor":75},233751,"qian-gu-hu-qiu-qian-shan-tu-zhou-qian-gu-233751","钱穀虎丘前山图轴","钱穀主张绘画师法造化。他曾说：“丹青者，熔以法，模以天。”此幅作于隆庆元年丁卯（1567年）钱穀59岁时，写虎丘山前山实景，描绘了从二山门到山顶佛阁的景象。千人石、剑池、双吊桶、虎丘寺塔皆收入幅中。从题诗上看，画家是着意表现秋天空林落木、清寂高旷的景致，借景抒情，传达出寻胜访幽的文人雅趣。与《求志园图》一样，此幅山水不只是虎丘山云岩寺的简单再现，而是画家根据画面需要将有特征性的景物进行了重新安排，是意笔楼阁与文人山水紧密结合之作。如果去掉画面中虎丘寺塔等特殊性建筑物，则完全变成了一幅纯文人山水画。",[24,28,65,149,7,104,63,520,34,64,103,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26491f6fd766a14bd39dce498d642a.jpg","纵111.5厘米，横31.8厘米",[],{"id":20543,"slug":20544,"title":2773,"dynasty":177,"author":395,"museum":20,"description":7604,"tags":20545,"thumbUrl":20546,"material":20547,"size":20548,"collection":127,"collections":20549,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},233426,"yuan-ji-shan-shui-ce-shi-tao-233426",[24,59,65,164,7,64,533,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8b294c65ccb30f4efcb803f6d027904.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":20551,"slug":20552,"title":20553,"dynasty":54,"author":9356,"museum":20,"description":20554,"tags":20555,"thumbUrl":20556,"material":375,"size":20557,"collection":127,"collections":20558,"showCount":20428,"zanCount":961,"manualWeight":48,"mainColor":49},233233,"chun-quan-xiao-yin-tu-juan-zhou-chen-233233","春泉小隐图卷","此图为别号图，是周臣为一位裴姓，号春泉的文人所作。画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫，体现出闲雅出尘之趣。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。中国画中往往绘文人隐士昼眠以示对外界的漠不关心，暗示他们与作官者有不同的享受，宣扬自我解脱、自我慰籍的处世哲学。画家巧妙地突出近景的板桥流水，以示“春泉”之意，又以假寐表示“小隐”，点明主题。\n此件作品在艺术风格上继承了南宋的“院体”画传统，构图洗练紧凑，状物准确生动，人物线条细劲流畅，情态传神。树石用笔刚劲峭利，多为小斧劈皴，墨色浓重而清润，显示了画家高超的绘画技巧。",[24,26,59,29,65,7,60,61,103,63,583,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1304a7914be5bc7d69117e298de3e6c9.jpg","纵26.3厘米，横85.5厘米",[],{"id":20560,"slug":20561,"title":20562,"dynasty":177,"author":683,"museum":20,"description":20563,"tags":20564,"thumbUrl":20565,"material":20566,"size":20567,"collection":71,"collections":20568,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},233160,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233160","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,25,164,28,7,65,318,319,165,278,101,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16167bc107fdf43a3be3d557727deba3.jpg","纸本，墨笔或设色","纵29厘米，横29.5厘米",[71,45],{"id":20570,"slug":20571,"title":17853,"dynasty":18,"author":6369,"museum":119,"description":18729,"tags":20572,"thumbUrl":20573,"material":87,"size":20574,"collection":127,"collections":20575,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877",[23,2538,24,25,26,27,28,29,65,7,238,34,372,583,104,63,60,61,103,335,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":20577,"slug":20578,"title":20579,"dynasty":177,"author":15549,"museum":135,"description":20580,"tags":20581,"thumbUrl":20582,"material":127,"size":127,"collection":71,"collections":20583,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},232797,"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[23,24,25,164,123,59,4768,66,7,103,63,34,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[71],{"id":20585,"slug":20586,"title":20587,"dynasty":18,"author":12702,"museum":4678,"description":20588,"tags":20589,"thumbUrl":20590,"material":87,"size":20591,"collection":127,"collections":20592,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},232613,"tian-tai-shi-qiao-ying-zhen-zhou-ji-chang-232613","“天台”石桥应真","《“天台石桥”五百罗汉图》包括有南宋宁波地区民间佛像画家周季常的《应身观音》、《洞中入定》、《经典奇瑞》、《渡水罗汉》，及林庭珪的《施饭饿鬼》等五件作品。据作品上的金泥铭文所示，唐天祐元年（904），明州（今宁波）惠安院青山顶有十六罗汉灵异示现，故称罗汉院，罗汉信仰应运兴起，至南宋绍羲住持惠安院时，约请周季常、林庭珪，历时十余年创作百幅罗汉图以作供养。\n《“天台石桥”五百罗汉图》绢本，均通长约110厘米、宽约53厘米左右，《应身观音》图中央画一位十一面观音，坐于方椅上，左右有四位罗汉。从服饰、赤足及身体的肤色可知，这位十一面观音应是罗汉示现。画面描绘工整细致，用线富有变化。\n此作品显示，南宋佛教人物画的描绘，从单纯的人物塑造向情节性描述发展，从对肃穆凝重气氛的刻画，转向对人物精神状态的描述，尤其对故事情节的关注，成为绘画焦点，具有风俗画与肖像画的特质。此画风对后世影响深远。\n根据《日本原有寺传》记载，《“天台石桥”五百罗汉图》原有百幅，其中六幅原收藏在日本镰仓寿福寺，后相继为北条氏、丰臣秀吉所得，最后进入京都大德寺，另有十二幅于日本明治年间流入美国，华盛顿弗利尔美术馆收藏《天台石桥应真》与《临流洗濯》二幅，波士顿美术馆所得《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，成为这两馆入藏的两宋绘画珍品。日本京都大德寺则收藏《罗汉供茶》等八十二幅。《“天台石桥”五百罗汉图》作为南宋民间佛画的艺术珍品，于十五世纪被带到日本，递藏源流清晰，画风纯熟、保存良好，是举世无双的瑰宝。\n笔者因30多年研究天台山文化，对天台山佛画亦比较喜欢。在《翰墨荟萃——细读美国藏中国五代宋元书画珍品》书中，读到白话文教授的《中国的罗汉与罗汉画》一文，得知美国华盛顿弗利尔美术馆收藏《“天台”石桥应真》与《临流洗濯》二幅，波士顿美术馆收藏《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，日本京都大德寺收藏《罗汉供茶》等八十二幅等讯息后，立即联系日本友人，问询何处收有南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》的书籍出版。后经日本友人告知，日本奈良国立博物馆于平成21年（2009）7月曾编辑出版了《圣地宁波》一书，是书追溯了日本佛教与宁波、台州一千三百年的源流关系。其中就收录了日本京都大德寺南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》八十二幅，还收有美国华盛顿弗利尔美术馆与波士顿美术馆收藏的《“天台”石桥应真》与《临流洗濯》、《经典奇瑞》、《舍利观光》等十二幅。笔者喜出望外，立即向在日本东京开“琼芯斋”书店的华人店主黄海先生，订购了《圣地宁波》这部书，并于今年乙未羊年春节收讫。仔细欣赏南宋周季常、林庭珪所作的现存九十四幅《“天台石桥”五百罗汉图》中，有三幅图，最能体现天台山文化特色，故令人最为难以忘怀。\n《“天台”石桥应真》图系笔者故乡天台山石梁飞瀑的圣景，而石桥为中国佛教惟一的五百罗汉道场，此图又是迄今为止发现的最早关于天台山石桥罗汉佛画之作。“石桥应真”，石桥是指天台石梁桥，应真是指“罗汉”。据《“天台”石桥应真》图题记，此图为南宋明州籍画家周季常、林庭珪，于南宋淳熙五年（1178）开始，至淳熙十五年（1188）始毕。画面完全写实:石桥之上瀑水的形态，以及石桥右侧的“横石”，左侧崖际，无不与实地契合。石桥前罗汉驾云而观，右上“栋宇宏壮，图塔瑰奇”；二位罗汉排云出迎，“叙接宛同素识”；而石桥之上僧人恭敬合掌，冀渡桥而入应真之列。观此图，无不与南朝梁释慧皎《高僧传·竺曇猷传》内容相吻。乃知周、林二位毕十年之功，遍访形胜，探寻典故，所作罗汉图并非面壁虚拟。古人作事，虽书画一道，仍郑重非常，于此可见一斑。《“天台”石桥应真》图与《临流洗濯》图二幅，今藏于美国华盛顿弗利尔美术馆。",[24,149,1042,29,28,103,7,12139,199,64,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbbcfe273eca337ff5473accf68cb25.jpg","109.9x52.7cm",[],{"id":20594,"slug":20595,"title":20596,"dynasty":8332,"author":20597,"museum":119,"description":20598,"tags":20599,"thumbUrl":20601,"material":337,"size":937,"collection":127,"collections":20602,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},231748,"an-tu-tao-shan-shi-dai-song-lin-tu-ping-feng-di-er-ping-zhang-gu-chuan-231748","安土桃山时代 松林图屏风-第二屏","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",[23,59,7,413,20600,8336,1871],"林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc11c61caf8720caa141d314a0ddd57.jpg",[],{"id":20604,"slug":20605,"title":20606,"dynasty":177,"author":8024,"museum":119,"description":20607,"tags":20608,"thumbUrl":20611,"material":127,"size":127,"collection":127,"collections":20612,"showCount":20428,"zanCount":961,"manualWeight":48,"mainColor":75},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,25,26,304,28,29,103,104,7,34,2717,20609,9433,20610,438,520,5361,559,167],"春日","街巷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":20614,"slug":20615,"title":1562,"dynasty":54,"author":20616,"museum":119,"description":20617,"tags":20618,"thumbUrl":20619,"material":127,"size":127,"collection":127,"collections":20620,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[23,24,25,27,28,29,65,7,104,103,34,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":20622,"slug":20623,"title":20624,"dynasty":54,"author":368,"museum":119,"description":20625,"tags":20626,"thumbUrl":20627,"material":127,"size":127,"collection":127,"collections":20628,"showCount":20428,"zanCount":961,"manualWeight":48,"mainColor":75},228423,"fang-song-yuan-ce-ye-12-kai-lan-ying-228423","仿宋元册页12开","此作用笔苍秀老辣，绘几株古松虬曲苍劲，枯枝嶙峋间点缀松针，尽显古木饱经风霜之态。淡墨晕染远山，留白铺就烟岚空濛，将天地山水的空阔清远晕染开来。右下角溪湾扁舟静泊，渔翁垂坐，简笔勾勒出林下幽居的闲逸图景。\n\n整作以干笔皴擦写就林木古拙意趣，淡彩轻敷浅染坡岸，虚实相生间，融宋元山水的萧散简淡于笔底，将幽寂隐逸的文人意趣藏于淡远空濛的景致中，寥寥数笔便托出天地间静穆旷远的林下清境，尽显山水苍劲空灵的韵致。",[24,25,164,28,59,65,7,125,62,495,64,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8946bfefdc5cc70a0b0588ed9a63688e.jpg",[],{"id":20630,"slug":20631,"title":5593,"dynasty":80,"author":160,"museum":119,"description":20632,"tags":20633,"thumbUrl":20634,"material":127,"size":127,"collection":127,"collections":20635,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,24,25,26,7,65,28,34,64,201,3865,722,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],{"id":20637,"slug":20638,"title":20639,"dynasty":80,"author":5576,"museum":119,"description":20640,"tags":20641,"thumbUrl":20642,"material":127,"size":127,"collection":127,"collections":20643,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},228051,"da-ming-gong-tu-juan-wang-zhen-peng-228051","大明宫图卷","图绘楼台魏巍，湖水环绕，拱桥横跨，一巨大的龙舟领衔，众多小龙舟奋力竞渡夺标的生动情景。\n场面宏大壮观，人、船众多，旌旗招展，鼓乐齐奏，一片观乐紧张气氛。\n全画用笔工整严谨，楼台、龙舟俯仰曲折，细入毫端，人物虽小，然各尽其态，引人入胜。\n【名称】元王振鹏金明夺锦图卷 【规格】该幅 2.124.1公分；隔水一 1.公分；隔水二 1.7公分 【收藏】 主题与关键字：春景、名胜、龙舟、宫殿、桥、池水、奇石、官员（臣）、侍从（侍女、童仆）、百姓、表演者、杂耍艺人、松、竹、杨柳、柏、庭院、栏杆、鸟笼、旗、秋千 录入：石渠宝笈初编（养心殿），下册，15页；故宫书画录（卷八），第四册，8页；故宫书画图录，第十七册，211-214页。\n王振鹏：元永嘉（今浙江温州）人。\n官至漕运千户。\n界画极工致，仁宗眷爱之，赐号孤云处士。\n运笔和墨，豪分缕析，左右高下，俯仰曲折，方员平直，曲尽其体，而神气飞动，不为法拘。\n虽入纤细，而格力超腾，非院中人所能。\n元季界画可为第一，不在郭恕先之下， 、 辈殆不如也。\n尝为大明宫图、金明池夺标图、大安阁图、水亭图等，世称绝品。",[23,24,100,26,304,123,104,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c596cd513646736bb7dfa23a00cbc29.jpg",[],{"id":20645,"slug":20646,"title":20647,"dynasty":18,"author":1085,"museum":119,"description":20648,"tags":20649,"thumbUrl":20650,"material":127,"size":127,"collection":127,"collections":20651,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},227954,"shou-shan-fu-hai-tu-zhao-bo-ju-227954","寿山福海图","此作用色古雅沉静，青绿重晕的孤峰卓立沧溟之上，石质苍润朴拙，尽显山岳沉稳厚重之态。细劲墨线勾描层叠水纹，暗合海波悠悠律动。丹红落日悬垂天际，暖赭晕染暮空，群鸦振翅穿翔于天地间，为静谧图景添了灵动生气。\n\n整体构图简括静穆，将祈福寄寓山海：青山喻绵长福泽，沧海托无涯寿数，红日高悬烘托圆满祥瑞。画作承青绿山水古意，以极简构图脱出繁复，将祝寿之旨融于渺远静阔的图景里，静中藏动，淡而有神，尽显雅致沉静的宋画意趣。",[23,100,24,25,27,28,29,7,264,61,1642,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],{"id":20653,"slug":20654,"title":20655,"dynasty":18,"author":288,"museum":119,"description":4835,"tags":20656,"thumbUrl":20657,"material":127,"size":127,"collection":127,"collections":20658,"showCount":20428,"zanCount":961,"manualWeight":48,"mainColor":49},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[100,24,25,26,59,65,7,30,31,34,62,33,5146,239,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],{"id":20660,"slug":20661,"title":20662,"dynasty":18,"author":744,"museum":119,"description":20663,"tags":20664,"thumbUrl":20665,"material":127,"size":127,"collection":127,"collections":20666,"showCount":20428,"zanCount":961,"manualWeight":48,"mainColor":49},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,24,25,26,7,29,59,65,318,319,34,264,125,61,35,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":20668,"slug":20669,"title":6157,"dynasty":18,"author":2535,"museum":119,"description":20670,"tags":20671,"thumbUrl":20672,"material":127,"size":127,"collection":127,"collections":20673,"showCount":20428,"zanCount":961,"manualWeight":48,"mainColor":49},227634,"shan-shui-tu-ye-ma-lin-227634","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、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（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，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。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[23,24,100,28,65,164,7,62,103,125,583,64,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98bf0a985bd51c41419d7d05703c8a3d.jpg",[],{"id":20675,"slug":20676,"title":20677,"dynasty":18,"author":744,"museum":119,"description":20678,"tags":20679,"thumbUrl":20680,"material":127,"size":127,"collection":127,"collections":20681,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[23,24,25,100,28,29,7,103,150,165,64,1522,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],{"id":20683,"slug":20684,"title":20685,"dynasty":18,"author":899,"museum":119,"description":20686,"tags":20687,"thumbUrl":20688,"material":127,"size":127,"collection":127,"collections":20689,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[23,24,25,59,28,65,7,167,720,35,264,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":20691,"slug":20692,"title":20693,"dynasty":177,"author":395,"museum":119,"description":20694,"tags":20695,"thumbUrl":20696,"material":127,"size":127,"collection":127,"collections":20697,"showCount":20428,"zanCount":1080,"manualWeight":48,"mainColor":379},224513,"shan-shui-tu-ce-8-kai-3-shi-tao-224513","山水图册8开-3","此作用笔纵逸朴拙，以淡赭晕染坡石，浓墨点染林木，皴擦间写出山岩苍浑肌理，远近层次随墨色虚实铺陈开来。近景村居隐于松荫之下，谷间蹊径蜿蜒向林壑深处，远景峰峦裹挟空濛岚气，将山野幽寂尽数藏于尺幅。\n\n题诗衬景，把寻幽山径、千峰如帘的诗意融于画中，尽显林泉山居的澹泊桃源之趣。虚实相生间落笔随性自在，不滞成法，将对山野深秀静穆的偏爱藏在笔底，淡墨浅彩里满是出世幽居的悠然意致。",[23,24,25,164,59,65,7,34,35,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a28274ae84fa01320bbfa5f181452.jpg",[],{"id":20699,"slug":20700,"title":20701,"dynasty":177,"author":10457,"museum":135,"description":15478,"tags":20702,"thumbUrl":20703,"material":454,"size":20704,"collection":71,"collections":20705,"showCount":20428,"zanCount":1080,"manualWeight":48,"mainColor":49},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴",[23,24,25,149,28,7,238,37,34,239,31,62,104,60,61,3764,65,334,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[71,45],{"id":20707,"slug":20708,"title":20709,"dynasty":177,"author":1872,"museum":119,"description":7754,"tags":20710,"thumbUrl":20711,"material":632,"size":19292,"collection":127,"collections":20712,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},222625,"shan-shui-shan-mian-4-gong-xian-222625","山水扇面-4",[23,2484,24,25,59,65,7,125,60,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030eef42f9fe02485556236ab0f68ff9.jpg",[],{"id":20714,"slug":20715,"title":20716,"dynasty":54,"author":14148,"museum":369,"description":17285,"tags":20717,"thumbUrl":20718,"material":375,"size":17288,"collection":71,"collections":20719,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[23,100,24,25,149,1042,29,28,103,7,583,239,450,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[71,45],{"id":20721,"slug":20722,"title":20723,"dynasty":54,"author":1652,"museum":135,"description":20724,"tags":20725,"thumbUrl":20726,"material":292,"size":20727,"collection":44,"collections":20728,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},221991,"qiao-lin-zhu-ming-tu-zhou-wen-zheng-ming-221991","乔林煮茗图轴","不见鹤翁今几年，如闻仙骨瘦于前。\n只应陆羽高情在，坐荫乔林煮石泉。",[23,24,7,318,319,165,59,223,149,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 84.1x26.4公分、全幅 51公分",[44,212],{"id":20730,"slug":20731,"title":20732,"dynasty":18,"author":8392,"museum":135,"description":20733,"tags":20734,"thumbUrl":20736,"material":87,"size":20737,"collection":42,"collections":20738,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","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。",[23,24,100,149,7,28,104,62,61,15504,19520,9140,532,5361,16869,20735,65],"径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[42,71,45],{"id":20740,"slug":20741,"title":20742,"dynasty":80,"author":887,"museum":135,"description":20743,"tags":20744,"thumbUrl":20745,"material":292,"size":20746,"collection":71,"collections":20747,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","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。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,26,59,28,29,65,66,67,101,7,1791,891,31,34,35,85,399,3796,1790,16948,707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[71,45],{"id":20749,"slug":20750,"title":20751,"dynasty":177,"author":18412,"museum":119,"description":20752,"tags":20753,"thumbUrl":20754,"material":139,"size":127,"collection":71,"collections":20755,"showCount":20428,"zanCount":961,"manualWeight":48,"mainColor":75},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,28,29,65,7,34,64,60,61,63,106,103,335,347,826,372,583,2833,399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[71],{"id":20757,"slug":20758,"title":20759,"dynasty":54,"author":20760,"museum":135,"description":20761,"tags":20762,"thumbUrl":20763,"material":169,"size":20764,"collection":44,"collections":20765,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴","项元汴（明 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工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[24,25,149,59,7,103,264,61,583,64,37,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[44],{"id":20767,"slug":20768,"title":20769,"dynasty":80,"author":997,"museum":673,"description":20770,"tags":20771,"thumbUrl":20772,"material":169,"size":127,"collection":71,"collections":20773,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[23,24,25,26,59,7,65,34,63,31,167,35,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[71],{"id":20775,"slug":20776,"title":20777,"dynasty":177,"author":683,"museum":135,"description":20778,"tags":20779,"thumbUrl":20780,"material":169,"size":20781,"collection":71,"collections":20782,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":75},219892,"fang-ni-huang-he-bi-tu-wang-yuan-qi-219892","仿倪黄合笔图","图绘湖山阔远,水榭静美.取倪云林之图式,运黄子久之笔墨,王麓台笔力能扛鼎,诚非虚誉.",[24,59,7,122,65,318,319,165,630,63,239,372,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79ceab6892c3b9c5f6fc7105fc63ef6.jpg","111.5x48.1",[71],{"id":20784,"slug":20785,"title":909,"dynasty":177,"author":5768,"museum":119,"description":20786,"tags":20787,"thumbUrl":20788,"material":28,"size":127,"collection":71,"collections":20789,"showCount":20428,"zanCount":961,"manualWeight":48,"mainColor":49},219836,"shan-shui-tu-ren-xiong-219836","此作以明黄为底，石青石绿晕染峰峦，跳脱传统山水的柔和基调，浓烈撞色醒目张扬。群山如利刃攒聚拔地而起，线条苍劲硬朗，勾勒出奇崛陡峭的山石肌理，带着金石般古朴质感。\n\n层叠峰峦错落排布，水色留白穿插山林间，虚实相映，令逼仄山景生出灵动空阔之意。点缀的林木或敷红或点白，为冷硬山石晕开鲜活暖意，让瑰奇山景兼具富丽堂皇与悠远意境，以极具装饰性的手法，演绎出独树一帜的工笔山水新韵。",[23,24,28,27,65,7,30,34,201,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b13f78b1724169dff99021f61857a8a.jpg",[71],{"id":20791,"slug":20792,"title":20793,"dynasty":18,"author":178,"museum":396,"description":20794,"tags":20795,"thumbUrl":20796,"material":139,"size":20797,"collection":71,"collections":20798,"showCount":20428,"zanCount":48,"manualWeight":48,"mainColor":49},219812,"dong-xue-mu-gui-tu-yi-ming-219812","冬雪牧归图","寒林雪野，天地浸在清寂冷冽之中。枯木槎桠凝着残雪，枝梢瘦硬老辣，将冬日荒寒铺陈开来。淡墨晕染出覆雪平野，留白处尽是冬日的空濛静谧。\n\n骑牛牧童裹衣缓行，牛蹄轻踏积雪，打破了郊野的岑寂。萧寒雪景里，归牧的悠然自成暖意，一动一静间，把山野冬日的孤清和归家的温软相融。笔墨极简却意蕴悠长，以简驭繁，将冬日郊野淡远安闲的诗意尽藏其间，尽显雅致悠远的画中真味。",[23,24,29,28,103,1586,372,5932,9410,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497df3615e31c5e6e8137d8b9449725.jpg","纵107.20 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朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 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而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[24,59,26,7,607,125,62,373,101,65,1777,765,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],{"id":21049,"slug":21050,"title":6269,"dynasty":80,"author":1962,"museum":20,"description":21051,"tags":21052,"thumbUrl":21053,"material":632,"size":6273,"collection":127,"collections":21054,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[24,25,149,59,28,65,29,7,34,62,61,167,239,106,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg",[],{"id":21056,"slug":21057,"title":21058,"dynasty":177,"author":12453,"museum":20,"description":21059,"tags":21060,"thumbUrl":21061,"material":375,"size":21062,"collection":127,"collections":21063,"showCount":20893,"zanCount":961,"manualWeight":48,"mainColor":75},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[24,25,149,59,28,65,7,34,64,103,373,264,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":21065,"slug":21066,"title":21067,"dynasty":54,"author":178,"museum":1542,"description":21068,"tags":21069,"thumbUrl":21070,"material":349,"size":21071,"collection":127,"collections":21072,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},232913,"huang-he-di-tu-yi-ming-232913","黄河地图","考虑到黄河洪水的持续威胁，对该河流系统的研究和管理是清朝宫廷的首要任务之一。 这幅具有纪念意义的地图生动地说明了控制黄河航道的复杂性及其对流域内众多城镇的潜在影响。 该地图绘制于康熙皇帝（1662-1722 年在位）聘请耶稣会传教士团队对其帝国进行全面调查的时期，反映了引入欧洲技术之前本土地图制作的最高水平。 事实上，该地图的吸引力不在于其制图准确性，而在于其对地形特征的图像处理。 展开卷轴，就是去体验从东海逆流而上到龙门急流的戏码。",[23,24,26,28,27,29,7,31,238,18762,7699],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72559ed9e9aa861115d474a474464bb0.jpg","78 x 1285 厘米",[],{"id":21074,"slug":21075,"title":21076,"dynasty":54,"author":410,"museum":424,"description":21077,"tags":21078,"thumbUrl":21079,"material":87,"size":21080,"collection":127,"collections":21081,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[23,24,25,149,59,28,7,103,583,61,239,65,125,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":21083,"slug":21084,"title":21085,"dynasty":80,"author":887,"museum":119,"description":21086,"tags":21087,"thumbUrl":21088,"material":87,"size":21089,"collection":127,"collections":21090,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,100,24,26,28,65,7,318,34,103,335,3988,106,239,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":21092,"slug":21093,"title":21094,"dynasty":80,"author":1990,"museum":135,"description":21095,"tags":21096,"thumbUrl":21097,"material":349,"size":21098,"collection":127,"collections":21099,"showCount":20893,"zanCount":961,"manualWeight":48,"mainColor":75},232253,"zhu-xi-lan-sheng-tu-guan-dao-sheng-232253","竹溪揽胜图","此幅旧传为管氏所作，画山峦起伏，缘溪瓦屋数椽，丛竹错落其间，溪边泊舟，桥上行人，以水墨细致之笔调，写宁静之村景，真得小桥、流水、人家之诗意\n管道升（1262－1319年），吴兴人。字仲姬，赵孟頫妻。（1317年延祐四年）封魏国夫人。翰墨辞章不学而能，笃信佛法，书牍行楷与乃夫赵孟頫几不可辨异同，为中国书画史上著名女性作家之一。",[24,59,7,630,201,62,347,167,1897,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72880b50c05fbf5396230366c11651d.jpg","此幅 57.2x27.5公分；全幅 62公分",[],{"id":21101,"slug":21102,"title":21103,"dynasty":80,"author":9857,"museum":135,"description":21104,"tags":21105,"thumbUrl":21106,"material":69,"size":21107,"collection":127,"collections":21108,"showCount":20893,"zanCount":961,"manualWeight":48,"mainColor":75},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[24,25,149,59,7,30,34,60,61,239,201,202,65,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],{"id":21110,"slug":21111,"title":21112,"dynasty":80,"author":21113,"museum":135,"description":21114,"tags":21115,"thumbUrl":21116,"material":5071,"size":21117,"collection":127,"collections":21118,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[24,25,59,7,65,26,60,61,347,125,103,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":21120,"slug":21121,"title":21122,"dynasty":80,"author":21123,"museum":119,"description":21124,"tags":21125,"thumbUrl":21127,"material":127,"size":127,"collection":127,"collections":21128,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},230870,"cang-lang-du-diao-tu-sheng-zhu-230870","沧浪独钓图","盛著","此作用笔清润简淡，近景坡岸虬松偃蹇，苍枝拂向水面，扁舟系于松下，渔翁垂纶独钓，汀渚蒹葭轻摇，漾出幽寂闲淡之味。平湖如镜隔开远近，彼岸林木蔚然成簇，淡墨晕染出远山层叠，云气空濛将天地晕融一处，虚实相生间铺展出萧散淡远的山水格局。\n\n画师以干笔皴擦写山石肌理，湿墨点染苔树烟岚，笔墨间藏着元人山水的林下之致，将沧浪渔隐的出世意趣融于烟水云山，把遁世忘机的雅兴寄在一竿一线之中，尽显文人画崇尚的林泉高致，满幅皆是清远脱尘的幽寂诗意。",[23,24,25,59,7,62,21126,34,61,264,65,373],"独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde68514a3c2323b7552184a3b1e22519.jpg",[],{"id":21130,"slug":21131,"title":9548,"dynasty":54,"author":14148,"museum":119,"description":21132,"tags":21133,"thumbUrl":21134,"material":127,"size":127,"collection":127,"collections":21135,"showCount":20893,"zanCount":961,"manualWeight":48,"mainColor":75},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,25,26,29,28,123,65,7,103,63,61,413,630,60,3836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":21137,"slug":21138,"title":21139,"dynasty":54,"author":945,"museum":119,"description":21140,"tags":21141,"thumbUrl":21142,"material":127,"size":127,"collection":127,"collections":21143,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,24,25,26,28,65,7,103,335,62,34,238,35,61,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":21145,"slug":21146,"title":21147,"dynasty":54,"author":96,"museum":119,"description":21148,"tags":21149,"thumbUrl":21150,"material":127,"size":127,"collection":127,"collections":21151,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,25,26,27,28,29,66,67,7,104,60,61,106,63,734,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":21153,"slug":21154,"title":21155,"dynasty":80,"author":15570,"museum":119,"description":21156,"tags":21157,"thumbUrl":21158,"material":127,"size":127,"collection":127,"collections":21159,"showCount":20893,"zanCount":961,"manualWeight":48,"mainColor":75},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,24,25,26,59,7,65,66,101,238,34,60,61,722,37,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":21161,"slug":21162,"title":14837,"dynasty":80,"author":7974,"museum":119,"description":21163,"tags":21164,"thumbUrl":21165,"material":127,"size":127,"collection":127,"collections":21166,"showCount":20893,"zanCount":961,"manualWeight":48,"mainColor":49},228068,"lou-ge-tu-xia-yong-228068","这幅团扇界画依山构宇，层叠楼阁沿山势铺展，朱漆廊柱配青釉瓦当，飞檐翘角凌然欲飞，界笔走线匀细挺括，将台榭回廊的错落层次勾勒得分毫毕现，尽显楼阁的巍峨明丽。\n\n青绿山水晕染雅致，石色清润，和明艳楼宇相映成趣，晕出缥缈出尘的仙山意境。下方江岸点缀行人舟楫，鲜活烟火气融入清寂山境，动静相生，整幅画面繁而不乱。画师以精微笔触，将界画的工整雅致和山水的空灵柔和相融，在尺幅团扇间铺展出一方兼具逸趣与精工的世外天地，尽显传统界画的独特意韵。",[23,24,29,304,27,28,7,104,103,63,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7acd25e761741b7385067a14721df4.jpg",[],{"id":21168,"slug":21169,"title":21170,"dynasty":18,"author":592,"museum":119,"description":21171,"tags":21172,"thumbUrl":21173,"material":127,"size":127,"collection":127,"collections":21174,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,100,24,25,164,59,28,7,62,583,239,61,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7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积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[23,24,28,65,7,238,34,583,347,201,239,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","绢本设色.","151cmx66cm",[71],{"id":21229,"slug":21230,"title":21231,"dynasty":177,"author":3760,"museum":119,"description":21232,"tags":21233,"thumbUrl":21234,"material":127,"size":127,"collection":127,"collections":21235,"showCount":20893,"zanCount":1080,"manualWeight":48,"mainColor":75},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[23,24,25,149,59,65,122,7,318,8804,34,37,239,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":21237,"slug":21238,"title":21239,"dynasty":177,"author":21240,"museum":119,"description":21241,"tags":21242,"thumbUrl":21243,"material":127,"size":127,"collection":127,"collections":21244,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,24,25,26,28,29,304,103,104,60,34,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":21246,"slug":21247,"title":8721,"dynasty":177,"author":1704,"museum":135,"description":21248,"tags":21249,"thumbUrl":21250,"material":28,"size":21251,"collection":127,"collections":21252,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[23,24,7,149,122,65,28,318,319,583,278,60,239,34,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":21254,"slug":21255,"title":21256,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":21257,"thumbUrl":21258,"material":87,"size":15463,"collection":127,"collections":21259,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[23,24,25,164,29,28,304,103,335,104,7,34,60,35,571,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":21261,"slug":21262,"title":8592,"dynasty":54,"author":15469,"museum":1542,"description":21263,"tags":21264,"thumbUrl":21265,"material":21266,"size":21267,"collection":71,"collections":21268,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},222835,"shan-shui-tu-zhou-xiao-yun-cong-222835","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑孰画派创始人。其父萧慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。",[23,24,59,65,149,7,64,34,61,63,167,535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9506285d1f977096cfef7d4935bf92db.jpg","轴","67×52cm",[71,45],{"id":21270,"slug":21271,"title":21272,"dynasty":177,"author":5984,"museum":119,"description":21273,"tags":21274,"thumbUrl":21275,"material":537,"size":127,"collection":71,"collections":21276,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},222711,"mo-bi-shan-shui-zhong-tang-zheng-min-222711","墨笔山水中堂","水墨绘远处山石连绵，中部河道宽广，河面一条船只行驶；近处岸边树木葱郁。技法上，山石以细墨勾皴，再以墨点绘树木绿植，画上有画家自题诗一首。郑旼，字慕倩，号遗娃，善画山水，工诗文，尤工篆刻，新安派画家之一。",[23,24,25,7,149,59,65,318,165,264,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7d2495e8028e35e34df00482f874b8.jpg",[71,212],{"id":21278,"slug":21279,"title":21280,"dynasty":54,"author":21281,"museum":119,"description":21282,"tags":21283,"thumbUrl":21284,"material":40,"size":21285,"collection":71,"collections":21286,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},222163,"qi-ma-you-shan-tu-liu-yan-222163","骑马游山图","刘琰","图绘崇山峻岭中一座高楼映入眼帘，飞檐立柱，高大宏伟；屋前树木葱郁，繁花开放，一位红衣男子骑马停步赏景！此幅图的山脉绿树画法很具特色，与同时代画家蓝瑛有相似之处。",[23,24,28,29,304,7,103,335,104,34,64,1120,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f2a66c07d9c664105cdc11e6d8c1b.jpg","纵49cm，横67cm",[71,212],{"id":21288,"slug":21289,"title":21290,"dynasty":80,"author":21291,"museum":1542,"description":21292,"tags":21293,"thumbUrl":21294,"material":59,"size":21295,"collection":127,"collections":21296,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,100,24,25,26,123,59,103,7,64,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":21298,"slug":21299,"title":21300,"dynasty":18,"author":6139,"museum":1542,"description":21301,"tags":21302,"thumbUrl":21304,"material":1576,"size":21305,"collection":127,"collections":21306,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":379},221609,"ze-pan-xing-yin-tu-liang-kai-221609","泽畔行吟图","《史记·屈原列传》有“屈原即放，披发行吟泽畔”，“泽畔行吟”的意思是在河边边走边吟（诗）。此画的左上部是隐隐的山峰，中上部大片的空白给人于无限的想象，空白中又有渲染的淡墨，似云似雾却绵延出了中景的山石与彼岸。左下角沙洲上摇曳的枯苇，暗示着秋冬的凛冽，右下角一岸斜坡上，一位高士手拄竹杖，迎着寒风，似行似吟仰头面对寥廓，似屈原、似李白更似画家本人吧！",[24,25,59,18091,103,7,264,21303],"泽畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31310ea121bd5bab6b9106fd76e6d10.jpg","22.9×24.3cm",[],{"id":21308,"slug":21309,"title":21310,"dynasty":18,"author":6977,"museum":20,"description":21311,"tags":21312,"thumbUrl":21313,"material":454,"size":21314,"collection":71,"collections":21315,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},221216,"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","張敦禮 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画面左上方巨岩的主峰直冲云霄，有立壁之势。",[24,25,149,15480,28,7,103,64,34,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10c5c3af2a80ea2558949079d71c527.jpg",[71],{"id":21367,"slug":21368,"title":21369,"dynasty":18,"author":274,"museum":135,"description":21370,"tags":21371,"thumbUrl":21372,"material":59,"size":21373,"collection":71,"collections":21374,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},219357,"xi-qiao-san-bu-zhou-li-gong-lin-219357","溪桥散步轴","云雾轻笼远山，层峦叠嶂间隐现沙洲，溪水流淌过平野，小桥横卧其上。近岸枯木疏枝错落，几椽茅舍掩映于林麓，有人影缓步溪畔，似与自然低语。山石以细腻线条勾勒，墨色浓淡相宜，皴擦间显苍劲质感；水面留白处见清浅波纹，愈显空濛。整幅画面虚实相生，远近层次分明，笔墨雅致温润，将文人隐逸的闲适心境与山水之清幽完美契合，尽显自然之趣与人文之韵，宛如一曲无声的田园牧歌，引人沉醉于这份宁静悠远之中。",[24,100,25,149,59,65,7,60,61,34,64,35,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4e06587a7f9fc815ef7ad4a35387.jpg","50.4x25.3",[71],{"id":21376,"slug":21377,"title":21378,"dynasty":54,"author":21379,"museum":135,"description":21380,"tags":21381,"thumbUrl":21382,"material":139,"size":21383,"collection":45,"collections":21384,"showCount":20893,"zanCount":961,"manualWeight":48,"mainColor":75},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[24,25,7,29,28,65,101,318,765,583,372,35,31,60,520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[45],{"id":21386,"slug":21387,"title":14837,"dynasty":80,"author":178,"museum":704,"description":21388,"tags":21389,"thumbUrl":21390,"material":139,"size":21391,"collection":71,"collections":21392,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},218210,"lou-ge-tu-yi-ming-218210","楼阁图是元朝时期的一种著名绘画风格。它以其栩栩如生的再现自然风光和精细的内部装饰而闻名。\n\n元朝，又被称作“大元”，是中国历史上继北宋之后的第一个多民族、多语言的王朝。它的建立标志着中国进入了封建制的最后一个阶段。元朝的建立者是蒙古族公主忽必烈，忽必烈是在其父亲蒙哥汗的帮助下统一了全国，并于1271年建立了元朝。\n\n楼阁图是元朝时期的一种流行的绘画风格。这种绘画风格的特点是对山水风光的再现以及对宫殿、院落、楼阁等建筑物的精细描绘。楼阁图通常是以山水为背景，描绘出宏伟的宫殿、庄严的寺庙、雄伟的城池等景象。它的画风细腻、精巧，注重细节，给人以视觉上的享受。",[24,100,28,304,104,7,34,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029c4d5225d5f29d73cf189d792af37d.jpg","25.3x21.7cm",[71],{"id":21394,"slug":21395,"title":21396,"dynasty":177,"author":5984,"museum":3323,"description":7249,"tags":21397,"thumbUrl":21398,"material":169,"size":7252,"collection":71,"collections":21399,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},218099,"xin-an-yi-yun-ce-zheng-min-shan-shui-zheng-min-218099","新安逸韵册(郑旼山水)",[23,24,25,164,59,67,101,7,318,165,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e97b172d0eb3c9c22236592b7cdd2a.jpg",[71],{"id":21401,"slug":21402,"title":21403,"dynasty":54,"author":1096,"museum":161,"description":3149,"tags":21404,"thumbUrl":21405,"material":69,"size":127,"collection":127,"collections":21406,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},217032,"fang-gu-shan-shui-ce-liu-kai-3-dong-qi-chang-217032","仿古山水册六开-3",[23,24,25,164,59,65,67,66,101,7,165,239,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe610f6ed407a4bd2308e029df1f6c21f.jpg",[],{"id":21408,"slug":21409,"title":21410,"dynasty":80,"author":178,"museum":56,"description":21411,"tags":21412,"thumbUrl":21413,"material":139,"size":21414,"collection":71,"collections":21415,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},215144,"xuan-pu-chun-shen-tu-yi-ming-215144","悬圃春深图","悬圃春深图是一幅元朝（1271-1368）时期的图画，作者佚名。这幅图展示了一个人站在悬圃之上，俯视着春天的景色。悬圃是一种古老的中国园林建筑，通常是一个圆形的小建筑，用来观赏周围的景色。在这幅图中，悬圃上的人可以看到树木芽生，花儿开放，鸟儿欢快地唱歌。这幅图捕捉了春天带来的生机勃勃的气息，是一幅生动而优美的作品。",[24,304,28,27,2484,104,7,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3510d20cfcdbf5cc710910d3669f7d.jpg","26x27.8cm",[71],{"id":21417,"slug":21418,"title":21419,"dynasty":54,"author":2524,"museum":56,"description":2525,"tags":21420,"thumbUrl":21421,"material":69,"size":2529,"collection":127,"collections":21422,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},214673,"san-jue-tu-2-yao-shou-214673","三绝图-2",[24,25,164,59,28,7,65,60,61,62,34,238,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd2380dd3ead30497ae3b9b56171da9.jpg",[],{"id":21424,"slug":21425,"title":21426,"dynasty":54,"author":1096,"museum":56,"description":1895,"tags":21427,"thumbUrl":21428,"material":169,"size":127,"collection":127,"collections":21429,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":49},214657,"qiu-xing-ba-jing-tu-ce-2-dong-qi-chang-214657","秋兴八景图册-2",[100,24,25,164,59,28,65,123,103,165,305,533,3865,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883a53c2374ee28565293f083f1f9beb.jpg",[],{"id":21431,"slug":21432,"title":21433,"dynasty":54,"author":1096,"museum":56,"description":1895,"tags":21434,"thumbUrl":21435,"material":69,"size":127,"collection":127,"collections":21436,"showCount":20893,"zanCount":48,"manualWeight":48,"mainColor":75},214652,"qiu-xing-ba-jing-tu-ce-6-dong-qi-chang-214652","秋兴八景图册-6",[24,25,164,59,27,28,7,318,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雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,1388,28,65,7,35,583,571,60,64,102,67,101,21489],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":21493,"slug":21494,"title":21495,"dynasty":18,"author":2535,"museum":135,"description":15357,"tags":21496,"thumbUrl":21497,"material":596,"size":11174,"collection":127,"collections":21498,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},290333,"jing-ting-song-feng-tu-zhou-ma-lin-290333","静听松风图轴",[100,24,25,149,7,103,583,64,61,59,65,6501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0deb7cf38921a741612cf702fb534c.jpg",[],{"id":21500,"slug":21501,"title":21502,"dynasty":80,"author":81,"museum":119,"description":12938,"tags":21503,"thumbUrl":21504,"material":337,"size":937,"collection":127,"collections":21505,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图",[23,24,26,25,7,59,65,238,34,150,61,67,16729,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],{"id":21507,"slug":21508,"title":21509,"dynasty":1051,"author":178,"museum":135,"description":21510,"tags":21511,"thumbUrl":21514,"material":337,"size":937,"collection":127,"collections":21515,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},290022,"tang-ren-chun-jiao-you-qi-tu-yi-ming-290022","唐人春郊游骑图","画幅中间一人上身呈正面，穿著与其他六人不同，应是画中的主人。前二人引导，后四人有的拿弓，有的拿毬棍，有的挟著琴，有的背酒，前顾后盼，各有神态。树叶双钩填彩，岩石、流水和激湍都是仿古的钩勒法，有装饰的意味。背景树石的构图和院藏另一件传为韩干《猿马图》相似，不过笔墨稍逊，可能出自同一幅稿本。",[24,100,28,103,335,21512,21513,333,64,7],"春郊","郊游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fdd4af9015b51a1635e29ed3f1d75b9.jpg",[],{"id":21517,"slug":21518,"title":21519,"dynasty":177,"author":4707,"museum":119,"description":9648,"tags":21520,"thumbUrl":21522,"material":337,"size":937,"collection":127,"collections":21523,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978","秋山幽静图轴",[100,24,149,59,7,60,61,62,104,63,607,125,21521,65,101,66,3865,2216],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":21525,"slug":21526,"title":21527,"dynasty":80,"author":887,"museum":119,"description":15342,"tags":21528,"thumbUrl":21529,"material":337,"size":937,"collection":127,"collections":21530,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）",[23,100,24,149,28,7,103,607,125,62,61,264,373,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],{"id":21532,"slug":21533,"title":21534,"dynasty":811,"author":812,"museum":135,"description":21535,"tags":21536,"thumbUrl":21538,"material":337,"size":937,"collection":127,"collections":21539,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},289893,"xia-shan-yu-yu-tu-dong-yuan-289893","夏山欲雨图","作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,100,24,7,59,65,238,1616,1285,4203,21537,149,25],"雨意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554d2a856f62dacda937b5e2a3cce51a.jpg",[],{"id":21541,"slug":21542,"title":6706,"dynasty":18,"author":604,"museum":119,"description":4374,"tags":21543,"thumbUrl":21544,"material":337,"size":937,"collection":127,"collections":21545,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},289763,"dong-shan-du-shui-tu-ma-yuan-289763",[23,100,24,25,149,59,28,103,61,7,1042,67,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dbe032eb939aa2d084a741375cb0554.jpg",[],{"id":21547,"slug":21548,"title":21549,"dynasty":54,"author":9184,"museum":119,"description":21550,"tags":21551,"thumbUrl":21552,"material":337,"size":937,"collection":127,"collections":21553,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,100,24,25,26,7,59,65,238,37,2315,104,722,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],{"id":21555,"slug":21556,"title":21557,"dynasty":18,"author":3342,"museum":20,"description":21558,"tags":21559,"thumbUrl":21561,"material":40,"size":21562,"collection":42,"collections":21563,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},289326,"qian-tang-guan-chao-tu-li-song-289326","钱塘观潮图","此卷描给钱塘张潮时的壮阔景象。蒸腾鼓荡的海湖以排山倒海之势自江口流入，而江中弄潮的舟船正依次排开、逆水而上。两岸民居、城池，远山历历在目，笔法简括。 该画作用隐喻的手法表达了作者的爱国思想。",[23,100,24,26,25,59,28,7,4730,62,21560,67,66],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[42],{"id":21565,"slug":21566,"title":12313,"dynasty":18,"author":2535,"museum":119,"description":15357,"tags":21567,"thumbUrl":21569,"material":337,"size":937,"collection":127,"collections":21570,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},288970,"song-feng-lou-guan-tu-ma-lin-288970",[100,24,1388,304,28,29,104,583,21568,7],"雨天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb4382d26e8d220766465beb138783c.jpg",[],{"id":21572,"slug":21573,"title":21574,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":21575,"thumbUrl":21576,"material":337,"size":937,"collection":127,"collections":21577,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},283756,"yao-cen-po-mo-tu-zhou-dong-qi-chang-283756","遥岑泼墨图轴",[100,24,25,149,59,7,34,64,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50409061721d8c2cbf948c0a5a0e7f86.jpg",[],{"id":21579,"slug":21580,"title":21581,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":21582,"thumbUrl":21583,"material":337,"size":937,"collection":127,"collections":21584,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},283748,"shan-shui-tu-ce-ba-kai-dong-qi-chang-283748","山水图册（八开）",[24,164,59,65,7,34,35,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438769c9f3457e4c3c930a50fcdcfa13.jpg",[],{"id":21586,"slug":21587,"title":21588,"dynasty":177,"author":21589,"museum":119,"description":21590,"tags":21591,"thumbUrl":21592,"material":127,"size":127,"collection":71,"collections":21593,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},238665,"xue-jing-shan-shui-ren-wu-tu-zhou-yuan-ying-238665","雪景山水人物图轴","袁瑛","童时侍其叔习山水，既长从徐北山（尚）学花卉，写意之笔，颇有骨力。乾隆三十年（一七六五）膺李因培（鹤峯）之荐，供奉内廷。山水晚年益加精密，出入宋、元，用笔沈厚，宗黄鼎法而变以己意。尝作乔木高居图最妙，张问陶有诗题赠。前后居京师四十年，后官粤东开平县沙冈司（瓯钵罗室书画过目考作开平知县）乾隆五十年（一七八五）归隐葑溪，筑赐诗堂以居。",[24,25,149,28,65,29,878,7,103,34,35,60,61,64,2716],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a4bc46b2695a7ea58f51f97d7cf6ce.jpg",[71,45],{"id":21595,"slug":21596,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":21597,"thumbUrl":21598,"material":127,"size":127,"collection":127,"collections":21599,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589",[24,25,100,59,65,1099,7,34,35,60,61,264,1738,583,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":21601,"slug":21602,"title":21603,"dynasty":54,"author":15301,"museum":20,"description":21604,"tags":21605,"thumbUrl":21606,"material":736,"size":21607,"collection":71,"collections":21608,"showCount":21461,"zanCount":961,"manualWeight":48,"mainColor":75},237122,"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[24,25,149,59,65,7,30,34,201,37,239,38,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纵95厘米，横36.4厘米",[71,927],{"id":21610,"slug":21611,"title":11696,"dynasty":54,"author":12876,"museum":119,"description":21612,"tags":21613,"thumbUrl":21614,"material":127,"size":127,"collection":71,"collections":21615,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},236896,"shan-shui-hua-hui-ce-shao-mi-236896","此作用笔秀逸松灵，取景简括却意韵悠长。虬曲古松扎根危崖，苍枝舒展间满含劲挺生机。白衣策杖之人缓步山道，形神安闲，恍若幽居之士暂寄林泉。山涧清泉漱石潺潺，流云轻笼天际，衬出空山清寂之境。整体意境萧疏散淡，带着静穆淡远的文人意趣，将幽人栖隐丘壑的雅怀尽数铺展，尽显超然出尘的林下之风。",[24,25,100,164,28,65,7,583,64,37,103,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90685468beeb5f9c37cf6bf844517d26.jpg",[71,308,45],{"id":21617,"slug":21618,"title":159,"dynasty":177,"author":683,"museum":119,"description":21619,"tags":21620,"thumbUrl":21621,"material":337,"size":937,"collection":71,"collections":21622,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},236859,"shan-shui-ce-wang-yuan-qi-236859","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,25,164,59,65,7,318,34,150,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e761a3d5bcf48ddf7d44981a19a3513.jpg",[71,927],{"id":21624,"slug":21625,"title":159,"dynasty":177,"author":5740,"museum":119,"description":14247,"tags":21626,"thumbUrl":21627,"material":127,"size":127,"collection":71,"collections":21628,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},236588,"shan-shui-ce-cha-shi-biao-236588",[24,59,65,164,7,60,61,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9491df3cb3d8b92bf94c07c82473a2d9.jpg",[71,212],{"id":21630,"slug":21631,"title":1420,"dynasty":177,"author":19508,"museum":119,"description":21632,"tags":21633,"thumbUrl":21634,"material":127,"size":127,"collection":71,"collections":21635,"showCount":21461,"zanCount":961,"manualWeight":48,"mainColor":75},236444,"shan-shui-zhou-xu-fang-236444","徐枋：(1622—1694)字昭法，号俟斋、涧叟、秦馀山人、雪床庵主人，江苏吴县(今苏州)人。崇祯15年举人，工诗文，书善行草，宗孙过庭及王羲之。山水师董源、巨然、荆浩、关仝，亦宗倪瓒、黄公望，用笔工整，墨气明净，不设色。诗文出入韩、柳间。传世作品有康熙4年《山水》册页，录于《中国绘画史图录》下册；9年作《山水》扇面现藏故宫博物院；24年作《仿关仝山水图》轴，录于《晋唐五代宋元明清名家书画集》。著有《居易堂集》、《俟斋集》等。",[24,59,149,65,7,60,61,125,264,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6512dc7e0e5403960b7c77a4799e4bf.jpg",[71,45],{"id":21637,"slug":21638,"title":21639,"dynasty":177,"author":3760,"museum":20,"description":16305,"tags":21640,"thumbUrl":21641,"material":9188,"size":21642,"collection":71,"collections":21643,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴",[24,149,59,65,7,318,199,34,35,201,239,38,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纵184.8cm，横79.4cm",[71,212],{"id":21645,"slug":21646,"title":21647,"dynasty":54,"author":2842,"museum":20,"description":21648,"tags":21649,"thumbUrl":21650,"material":375,"size":21651,"collection":127,"collections":21652,"showCount":21461,"zanCount":961,"manualWeight":48,"mainColor":75},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[23,24,25,26,59,28,7,182,334,67,101,65,37,208,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":21654,"slug":21655,"title":19095,"dynasty":54,"author":7355,"museum":119,"description":21656,"tags":21657,"thumbUrl":21658,"material":127,"size":127,"collection":127,"collections":21659,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},234151,"shan-shui-juan-wen-bo-ren-234151","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,24,26,59,65,25,7,318,319,125,60,61,62,63,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":21661,"slug":21662,"title":394,"dynasty":54,"author":1096,"museum":20,"description":6074,"tags":21663,"thumbUrl":21664,"material":375,"size":2597,"collection":127,"collections":21665,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},233805,"shan-shui-tu-ce-dong-qi-chang-233805",[24,25,164,59,65,7,165,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc0101e770c5965b8981d382075a663.jpg",[],{"id":21667,"slug":21668,"title":21669,"dynasty":177,"author":21032,"museum":20,"description":21670,"tags":21671,"thumbUrl":21672,"material":127,"size":127,"collection":71,"collections":21673,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},233222,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-wang-gai-233222","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,25,164,59,65,7,607,125,60,61,103,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[71],{"id":21675,"slug":21676,"title":9829,"dynasty":80,"author":1715,"museum":20,"description":9830,"tags":21677,"thumbUrl":21678,"material":375,"size":9833,"collection":127,"collections":21679,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},233219,"you-ju-tu-juan-qian-xuan-233219",[24,25,26,27,28,29,65,7,318,319,165,63,60,61,62,103,35,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg",[],{"id":21681,"slug":21682,"title":1107,"dynasty":177,"author":301,"museum":20,"description":1108,"tags":21683,"thumbUrl":21686,"material":40,"size":1112,"collection":127,"collections":21687,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},232937,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-232937",[100,149,29,28,103,335,7,450,21684,184,21685,449],"盔甲","弓箭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e75bd6adc859c5fc594e91cce70fb3d.jpg",[],{"id":2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兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,59,28,65,2145,7,199,64,34,63,31,167,707,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],{"id":21755,"slug":21756,"title":15426,"dynasty":1051,"author":178,"museum":8528,"description":8529,"tags":21757,"thumbUrl":21758,"material":337,"size":937,"collection":127,"collections":21759,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},226180,"ku-zhu-shi-bei-bi-yi-ming-226180",[3985,1042,28,29,304,103,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70beb22e29e23cd0b13946f36b81143.jpg",[],{"id":21761,"slug":21762,"title":21763,"dynasty":177,"author":529,"museum":20,"description":21764,"tags":21765,"thumbUrl":21766,"material":632,"size":21767,"collection":212,"collections":21768,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[23,24,25,26,59,7,65,64,34,31,60,35,167,3796,199,2833,238,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[212],{"id":21770,"slug":21771,"title":1651,"dynasty":177,"author":6003,"museum":119,"description":21772,"tags":21773,"thumbUrl":21774,"material":127,"size":127,"collection":127,"collections":21775,"showCount":21461,"zanCount":961,"manualWeight":48,"mainColor":75},224353,"shan-shui-tu-li-zhou-sun-yi-224353","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,24,25,149,28,65,7,63,60,61,264,165,35,199,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":21777,"slug":21778,"title":21779,"dynasty":177,"author":21780,"museum":135,"description":21781,"tags":21782,"thumbUrl":21783,"material":292,"size":127,"collection":127,"collections":21784,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},224243,"ren-wu-shan-shui-li-zhou-gai-qi-224243","人物山水立轴","改琦","此作用淡墨写就庭院闲景，挺秀蕉树阔叶舒展，晕染出夏末清阴。茅舍半敞，幽人凭窗静坐，似在细听雨打蕉叶。泼墨点染山石苍润古朴，留白铺陈出空寂悠然的氛围。\n\n画面左上题诗与图景相映，诗画合璧，将文人幽居闲情寄寓其中。笔墨简淡秀雅，摒去浓艳敷色，尽显萧疏幽淡的意境，把江南文人心底的闲雅愁绪与林下之乐融为一体，淡墨轻岚间，漫溢出静谧安闲的书卷清气。",[23,24,59,149,29,103,7,6300,264,278,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720732020f05546e4858289f093d2153.jpg",[],{"id":21786,"slug":21787,"title":3049,"dynasty":18,"author":178,"museum":119,"description":21788,"tags":21789,"thumbUrl":21790,"material":127,"size":127,"collection":127,"collections":21791,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},223627,"he-ting-xiao-xia-tu-yi-ming-223627","近岸古松盘曲如铁，老木横卧如长虹枕在浅草汀洲，野意自生。林间荷亭翼然明敞，朱棂黛瓦隐在浓荫里，将溽暑拦在林外，似有荷风穿窗而过，裹着清润凉意。杨柳柔条垂烟，轻蘸水面，把夏意晕成一片慵懒。\n\n远景山峦化在濛濛水汽里，只剩淡墨晕开的黛色轮廓，和烟水织就空濛底色。工写相融的笔触里，亭台勾勒精工，林木皴染苍润，淡墨烘出水汽蒸腾的溽暑空茫，把幽居消夏的闲静揉进画面。蝉声隐在叶底，时光漫过松荫，只余一室清凉，将盛夏的燥热尽数消解，藏起宋人藏在小景里的雅致闲情。",[23,24,100,28,29,65,101,7,63,34,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd39d36753c7bf7f5e869b068f452a9c8.jpg",[],{"id":21793,"slug":21794,"title":21795,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":21796,"thumbUrl":21798,"material":87,"size":15463,"collection":127,"collections":21799,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},223072,"hong-lou-meng-58-sun-wen-223072","红楼梦58",[23,24,29,28,103,104,559,1738,34,7,102,278,21797],"场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb184dc5ce3cbcae551dd90810e0a89.jpg",[],{"id":21801,"slug":21802,"title":21803,"dynasty":177,"author":21804,"museum":135,"description":21805,"tags":21806,"thumbUrl":21807,"material":21808,"size":21809,"collection":71,"collections":21810,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[23,24,149,7,59,28,65,318,979,583,60,61,35,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[71,45],{"id":21812,"slug":21813,"title":7344,"dynasty":54,"author":368,"museum":13960,"description":17937,"tags":21814,"thumbUrl":21815,"material":9532,"size":21816,"collection":127,"collections":21817,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},222586,"shan-shui-ren-wu-tu-lan-ying-222586",[23,24,59,65,149,7,103,62,583,199,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396b38187718c407d8aa9bcd3330f957.jpg","纵151CM 横51CM",[],{"id":21819,"slug":21820,"title":21821,"dynasty":54,"author":2842,"museum":135,"description":21822,"tags":21823,"thumbUrl":21824,"material":69,"size":21825,"collection":71,"collections":21826,"showCount":21461,"zanCount":961,"manualWeight":48,"mainColor":75},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[23,24,25,149,28,65,7,63,583,64,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[71,45],{"id":21828,"slug":21829,"title":21830,"dynasty":54,"author":945,"museum":1326,"description":21831,"tags":21832,"thumbUrl":21833,"material":349,"size":14817,"collection":127,"collections":21834,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,25,149,28,65,7,2325,199,60,61,34,64,104,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":21836,"slug":21837,"title":21838,"dynasty":54,"author":55,"museum":135,"description":955,"tags":21839,"thumbUrl":21840,"material":349,"size":21841,"collection":127,"collections":21842,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},222105,"xie-mi-jia-shan-shen-zhou-222105","写米家山",[23,24,25,59,7,8903,164,318,165,319,37,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82c8db68a8b575954749b6f85eccdfc.jpg","34.8×56.5厘米",[],{"id":21844,"slug":21845,"title":21846,"dynasty":18,"author":6139,"museum":20,"description":21847,"tags":21848,"thumbUrl":21850,"material":1865,"size":21851,"collection":127,"collections":21852,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},221607,"liu-xi-wo-di-tu-liang-kai-221607","柳溪卧笛图","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[23,24,100,25,59,18091,7,103,571,201,21849],"笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a56bcc78c55ff8ae9cf7480874e52a.jpg","26.1×26.1cm",[],{"id":21854,"slug":21855,"title":21856,"dynasty":18,"author":288,"museum":20,"description":21857,"tags":21858,"thumbUrl":21860,"material":1576,"size":21861,"collection":127,"collections":21862,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,100,24,25,2145,1555,59,65,7,559,21859,1738,347,64,61,4193,34,278,3696],"梧树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","纵23厘米，横26厘米",[],{"id":21864,"slug":21865,"title":21866,"dynasty":18,"author":744,"museum":20,"description":21867,"tags":21868,"thumbUrl":21869,"material":454,"size":21870,"collection":127,"collections":21871,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,24,25,29,28,304,7,104,583,103,559,34,630,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":21873,"slug":21874,"title":21875,"dynasty":18,"author":4777,"museum":135,"description":21876,"tags":21877,"thumbUrl":21878,"material":87,"size":21879,"collection":927,"collections":21880,"showCount":21461,"zanCount":961,"manualWeight":48,"mainColor":379},221448,"tao-qian-shang-ju-tu-quan-juan-zhao-ling-rang-221448","陶潜赏菊图全卷","描绘了幽林内、小亭中，陶渊明与访友坐对赏花，江干水渚，群卉争发，树本、房舍、池沼、小路等表现很精致，具有化平凡的事物为美丽的事物的艺术效果，设色艳丽，画中人亦无特殊造形，但拖尾诸跋，均以陶潜赏菊故事为题咏，意境颇为优美。卷尾分别有董其昌、詹同、蔡哲、中山居士、张羽、苏伯衡的跋文。",[23,24,25,26,28,29,7,103,12676,63,34,1120,67,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7176750b8b30929f53c7de7d6e7f76.jpg","全卷纵30厘米，横416.4厘米，画心纵30厘米，横84厘米",[927],{"id":21882,"slug":21883,"title":21884,"dynasty":18,"author":194,"museum":135,"description":21885,"tags":21886,"thumbUrl":21887,"material":17922,"size":21888,"collection":127,"collections":21889,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},221384,"ming-hua-lin-lang-ce-qun-feng-xue-ji-fan-kuan-221384","名画琳瑯册－群峰雪霁","此作写崇山积雪，山脚并点缀密林、楼观、舟楫等。倦色黯黑，但不失古雅苍润。画中的主峰已偏一侧，且皴笔少滃染多，地质较近于土山，与记载中的范宽风格并不尽似。对幅由尹继善、刘纶、王际华、钱维城、彭元瑞、曹文埴、陈孝泳等清代臣工题咏，虽然语中对范宽多所赞誉，但无法证明本幅与范宽有关，据画风推测成作时间应在南宋以后。\n另有旧题为范宽的《山水》、《秋景山水》、《海山图》、《霍童仙界图》等数幅，虽然作品中或题“范中立”、“范宽笔”、“华原范宽”，但均与范宽的风格相去甚远，时代也无法到宋，推定是明、清时期的托名伪作。本节遂不一一叙述。",[23,100,24,25,164,7,65,59,3220,878,68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150x53.7公分、全幅 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在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 所到之处，山水之形",[24,149,59,7,60,64,201,34,372,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc11da83fc8e3ec6b101ff501d2461042.jpg","118.5x38.9",[71],{"id":21962,"slug":21963,"title":21964,"dynasty":18,"author":178,"museum":135,"description":21965,"tags":21966,"thumbUrl":21967,"material":139,"size":21968,"collection":71,"collections":21969,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[23,24,25,7,28,304,65,63,34,104,64,166,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg","24.5x25.4",[71],{"id":21971,"slug":21972,"title":932,"dynasty":18,"author":178,"museum":135,"description":21973,"tags":21974,"thumbUrl":21975,"material":139,"size":21976,"collection":71,"collections":21977,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},218813,"guan-shan-xing-lv-tu-yi-ming-218813","画的是关山高远的山峰和秋天的悲凉森林，一个骑着毛驴的学子正在过一座小桥。这幅画没有标记，有两个虞姬的符号，考虑到其解体时使用的笔法，可能是元代的作品。",[23,24,25,59,28,7,65,334,103,34,64,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b596fb7fe0dbb2cec842c835d50fd6a.jpg","26.7x27.8",[71],{"id":21979,"slug":21980,"title":21981,"dynasty":80,"author":8313,"museum":135,"description":21982,"tags":21983,"thumbUrl":21984,"material":87,"size":127,"collection":71,"collections":21985,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},218767,"xue-shan-ce-jian-tu-tang-di-218767","雪山策蹇图","寒林雪景徐徐铺展，积雪如凝玉覆于峰峦石矶，枯树虬枝盘曲，骨力尽显。山石以斧劈皴与披麻皴交错，淡墨晕染间，雪的厚重与石的坚劲相融。策蹇人衣袂轻扬，缓行于冰冽天地，渺小身影衬出旷远意境。笔墨细腻处藏文人雅致，简淡中见苍劲力道，寒寂氛围里暗蕴生机。整幅画将雪的清寂、树的孤挺、人的从容凝成一瞬，尽显元人山水空灵意韵。观者仿佛闻风雪低语，触冬日清寒，感旅人独行的淡远心境，于静谧中品得那份超脱尘嚣的悠然。",[23,100,24,25,59,28,65,7,1262,372,64,103,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6cb3342fada7f0c20d0e996bc177960.jpg",[71],{"id":21987,"slug":21988,"title":21989,"dynasty":54,"author":178,"museum":396,"description":1663,"tags":21990,"thumbUrl":21991,"material":69,"size":127,"collection":127,"collections":21992,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},217949,"ming-ren-shan-shui-hua-ce-liu-yi-ming-217949","明人山水画册(六)",[23,24,59,65,164,7,165,64,61,167,720,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020fb7e4bf77496f47c6fab3f8b8ac7.jpg",[],{"id":21994,"slug":21995,"title":21996,"dynasty":54,"author":580,"museum":135,"description":21997,"tags":21998,"thumbUrl":21999,"material":596,"size":22000,"collection":71,"collections":22001,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":49},216103,"jiang-fan-gui-zhao-wen-zheng-ming-216103","江帆归棹","淡墨晕染间，江南水乡的氤氲之态尽显。远山隐于薄雾，轮廓柔和如黛；近岸林木疏朗，墨色层次清雅。江帆数点，似叶浮于粼粼波光；归棹轻摆，携着晚归的悠然意韵。文徵明以细劲中锋勾勒山石，披麻皴缓铺肌理，线条温润却藏筋骨。画面简而不空，每一处笔触皆含文人情致——对自然的亲近，对归居的向往，尽融于烟水帆影之中。吴门画派的秀逸典雅，在此化作含蓄诗意，引人沉湎于那份宁静致远的心境，仿佛能闻流水轻响，见晚风拂过帆樯。",[24,25,164,59,28,7,65,62,61,106,63,15996,60,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d75f0a81c2bd9003aebb84de1cdf41.jpg","36x55cm",[71],{"id":22003,"slug":22004,"title":22005,"dynasty":177,"author":2177,"museum":556,"description":2178,"tags":22006,"thumbUrl":22007,"material":169,"size":127,"collection":127,"collections":22008,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":75},214491,"fang-gu-shan-shui-tu-2-cheng-ting-lu-214491","仿古山水图-2",[23,24,1099,28,7,62,61,103,2505,164,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5615a13e6125147c6c829aecba1190.jpg",[],{"id":22010,"slug":22011,"title":22012,"dynasty":18,"author":178,"museum":56,"description":22013,"tags":22014,"thumbUrl":22017,"material":127,"size":127,"collection":127,"collections":22018,"showCount":21461,"zanCount":48,"manualWeight":48,"mainColor":22019},202651,"qiu-shan-xiao-si-tu-juan-yi-ming-202651","秋山萧寺图卷","秋意浸染的山水长卷中，层峦叠嶂次第铺展。近山嶙峋，以细密皴法勾勒山石肌理，草木葱茏间隐现萧寺屋宇；远山含烟，墨色渐淡融入天际，与开阔河面相映成趣。河面如镜，几叶扁舟轻泛，岸边林木疏朗，秋意萧疏却不失生机。笔墨细腻处见严谨，雄浑间藏气韵，将秋日山水的清寂悠远与自然野趣完美融合，尽显宋画山水的雅致风骨与意境之美。",[24,7,65,26,2682,22015,22016,1616,4564,13651,23],"萧寺","扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58eda14d30dd31cd65ccc33e29b11079.jpg",[],"000000",{"id":22021,"slug":22022,"title":22023,"dynasty":80,"author":616,"museum":119,"description":6065,"tags":22024,"thumbUrl":22025,"material":337,"size":937,"collection":127,"collections":22026,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":75},290839,"wan-he-qiu-ting-zhou-ni-zan-290839","万壑秋亭轴",[100,24,25,149,59,65,7,63,733,64,201,66,101,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c7a50eb639fedf1d8803cb1242ca91.jpg",[],32,{"id":22029,"slug":22030,"title":22031,"dynasty":80,"author":160,"museum":119,"description":2547,"tags":22032,"thumbUrl":22033,"material":337,"size":937,"collection":127,"collections":22034,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},290443,"qiu-shan-xiao-si-tu-ke-luo-ban-wang-meng-290443","秋山萧寺图（珂罗版）",[23,24,100,149,59,7,65,17687,34,64,18580,103,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6306fac2462b33c54d40c1d51cfe94.jpg",[],{"id":22036,"slug":22037,"title":22038,"dynasty":177,"author":6327,"museum":119,"description":22039,"tags":22040,"thumbUrl":22042,"material":337,"size":937,"collection":127,"collections":22043,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":75},289902,"xu-ri-dong-sheng-tu-zhou-wu-chang-shuo-289902","旭日东升图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,100,24,149,59,28,7,22041,64,34,61,60,66,101],"旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65e6d2f8218f3eddaa72aa0e1894bdb.jpg",[],{"id":22045,"slug":22046,"title":22047,"dynasty":18,"author":604,"museum":119,"description":4374,"tags":22048,"thumbUrl":22049,"material":337,"size":937,"collection":127,"collections":22050,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},289365,"yao-yue-jiu-mei-tu-ma-yuan-289365","邀月就梅图",[2484,24,100,2127,1643,7,103,64,59,65,6633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042efd55f24860f7a9c20cfd921d1aff.jpg",[],{"id":22052,"slug":22053,"title":22054,"dynasty":177,"author":1925,"museum":119,"description":18578,"tags":22055,"thumbUrl":22056,"material":337,"size":937,"collection":127,"collections":22057,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},288452,"fu-yang-da-ling-tu-zhu-da-288452","富阳大岭图",[23,24,25,59,7,65,6923,150,34,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e6667484c88095860699a15fea24f.jpg",[],{"id":22059,"slug":22060,"title":14674,"dynasty":18,"author":604,"museum":119,"description":22061,"tags":22062,"thumbUrl":22063,"material":337,"size":937,"collection":127,"collections":22064,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},288431,"gao-shi-guan-pu-tu-ma-yuan-288431","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。",[24,25,28,103,7,583,199,64,2683,6501,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd14d033ddc1a880a6b71d2fb206a1cf.jpg",[],{"id":22066,"slug":22067,"title":22068,"dynasty":177,"author":1925,"museum":119,"description":18578,"tags":22069,"thumbUrl":22070,"material":337,"size":937,"collection":127,"collections":22071,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},288172,"fang-guo-shu-shan-shui-tu-zhou-zhu-da-288172","仿郭恕山水图轴",[23,24,25,149,59,65,122,7,64,34,63,101,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50eb3a950ce4abfb78da77a089adc40.jpg",[],{"id":22073,"slug":22074,"title":14323,"dynasty":80,"author":11648,"museum":119,"description":22075,"tags":22076,"thumbUrl":22077,"material":337,"size":937,"collection":127,"collections":22078,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},287577,"shan-shui-ren-wu-sun-jun-ze-287577","工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。",[24,7,103,583,264,1642,60,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7e6badd43c05bf2f375442199b1e38f.jpg",[],{"id":22080,"slug":22081,"title":22082,"dynasty":18,"author":274,"museum":119,"description":22083,"tags":22084,"thumbUrl":22085,"material":337,"size":937,"collection":127,"collections":22086,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":75},287537,"shu-chuan-tu-shou-juan-li-gong-lin-287537","蜀川图手卷","画面从传统的长江发源地汶山、岷山画起，经茂州、石泉、永康军、青城山、成都城区、双流、新津、彭山、龙安、眉州、青神，后大跨越式地跨过嘉州、叙州、泸州、渝州、涪州，后接忠州、梁山、万州、云安、夔州、巫山县结束。\n这件长卷对巴蜀地区建筑形式、历史地理、历史文化研究有一定参考价值。",[23,100,24,25,26,59,123,67,101,2127,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b157ace959ea92bd68e1cf5dffe387f.jpg",[],{"id":22088,"slug":22089,"title":22090,"dynasty":177,"author":22091,"museum":119,"description":22092,"tags":22093,"thumbUrl":22094,"material":127,"size":127,"collection":127,"collections":22095,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":75},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","蒋溥","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[24,25,26,7,59,28,318,979,583,239,66,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],{"id":22097,"slug":22098,"title":2582,"dynasty":177,"author":1801,"museum":119,"description":2583,"tags":22099,"thumbUrl":22100,"material":127,"size":2586,"collection":127,"collections":22101,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},238031,"hong-ren-shan-shui-tu-ce-hong-ren-238031",[24,59,65,164,7,34,35,167,264,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9144a0928789c773384316cc6493a3d6.jpg",[],{"id":22103,"slug":22104,"title":22105,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":22106,"thumbUrl":22107,"material":127,"size":127,"collection":71,"collections":22108,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[24,59,65,149,7,64,34,61,60,35,199,25,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[71],{"id":22110,"slug":22111,"title":22112,"dynasty":54,"author":5538,"museum":20,"description":22113,"tags":22114,"thumbUrl":22115,"material":349,"size":22116,"collection":71,"collections":22117,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[24,25,149,59,65,1019,7,34,63,15552,64,372,167,720,10891,583,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 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的满族人后裔，严格遵守满清骑 射尚武典制。他通过带游乐性质 的狩猎活动，将满人弯弓射箭的 传统习俗发扬光大。为了弘扬这 种尚武精神，乾隆谕令宫廷西洋 画师郎世宁以及中国宫廷画家 创作了数十幅专门表现他行围 狩猎的画作，真实记录了乾隆在 不同历史时期的狩猎情景。此图 便是表现他射兔的作品。",[24,29,28,7,103,335,64,34,199,65,5254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64335c000347f96a1ea2e26f054d053.jpg","纵 258 厘米，横 172 厘",[71,45],{"id":22153,"slug":22154,"title":22155,"dynasty":54,"author":178,"museum":119,"description":22156,"tags":22157,"thumbUrl":22158,"material":127,"size":127,"collection":127,"collections":22159,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},235874,"tang-yin-guan-shan-xing-lv-zhou-yi-ming-235874","唐寅关山行旅轴","此作画境荒寒清寂，以淡墨晕染远山，烟岚朦胧间隐出路踪。虬曲古木撑起重峦一隅，枯枝苍劲老辣，皴擦间尽显风霜雕琢之态。石拱桥下寒水浅流，策杖旅人独行桥边，衣袂似随山风微动，静穆中暗含羁旅孤愁。\n整幅以水墨写意，淡远空疏的笔墨烘托出关山行旅的苍茫意境，将天涯行客的寂寥心绪融于冷寂山水间，尽显借景抒怀的雅致意趣，笔墨简淡却意蕴悠长。",[24,149,59,7,65,125,64,103,104,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c7f861c1e723f95dfa0c68d42794f8.jpg",[],{"id":22161,"slug":22162,"title":22163,"dynasty":54,"author":9356,"museum":119,"description":22164,"tags":22165,"thumbUrl":22166,"material":337,"size":937,"collection":127,"collections":22167,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},235791,"tao-he-shan-zhou-chen-235791","桃鹤扇","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[24,25,2484,28,29,7,102,106,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8233d53c2b21d9041938e7b34732dd.jpg",[],{"id":22169,"slug":22170,"title":22171,"dynasty":177,"author":12255,"museum":119,"description":22172,"tags":22173,"thumbUrl":22174,"material":127,"size":127,"collection":127,"collections":22175,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":49},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[100,24,25,149,28,65,7,318,319,165,413,35,62,372,37,85,64,1616,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":22177,"slug":22178,"title":10052,"dynasty":177,"author":683,"museum":20,"description":22179,"tags":22180,"thumbUrl":22181,"material":537,"size":127,"collection":127,"collections":22182,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,24,26,59,65,7,238,32,31,34,2845,722,104,60,520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg",[],{"id":22184,"slug":22185,"title":22186,"dynasty":177,"author":22187,"museum":20,"description":22188,"tags":22189,"thumbUrl":22190,"material":454,"size":22191,"collection":127,"collections":22192,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":49},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,25,26,28,27,29,65,7,102,61,60,62,103,34,37,347,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":22194,"slug":22195,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":22196,"thumbUrl":22197,"material":349,"size":2207,"collection":127,"collections":22198,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},234088,"wu-zhong-shan-shui-ce-shen-zhou-234088",[24,59,164,67,7,125,60,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcfb606921be0b9986e3b5388576f24.jpg",[],{"id":22200,"slug":22201,"title":18295,"dynasty":18,"author":288,"museum":20,"description":22202,"tags":22203,"thumbUrl":22204,"material":454,"size":22205,"collection":127,"collections":22206,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[24,100,25,2145,59,28,65,7,583,61,62,1643,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":22208,"slug":22209,"title":22210,"dynasty":80,"author":178,"museum":20,"description":22211,"tags":22212,"thumbUrl":22213,"material":1576,"size":22214,"collection":127,"collections":22215,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":49},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[24,25,149,7,122,65,59,28,238,34,607,125,239,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],{"id":22217,"slug":22218,"title":22219,"dynasty":54,"author":1652,"museum":20,"description":22220,"tags":22221,"thumbUrl":22222,"material":9188,"size":22223,"collection":71,"collections":22224,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},233133,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,164,59,7,64,34,62,6852,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纵22.8cm，横33.2cm",[71,45],{"id":22226,"slug":22227,"title":22228,"dynasty":177,"author":178,"museum":20,"description":22229,"tags":22230,"thumbUrl":22238,"material":349,"size":22239,"collection":127,"collections":22240,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},233054,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233054","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[100,24,25,164,1630,28,22231,22232,22233,22234,22235,22236,7,103,22237],"中西融合绘画","焦点透视","明暗对比","战争场景","战船","战马","富良江之战","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b649a06ced5bc8c552f7fcf09a6f73.jpg","纵55.3cm，横90.3cm",[],{"id":22242,"slug":22243,"title":22244,"dynasty":18,"author":22245,"museum":20,"description":22246,"tags":22247,"thumbUrl":22248,"material":87,"size":22249,"collection":127,"collections":22250,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},232993,"nan-tang-wen-hui-tu-ye-zhao-chang-232993","南唐文会图页","赵昌","《南唐文会图》为宋人作品。无款。裱边题签“赵昌南唐文会”。对幅乾隆御笔题诗：“南唐虽僻立，亦自尚文规。簪佩徜徉处，图书左右披。东瀛前拟法，西雅后开师。位置增精密，晩年还蜀为。”\n图绘南唐文士聚会场面。园林中绿树葱茏，芭蕉成林，中设一大案，数位文人雅士围于案旁，又有婢女仆从侍立在旁。",[24,25,164,28,29,7,103,34,63,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62beb2752eec01d037f48c6dd6e055ad.jpg","30.4X29.6cm",[],{"id":22252,"slug":22253,"title":22254,"dynasty":18,"author":178,"museum":20,"description":8384,"tags":22255,"thumbUrl":22256,"material":40,"size":9214,"collection":127,"collections":22257,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},232880,"sou-shan-tu-yi-ming-232880","搜山图",[23,100,24,26,29,28,103,3988,3986,7,34,239,106,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],{"id":22259,"slug":22260,"title":22261,"dynasty":54,"author":945,"museum":119,"description":22262,"tags":22263,"thumbUrl":22264,"material":127,"size":127,"collection":127,"collections":22265,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[100,24,25,26,59,28,65,67,66,101,103,7,583,125,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":22267,"slug":22268,"title":20103,"dynasty":177,"author":2620,"museum":119,"description":22269,"tags":22270,"thumbUrl":22271,"material":127,"size":127,"collection":127,"collections":22272,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},230157,"jiu-cheng-gong-tu-yuan-yao-230157","画作取高远、平远兼融的构图，上部巨岩拔地凌天，淡墨晕染出缭绕云气，晕开虚渺空濛的高远之境。山腰层楼叠宇依岩临渊，界画笔法工细匀整，飞檐翘角尽显宫阙的雄丽精巧。\n\n近景苍松虬曲蓊郁，临水方亭伴岸而立，板桥卧波轻连汀渚，淡墨铺陈出水岸的悠远空寂。山石兼工带写，斧劈皴间晕染烟岚，墨色干湿浓淡铺陈出山水层次虚实，将人工匠造融于天地山水间，尽显楼阁山水的明秀壮逸，把宫苑恢宏与山水灵秀相融，意境清逸悠长。",[23,24,149,304,28,7,104,63,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":22274,"slug":22275,"title":22276,"dynasty":177,"author":395,"museum":119,"description":22277,"tags":22278,"thumbUrl":22279,"material":127,"size":127,"collection":127,"collections":22280,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},228986,"yuan-ming-shi-yi-ce-ye-shi-tao-228986","渊明诗意册页","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。\n绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。\n他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。\n石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。\n画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。\n此图结构精巧，人物用笔细密。\n远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。\n这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。\n老者远望青山，脚下溪水流淌。\n面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。\n画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。\n构图采用一水两岸的自然分疆法。\n画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，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。\n与 、 、 合称“清初四僧”。\n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。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[24,25,164,28,65,67,7,35,34,2813,103,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2d3809eadb6e757b646a89b366f1d6.jpg",[],{"id":22282,"slug":22283,"title":4084,"dynasty":54,"author":410,"museum":119,"description":22284,"tags":22285,"thumbUrl":22286,"material":337,"size":937,"collection":127,"collections":22287,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},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。",[23,100,24,25,26,66,59,28,65,1388,7,3601,238,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":22289,"slug":22290,"title":22291,"dynasty":54,"author":55,"museum":119,"description":22292,"tags":22293,"thumbUrl":22294,"material":127,"size":127,"collection":127,"collections":22295,"showCount":22027,"zanCount":1080,"manualWeight":48,"mainColor":49},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[23,24,25,149,59,7,372,60,35,64,65,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":22297,"slug":22298,"title":22299,"dynasty":54,"author":6413,"museum":119,"description":22300,"tags":22301,"thumbUrl":22302,"material":127,"size":127,"collection":127,"collections":22303,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":379},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[23,24,25,149,59,65,7,64,34,201,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":22305,"slug":22306,"title":22307,"dynasty":80,"author":17441,"museum":119,"description":22308,"tags":22309,"thumbUrl":22310,"material":127,"size":127,"collection":127,"collections":22311,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,25,26,27,28,7,104,60,61,583,64,37,304,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":22313,"slug":22314,"title":11402,"dynasty":80,"author":7974,"museum":135,"description":22315,"tags":22316,"thumbUrl":22317,"material":243,"size":11406,"collection":127,"collections":22318,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},228071,"yue-yang-lou-tu-xia-yong-228071","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何着笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[24,100,25,304,123,104,7,103,64,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a48c01606623521039e6e1df769255.jpg",[],{"id":22320,"slug":22321,"title":22322,"dynasty":80,"author":1962,"museum":119,"description":22323,"tags":22324,"thumbUrl":22325,"material":127,"size":127,"collection":127,"collections":22326,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":49},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,25,28,59,7,62,61,103,583,64,29,2833,15502,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":22328,"slug":22329,"title":22330,"dynasty":80,"author":7964,"museum":119,"description":22331,"tags":22332,"thumbUrl":22333,"material":127,"size":127,"collection":127,"collections":22334,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":49},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","以淡墨晕染峰峦，烟岚轻笼岫影，虚实相生间铺展秋日山野的空寂萧疏。近岸苍林错落，村居隐于枝桠间，秋水如镜，映带平远野色，将暮霭沉沉的静谧秋意晕开。\n画作以干湿互用的墨色写就，山峦以淡墨披麻皴辅以晕染，弱化嶙峋棱角，尽显温润秀雅。留白处化作流岚晓雾，将远峰近林织就朦胧诗境。右上角题诗与朱印错落，书画印相映成趣，添就文雅书卷气，将秋山暮时的澹远空寂，融在水墨氤氲里，尽显文人寄情丘壑的写意幽远之致。",[23,100,24,25,26,59,65,7,318,34,37,1815,1695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":22336,"slug":22337,"title":22338,"dynasty":18,"author":178,"museum":119,"description":22339,"tags":22340,"thumbUrl":22341,"material":127,"size":127,"collection":127,"collections":22342,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":379},227934,"qing-shan-bai-yun-tu-yi-ming-227934","青山白云图","近岸苍松虬曲古雅，枝桠探向水面，滩石错落，静水无波晕染出空濛雾气。远山隐现于烟岚之中，以淡墨轻擦出朦胧山形，留白托出云气舒卷的清旷。\n\n画侧题诗与山水呼应，行书隽秀飘逸，以诗点题，将青山朝暮、白云青松的幽寂山居铺陈在尺幅团扇间。墨色温雅清润，寥寥数笔便勾勒出世外林泉的闲逸意趣，尽显以小见大、诗画合璧的雅致审美，把文人心中的栖居理想藏在淡墨烟霞里。",[23,24,25,2484,7,59,65,3306,1617,583,34,64,37,1643,106,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":22344,"slug":22345,"title":10394,"dynasty":18,"author":22346,"museum":119,"description":22347,"tags":22348,"thumbUrl":22349,"material":127,"size":127,"collection":127,"col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人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[100,24,25,164,28,65,67,7,571,1815,5360,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[42,71,212],{"id":22479,"slug":22480,"title":22481,"dynasty":54,"author":22482,"museum":135,"description":22483,"tags":22484,"thumbUrl":22486,"material":596,"size":22487,"collection":44,"collections":22488,"showCount":22027,"zanCount":1080,"manualWeight":48,"mainColor":49},220446,"yan-bo-bu-yu-tu-zhu-zhan-ji-220446","烟波捕鱼图","朱瞻基","朱瞻基（1398－1435年），明朝第五位皇帝，1425-1435年在位，别称明宣宗、宣德帝，他也是一位能够与宋徽宗媲美的杰出书画家。《烟波捕鱼图 》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[23,24,25,149,59,28,7,62,373,22485,5069],"枯柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[44],{"id":22490,"slug":22491,"title":22492,"dynasty":54,"author":410,"museum":135,"description":22493,"tags":22494,"thumbUrl":22495,"material":87,"size":22496,"collection":71,"collections":22497,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[23,24,28,7,29,571,60,61,104,63,103,167,37,15502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[71],{"id":22499,"slug":22500,"title":22501,"dynasty":54,"author":20848,"museum":135,"description":22502,"tags":22503,"thumbUrl":22504,"material":139,"size":22505,"collection":45,"collections":22506,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[23,24,7,28,65,149,60,61,63,165,64,335,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 横105.8厘米",[45],{"id":22508,"slug":22509,"title":22510,"dynasty":177,"author":1872,"museum":56,"description":3500,"tags":22511,"thumbUrl":22512,"material":349,"size":3503,"collection":127,"collections":22513,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":75},219848,"ba-jing-shan-shui-tu-8-gong-xian-219848","八景山水图-8",[24,59,65,7,64,34,347,1815,167,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe75e6802b3a7a668616a8dfc5d77189f.jpg",[],{"id":22515,"slug":22516,"title":22517,"dynasty":177,"author":22187,"museum":135,"description":22518,"tags":22519,"thumbUrl":22520,"material":139,"size":22521,"collection":71,"collections":22522,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,25,149,28,29,7,878,104,60,61,103,496,583,64,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[71],{"id":22524,"slug":22525,"title":22526,"dynasty":177,"author":22527,"museum":135,"description":22528,"tags":22529,"thumbUrl":22530,"material":349,"size":22531,"collection":71,"collections":22532,"showCount":22027,"zanCount":458,"manualWeight":48,"mainColor":49},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[100,24,25,149,59,65,7,3220,878,201,239,372,37,5932],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[71],{"id":22534,"slug":22535,"title":22536,"dynasty":54,"author":12464,"museum":135,"description":22537,"tags":22538,"thumbUrl":22539,"material":139,"size":22540,"collection":71,"collections":22541,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[24,25,149,59,65,7,63,520,165,35,101,66,67,106,1791],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[71],{"id":22543,"slug":22544,"title":22545,"dynasty":18,"author":178,"museum":56,"description":22546,"tags":22547,"thumbUrl":22548,"material":139,"size":22549,"collection":71,"collections":22550,"showCount":22027,"zanCount":961,"manualWeight":48,"mainColor":49},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[23,24,25,304,59,7,104,61,34,335,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[71],{"id":22552,"slug":22553,"title":22554,"dynasty":177,"author":22555,"museum":3323,"description":7249,"tags":22556,"thumbUrl":22557,"material":69,"size":7252,"collection":71,"collections":22558,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},218102,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218102","新安逸韵册(韩铸山水)","韩铸",[24,25,164,28,65,7,64,34,30,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e42768e6ff7fa17a5e7182b49522e.jpg",[71],{"id":22560,"slug":22561,"title":909,"dynasty":177,"author":22562,"museum":22563,"description":22564,"tags":22565,"thumbUrl":22566,"material":169,"size":22567,"collection":71,"collections":22568,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},217992,"shan-shui-tu-zha-shi-biao-217992","査士标","斯德哥尔摩东方博物馆","査士标的山水画以其自然的风格、细腻的笔触和精确的构图著称。他的画作常常描绘山林、溪流、岸边和村庄，画面中有时会出现人物，但他更喜欢以自然元素为主。他的画作充满了对大自然的热爱和敬畏，表现了他对生活的真挚感受。\n\n査士标的山水画也因其独特的技巧而闻名。他喜欢使用轻轻松松的笔触，表现出自然界的和谐与平静。他的画作也常常充满了隐喻和寓言，使得作品具有深刻的哲理意义。\n\n总的来说，査士标的山水画是中国传统画风的杰出代表作，值得我们深入研究和鉴赏。",[24,25,149,59,7,60,61,125,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9dde10358f2db567a9adf307310184.jpg","109x57cm",[71],{"id":22570,"slug":22571,"title":22572,"dynasty":54,"author":178,"museum":119,"description":22573,"tags":22574,"thumbUrl":22576,"material":596,"size":22577,"collection":44,"collections":22578,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,100,24,25,149,123,59,28,65,103,607,125,7,533,61,22575],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[44],{"id":22580,"slug":22581,"title":22582,"dynasty":54,"author":7927,"museum":673,"description":22583,"tags":22584,"thumbUrl":22585,"material":87,"size":22586,"collection":127,"collections":22587,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":75},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,25,26,59,28,65,67,66,101,7,62,34,64,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 x 75.5",[],{"id":22589,"slug":22590,"title":22591,"dynasty":80,"author":178,"museum":1542,"description":22592,"tags":22593,"thumbUrl":22594,"material":139,"size":127,"collection":71,"collections":22595,"showCount":22027,"zanCount":48,"manualWeight":48,"mainColor":49},214607,"shui-ge-tu-ye-yi-ming-214607","水阁图页","水阁图是一幅中国古代的山水画，作者不详，来自元代（1271-1368年）。这幅画以水为主题，描绘了一个江南风光的景象，展现了山水之间的和谐关系。\n\n画面中的水流清澈，河岸上有树木葱茏，草木茂盛。在画面的左侧，可以看到一座小山丘，山上有一座小楼，楼上挂着红绸帘，风景优美。在楼下的河中，有几艘游船在水上悠悠游动，人们在船上欢声笑语。在画面的右侧，有一片清幽的山林，山间有一条小溪流过，水声清脆。\n\n整幅画面气氛轻松惬意，色彩明快，构图巧妙，画风浑然天成，是一幅典型的山水画作品。",[23,24,28,29,304,7,104,34,734,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d33733160c5b165a06b7d1234eae23f.jpg",[71],{"id":22597,"slug":22598,"title":834,"dynasty":54,"author":96,"museum":119,"description":1628,"tags":22599,"thumbUrl":22600,"material":337,"size":937,"collection":127,"collections":22601,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":49},290873,"chun-shan-yin-shang-zhou-chou-ying-290873",[100,24,149,27,28,29,7,103,104,61,63,101,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1675e33be13137aeb68f7c392e602fd.jpg",[],31,{"id":22604,"slug":22605,"title":22606,"dynasty":54,"author":96,"museum":135,"description":1628,"tags":22607,"thumbUrl":22608,"material":169,"size":22609,"collection":212,"collections":22610,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},290870,"liu-tang-yu-ting-zhou-chou-ying-290870","柳塘渔艇轴",[24,149,59,7,373,62,496,61,495,106,101,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f02bdef353d8b20aa856b160f3841a4.jpg","102.9x47.2",[212],{"id":22612,"slug":22613,"title":22614,"dynasty":177,"author":2017,"museum":119,"description":4358,"tags":22615,"thumbUrl":22616,"material":337,"size":937,"collection":127,"collections":22617,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},290541,"fang-cao-zhi-bai-shui-cun-yu-le-yun-shou-ping-290541","倣曹知白水村渔乐",[24,164,59,7,373,62,61,85,34,101,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6edccc8494839cb82742043f1a9a07.jpg",[],{"id":22619,"slug":22620,"title":22621,"dynasty":80,"author":1715,"museum":119,"description":22622,"tags":22623,"thumbUrl":22625,"material":337,"size":937,"collection":127,"collections":22626,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":49},290293,"lan-ting-ji-xian-tu-qian-xuan-290293","兰亭集贤图","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,100,24,25,26,59,103,7,535,60,63,22624,2329,3836,19975,66],"兰亭雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be4b74de62198fb0532439ca905b07f.jpg",[],{"id":22628,"slug":22629,"title":22630,"dynasty":80,"author":616,"museum":119,"description":6065,"tags":22631,"thumbUrl":22632,"material":337,"size":937,"collection":127,"collections":22633,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},290265,"you-bo-tan-hua-tu-ke-luo-ban-ni-zan-290265","忧钵昙花图（珂罗版）",[23,100,24,59,7,149,264,372,63,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eeb3b9939ce2b4038601b054b21059d.jpg",[],{"id":22635,"slug":22636,"title":22637,"dynasty":18,"author":3217,"museum":119,"description":22638,"tags":22639,"thumbUrl":22640,"material":337,"size":937,"collection":127,"collections":22641,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":940},289756,"mo-fan-kuan-lu-shan-tu-jiang-can-289756","摹范宽庐山图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，",[23,100,24,25,149,59,7,104,61,334,335,64,34,65,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6238a367ca5faaa932225d420ea9a296.jpg",[],{"id":22643,"slug":22644,"title":9902,"dynasty":18,"author":194,"museum":119,"description":9903,"tags":22645,"thumbUrl":22646,"material":337,"size":937,"collection":127,"collections":22647,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":940},289335,"xue-shan-lou-ge-tu-fan-kuan-289335",[23,100,24,7,149,59,65,1262,104,61,64,1616,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704b93ef24a7e30310fee13f95f51e5b.jpg",[],{"id":22649,"slug":22650,"title":22651,"dynasty":177,"author":1925,"museum":119,"description":18578,"tags":22652,"thumbUrl":22654,"material":337,"size":937,"collection":127,"collections":22655,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},288639,"fang-gu-shan-shui-bi-yi-tu-zhu-da-288639","仿古山水笔意图",[23,100,24,59,7,372,264,66,101,65,1099,22653],"萧索","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed8ac0cc4a781ba5d5a5a4e3455407d.jpg",[],{"id":22657,"slug":22658,"title":22659,"dynasty":80,"author":1410,"museum":119,"description":22660,"tags":22661,"thumbUrl":22662,"material":337,"size":937,"collection":127,"collections":22663,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},287596,"xi-shan-yu-yi-tu-wu-zhen-287596","溪山雨意图","该画卷描绘的是黄公望笔下常见的江南景象，图中景象烟雨空濛，笔法多样，代表了文人画高度成熟时期的审美需要，是宋元之后文人绘画的主流风格。 整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[100,24,25,149,59,7,65,60,61,63,104,34,64,20425,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":22665,"slug":22666,"title":11696,"dynasty":177,"author":2017,"museum":119,"description":4358,"tags":22667,"thumbUrl":22669,"material":337,"size":937,"collection":127,"collections":22670,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},239429,"shan-shui-hua-hui-ce-yun-shou-ping-239429",[100,24,25,164,28,22668,67,7,2911],"没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4165765c72dedf8943fa5f69a909a7c7.jpg",[],{"id":22672,"slug":22673,"title":21016,"dynasty":177,"author":22674,"museum":119,"description":22675,"tags":22676,"thumbUrl":22677,"material":127,"size":127,"collection":71,"collections":22678,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[24,28,7,65,1099,318,165,63,103,826,64,583,2381,101,60,334,35,5361,3865,13651,27,59,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[71,45],{"id":22680,"slug":22681,"title":22682,"dynasty":177,"author":21804,"museum":119,"description":22683,"tags":22684,"thumbUrl":22685,"material":127,"size":127,"collection":45,"collections":22686,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},239380,"hong-wu-da-yu-zhi-shui-tu-juan-hong-wu-239380","弘旿大禹治水图卷","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,25,26,28,7,103,34,106,31,238,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[45],{"id":22688,"slug":22689,"title":22690,"dynasty":177,"author":22691,"museum":20,"description":22692,"tags":22693,"thumbUrl":22694,"material":127,"size":127,"collection":71,"collections":22695,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},239229,"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[24,25,149,59,65,7,64,34,103,278,202,200,733,1674,182,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[71,212],{"id":22697,"slug":22698,"title":2582,"dynasty":177,"author":1801,"museum":119,"description":2583,"tags":22699,"thumbUrl":22700,"material":127,"size":2586,"collection":127,"collections":22701,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},238029,"hong-ren-shan-shui-tu-ce-hong-ren-238029",[24,25,164,59,28,7,264,34,61,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10102ec27a9d86269d3849cb605c37b2.jpg",[],{"id":22703,"slug":22704,"title":22705,"dynasty":54,"author":22706,"museum":119,"description":22707,"tags":22708,"thumbUrl":22709,"material":127,"size":127,"collection":71,"collections":22710,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[100,24,25,149,59,28,7,103,62,583,64,166,65,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[71],{"id":22712,"slug":22713,"title":22714,"dynasty":54,"author":22715,"museum":119,"description":22716,"tags":22717,"thumbUrl":22718,"material":127,"size":127,"collection":71,"collections":22719,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":75},237783,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-ling-237783","诸家山水册-山水册页","王允龄","字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。",[24,59,65,164,7,125,372,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17385c48ba87b031b3a6ce97cde0021f.jpg",[71],{"id":22721,"slug":22722,"title":1420,"dynasty":177,"author":1825,"museum":20,"description":15622,"tags":22723,"thumbUrl":22724,"material":632,"size":15625,"collection":71,"collections":22725,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},237610,"shan-shui-zhou-wang-jian-237610",[24,59,65,149,7,64,34,60,61,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg",[71,212],{"id":22727,"slug":22728,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":22729,"thumbUrl":22730,"material":127,"size":127,"collection":71,"collections":22731,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},237602,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602",[24,25,164,59,65,122,67,101,7,64,199,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[71,927],{"id":22733,"slug":22734,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":22735,"thumbUrl":22736,"material":127,"size":127,"collection":127,"collections":22737,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585",[25,24,59,65,2145,1099,7,318,319,165,372,60,35,305,37,533,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":22739,"slug":22740,"title":22741,"dynasty":177,"author":3760,"museum":135,"description":22742,"tags":22743,"thumbUrl":22744,"material":349,"size":127,"collection":71,"collections":22745,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},237384,"shan-shui-ce-shen-cang-xiao-shan-tu-ye-wang-hui-237384","山水册-沈苍晓山图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,25,100,2145,59,65,7,103,333,64,722,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd532bf4da8d2cb00da43608a79fe3d0.jpg",[71],{"id":22747,"slug":22748,"title":22749,"dynasty":177,"author":1825,"museum":135,"description":22750,"tags":22751,"thumbUrl":22752,"material":349,"size":127,"collection":71,"collections":22753,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":75},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,25,100,149,28,65,7,238,201,34,583,1738,239,20817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[71],{"id":22755,"slug":22756,"title":159,"dynasty":54,"author":9184,"museum":20,"description":9185,"tags":22757,"thumbUrl":22758,"material":9188,"size":9189,"collection":71,"collections":22759,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},236904,"shan-shui-ce-song-xu-236904",[24,25,164,28,7,64,34,60,61,199,208,65,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65f83e09dd31bd45db9e0f19e3d8ad6.jpg",[71],{"id":22761,"slug":22762,"title":22763,"dynasty":177,"author":5984,"museum":119,"description":22764,"tags":22765,"thumbUrl":22766,"material":127,"size":127,"collection":71,"collections":22767,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[24,25,149,59,65,7,318,165,62,319,239,372,320,166,508,4496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[71,212],{"id":22769,"slug":22770,"title":11729,"dynasty":177,"author":15403,"museum":20,"description":22771,"tags":22772,"thumbUrl":22773,"material":127,"size":127,"collection":71,"collections":22774,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},236184,"shan-shui-shan-mian-dong-gao-236184","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,2484,7,28,65,59,318,319,34,239,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[71],{"id":22776,"slug":22777,"title":22778,"dynasty":177,"author":2620,"museum":119,"description":22779,"tags":22780,"thumbUrl":22782,"material":127,"size":127,"collection":127,"collections":22783,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},235991,"li-shan-bi-shu-tu-zhou-yuan-yao-235991","骊山避暑图轴","《袁江袁耀画集》是25年 出版的图书，作者是袁江，袁耀。\n袁江（约1671—1746年以后），字文涛，江都（今江苏扬州）人，擅长画山水楼阁，初学明中期【吴门四家】之一仇英的画法，中年时得一无名氏画稿，之后画艺大进。\n其界画在清代被推为第一。\n袁江存世作品较多，多在国内收藏，也有一些流到海外。\n袁江是我国绘画史上有影响画家，宫廷画家，转工山水楼阁界画。\n在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。\n当时还有他的侄子袁耀同齐名。\n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。\n他擅画山水、楼台、师法宋人。\n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。\n他的绘画素材多为古代宫苑，尤长于界画。\n天津市文管处收有一幅《瞻园图卷》，表现南京的园林建筑；上海博物馆藏有一幅《东园图卷》；北京文物局收有《骊山避暑图轴》，表现想象中的仙境；南京博物院藏有《海山三山图轴》，也描绘了想象中的仙境和古代建筑，瑰丽壮观，富有意境。\n其侄（一说为子）袁耀，字昭道，山水楼阁传其家法。\n袁耀（生卒年未详），清朝画家，字昭道，江都（今江苏扬州）人，袁江之子，生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n擅界画，风格与其父极为近似。\n工画山水、楼阁、界画。\n画风工整、华丽，与袁江相似。\n其精品有胜于袁江者。\n偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。\n约活动于乾隆中期。\n上卷 画舫冲烟图 松亭纳凉图 春雷起蛰图 峨嵋雪霁图 桐阴消夏图 独坐看山图 骊山避暑图 江天暮雪图 寒食归宁图 猫雀图 水殿柳风图 汉宫秋月图 松柏齐年图 东山别墅图 溪山行旅图 梁园飞雪图 天香书屋图 山水人物图 绿野堂图 春雷起蛰龙图 郭汾阳富贵寿考图 仙山楼阁图 白云红树图 湖庄春晓图 渔浦晚归图 松风流水图 风雪归人图 秋林暮霭图 重阳风雨图 槛外长江图 海屋沾筹图 秋郊来骑图 下卷",[24,100,304,149,7,104,386,22781,29,28],"避暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151db4c056ec8268fc389d385cc75777.jpg",[],{"id":22785,"slug":22786,"title":159,"dynasty":54,"author":22787,"museum":119,"description":22788,"tags":22789,"thumbUrl":22790,"material":337,"size":937,"collection":71,"collections":22791,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},235347,"shan-shui-ce-zhang-fu-yang-235347","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[24,25,164,59,65,66,19975,7,264,15552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93b9bfdb52ce42eb9ad887270ca2432.jpg",[71],{"id":22793,"slug":22794,"title":159,"dynasty":54,"author":19566,"museum":119,"description":22795,"tags":22796,"thumbUrl":22798,"material":337,"size":937,"collection":71,"collections":22799,"showCount":22602,"zanCount":1080,"manualWeight":48,"mainColor":75},235285,"shan-shui-ce-shen-hao-235285","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,25,164,28,7,125,104,167,101,22797,6643,826,34,238,7989],"淡彩山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[71,308],{"id":22801,"slug":22802,"title":22803,"dynasty":177,"author":22804,"museum":119,"description":22805,"tags":22806,"thumbUrl":22807,"material":127,"size":127,"collection":127,"collections":22808,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[24,25,2484,59,28,65,7,318,165,239,101,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":22810,"slug":22811,"title":22812,"dynasty":177,"author":1801,"museum":20,"description":7595,"tags":22813,"thumbUrl":22814,"material":349,"size":127,"collection":127,"collections":22815,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},234128,"lin-yue-yi-qu-tu-juan-hong-ren-234128","林樾一区图卷",[23,24,26,59,65,66,7,63,34,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9712d4963f78f40a5206cef1b5c061ab.jpg",[],{"id":22817,"slug":22818,"title":22819,"dynasty":177,"author":2292,"museum":20,"description":22820,"tags":22821,"thumbUrl":22822,"material":349,"size":127,"collection":127,"collections":22823,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},233746,"hu-fu-tu-er-duan-juan-dai-xi-233746","虎阜图二段卷","戴熙(公元1801-1860年)，清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘(今杭州)人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》、《题画偶录》等。画作有《云岚烟翠图》、《忆松图》、《满门风华》等。\u2028 工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[24,25,26,59,65,7,64,34,63,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":22825,"slug":22826,"title":3188,"dynasty":80,"author":160,"museum":135,"description":22827,"tags":22828,"thumbUrl":22829,"material":87,"size":22830,"collection":127,"collections":22831,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},232265,"xi-shan-gao-yi-tu-wang-meng-232265","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[24,25,149,59,28,65,7,34,63,61,64,35,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":22833,"slug":22834,"title":22835,"dynasty":54,"author":13805,"museum":1542,"description":22836,"tags":22837,"thumbUrl":22838,"material":225,"size":22839,"collection":127,"collections":22840,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":379},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,24,25,26,59,7,65,238,37,34,64,66,101,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":22842,"slug":22843,"title":22844,"dynasty":54,"author":1096,"museum":135,"description":22845,"tags":22846,"thumbUrl":22847,"material":349,"size":127,"collection":127,"collections":22848,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":75},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[24,25,164,122,65,28,7,372,583,64,61,101,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":22850,"slug":22851,"title":22852,"dynasty":80,"author":22853,"museum":135,"description":22854,"tags":22855,"thumbUrl":22857,"material":22858,"size":22859,"collection":127,"collections":22860,"showCount":22602,"zanCount":1080,"manualWeight":48,"mainColor":75},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。”",[24,59,1388,26,25,65,7,264,22856,34,33,167,707,37,101],"沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":22862,"slug":22863,"title":22864,"dynasty":18,"author":194,"museum":119,"description":22865,"tags":22866,"thumbUrl":22867,"material":127,"size":127,"collection":127,"collections":22868,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,24,100,25,149,59,28,7,65,238,64,34,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":22870,"slug":22871,"title":15488,"dynasty":177,"author":22872,"museum":119,"description":22873,"tags":22874,"thumbUrl":22875,"material":337,"size":937,"collection":127,"collections":22876,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},230357,"shan-shui-ce-ye-fan-qi-230357","樊圻","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[100,24,25,164,28,65,7,264,372,34,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":22878,"slug":22879,"title":22880,"dynasty":177,"author":6184,"museum":119,"description":22881,"tags":22882,"thumbUrl":22883,"material":127,"size":127,"collection":127,"collections":22884,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,24,25,304,28,29,7,104,1643,34,238,103,559,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":22886,"slug":22887,"title":22888,"dynasty":177,"author":2075,"museum":119,"description":22889,"tags":22890,"thumbUrl":22891,"material":127,"size":127,"collection":127,"collections":22892,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},230176,"fang-gu-ce-ye-wang-shi-min-230176","仿古册页","此作以青绿设色追摹古意，山峦层叠起伏，皴法苍润松秀，勾勒间尽显山石肌理。飞瀑穿林越谷，循着山涧蜿蜒汇入澄澈清溪，屋舍错落隐于葱茏林木间，山脚水畔嘉木繁荫，淡赭与石青石绿晕染出温润雅致的色调。\n\n笔墨间既承袭山水的萧散淡远，又自有安和静谧的意趣，将山居丘壑的幽寂清远铺陈开来。摹古之际亦融入己心，把文人林泉高致的隐逸情怀藏入每一处丘泉林木中，尽显古雅沉静的山水意境。",[24,28,7,65,164,64,34,199,35,722,61,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e500db2b9360583507b90d46b9f3.jpg",[],{"id":22894,"slug":22895,"title":22896,"dynasty":54,"author":22897,"museum":119,"description":22898,"tags":22899,"thumbUrl":22900,"material":127,"size":127,"collection":127,"collections":22901,"showCount":22602,"zanCount":712,"manualWeight":48,"mainColor":49},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,24,28,7,65,318,165,125,607,319,62,239,3111,4257,1777,4496,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":22903,"slug":22904,"title":22905,"dynasty":54,"author":2641,"museum":119,"description":22906,"tags":22907,"thumbUrl":22908,"material":127,"size":127,"collection":127,"collections":22909,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,26,59,65,67,66,101,7,318,34,35,201,37,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":22911,"slug":22912,"title":22913,"dynasty":18,"author":604,"museum":119,"description":22914,"tags":22915,"thumbUrl":22916,"material":127,"size":127,"collection":127,"collections":22917,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 行松盘岭图轴",[23,24,25,2484,28,7,104,583,62,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31156cf1201e56c7733b85aa29d871a.jpg",[],{"id":22919,"slug":22920,"title":22921,"dynasty":18,"author":2391,"museum":119,"description":22922,"tags":22923,"thumbUrl":22924,"material":127,"size":127,"collection":127,"collections":22925,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":49},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[23,24,25,2484,28,7,62,103,165,373,2855,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],{"id":22927,"slug":22928,"title":22929,"dynasty":177,"author":395,"museum":119,"description":22930,"tags":22931,"thumbUrl":22932,"material":127,"size":127,"collection":127,"collections":22933,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":75},224517,"shan-shui-tu-ce-8-kai-5-shi-tao-224517","山水图册8开-5","此作用笔松秀灵动，以淡墨勾勒皴擦近坡顽石，苍润朴厚，浅滩留白暗合流泉婉转之姿，石畔杂草萧疏，野意自生。湖面空阔明净，一扁舟轻泛其上，渔翁独钓，寥寥数笔写尽江湖散淡之趣。\n\n右上角题字朴拙率意，与画境浑然相融，尽显诗书画合一的文人雅趣。整幅简淡幽远，以简驭繁，将天地清寂与隐逸襟怀融为一体，淡墨轻岚间漾着萧散空寂之美，观之便觉湖风拂面，恍若身临幽旷水滨，静赏江湖闲逸之境。",[23,24,25,164,59,65,7,62,264,2527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1a75acc650de321142f50190900d8.jpg",[],{"id":22935,"slug":22936,"title":22937,"dynasty":177,"author":3760,"museum":119,"description":22938,"tags":22939,"thumbUrl":22940,"material":127,"size":127,"collection":127,"collections":22941,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,100,24,25,26,28,7,122,65,61,62,34,106,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":22943,"slug":22944,"title":22945,"dynasty":177,"author":2075,"museum":135,"description":22946,"tags":22947,"thumbUrl":22948,"material":292,"size":22949,"collection":127,"collections":22950,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[23,24,25,149,59,65,7,34,733,64,61,63,167,3796,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":22952,"slug":22953,"title":22954,"dynasty":177,"author":2075,"museum":20,"description":14606,"tags":22955,"thumbUrl":22956,"material":632,"size":11924,"collection":71,"collections":22957,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1",[23,24,25,149,59,65,7,318,319,34,239,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg",[71],{"id":22959,"slug":22960,"title":22961,"dynasty":177,"author":22962,"museum":119,"description":22963,"tags":22964,"thumbUrl":22966,"material":337,"size":937,"collection":127,"collections":22967,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,24,25,149,28,29,27,304,7,104,63,34,64,61,1738,8533,22965,559,12139],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":22969,"slug":22970,"title":22971,"dynasty":80,"author":178,"museum":20,"description":22972,"tags":22973,"thumbUrl":22974,"material":87,"size":22975,"collection":42,"collections":22976,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,24,149,59,65,28,7,1262,372,199,64,201,35,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[42],{"id":22978,"slug":22979,"title":22980,"dynasty":177,"author":2620,"museum":20,"description":9519,"tags":22981,"thumbUrl":22982,"material":40,"size":9522,"collection":127,"collections":22983,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月",[23,100,24,25,7,304,28,29,104,1643,34,756,31,37,571],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg",[],{"id":22985,"slug":22986,"title":22987,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":22988,"thumbUrl":22989,"material":87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90.2公分",[71,212],{"id":23016,"slug":23017,"title":23018,"dynasty":54,"author":1652,"museum":1542,"description":1653,"tags":23019,"thumbUrl":23020,"material":7989,"size":23021,"collection":71,"collections":23022,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":75},222007,"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[23,24,104,66,7,734,165,1655,28,223,26,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","31.6x56.2厘米",[71,45],{"id":23024,"slug":23025,"title":23026,"dynasty":80,"author":7964,"museum":135,"description":23027,"tags":23028,"thumbUrl":23029,"material":23030,"size":23031,"collection":71,"collections":23032,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":49},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,100,24,25,149,59,65,7,3306,1617,34,60,61,167,720,37,64,2942,201,322,16266,3004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[71,212],{"id":23034,"slug":23035,"title":23036,"dynasty":2272,"author":17343,"museum":6870,"description":23037,"tags":23038,"thumbUrl":23039,"material":127,"size":127,"collection":127,"collections":23040,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},220528,"shan-lin-yuan-tiao-xu-bei-hong-220528","山林远眺","画作以浓淡干湿的笔墨写就古松，嶙峋躯干虬曲苍劲，焦墨点染的松针苍郁勃发，将古树扎根危岩的峥嵘气势尽显。浅赭晕染山石，粗笔皴擦刻画出岩壁的坚硬质感。\n\n画面下方的孩童为沉静山林添入灵动生气，一静一动相映成趣。创作者以写实笔墨融合传统写意，打破陈规，让苍劲古林与稚拙孩童相融，雄浑山水间晕开淡淡烟火温情，勾勒出山林悠远安然的意韵。",[24,59,28,149,65,7,125,64,103,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3db224914df14f458316d0f58224d92.jpg",[],{"id":23042,"slug":23043,"title":23044,"dynasty":80,"author":9857,"museum":275,"description":23045,"tags":23046,"thumbUrl":23047,"material":169,"size":23048,"collection":212,"collections":23049,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},220263,"tai-bai-long-jiao-tu-fang-cong-yi-220263","太白泷湫图","此幅作品画陕西秦岭主峰太白山上的瀑布，与隐居其间的道士。此幅画构图，大致运用远、中、近景的三段式。近景平地松木和杂树丛生，树林背面有数间茅屋、水榭．楼阁，隐约可见。中景为空旷的水面，左侧的岸边长着数株林木，右侧的山径曲折，在半山腰中有数株树木，枝叶下垂。山腰间瀑布直泻，宛如一条白龙腾空而下。远景为龙脉高耸的山势，十分奇峭。",[23,24,59,149,7,65,318,34,61,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178ff5a5c7e7663f1940e96e2b60d742.jpg","纵105.6厘米，横46.1厘米",[212],{"id":23051,"slug":23052,"title":23053,"dynasty":80,"author":178,"museum":424,"description":23054,"tags":23055,"thumbUrl":23056,"material":596,"size":23057,"collection":71,"collections":23058,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},220108,"yue-xia-xing-lv-tu-yi-ming-220108","月下行旅图","以极简水墨写意铺展夜色行旅，冷月孤悬于淡墨晕染的空濛山巅，崖上古木萧疏，枝桠如铁，漫出深秋荒寒。陂陀小径之上，商旅结队徐行，简笔勾勒的人影意态宛然，将天涯羁旅的寂寥藏在冷寂夜色中。\n\n题诗与山水相映，诗画交融，把行客的孤愁寄寓在清寒月色间。以留白营造空茫虚境，淡墨轻皴晕开夜色，寥寥数笔便将羁旅况味铺陈尽致，尽显简淡悠远的写意之妙，把漂泊天涯的乡愁融在萧疏冷寂的水墨意境中，淡远里藏着绵长情致。",[23,24,25,149,59,28,7,103,1643,334,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc25fc9283dc8d52cfec6c9fd342bab4.jpg","36x54.3",[71],{"id":23060,"slug":23061,"title":23062,"dynasty":54,"author":55,"museum":161,"description":23063,"tags":23064,"thumbUrl":23065,"material":169,"size":23066,"collection":71,"collections":23067,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},220088,"qiu-shan-ce-zhang-tu-shen-zhou-220088","秋山策杖图","沈周，吴门画派之开启者，“明四家”之首，以其艺事之高，硕德之重，为明早中期江南人望。擅山水，出宋入元，雄健渊穆，自成大家。亦擅花卉，妍雅朴厚，对后世写意画家影响至深。此卷为其最晚年作，笔意简朴，墨法清润，已入铅华洗净、不求好而自好之境。款亦由熟返生，稚拙之趣可掬，老境可尚如此。\n卷后有一代鉴界巨擘张葱玉、谢稚柳长题。皆断其为石田晚年的笔，亦为此卷增色。石田翁名倾朝野，人又宽厚，其在世时已赝作泛滥，故此卷弥足珍贵。",[23,24,59,7,65,67,66,101,103,34,64,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ac56827735c8101dc33f1513a4a0d7.jpg","26 × 134 cm",[71],{"id":23069,"slug":23070,"title":23071,"dynasty":177,"author":1704,"museum":135,"description":23072,"tags":23073,"thumbUrl":23074,"material":169,"size":23075,"collection":71,"collections":23076,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},219933,"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[100,24,25,149,59,65,7,318,734,34,60,201,35,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[71],{"id":23078,"slug":23079,"title":23080,"dynasty":54,"author":178,"museum":6577,"description":23081,"tags":23082,"thumbUrl":23083,"material":169,"size":23084,"collection":44,"collections":23085,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},219931,"hu-bian-gao-shi-tu-yi-ming-219931","湖边高士图","此作全景铺陈湖山胜景，巨岩巍峨雄峙，皴笔苍劲凝练，勾勒出山石浑厚嶙峋的质感，高远山势带着沉郁古拙的厚重意韵。近岸古木扶苏，浓荫如盖，林下高士雅聚，或立语或闲坐，意态萧散恬然。\n江畔烟波澹澹，水榭隐于远岸烟树间，晕染出空濛悠远的平远之境。以水墨晕染绢本，古雅色调衬出静穆清和的氛围，将山水之幽与林下雅集的闲逸融为一体，尽显文人寄情林泉、追慕幽隐萧散的林下高致，笔墨苍秀清润，铺展出古代文人心底的理想幽居之境。",[23,24,28,65,149,7,103,34,64,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4840ae03845157842e83799867a3ab.jpg","122x57.6厘米",[44],{"id":23087,"slug":23088,"title":9417,"dynasty":177,"author":15469,"museum":396,"description":23089,"tags":23090,"thumbUrl":23091,"material":69,"size":23092,"collection":71,"collections":23093,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},219855,"qiu-shan-tu-xiao-yun-cong-219855","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,25,26,28,7,65,66,67,101,103,104,34,64,61,63,583,372,1120,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[71],{"id":23095,"slug":23096,"title":23097,"dynasty":54,"author":10318,"museum":396,"description":23098,"tags":23099,"thumbUrl":23100,"material":169,"size":23101,"collection":71,"collections":23102,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},219741,"fang-ni-yun-lin-shan-shui-tu-lu-zhi-219741","仿倪云林山水图","陆治（1496年－1576年），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[23,24,59,65,122,149,7,30,64,34,63,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbdb0c6553b0cd9204aeeef9b88a4a8.jpg","纵136.7横32.1厘米",[71],{"id":23104,"slug":23105,"title":23106,"dynasty":80,"author":13080,"museum":135,"description":23107,"tags":23108,"thumbUrl":23109,"material":87,"size":23110,"collection":44,"collections":23111,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},219637,"song-jian-heng-qin-tu-zhu-de-run-219637","松涧橫琴图","这幅小品以边角构图铺展幽致，古松虬曲苍劲，枝干如铁铸般舒展，松针攒簇尽显老辣风骨。涧水轻流隐于石畔，林下三人身姿写意灵动，一人转轴拨弦，两人凝神静听，茶盏置于石上，松风裹着琴音漫过溪谷。\n\n笔墨简淡清逸，枯笔皴擦出松干嶙峋肌理，淡墨晕染空濛远水，人物简笔勾勒却神态宛然，将文人士大夫幽居林泉、鸣琴寄怀的雅趣尽显无余。题款错落雅致，与画面浑融一体，淡远疏朗间藏着静穆萧散的文人襟怀，是水墨小品中寄兴抒怀的绝佳之作。",[23,24,100,25,59,65,7,583,61,103,1522,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ae67e46a51dca0820b767303d728b9.jpg","24.7x26.9厘米",[44],{"id":23113,"slug":23114,"title":23115,"dynasty":54,"author":7576,"museum":135,"description":23116,"tags":23117,"thumbUrl":23118,"material":139,"size":23119,"collection":45,"collections":23120,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":49},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,25,149,1388,28,65,7,2127,103,125,64,34,60,7727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[45],{"id":23122,"slug":23123,"title":23124,"dynasty":54,"author":178,"museum":135,"description":23125,"tags":23126,"thumbUrl":23127,"material":139,"size":23128,"collection":45,"collections":23129,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":49},219350,"wang-hai-lou-tu-zhou-yi-ming-219350","望海楼图轴","画中楼阁矗立于城墙之上，下瞰大江，群客登临宴饮。屋内文人三五成群，有些持卷观赏，有些凭窗眺远。本幅用界工整，青绿设色已略剥落，然屋宇脊顶之蛤白勾勒线条仍鲜明如故，使楼台轮廓分外醒目。此图签题虽定为「望海楼图」，然根据绘画内容看来，整个建筑群组面城临江， 居高临下，江边还有大型的雀舫龙舟，非常接近唐代文人王勃于〈藤王阁序〉中所描写的场景，或可定为藤王阁图。",[24,100,149,304,29,28,104,103,7,335,4496,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedfd8e3692883f0a750fcbb48cfd87f.jpg","159.8x93.2",[45],{"id":23131,"slug":23132,"title":23133,"dynasty":177,"author":16497,"museum":556,"description":23134,"tags":23135,"thumbUrl":23136,"material":28,"size":127,"collection":71,"collections":23137,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},219058,"shan-shui-tu-shan-yue-ming-qiu-si-shang-rui-219058","山水图扇-月明秋思","扇面之上，月色如纱轻覆山林。疏林间几树浅黄晕开秋意，墨色浓淡交织出枝叶层叠的生趣，或深或浅的笔触里藏着自然的韵律。小径上三五身影闲步，衣袂飘飘似在共赏明月、低语秋思。右侧茅舍隐于树后，檐角与草木相映，静谧中透着烟火气。\n\n笔墨清润灵动，水墨晕染出空濛月色，秋意与清辉交融成悠然雅致的氛围。仿佛能触到秋夜微凉，望见月光流转的温柔，文人的闲情与秋日的清寂，凝于这一方扇面，满纸皆是诗意的秋思。",[23,24,2484,28,7,1643,165,63,103,979,64,3865,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11813952ce248c3a101af6a0ec5aea6f.jpg",[71],{"id":23139,"slug":23140,"title":23141,"dynasty":18,"author":2351,"museum":135,"description":23142,"tags":23143,"thumbUrl":23144,"material":139,"size":23145,"collection":71,"collections":23146,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":75},218688,"ying-shan-tu-wang-shen-218688","瀛山图","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[23,24,25,26,27,28,7,104,60,61,63,106,34,65,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[71],{"id":23148,"slug":23149,"title":23150,"dynasty":18,"author":178,"museum":161,"description":23151,"tags":23152,"thumbUrl":23153,"material":596,"size":127,"collection":71,"collections":23154,"showCount":22602,"zanCount":961,"manualWeight":48,"mainColor":49},218601,"qing-hua-tu-yi-ming-218601","清话图","沉墨绘就的林麓间，古树虬枝盘结于岩畔，繁叶如盖，墨色浓淡交织出层次。远处峰峦隐在淡霭里，留白处烟岚轻绕，拓出悠远天地。山石勾勒简练，皴擦见骨，尽显宋画山水的写实韵致。虽无人物，却似有清雅气息漫溢：松风穿叶的簌簌声，石畔流水的泠泠音，隐者清谈的低语仿佛在林间流转。笔墨苍劲中藏细腻，构图疏密得宜，将自然静谧与文人雅趣揉合，尽展宋代山水的空灵意境与人文深味。",[24,1388,59,65,7,34,64,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51ba424b20e90531e1d091751b278de.jpg",[71],{"id":23156,"slug":23157,"title":23158,"dynasty":177,"author":3973,"museum":135,"description":23159,"tags":23160,"thumbUrl":23161,"material":69,"size":23162,"collection":71,"collections":23163,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[24,149,59,28,7,63,60,34,278,65,101,66,67,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[71],{"id":23165,"slug":23166,"title":23167,"dynasty":54,"author":945,"museum":20,"description":23168,"tags":23169,"thumbUrl":23170,"material":69,"size":23171,"collection":71,"collections":23172,"showCount":22602,"zanCount":48,"manualWeight":48,"mainColor":75},218333,"tong-shan-tu-tang-yin-218333","桐山图","图绘峭壁间长出桐树数株，其中一株横垂探水；石罅间有泉水汩汩流出，汇入平湖。湖面演漾，浩淼无边；远山逶迤而去。构图有南宋院体影响，皴染则化刚为柔，苍润而醇厚。\n自题：“吾闻淮水出桐山，古来贤哲产其间。君今自称亦私淑，渔钩须当借一湾。吴门唐寅作桐山图。”钤：“吴趋”朱文印、“唐伯虎”朱文印、“南京解元”朱文印。引首王鏊题“清樾吟窝”，拖尾有文徵明、袁袠、蔡羽、王宠、王穉登等十四家题跋。",[23,24,25,26,59,65,67,7,239,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ee14b34e9f652e8869f5cb917cf77c.jpg","纵31.2厘米 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。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,24,7,59,28,65,372,64,2855,62,1674,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b87c8d1b12e8229eb174baba1ea0893.jpg",[],{"id":23293,"slug":23294,"title":23295,"dynasty":177,"author":3973,"museum":119,"description":23296,"tags":23297,"thumbUrl":23299,"material":337,"size":937,"collection":127,"collections":23300,"showCount":23201,"zanCount":961,"manualWeight":48,"mainColor":75},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。",[23,100,24,25,26,1388,28,7,32,238,37,34,60,722,104,23298,85,106,62,66,101],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":23302,"slug":23303,"title":23304,"dynasty":80,"author":887,"museum":119,"description":15342,"tags":23305,"thumbUrl":23307,"material":337,"size":937,"collection":127,"collections":23308,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},287309,"bai-ma-tu-juan-zhao-meng-fu-287309","百马图卷",[23,100,24,25,26,28,29,103,335,3988,7,34,66,23306],"鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a593e89c3ebaed5bb8b3a9a136f0c5.jpg",[],{"id":23310,"slug":23311,"title":23312,"dynasty":177,"author":23313,"museum":119,"description":23314,"tags":23315,"thumbUrl":23316,"material":127,"size":127,"collection":308,"collections":23317,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},239530,"fang-gu-ji-you-tu-ce-huang-yi-239530","访古纪游图册","黄易","此作以淡墨绘就水畔闲景，右侧疏木立异石，浅林掩映茅舍，远山含晕，留白铺就湖面，漾开空濛清寂。枯笔写木，皴擦刻画出湖石奇崛肌理，淡墨轻扫远山晕出水气。\n题跋与画作相映成趣，笔墨简淡秀润，将纪游幽怀寄于萧散景致里。整体意境澹泊静穆，尽显文人林下之风，把江南水畔的闲雅清居，揉进悠悠文心，淡而愈远，简中含情。",[24,25,164,59,123,7,630,264,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfee47df568b62a35375d8d73831df5.jpg",[308,212],{"id":23319,"slug":23320,"title":15782,"dynasty":54,"author":23321,"museum":2156,"description":23322,"tags":23323,"thumbUrl":23324,"material":23325,"size":23326,"collection":71,"collections":23327,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},239169,"guan-pu-tu-zhou-wang-zhao-239169","汪肇","《观瀑图轴》阔笔斧劈，成跌宕巨石；劲毫顿挫，作屈铁古木。树石黝暗，以淡墨渝润；白云飞瀑，以留白而成。黑白相映，尽显山谷清幽之气。树旁二高士，抡扇举首，遥观飞瀑，神情悠然。衣纹以折芦描出之，与景物峭硬感觉相谐合，属典型浙派风格。",[24,25,149,59,28,65,7,103,199,413,630,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedf300b863068cb436244bbdb027fc.jpg","立轴，绢本，水墨，淡设色","纵长110厘米，横长81．5厘米",[71,45],{"id":23329,"slug":23330,"title":17525,"dynasty":177,"author":178,"museum":135,"description":23331,"tags":23332,"thumbUrl":23334,"material":127,"size":127,"collection":45,"collections":23335,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},238933,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238933","云端仙袂翩跹，分群御风而来，祥龙隐于霭雾，漫溢祥瑞清贵之气。下方山道水畔，凡世之人或骑行牵犊，或执乐赶路，各携贺礼奔赴寿典，满是人间欢悦之态。\n\n此作以缂丝技艺织就，设色古雅柔和，线条细腻灵动。仙凡同贺的祝寿盛景虚实相映，将福寿绵长的美好祈愿，藏在每一处衣褶与云纹里，让悠远的祥瑞意趣缓缓流淌而出。",[24,29,28,103,181,7,8208,335,13568,165,979,64,322,183,23333],"祝寿场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce35673770dccb61bbc8a5bd24e3c42.jpg",[45],{"id":23337,"slug":23338,"title":9884,"dynasty":54,"author":23339,"museum":119,"description":23340,"tags":23341,"thumbUrl":23342,"material":127,"size":127,"collection":71,"collections":23343,"showCount":23201,"zanCount":961,"manualWeight":48,"mainColor":49},238275,"yu-le-tu-zhou-zhang-ling-238275","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,25,149,59,65,103,62,61,571,64,373,7,34,2845,3836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[71,212],{"id":23345,"slug":23346,"title":23347,"dynasty":54,"author":12464,"museum":20,"description":23348,"tags":23349,"thumbUrl":23350,"material":632,"size":23351,"collection":71,"collections":23352,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[24,25,149,59,65,7,318,165,125,199,61,60,64,63,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[71],{"id":23354,"slug":23355,"title":23356,"dynasty":177,"author":3760,"museum":56,"description":23357,"tags":23358,"thumbUrl":23359,"material":23360,"size":23361,"collection":71,"collections":23362,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[24,149,59,65,7,60,61,63,199,34,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[71,212],{"id":23364,"slug":23365,"title":23366,"dynasty":177,"author":23367,"museum":20,"description":23368,"tags":23369,"thumbUrl":23370,"material":127,"size":127,"collection":71,"collections":23371,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},236883,"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[24,25,164,59,65,7,583,64,37,104,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[71,212],{"id":23373,"slug":23374,"title":23375,"dynasty":177,"author":23376,"museum":20,"description":23377,"tags":23378,"thumbUrl":23379,"material":40,"size":127,"collection":71,"collections":23380,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},236130,"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[24,28,7,65,149,318,8804,978,165,63,239,61,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[71,45],{"id":23382,"slug":23383,"title":5022,"dynasty":177,"author":395,"museum":119,"description":23384,"tags":23385,"thumbUrl":23386,"material":127,"size":127,"collection":127,"collections":23387,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},235882,"yuan-ji-shan-shui-tu-ce-shi-tao-235882","此作书画合璧，尽显文人雅趣。绘卷以淡墨轻皴山石，信笔挥写篁竹木卉，萧疏纵逸，随性自然。坡岸茅庐掩映于繁叶之间，远山淡染留白，晕染出江南水乡的澹泊野逸，仿若幽居江湖的避世之境。\n题诗行书笔意苍劲纵恣，与画中清寂意境相得益彰。诗画相映，将文人寄情山水、栖身林下的襟怀尽显无余，简淡笔墨间风神自现，寥寥数笔勾勒出悠远林下意趣，以写意抒怀，尽显随性疏朗的文人画风貌。",[24,25,164,59,67,101,7,630,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3639aa9933df3fcdbab944c903548fff.jpg",[],{"id":23389,"slug":23390,"title":23391,"dynasty":54,"author":9356,"museum":119,"description":23392,"tags":23393,"thumbUrl":23394,"material":127,"size":127,"collection":127,"collections":23395,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},235220,"xue-cun-fang-you-zhou-zhou-chen-235220","雪村访友轴","此作用斧劈皴写山石，棱角方硬冷峻，刻画出隆冬雪山的苍莽寒气。枯木虬曲伸展，枝桠尽脱，尽显萧寒之态。画面下方茅舍暖光隐现，柴扉外访客策杖过桥，童子相从，踏雪而来，为冷寂山野晕开一缕访友的融融温情。画作以浓淡墨色区分雪色留白与山石肌理，笔力老辣雄劲，将冬日山林的荒寒静谧，与文人雅聚的闲逸温情相融，于萧索冷寂中暗藏脉脉人情，铺陈出悠远沉静的山居意境。",[24,25,149,59,65,7,765,318,165,103,1674,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a0cc2f32f7248830263c39900a75c6.jpg",[],{"id":23397,"slug":23398,"title":15488,"dynasty":54,"author":7927,"museum":119,"description":23399,"tags":23400,"thumbUrl":23401,"material":127,"size":127,"collection":127,"collections":23402,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},234679,"shan-shui-ce-ye-xie-shi-chen-234679","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[100,24,25,164,59,65,7,63,60,61,125,64,34,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":23404,"slug":23405,"title":23406,"dynasty":177,"author":20361,"museum":20,"description":23407,"tags":23408,"thumbUrl":23409,"material":375,"size":127,"collection":71,"collections":23410,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[24,25,164,28,29,67,101,7,878,64,372,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[71,45],{"id":23412,"slug":23413,"title":23414,"dynasty":54,"author":15209,"museum":20,"description":23415,"tags":23416,"thumbUrl":23417,"material":375,"size":127,"collection":127,"collections":23418,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,26,59,28,7,65,67,66,1389,64,34,61,60,63,106,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":23420,"slug":23421,"title":5077,"dynasty":80,"author":9149,"museum":20,"description":23422,"tags":23423,"thumbUrl":23424,"material":1066,"size":23425,"collection":127,"collections":23426,"showCount":23201,"zanCount":961,"manualWeight":48,"mainColor":49},233844,"hua-shan-shui-zhou-li-shi-xing-233844","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[24,25,149,59,28,7,34,64,61,167,65,201,720,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca3bbb245b9e71fbb9e96e768f35a36.jpg","纵：106.2厘米，横：52.7厘米",[],{"id":23428,"slug":23429,"title":23430,"dynasty":80,"author":1962,"museum":20,"description":11089,"tags":23431,"thumbUrl":23432,"material":87,"size":23433,"collection":127,"collections":23434,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},233203,"zuo-kan-yun-qi-tu-ye-sheng-mao-233203","坐看云起图页",[24,25,2484,59,28,65,7,979,125,106,103,64,167,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567c9ea4707965f97951bafa9c5e46b8.jpg","纵27cm; 横28cm.",[],{"id":23436,"slug":23437,"title":23438,"dynasty":18,"author":178,"museum":135,"description":23439,"tags":23440,"thumbUrl":23441,"material":87,"size":23442,"collection":127,"collections":23443,"showCount":23201,"zanCount":961,"manualWeight":48,"mainColor":49},233015,"chun-you-wan-gui-tu-ye-yi-ming-233015","春游晚归图页","图绘一老臣骑马踏青回府，前后簇拥着10位侍从，或搬椅，或扛兀，或挑担，或牵马，忙忙碌碌。\n老臣持鞭回首，仿佛意犹未尽，表现了南宋官僚偏安江南时的悠闲生活，令人想起南宋林升《题临安邸》一诗：\n\n“山外青山楼外楼，西湖歌舞几时休？\n暖风熏得游人醉，直把杭州作汴州！”\n\n所绘景物十分优雅，柳林成浪，宫城巍峨，人马虽不盈寸，但须眉毕现，姿态生动，线条流畅，色彩简洁明朗。",[24,100,28,29,103,335,34,104,334,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bc4b22ebdbfe5a601c55afb8e03b4d.jpg","24.2cm*25.3cm",[],{"id":23445,"slug":23446,"title":23447,"dynasty":8332,"author":23448,"museum":119,"description":23449,"tags":23450,"thumbUrl":23451,"material":337,"size":937,"collection":127,"collections":23452,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,25,8336,28,304,7,104,103,60,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":23454,"slug":23455,"title":23456,"dynasty":177,"author":22872,"museum":119,"description":23457,"tags":23458,"thumbUrl":23459,"material":127,"size":127,"collection":127,"collections":23460,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,24,25,100,149,28,7,199,60,61,372,1707,64,826,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":23462,"slug":23463,"title":23464,"dynasty":177,"author":23465,"museum":119,"description":23466,"tags":23467,"thumbUrl":23468,"material":127,"size":127,"collection":127,"collections":23469,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[24,25,29,28,335,64,34,2911,66,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":23471,"slug":23472,"title":23473,"dynasty":54,"author":10318,"museum":673,"description":23474,"tags":23475,"thumbUrl":23476,"material":127,"size":127,"collection":127,"collections":23477,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[23,24,25,26,28,65,67,101,7,34,31,62,167,816],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":23479,"slug":23480,"title":23481,"dynasty":54,"author":4764,"museum":119,"description":23482,"tags":23483,"thumbUrl":23484,"material":127,"size":127,"collection":127,"collections":23485,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[23,24,25,28,29,7,103,63,125,64,34,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":23487,"slug":23488,"title":23489,"dynasty":18,"author":1085,"museum":119,"description":23490,"tags":23491,"thumbUrl":23492,"material":127,"size":127,"collection":127,"collections":23493,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,100,24,25,27,28,29,7,103,62,61,34,106,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":23495,"slug":23496,"title":23497,"dynasty":18,"author":288,"museum":119,"description":6192,"tags":23498,"thumbUrl":23499,"material":127,"size":127,"collection":127,"collections":23500,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":940},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图",[24,100,25,7,59,65,149,64,34,182,61,6093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],{"id":23502,"slug":23503,"title":23504,"dynasty":177,"author":23505,"museum":119,"description":23506,"tags":23507,"thumbUrl":23509,"material":127,"size":127,"collection":127,"collections":23510,"showCount":23201,"zanCount":961,"manualWeight":48,"mainColor":75},224602,"xiao-pin-1-peng-qiao-224602","小品1","蓬樵","此作用平远之法绘就水岸林泉，近渚古木清森，枝桠舒展含姿，林梢掩映间透出村居一角，野意自生。留白作水，虚处见烟波澹荡之意。远山以干笔淡墨皴写，石棱隐现、苔点错落，丘壑简而有味。\n\n画风师法倪瓒，笔墨松秀苍润，简逸空灵。整幅以淡墨铺陈，萧散简远，将江南水岸清寂淡远的幽谧意境尽显。题印朱白相映，衬出画面的古雅淡远，尽显文人画疏旷清逸的意趣，暗合幽栖林泉的雅逸襟怀。",[23,24,25,23508,59,65,7,34,64,101],"小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02bc93dccf30a6d0e7dc6cfbefdf48d.jpg",[],{"id":23512,"slug":23513,"title":23514,"dynasty":177,"author":23515,"museum":119,"description":23516,"tags":23517,"thumbUrl":23518,"material":127,"size":127,"collection":127,"collections":23519,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},224540,"re-he-xing-gong-quan-tu-guan-nian-ci-224540","热河行宫全图","管念慈","采用全景鸟瞰视角，将行宫城池与环伺群山铺陈于卷间，界画工致严整，山林皴染苍劲古拙。规整的朱红宫墙楼宇，错落嵌入层峦叠翠之间，山道逶迤串联起星罗棋布的山野梵宇行宫。\n\n整体疏密相宜，既细致还原了行宫的恢弘规制与山水格局，又晕染出塞北离宫融于山野林泉的清旷意趣，色彩沉雅厚重，细节入微，是兼具纪实地理价值与传统工笔审美意韵的佳作。",[23,24,26,28,304,29,7,104,438,16720,4740,238,34,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],{"id":23521,"slug":23522,"title":23523,"dynasty":177,"author":395,"museum":119,"description":23524,"tags":23525,"thumbUrl":23526,"material":127,"size":127,"collection":127,"collections":23527,"showCount":23201,"zanCount":961,"manualWeight":48,"mainColor":75},224523,"shan-shui-tu-ce-8-kai-8-shi-tao-224523","山水图册8开-8","此作用边角布局造景，右侧崖壁以浓墨皴擦，朴拙苍劲，留白铺就浩渺湖面，虚实相映尽显烟波空濛。水面渔舟错落，渔人或撑舟放网，或围坐闲谈，野趣盎然，崖头行人凭栏远眺，一动一静间，将湖畔日常的闲散诗意铺陈开来。\n\n墨色干湿浓淡层次分明，远山以淡墨晕染，朦胧悠远，近岸苔点灵动鲜活，晕染出江南水泽的温润生机。题诗朱印与画作浑然一体，书画印相映成趣，把偶然得见的湖光野景寄于笔墨，将文人雅趣与世俗烟火相融，尽是师法自然的恬淡悠然。",[23,24,59,28,65,164,101,67,7,62,103,106,264,61,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c782c5e41a5ccb190b00e358db8a2c.jpg",[],{"id":23529,"slug":23530,"title":23531,"dynasty":177,"author":2075,"museum":119,"description":23532,"tags":23533,"thumbUrl":23534,"material":127,"size":127,"collection":127,"collections":23535,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[23,24,25,149,59,65,7,60,61,125,64,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":23537,"slug":23538,"title":23539,"dynasty":177,"author":683,"museum":119,"description":23540,"tags":23541,"thumbUrl":23542,"material":127,"size":127,"collection":127,"collections":23543,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,100,24,25,26,7,28,65,238,34,35,62,61,63,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":23545,"slug":23546,"title":10210,"dynasty":177,"author":15821,"museum":119,"description":23547,"tags":23548,"thumbUrl":23549,"material":127,"size":127,"collection":127,"collections":23550,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[23,24,25,149,59,65,7,199,61,125,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501da569d2b40fd1f218f16cf826ca93.jpg",[],{"id":23552,"slug":23553,"title":23554,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":23555,"thumbUrl":23557,"material":87,"size":15463,"collection":127,"collections":23558,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},222923,"hong-lou-meng-48-sun-wen-222923","红楼梦48",[23,24,29,28,304,104,7,34,63,559,278,23556,35,533],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":23560,"slug":23561,"title":23562,"dynasty":177,"author":21804,"museum":135,"description":23563,"tags":23564,"thumbUrl":23565,"material":243,"size":23566,"collection":71,"collections":23567,"showCount":23201,"zanCount":961,"manualWeight":48,"mainColor":75},222846,"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,25,149,27,28,65,7,34,201,1674,1120,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","120x22",[71,45],{"id":23569,"slug":23570,"title":23571,"dynasty":54,"author":23572,"museum":135,"description":23573,"tags":23574,"thumbUrl":23575,"material":6855,"size":23576,"collection":71,"collections":23577,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},222462,"fu-kan-ji-liu-tu-zhou-wang-shi-chang-222462","俯瞰激流图轴","王世昌","王世昌（约1462－1531以后），明代画家，为山东人。我们无法确知他是否担任过宫廷画家。他擅长于大幅的山水人物画，风格温润典雅，颇具诗意。传世有〈大幅山水〉、〈俯瞰激流〉等作。俯瞰激流图 主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[23,24,28,65,7,103,607,125,239,61,278,17460,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","33x53",[71,45],{"id":23579,"slug":23580,"title":23581,"dynasty":54,"author":14586,"museum":20,"description":23582,"tags":23583,"thumbUrl":23584,"material":736,"size":23585,"collection":71,"collections":23586,"showCount":23201,"zanCount":961,"manualWeight":48,"mainColor":75},222055,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","晴雪长松图轴","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[23,24,25,149,59,7,413,64,65,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[71,212],{"id":23588,"slug":23589,"title":23590,"dynasty":80,"author":23591,"museum":135,"description":23592,"tags":23593,"thumbUrl":23594,"material":169,"size":23595,"collection":127,"collections":23596,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},221794,"luo-shen-tu-zhou-wei-jiu-ding-221794","洛神图轴","卫九鼎","该画以单一人物为主，意在突出洛神的灵韵。 画家以简率的淡墨刻划远景的山丘，使得江面益发显得空旷清新。幅中主要是用纤细绵长而柔韧的白描线条绘就，墨色轻淡，更衬托出主角人物的娴静幽雅，绝尘出世。辽阔江面上水纹波汤，蒸腾云气中冉冉升起一位白衣佳人在水一方，手持绘有山水图案的扇子，身形纤细窈窕，仪容端庄，繁复的衣纹圆柔婉转，衣带飞升飘扬。看她凌波微步，驾云御风而行，显然并非平凡的女子。从倪瓒的题字，知道画中人是因曹植所写的《洛神赋》而永垂不朽的理想女性美典型——洛神。传世诸多以《洛神赋》为题的画中，有的强调云龙随行、神奇壮观的叙事性场景",[24,25,149,123,59,103,124,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360421bac69de8e240dd3bb2ce9169ff.jpg","90.8x31.8公分",[],{"id":23598,"slug":23599,"title":12902,"dynasty":80,"author":9857,"museum":135,"description":23600,"tags":23601,"thumbUrl":23602,"material":292,"size":23603,"collection":71,"collections":23604,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},221729,"gao-ting-tu-fang-cong-yi-221729","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[23,24,100,25,149,59,65,7,63,34,101,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[71,212],{"id":23606,"slug":23607,"title":23608,"dynasty":18,"author":8392,"museum":119,"description":12214,"tags":23609,"thumbUrl":23610,"material":28,"size":23611,"collection":42,"collections":23612,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图",[23,100,24,25,1555,1388,28,65,7,34,1120,103,201,239,167,13525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[42,71,45],{"id":23614,"slug":23615,"title":909,"dynasty":18,"author":23215,"museum":424,"description":23616,"tags":23617,"thumbUrl":23619,"material":1865,"size":23620,"collection":42,"collections":23621,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},221584,"shan-shui-tu-li-an-zhong-221584","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,24,100,25,7,59,65,125,607,34,23618,1815],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","33x34",[42,71,212],{"id":23623,"slug":23624,"title":23625,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":23626,"thumbUrl":23627,"material":349,"size":1805,"collection":127,"collections":23628,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},220327,"huang-shan-tu-ce-4-hong-ren-220327","黄山图册-4",[23,24,197,164,65,7,64,60,61,34,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ceb6ea4ddc9fb9c6fcb7d328c018253.jpg",[],{"id":23630,"slug":23631,"title":23632,"dynasty":80,"author":17441,"museum":135,"description":23633,"tags":23634,"thumbUrl":23635,"material":69,"size":23636,"collection":71,"collections":23637,"showCount":23201,"zanCount":961,"manualWeight":48,"mainColor":49},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[24,25,26,59,65,7,318,37,34,35,101,38,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 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王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,24,25,149,59,65,7,208,200,64,34,372,199,60,61,722,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[71],{"id":23682,"slug":23683,"title":23684,"dynasty":80,"author":178,"museum":20,"description":23685,"tags":23686,"thumbUrl":23687,"material":139,"size":23688,"collection":71,"collections":23689,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},218213,"shui-ge-dui-hua-tu-yi-ming-218213","水阁对话图","水阁对话图是一种流行于元朝时期的文学体裁，通常用来记录人们在水上建筑物（如水上别墅、水上庭院或水上茶室）中的对话。这种体裁的名字来源于“水阁”这个词，指的是在水上建造的别墅或其他建筑物。\n\n元朝时期，由于水上建筑物在当时是很流行的，因此水阁对话图也非常受欢迎。这种体裁通常记录了人们在水上建筑物中的日常对话，以及他们对当时社会、政治、文化等诸多话题的看法。",[24,2484,59,7,103,104,125,607,167,264,61,65,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c5b832746b1a1e3f0abb4065f54693.jpg","25.8x23.7cm",[71],{"id":23691,"slug":23692,"title":23693,"dynasty":54,"author":178,"museum":396,"description":1663,"tags":23694,"thumbUrl":23695,"material":69,"size":127,"collection":127,"collections":23696,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},217950,"ming-ren-shan-shui-hua-ce-wu-yi-ming-217950","明人山水画册(五)",[23,24,59,65,164,7,372,61,64,103,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7014b1cc71d2ca5aa50dfaec6b52598f.jpg",[],{"id":23698,"slug":23699,"title":909,"dynasty":177,"author":23700,"museum":396,"description":23701,"tags":23702,"thumbUrl":23703,"material":139,"size":23704,"collection":71,"collections":23705,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":49},217263,"shan-shui-tu-dai-zi-lai-217263","戴子来","戴子来是中国清朝时期著名的画家、诗人，他的山水图在中国绘画史上具有重要地位。\n\n戴子来的山水图与其他画家的作品有很大的不同，他的作品常常给人以深刻的感受和富有韵味的艺术氛围。他的山水图常常描绘出细腻的山水景观，并结合自然与人文景观。他运用了浓重的色彩和抽象的线条，使作品充满了动感和生机。\n\n戴子来的山水图代表了他对自然界的深刻理解和敬畏之心。他的作品常常描绘出大自然的壮丽景观，如山峰、河流、湖泊等，表现出自然界的种种美好。此外，他还善于运用抽象的笔触勾勒出自然界的神秘感，使作品充满了趣味性。\n\n总的来说，戴子来的山水图在中国绘画史上具有重要地位，他的作品常常给人以深刻的感受和富有韵味的艺术氛围，值得我们去欣赏和品味。",[23,24,28,65,149,7,104,60,34,64,199,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae51318f27e987f219edd71114d8c63.jpg","121.9x53.5cm",[71],{"id":23707,"slug":23708,"title":23709,"dynasty":177,"author":178,"museum":135,"description":6149,"tags":23710,"thumbUrl":23713,"material":139,"size":6152,"collection":127,"collections":23714,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":75},214663,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-2-yi-ming-214663","乾隆缂丝山水挂屏四轴-2",[4923,28,24,7,583,30,106,979,104,23711,64,23712],"瓶","水浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9418f3bf0b0fc968da053932573886c.jpg",[],{"id":23716,"slug":23717,"title":8592,"dynasty":18990,"author":23718,"museum":56,"description":23719,"tags":23720,"thumbUrl":23721,"material":127,"size":127,"collection":71,"collections":23722,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":23723},202994,"shan-shui-tu-zhou-wu-qin-mu-202994","吴琴木","层峦叠嶂间，墨色浓淡交织出山林幽深之趣。山石以苍劲皴笔勾勒纹理，显浑厚质感；林木错落，墨点簇叶生机盎然；山间飞瀑流泉映带左右，添动势于静谧；山麓几椽茅舍隐于松荫，似有幽人寄情林泉。整幅作品笔墨雅致，兼具传统山水古雅韵致与近代灵动气息，将自然之趣与人文情怀融于尺幅。",[7,59,65,149,61,63,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98797b625000c03669d8fda6f105311.jpg",[71],"b9afa5",{"id":23725,"slug":23726,"title":23727,"dynasty":18990,"author":23728,"museum":56,"description":23729,"tags":23730,"thumbUrl":23731,"material":127,"size":127,"collection":71,"collections":23732,"showCount":23201,"zanCount":48,"manualWeight":48,"mainColor":23733},202821,"she-se-shan-shui-tu-zhou-pu-jin-202821","设色山水图轴","溥伒","画面以淡墨设色晕染山水，皴擦结合勾勒嶙峋山石肌理，苍劲松枝斜倚崖边，添几分清逸。山间隐现亭台藏幽居之趣，山下流水潺潺，一叶孤舟泛江，舟中人物闲适尽显渔乐之境。远景云雾轻笼，山峦层叠渐淡，营造悠远空濛意境。笔墨兼具传统文人画雅致与自然生机，淡彩晕染柔和，山石厚重与流水灵动形成对比，整体格调清旷淡远，引人入胜。",[24,28,7,62,65,373,63,583,61,64,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e6cdc3de82c80ac891e36313045737.jpg",[71],"c1bfb3",{"id":23735,"slug":23736,"title":3139,"dynasty":54,"author":96,"museum":119,"description":1628,"tags":23737,"thumbUrl":23738,"material":337,"size":937,"collection":127,"collections":23739,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},290868,"zhou-jin-tang-zhou-chou-ying-290868",[100,24,149,27,28,29,304,7,103,104,583,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e9aebcd712fe1da73003fe9d86eb96.jpg",[],29,{"id":23742,"slug":23743,"title":23744,"dynasty":80,"author":160,"museum":135,"description":2547,"tags":23745,"thumbUrl":23746,"material":169,"size":2984,"collection":127,"collections":23747,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},290416,"hua-xi-yu-yin-zhou-wang-meng-290416","花溪渔隐轴",[100,24,25,149,59,7,65,61,62,1616,2216,373,66,101,7089],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5204529040d8f0ef17bf6db6a77301ce.jpg",[],{"id":23749,"slug":23750,"title":23751,"dynasty":80,"author":887,"museum":119,"description":15342,"tags":23752,"thumbUrl":23753,"material":337,"size":937,"collection":127,"collections":23754,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},290413,"shan-shui-tu-juan-wei-zhao-meng-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画家将皇室谒陵的整个时空历程出发→抵达→返回，浓缩于两幅长卷之中。传统观赏《出警图》是由右往左；《入跸图》则由左往右。\n这幅画描绘出明朝皇帝出京谒陵盛况的宫廷画卷。描绘的是皇帝在宫廷侍卫的护送下，骑马出京，声势浩大的来到京郊的十三陵拜先祖，然后再坐船返回北京的情景。皇帝一出一入，相互呼应，气势壮观，栩栩如生。",[23,100,24,26,28,29,1630,103,2716,583,104,7,438,18053,23826,23306],"帝王出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f612a4c13fe43c6ae1dd2d169566a19.jpg","本幅 92.1x2601.3公分",[],{"id":23831,"slug":23832,"title":8592,"dynasty":54,"author":7927,"museum":119,"description":23833,"tags":23834,"thumbUrl":23835,"material":337,"size":937,"collection":127,"collections":23836,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},287609,"shan-shui-tu-zhou-xie-shi-chen-287609","谢时臣，明代画家，字思忠，号樗仙，吴（今江苏省苏州市）人。谢时臣工山水，师法吴镇， 得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[23,100,24,25,149,59,65,7,104,60,61,63,64,34,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":23838,"slug":23839,"title":23840,"dynasty":80,"author":15974,"museum":119,"description":18560,"tags":23841,"thumbUrl":23842,"material":337,"size":937,"collection":127,"collections":23843,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},287595,"xue-jiang-tu-luo-zhi-chuan-287595","雪江图",[23,24,7,59,372,106,878,167,2855,125,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f49c6e94f47e131b9e2f7bbb1c31cc.jpg",[],{"id":23845,"slug":23846,"title":23847,"dynasty":80,"author":887,"museum":119,"description":15342,"tags":23848,"thumbUrl":23849,"material":337,"size":937,"collection":127,"collections":23850,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},287529,"guan-quan-tu-zhao-meng-fu-287529","观泉图",[24,100,149,28,7,103,583,64,61,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18ccffe8a3c3cabe7d0bb04da6a7a08.jpg",[],{"id":23852,"slug":23853,"title":23854,"dynasty":54,"author":4764,"museum":119,"description":23855,"tags":23856,"thumbUrl":23857,"material":337,"size":937,"collection":71,"collections":23858,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},287451,"mo-gu-ce-ye-chen-hong-shou-287451","摹古册页","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,2145,59,7,583,1791,733,101,66,122,65,1401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64eebb7edbcb8537c7f5ef1326afd6bb.jpg",[71],{"id":23860,"slug":23861,"title":23862,"dynasty":177,"author":23863,"museum":20,"description":23864,"tags":23865,"thumbUrl":23866,"material":127,"size":127,"collection":71,"collections":23867,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},239054,"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[24,59,149,7,60,61,63,106,34,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[71],{"id":23869,"slug":23870,"title":23871,"dynasty":177,"author":10061,"museum":119,"description":23872,"tags":23873,"thumbUrl":23874,"material":127,"size":127,"collection":127,"collections":23875,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},239053,"shan-shui-hua-niao-ce-yang-jin-239053","山水花鸟册","杨晋 ，字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[24,25,164,59,7,630,165,264,12666,167,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e340cdb6f9a982c4336e6e154f1d51a.jpg",[],{"id":23877,"slug":23878,"title":16276,"dynasty":177,"author":19517,"museum":20,"description":23879,"tags":23880,"thumbUrl":23881,"material":375,"size":23882,"collection":71,"collections":23883,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,25,100,149,28,65,7,2682,64,34,61,199,35,60,1120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[71,45],{"id":23885,"slug":23886,"title":23887,"dynasty":177,"author":18635,"museum":119,"description":23888,"tags":23889,"thumbUrl":23890,"material":127,"size":23891,"collection":44,"collections":23892,"showCount":23740,"zanCount":961,"manualWeight":48,"mainColor":75},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,149,28,29,1042,103,7,264,61,3696,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[44],{"id":23894,"slug":23895,"title":1420,"dynasty":177,"author":13860,"museum":119,"description":23896,"tags":23897,"thumbUrl":23898,"material":127,"size":127,"collection":71,"collections":23899,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},237466,"shan-shui-zhou-jiang-yun-237466","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[24,149,7,59,65,63,199,64,34,5361,25,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[71,212],{"id":23901,"slug":23902,"title":23903,"dynasty":177,"author":3760,"museum":20,"description":16305,"tags":23904,"thumbUrl":23905,"material":349,"size":127,"collection":71,"collections":23906,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴",[24,25,149,59,65,7,347,372,106,64,5932,167,720,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[71,212],{"id":23908,"slug":23909,"title":23910,"dynasty":54,"author":23911,"museum":20,"description":23912,"tags":23913,"thumbUrl":23914,"material":40,"size":23915,"collection":71,"collections":23916,"showCount":23740,"zanCount":961,"manualWeight":48,"mainColor":49},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[24,25,149,28,59,7,103,583,199,64,125,5350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 横一〇四·五厘米",[71,45],{"id":23918,"slug":23919,"title":23920,"dynasty":54,"author":580,"museum":20,"description":23921,"tags":23922,"thumbUrl":23927,"material":537,"size":23928,"collection":71,"collections":23929,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},236617,"yu-qing-ji-shi-tu-wen-zheng-ming-236617","雨晴纪事图","《明文征明幽谷清泉图》描绘了水边丛树，图中较好地表现出江南初雨后空气清新、草木富于生机的景物特征。\n图中绘水边丛树，本幅自识：“入春连月雨霖霪，一日雨晴春亦深。碧涧平添三尺水，绿榆新涨一庭阴。征明雨晴纪事。庚寅三月八日。”“文征明印”白文方印、“停云”朱文圆印。庚寅为明嘉靖九年，即公元1530年，作者时年六十一岁。\n“入春连月雨淋漓，一日雨晴春亦深。碧沼平添三尺水，绿榆新涨一池荫。”这件山水小景是画家在阴雨初晴之时所作，以纪事且记情。画中描绘了一雾气弥漫的平沼近岸，碎石散置，绿苔满布，细草丛生。数棵杂树相簇，绿叶枯枝，相互扶助。此作笔法宽厚，墨色浑润，浓淡变化，层次丰富。虽为小景，但亦显得境界开阔，气势厚重，有翠湿欲滴之意。",[24,59,7,1286,23923,23924,23925,204,23926,101,66],"平沼","碎石","绿草","雨后初晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76002b37ca01ffa2c511c43609a5dafe.jpg","纵：130厘米，横：60.8厘米",[71,212],{"id":23931,"slug":23932,"title":23933,"dynasty":177,"author":1825,"museum":20,"description":23934,"tags":23935,"thumbUrl":23936,"material":127,"size":127,"collection":71,"collections":23937,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},236460,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-jian-236460","仿黄公望山水图轴","王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,25,149,59,65,122,7,165,239,199,30,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf2a8130da7b657943ce3313f4b98b7.jpg",[71,212],{"id":23939,"slug":23940,"title":23941,"dynasty":177,"author":1704,"museum":20,"description":23942,"tags":23943,"thumbUrl":23944,"material":375,"size":23945,"collection":71,"collections":23946,"showCount":23740,"zanCount":961,"manualWeight":48,"mainColor":49},236106,"tang-dai-qing-luan-chun-ai-tu-zhou-tang-dai-236106","唐岱晴峦春霭图轴","此图为竖构图，虽布置繁密却不杂乱。层次分明，经营有序，过渡自然，彼此虚实相生、错落有致。用笔秀劲凝重，深沉厚实，境界深远，墨色苍厚明润，变化丰富有灵气，可以看出作者状物写情的修养和功力。在技法上作者运用了勾、皴、点、染多种表现形式，如山石先用干笔皴擦，再以浓墨横笔点苔，使画面富有立体感。整幅画面色泽淡雅，在近石、远山及亭台上略施淡赭和花青，烘托出高雅幽然的意境。\n此画轴综观画面，重山叠嶂，霭横暗峦，曲流小径，回旋辗转，蜿蜒于隔山之壑。其间水榭山居，高树疏林，疏密有致，加之亭台小桥，别有韵味。好一派万物复苏，生机盎然的春季之景。那高低起伏的山峰层层错落，渐次推远，在蒸腾的云雾中忽隐忽现，最终消失在苍茫的水天之际。\n春霭缭绕，横贯于山腰之间，把远山近石自然地衔接起来，使整个画面意境幽远，静寂悠闲。山顶上、河岸上都长满了各种草木，有的顽强的扎根于石缝间，姿态挺拔俊秀，虽不比盛夏之苍茂，然比之深秋之萧瑟，寒冬之疏落，则充满生命的活力。远处山崖间瀑布高悬，如银河一般飞流直下，直冲烟岚之中，汇成溪流，顺着蜿蜒的溪岸流淌而来。笔者仿佛听到潺潺的流水声与远处瀑布的轰鸣声自然交汇，传人山谷，直至那浩茫的远山，又回荡在树石草木之间，与鸟鸣、树声、风声交融在一起，构成了一部天然的交响乐，这便是所谓的天籁之音吧!看那山间平台上、坡岸上、溪流上两三点缀的水榭亭台，在树木的掩映下若隐若现，使画面又透露着一种幽深的意味。面对如此美景，真想走出书斋把自己的身心融入这画一般纯洁平静的大自然中，去倾听那美妙的“乐音”。",[24,25,149,28,65,7,238,34,61,37,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f247378ce430f21abc039c0e4473ae.jpg","108 x 62 cm",[71,45],{"id":23948,"slug":23949,"title":159,"dynasty":177,"author":683,"museum":119,"description":23950,"tags":23951,"thumbUrl":23952,"material":127,"size":127,"collection":71,"collections":23953,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},236044,"shan-shui-ce-wang-yuan-qi-236044","笔底云峰浮于烟岚，以干笔积墨皴擦山峦，苍浑厚重间带着元人披麻皴的秀润遗意。近景溪湾宛转，村居隐于茂林错落间，屋舍疏朗恬淡，林木俯仰有姿。留白晕染出云气流荡，将远峰、中林、近岸自然衔连，疏密松紧相映。层层积墨却清雅松秀，不露堆砌之态，既得山川浑厚之致，又藏静穆萧散的文心。丘壑间浸着江南山水温润的灵韵，把幽居林下的闲澹意趣融于笔墨法度，尽显沉静悠然的文人山水意境。",[24,59,7,65,318,319,34,35,533,37,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ace5a04ef1b790993d87a46972baec6.jpg",[71],{"id":23955,"slug":23956,"title":1800,"dynasty":177,"author":23957,"museum":20,"description":23958,"tags":23959,"thumbUrl":23960,"material":375,"size":127,"collection":71,"collections":23961,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},234719,"huang-shan-tu-ce-jiang-zhu-234719","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,59,65,66,67,164,7,64,61,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac352676967682ac8c718cbf1f9170a.jpg",[71],{"id":23963,"slug":23964,"title":4175,"dynasty":177,"author":3760,"museum":119,"description":23965,"tags":23966,"thumbUrl":23967,"material":537,"size":23968,"collection":71,"collections":23969,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},234713,"fang-gu-shan-shui-ce-wang-hui-234713","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,25,100,164,59,65,7,413,60,61,150,103,64,508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","25.6厘米，横：20.5厘米",[71],{"id":23971,"slug":23972,"title":5293,"dynasty":54,"author":23973,"museum":23974,"description":23975,"tags":23976,"thumbUrl":23977,"material":375,"size":23978,"collection":127,"collections":23979,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},234181,"shan-shui-tu-juan-zhang-fu-234181","张復","烟台市博物馆","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[23,24,25,26,59,65,7,30,31,61,34,35,60,106,264,334,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],{"id":23981,"slug":23982,"title":23983,"dynasty":177,"author":1801,"museum":20,"description":23984,"tags":23985,"thumbUrl":23986,"material":537,"size":23987,"collection":127,"collections":23988,"showCount":23740,"zanCount":961,"manualWeight":48,"mainColor":75},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“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。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[24,25,100,149,59,65,63,165,7,264,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":23990,"slug":23991,"title":2773,"dynasty":177,"author":395,"museum":20,"description":7604,"tags":23992,"thumbUrl":23993,"material":20547,"size":20548,"collection":127,"collections":23994,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},233423,"yuan-ji-shan-shui-ce-shi-tao-233423",[24,25,164,59,65,7,264,125,583,35,239,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg",[],{"id":23996,"slug":23997,"title":20647,"dynasty":54,"author":23998,"museum":119,"description":23999,"tags":24000,"thumbUrl":24001,"material":127,"size":127,"collection":127,"collections":24002,"showCount":23740,"zanCount":961,"manualWeight":48,"mainColor":49},230949,"shou-shan-fu-hai-tu-leng-qian-230949","冷谦","此作以浩渺沧海为主体，细劲线条勾绘层叠水纹，如鳞似浪，将海涛不息的灵动与苍莽尽数铺展。几座仙山错落浮沉于碧波间，山石以青绿晕染，皴笔勾勒出奇崛硬朗的山势，刚劲山海与柔婉浪涛形成绝妙的刚柔对照。\n\n右上角题诗衬景，让烟波之间更添缥缈仙气，整幅画作将山海辽远之境与祥瑞题旨相融，工致古雅，尽显静谧恢宏的山海气象。",[23,24,25,149,28,7,19442,64,264,101,10577,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680aaa4850da94d3d3296008a2b2c881.jpg",[],{"id":24004,"slug":24005,"title":24006,"dynasty":8332,"author":24007,"museum":119,"description":24008,"tags":24009,"thumbUrl":24011,"material":337,"size":937,"collection":127,"collections":24012,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},230599,"ren-jian-le-yuan-you-hua-230599","人间乐园","油画","这片异色天地满溢诡谲幻想，左侧的异形建筑糅合血肉、植被与塔楼，盘旋的飞鸟撕碎静谧，仿佛是从意识裂隙中生长出的荒诞造物。右侧蓝紫色尖峰虬曲怪诞，悬垂的装饰为冷峻山体添上妖异气息。\n\n地面之上，温驯大象与异兽错落在青绿原野，打破现实的秩序边界。隐喻与狂想揉进笔触，违背常理的视觉符号编织出朦胧迷幻的幻梦，引观者坠入超验秘境，在怪诞共生的图景里，触摸脱离俗世逻辑的奇幻美学底色。",[24007,28,1042,7,3988,181,9197,9199,106,34,3696,450,24010],"奇幻场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F473effe115c5ad9cd1bb2a47ae38513f.jpg",[],{"id":24014,"slug":24015,"title":24016,"dynasty":177,"author":11730,"museum":119,"description":24017,"tags":24018,"thumbUrl":24019,"material":127,"size":127,"collection":127,"collections":24020,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},229040,"liu-an-chun-feng-tu-pu-ru-229040","柳岸春风图","此作以淡墨写意铺陈春岸景致，近坡枯荣交织的岸柳虬枝柔条相映，苍朴坡石野趣自生。烟波空濛间渔舟错落，渔人或撑篙行舟，或泊船闲坐，自在悠然。远山以淡墨轻晕，帆影杳渺隐于烟岚之中，留白尽显江天寥廓的清远空寂。\n\n简淡秀雅的笔墨，未作繁复皴染，却将春岸风柔波暖的温煦，渔家乐的恬然意趣融于尺幅。把江南春日的闲逸野趣铺陈开来，寄寓了归心丘壑的雅逸襟怀，淡远萧疏间漫溢融融春意，悠悠古意扑面而来，尽显文人山水画寄情山水的悠然意境。",[23,24,59,123,28,7,571,62,61,103,64,373,34,1886,2832,4563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9995c8d550395c6272b742eac90d75b7.jpg",[],{"id":24022,"slug":24023,"title":24024,"dynasty":80,"author":178,"museum":119,"description":24025,"tags":24026,"thumbUrl":24027,"material":127,"size":127,"collection":127,"collections":24028,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},228209,"shan-shui-tu-tuan-shan-yi-ming-228209","山水图团扇","此作以远近相生的构图铺陈意境，浮空峰峦如蓬瀛仙山，浓墨点苔晕出山姿苍郁，留白云气晕染成朦胧幻境，割裂又勾连起世外幽境与人间烟火。\n\n山腰间楼阁隐现，似藏寻仙之幽；山脚处板桥行人策杖徐行，村舍林麓、陂塘田亩错落排布，枯木添就萧疏秋意。工写兼济的笔法，勾勒山石硬朗轮廓，皴擦晕染揉出温润质感，设色淡雅古拙。将出世清寂与入世恬美收于尺幅，尽显山水重意趣、尚萧散的特质，意境清和淡远，恍若隔绝尘嚣，只留一片悠然天地。",[23,24,25,2484,28,65,59,7,60,61,63,103,125,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517e2ea2760446e7c47c7392862034d2.jpg",[],{"id":24030,"slug":24031,"title":24032,"dynasty":18,"author":178,"museum":119,"description":24033,"tags":24034,"thumbUrl":24035,"material":127,"size":127,"collection":127,"collections":24036,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},227854,"shan-shui-tuan-shan-yi-ming-227854","山水团扇","危崖嶙峋踞于近岸，枯木萧疏间细泉漱石，凛凛秋意漫溢而出。视线随水色铺展，远峰晕染在烟岚薄雾里，和空濛秋水融作一片淡墨云烟。滩头扁舟静泊，渔翁偃卧，将山野幽寂与林下闲逸揉作一处。\n\n此作用笔苍润相济，硬皴勾勒崖石肌理，枯笔点染寒木枝桠，淡墨晕开江天烟霭，以边角取景铺展出辽远山水格局，将秋日江野的清寂闲静截取在咫尺扇面，尽显以小见大的山水雅趣，藏着寄情林泉的幽远心境。",[100,24,25,2484,28,59,7,372,64,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450874808150a62736ffbb1713c6d774.jpg",[],{"id":24038,"slug":24039,"title":24040,"dynasty":18,"author":2391,"museum":119,"description":24041,"tags":24042,"thumbUrl":24043,"material":337,"size":937,"collection":127,"collections":24044,"showCount":23740,"zanCount":961,"manualWeight":48,"mainColor":75},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,100,24,25,26,123,28,66,103,7,34,35,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":24046,"slug":24047,"title":16296,"dynasty":18,"author":592,"museum":119,"description":21750,"tags":24048,"thumbUrl":24050,"material":127,"size":127,"collection":127,"collections":24051,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},227770,"dai-du-tu-ye-li-tang-227770",[23,24,100,28,65,7,62,103,125,64,24049,21187,34,399,37],"渡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg",[],{"id":24053,"slug":24054,"title":24055,"dynasty":18,"author":592,"museum":119,"description":21750,"tags":24056,"thumbUrl":24057,"material":127,"size":127,"collection":127,"collections":24058,"showCount":23740,"zanCount":961,"manualWeight":48,"mainColor":49},227768,"shan-shui-ye-li-tang-227768","山水页",[23,24,25,100,59,65,2145,7,104,62,34,64,1815,2845,278,167,5068,14849,372,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":24060,"slug":24061,"title":24062,"dynasty":18,"author":288,"museum":119,"description":4835,"tags":24063,"thumbUrl":24064,"material":127,"size":127,"collection":127,"collections":24065,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图",[23,24,100,25,2484,28,103,1478,1586,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[]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气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,26,59,28,7,372,106,347,167,533,264,29,65,34,1816],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[71],{"id":24205,"slug":24206,"title":24207,"dynasty":54,"author":1096,"museum":1542,"description":6940,"tags":24208,"thumbUrl":24209,"material":349,"size":127,"collection":127,"collections":24210,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},220345,"fang-mi-fei-shan-shui-tu-juan-2-wen-dong-qi-chang-220345","仿米芾山水图卷-2文",[24,25,26,59,122,65,7,167,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca2b8e1d8c5f8ab047812b476da7701.jpg",[],{"id":24212,"slug":24213,"title":24214,"dynasty":177,"author":3760,"museum":119,"description":4881,"tags":24215,"thumbUrl":24216,"material":69,"size":4885,"collection":127,"collections":24217,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},220134,"mo-gu-shan-shui-hua-2-wang-hui-220134","摹古山水画2",[23,24,25,28,17381,65,7,63,61,64,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bffb832eccf43b9b7369932d121853.jpg",[],{"id":24219,"slug":24220,"title":24221,"dynasty":177,"author":3760,"museum":119,"description":4881,"tags":24222,"thumbUrl":24223,"material":69,"size":4885,"collection":127,"collections":24224,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},220133,"mo-gu-shan-shui-hua-3-wang-hui-220133","摹古山水画3",[23,24,25,17381,28,65,7,583,64,37,35,103,201,34,167,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c95d2ba722189a59771f6f1eb36950e.jpg",[],{"id":24226,"slug":24227,"title":24228,"dynasty":177,"author":3760,"museum":119,"description":4881,"tags":24229,"thumbUrl":24230,"material":4884,"size":4885,"collection":127,"collections":24231,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":75},220129,"mo-gu-shan-shui-hua-6-wang-hui-220129","摹古山水画6",[23,24,25,59,28,65,7,60,61,583,103,199,64,34,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc808d878e086f7d7fabf09d7e670b506.jpg",[],{"id":24233,"slug":24234,"title":24235,"dynasty":177,"author":24236,"museum":396,"description":24237,"tags":24238,"thumbUrl":24242,"material":139,"size":24243,"collection":44,"collections":24244,"showCount":23740,"zanCount":48,"manualWeight":48,"mainColor":49},219838,"san-jiao-tu-chen-shi-jun-219838","三教图","陈士俊","苍松虬枝横斜，山岚轻笼幽林，铺就出古雅澹泊的林下晤面之景。三位宗师神态各殊，执白羽者清逸出尘，宽袍束带者端方持重，抱婴老者垂眉慈和，身旁侍童稚态可掬，为沉静氛围添了几分灵动生机。\n\n画师笔致精细，衣纹走线舒展流畅，将人物的风神气度描摹得形神兼备，山林晕染层次雅致，把三教汇流、圣贤交融共生的平和意涵，藏进这悠然的雅集场景中，兼具叙事意趣与人文深味。",[23,24,25,149,28,29,103,7,583,64,34,24239,24240,184,24241],"老者","孩童","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3abea62ef10bb38e32d5963e7b16a1.jpg","纵121厘米 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清高宗以此作与《富春山居图》（子明卷）相比，认为两作“纸色墨气，古穆无二”。细察两作石法、树法，乃至题款书风近似，或出于一人之手，为明末清初的作品。",[24,149,7,59,65,3260,24330,60,61,104,101,66],"曲涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb06ecbde0e10adb8891902cce34b3f.jpg",[],{"id":24334,"slug":24335,"title":20045,"dynasty":177,"author":1801,"museum":119,"description":24336,"tags":24337,"thumbUrl":24338,"material":337,"size":937,"collection":127,"collections":24339,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},290180,"tao-an-tu-zhou-hong-ren-290180","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[23,24,149,59,7,372,238,35,60,101,65,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],{"id":24341,"slug":24342,"title":24343,"dynasty":80,"author":997,"museum":119,"description":24344,"tags":24345,"thumbUrl":24346,"material":337,"size":937,"collection":127,"collections":24347,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},290159,"shi-an-gu-song-tu-cao-zhi-bai-290159","石岸古松图","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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夹叶法，或用渍点法。该图人物线描熟练准确，形神俱得。",[24,7,103,583,61,239,373,28,65,125,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb5e9c27ef08409b1d4699a1ce19e76.jpg","144x89.7",[],{"id":24440,"slug":24441,"title":24442,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":24443,"thumbUrl":24446,"material":127,"size":127,"collection":71,"collections":24447,"showCount":257,"zanCount":961,"manualWeight":48,"mainColor":75},238321,"wan-hu-sang-ma-tu-xiao-juan-dong-gao-238321","万户桑麻图小卷",[24,26,1388,28,65,7,31,62,85,1433,6951,34,199,103,24444,24445],"田园生活","农桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7ae20c02be229020dc6a8b099325b6.jpg",[71,45],{"id":24449,"slug":24450,"title":24451,"dynasty":54,"author":5538,"museum":119,"description":5540,"tags":24452,"thumbUrl":24453,"material":127,"size":127,"collection":71,"collections":24454,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},238041,"wen-jia-shan-shui-zhou-wen-jia-238041","文嘉山水轴",[24,25,149,59,28,7,60,61,125,264,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9352b912d9a69a183afa1a3aac3d94ba.jpg",[71],{"id":24456,"slug":24457,"title":2582,"dynasty":177,"author":1801,"museum":119,"description":2583,"tags":24458,"thumbUrl":24459,"material":127,"size":2586,"collection":127,"collections":24460,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},238027,"hong-ren-shan-shui-tu-ce-hong-ren-238027",[24,59,7,164,65,125,264,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bc84f9d5feeb2f6fb185a48793a9bd.jpg",[],{"id":24462,"slug":24463,"title":24451,"dynasty":54,"author":5538,"museum":119,"description":24464,"tags":24465,"thumbUrl":24466,"material":24467,"size":127,"collection":71,"collections":24468,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},237893,"wen-jia-shan-shui-zhou-wen-jia-237893","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。渴来玉砚池中饮，饱向花笺纸上行。”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（1523年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显",[24,25,149,59,65,7,60,61,63,372,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d146aaec02114ccb269501a7bed23.jpg","轴设色纸本",[71,927],{"id":24470,"slug":24471,"title":1420,"dynasty":177,"author":672,"museum":119,"description":24472,"tags":24473,"thumbUrl":24474,"material":127,"size":127,"collection":71,"collections":24475,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},237467,"shan-shui-zhou-hua-yan-237467","华岩（1682～1756），一写作华嵒，福建上杭白砂里人。字德嵩，更字秋岳，号新罗山人、白沙道人等，老年自喻“飘篷者”。工画人物、山水、花鸟，草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[24,28,65,7,34,64,61,63,103,125,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93002429d8052a89366938df98869cff.jpg",[71,212],{"id":24477,"slug":24478,"title":24479,"dynasty":54,"author":10318,"museum":119,"description":24480,"tags":24481,"thumbUrl":24482,"material":337,"size":937,"collection":127,"collections":24483,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},237416,"shan-shui-shan-lu-zhi-237416","山水扇","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。",[24,25,2484,28,65,7,63,165,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4a20d4c676566f1a237f2ff55f49b4.jpg",[],{"id":24485,"slug":24486,"title":24487,"dynasty":54,"author":12876,"museum":20,"description":24488,"tags":24489,"thumbUrl":24490,"material":127,"size":127,"collection":71,"collections":24491,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},236562,"xiao-ke-guan-shan-shui-ce-shao-mi-236562","小可观山水册","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。\n此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[100,24,25,164,59,65,67,101,7,264,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aad0cc7f91d98f5d6db48d517385e2.jpg",[71,45],{"id":24493,"slug":24494,"title":15488,"dynasty":177,"author":24495,"museum":119,"description":24496,"tags":24497,"thumbUrl":24498,"material":127,"size":127,"collection":127,"collections":24499,"showCount":25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望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[24,25,149,59,65,101,67,7,60,61,62,63,106,125,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":24559,"slug":24560,"title":2773,"dynasty":177,"author":395,"museum":20,"description":7604,"tags":24561,"thumbUrl":24562,"material":20547,"size":20548,"collection":127,"collections":24563,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},233425,"yuan-ji-shan-shui-ce-shi-tao-233425",[24,25,164,59,28,65,7,1674,34,64,16379,11163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7570e2d7e819c7dbd70ebd7ddbb567db.jpg",[],{"id":24565,"slug":24566,"title":16175,"dynasty":177,"author":15821,"museum":119,"description":24567,"tags":24568,"thumbUrl":24569,"material":127,"size":127,"collection":127,"collections":24570,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":8544},230116,"shan-shui-ce-12-kai-jian-jiang-230116","此作以大片留白晕染出空濛烟水，淡墨轻勾远山，嶙峋清癯的峰峦错落排布，简淡皴笔勾勒山石肌理，尽显冷峭疏朗之态。左下角老柳垂丝，依依拂岸，茅舍隐于柳下，愈衬江天寥廓。\n\n江上孤舟缓行，渔翁泛棹，寥寥数笔便点活了空寂水色，于极简中藏着幽远禅意。整幅画笔墨枯淡清逸，舍去繁复描摹，以简驭繁，将水畔的静穆冷逸尽数铺展，萧散淡远，观之如沐清寂江风，引人沉入这份疏旷安闲的烟水诗意中。",[24,25,164,59,65,7,62,372,64,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b9046f9518a01dd6d6ff08f98e4f8d.jpg",[],{"id":24572,"slug":24573,"title":24574,"dynasty":54,"author":178,"museum":119,"description":24575,"tags":24576,"thumbUrl":24578,"material":127,"size":127,"collection":127,"collections":24579,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},228822,"qi-ma-shou-lie-tu-yi-ming-228822","骑马狩猎图","画作以塞北秋原为底色，枯木疏枝晕染出荒寒辽远的意境。画面上方白鹤惊飞，一人纵马引弓，箭矢将发，将狩猎的张力拉满；下方猎手们或缓骑四顾，或驻马待命，猎犬伏地静伺，动静相映成趣。设色古雅沉郁，线条朴拙凝练，将游牧出猎的日常瞬间定格。萧瑟荒野呼应骑射英武，糅合边地的苍凉与出猎的野趣，笔意简淡却藏着质朴生机，尽显北国狩猎的自在豪情。",[24,25,28,29,103,335,106,372,24577,7,3989],"猎犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e0832a905d1084788a315175c5a3cf.jpg",[],{"id":24581,"slug":24582,"title":24583,"dynasty":54,"author":945,"museum":119,"description":24584,"tags":24585,"thumbUrl":24586,"material":127,"size":127,"collection":127,"collections":24587,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[23,24,25,26,28,29,65,67,66,101,7,34,103,60,61,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":24589,"slug":24590,"title":24591,"dynasty":54,"author":96,"museum":119,"description":24592,"tags":24593,"thumbUrl":24594,"material":337,"size":937,"collection":127,"collections":24595,"showCount":257,"zanCount":961,"manualWeight":48,"mainColor":49},228441,"lan-ting-tu-shan-mian-chou-ying-228441","兰亭图扇面","画面中山涧溪流缓缓而下，蜿蜒成“曲水”。兰亭近溪旁。这里视野开阔，亭内一文人高士临亭边而坐，或许凝望远方，正在观赏优雅的景色；或许正在等待前方一仆童抱琴而来，然后抚琴一曲……给人留下无限的遐想。画面中部还有两孩童在溪边嬉戏，一只仙鹤正低头饮水，溪边奇石伫立、松柳掩映，形成了人与自然和谐相处、景色娴雅幽淡的佳境。",[23,2484,29,28,7,103,63,165,734,61,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aded3c25f9fd7875b0ba71f943ccab5.jpg",[],{"id":24597,"slug":24598,"title":24599,"dynasty":18,"author":1085,"museum":119,"description":24600,"tags":24601,"thumbUrl":24602,"material":127,"size":127,"collection":127,"collections":24603,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,100,24,25,26,59,28,7,125,1606,264,34,101,66,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":24605,"slug":24606,"title":24607,"dynasty":80,"author":7974,"museum":119,"description":24608,"tags":24609,"thumbUrl":24610,"material":127,"size":127,"collection":127,"collections":24611,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},228072,"teng-wang-ge-tu-ye-xia-yong-228072","滕王阁图页","此作以铁线白描界画楼宇，依山临江的名楼层叠错落，飞檐翘角、榫卯结构皆毫厘毕现，廊庑间人物往来顾盼，鲜活灵动，将楼阁巍峨工致描摹入微。\n\n江面上扁舟随波浮沉，远山澹澹晕开，简淡山水与精工楼宇相映，在尺幅之中铺展出宏阔雅致的胜景。整幅工细却不板滞，白描线条劲挺匀净，既复刻出名楼的壮伟形制，又晕染出江南水畔的清灵意韵，将登临名楼的雅致意趣凝于方寸之间，尽显界画的极致工巧，藏着对江南胜景的隽永追慕。",[23,24,100,304,164,123,59,104,7,62,165,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a4378908f12da247e608b1311e041d.jpg",[],{"id":24613,"slug":24614,"title":24615,"dynasty":18,"author":24616,"museum":119,"description":24617,"tags":24618,"thumbUrl":24619,"material":127,"size":127,"collection":127,"collections":24620,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},228030,"wei-sheng-huang-hun-tu-zhao-da-heng-228030","薇省黄昏图","赵大亨","暮色漫过深宅庭院，丹红与素白的花影缀在枝桠，晕开柔暖朦胧的晚意。敞轩之内，一人斜卧假寐，将白日倦怠揉进黄昏里。屋宇木构刻画清雅工细，层叠的瓦檐晕染出松弛闲散的日常氛围。远景青绿山影轻笼在烟岚里，与院内花木相映，将宅邸晕成一方避世的静谧天地。\n\n整幅设色温雅柔润，工细笔意里带着写意的松弛，把黄昏庭院慵懒闲散的氛围感烘托至极，将宋人的闲雅私居之美定格，尽显慢煮时光的雅致意趣，晕开淡淡的温柔余韵。",[23,24,2484,28,304,150,34,7,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180cc436741e61cb1c56a0bdb9f2ef67.jpg",[],{"id":24622,"slug":24623,"title":24624,"dynasty":18,"author":744,"museum":119,"description":24625,"tags":24626,"thumbUrl":24627,"material":127,"size":127,"collection":127,"collections":24628,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},227776,"xie-ke-fang-you-tu-ye-liu-song-nian-227776","携客访友图页","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,28,29,103,63,630,34,7,65,16448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92709672d881dd58bce216d07ed75c8f.jpg",[],{"id":24630,"slug":24631,"title":24632,"dynasty":18,"author":14666,"museum":119,"description":24633,"tags":24634,"thumbUrl":24635,"material":127,"size":127,"collection":127,"collections":24636,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},227758,"qiu-ye-mu-niu-tu-yan-ci-ping-227758","秋野牧牛图","《秋野牧牛图》是画家阎次平所创作的一幅画，现藏于泉屋博古馆藏。\n\n《秋野牧牛图》描绘了真实生动的乡间生活情景。图中画二牧童和三牛。二牧童并坐于树下，安闲自若，一位似在给另一位捉虱子；一头大牛卧于树下，一小牛依卧母牛身旁，母牛伸过头来给小牛捉蝨子，另一牛向外奔去，自得其乐。树叶染红，杂以黄色，岸坡和远山则以淡墨轻抹勾勒。充满诗意，牛和牧童的刻画更体现出画家的细微观察力。\n\n阎次平 南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水、人物，尤工画牛，颇为生动。画法近李唐。存世作品有《牧牛图》等。弟次于，亦善画。",[23,24,59,28,29,65,7,165,1586,4203,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0571f2ca0a021ab1e67ffbdcbdde86ef.jpg",[],{"id":24638,"slug":24639,"title":24640,"dynasty":18,"author":4777,"museum":119,"description":16471,"tags":24641,"thumbUrl":24642,"material":127,"size":127,"collection":127,"collections":24643,"showCount":257,"zanCount":961,"manualWeight":48,"mainColor":49},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页",[23,100,24,25,164,28,65,1478,60,264,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],{"id":24645,"slug":24646,"title":24647,"dynasty":177,"author":11730,"museum":119,"description":21203,"tags":24648,"thumbUrl":24649,"material":127,"size":127,"collection":127,"collections":24650,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},226630,"si-shi-shan-shui-03-pu-ru-226630","四时山水03",[23,24,25,59,65,164,7,103,64,34,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a54730262b673b5e2e522748b6b7275.jpg",[],{"id":24652,"slug":24653,"title":24654,"dynasty":177,"author":395,"museum":119,"description":24655,"tags":24656,"thumbUrl":24657,"material":127,"size":127,"collection":127,"collections":24658,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[23,24,25,164,59,28,7,62,61,238,34,5614,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":24660,"slug":24661,"title":24662,"dynasty":177,"author":2075,"museum":119,"description":24663,"tags":24664,"thumbUrl":24665,"material":127,"size":127,"collection":127,"collections":24666,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,24,25,26,5134,28,65,67,101,7,60,61,63,125,64,34,201,238,535,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":24668,"slug":24669,"title":24670,"dynasty":177,"author":2075,"museum":119,"description":24671,"tags":24672,"thumbUrl":24673,"material":127,"size":127,"collection":127,"collections":24674,"showCount":257,"zanCount":961,"manualWeight":48,"mainColor":49},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。",[23,24,25,149,28,7,65,318,979,165,413,734,61,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":24676,"slug":24677,"title":24678,"dynasty":177,"author":15821,"museum":119,"description":24679,"tags":24680,"thumbUrl":24681,"material":127,"size":127,"collection":127,"collections":24682,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,25,26,59,28,65,122,101,66,7,104,34,583,372,61,62,63,85,520,167,3796,278,60,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":24684,"slug":24685,"title":14795,"dynasty":1051,"author":178,"museum":20,"description":24686,"tags":24687,"thumbUrl":24688,"material":454,"size":24689,"collection":127,"collections":24690,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},223442,"gong-yuan-tu-juan-yi-ming-223442","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,24,25,26,304,28,29,104,7,103,63,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":24692,"slug":24693,"title":24694,"dynasty":80,"author":178,"museum":20,"description":24695,"tags":24696,"thumbUrl":24697,"material":87,"size":24698,"collection":71,"collections":24699,"showCount":257,"zanCount":961,"manualWeight":48,"mainColor":940},223399,"shang-shan-si-hao-tu-zhou-yi-ming-223399","商山四皓图轴","此图画汉初“商山四皓”故事中使臣迎请四皓一节。画面左下角有一队人马，为首者正与童子对话。山间小路崎岖，云雾缭绕，溪水潺潺。画幅偏右画有数人：二老者对弈，一老者拄杖观棋，二童子左右陪侍，上方一老者正拄杖下行，身后一童子捧果盘相随。山势高耸，乔松挺秀，烘托出一派幽静清逸之气，将四皓闲适的生活恰如其分地表现出来。\n本幅无作者名款，画面上方有挖补之痕，其真正的作者已难考究。旧题为南宋刘松年的作品，然其画法风格实近元代盛懋一派。本幅钤有残印一角，印文不辨。",[23,24,25,149,28,27,29,7,103,583,64,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3dddb7ee87e220228e39d7b36a9eee.jpg","纵155.3厘米，横77.2厘米",[71,45],{"id":24701,"slug":24702,"title":24703,"dynasty":177,"author":5031,"museum":20,"description":24704,"tags":24705,"thumbUrl":24706,"material":127,"size":24707,"collection":127,"collections":24708,"showCount":257,"zanCount":961,"manualWeight":48,"mainColor":75},223222,"geng-zhi-tu-ce-jiao-bing-zhen-223222","耕织图册","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,29,28,164,1586,103,495,6951,7,20401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c2295c618cbfb9ca0d09285cc0220c5.jpg","34.7cm×27.7cm",[],{"id":24710,"slug":24711,"title":24712,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":24713,"thumbUrl":24715,"material":87,"size":15463,"collection":127,"collections":24716,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},223050,"hong-lou-meng-175-sun-wen-223050","红楼梦175",[23,24,29,28,103,104,2559,559,6300,34,7,124,12167,24714],"红楼梦场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5ff13497a1a86049600d88216fe2ad.jpg",[],{"id":24718,"slug":24719,"title":24720,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":24721,"thumbUrl":24722,"material":87,"size":15463,"collection":127,"collections":24723,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},223041,"hong-lou-meng-166-sun-wen-223041","红楼梦166",[23,24,29,28,103,7,63,60,61,104,34,64,102,3695,4828,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116421e645027677c97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1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,24,25,164,59,7,264,65,66,101,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[71,927],{"id":24742,"slug":24743,"title":24744,"dynasty":54,"author":945,"museum":20,"description":24745,"tags":24746,"thumbUrl":24754,"material":24755,"size":24756,"collection":927,"collections":24757,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,17460,66,67,26,59,101,1643,1642,7,62,60,61,63,106,607,125,2127,19943,630,12676,653,8337,102,17660,9920,6969,24747,765,979,24748,24749,24750,24751,24752,24753],"雨","日","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[927],{"id":24759,"slug":24760,"title":24761,"dynasty":54,"author":2453,"museum":135,"description":24762,"tags":24763,"thumbUrl":24764,"material":169,"size":24765,"collection":71,"collections":24766,"showCount":257,"zanCount":961,"manualWeight":48,"mainColor":75},222182,"qing-bai-xuan-tu-zhou-liu-jue-222182","清白轩图轴","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。\n刘珏[jué]为官清正，浙江甫田县丞督赋侵吞渔税，被告以“黄金二百两”委托亲戚向他行贿，他正愁缺少证据，便以此为突破口，查明了赋税被侵吞的真相。无锡有个贪官因受贿事发，托人送来500两银子，求他去向办案人说情。刘珏严拒，并对来人说：“不亟去，当讯之于官！”\n刘廷美为刑部主事居京师，与徐武功、刘原博诸公为诗友，每相过，必谈论达旦。尝岁除，原博邀之守岁，廷美因挟所藏钟馗画像求题，原博遂援笔大书一诗于上。明旦持归，县之中堂。京师每正旦，主人皆出贺，惟置白纸簿并笔研于几，贺客至，书其名，无迎送也。是日朝罢，刘定之、黄廷臣两学士首至，见此诗，各摘簿一叶录之去。朝士继至者，皆摘录之。顷间，簿已尽矣。廷美晚回，索簿阅贺客以图往报，家人告其故。明日，复置一簿，亦如之。中书舍人金本清戏谓廷美曰：“此钟馗乃耗纸鬼也。”一时京师传为奇事。原博诗曰：“长空糊云夜风起，不忿成群跳狂鬼。倒提三尺黄河水，血洒莲花舞秋水。飞萤负火明月羞，栎窠影黑啼鸺枭。绿袍乌帽逞行事，磔脑刳肠天亦愁。中有巨妖诛未得，盍驾飙轮驱霹雳。如何袖手便忘机，回首东方又生白。”\n刘完庵薄于仕宦，年五十遂解组，时有宪臣索题《牧牛图》，为赋诗曰：“牧子驱牛去若飞，免教风雨湿蓑衣。回头笑指桃林外，多少牧牛人未归。”宪臣亦感泣挂冠去。\n成化初，琼台邢公宥为苏守，以梅华求题，廷美赋绝句云：“岁寒相见在天涯，玉色珠光带露华。笑杀玄都狂道士，种桃何不种梅华？”邢公得诗甚喜。后邢公以郡中久荒，陂荡起税，民心颇怨，有投诗刺之者曰：“量尽山田与水田，只留沧海与青天。渔舟若过间洲渚，为报沙鸥莫浪眠。”邢公闻之，以为廷美所作，衔之。或劝往白，廷美曰：“彼奈我何？”后廷美卒，邢公吊祭皆不往，人多非之。",[23,24,149,59,65,7,63,60,61,34,64,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931c328fef461048547689cfaea32c14.jpg","纵92.7厘米横35.4厘米",[71],{"id":24768,"slug":24769,"title":24770,"dynasty":54,"author":55,"museum":135,"description":955,"tags":24771,"thumbUrl":24773,"material":225,"size":24774,"collection":127,"collections":24775,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓",[23,24,25,59,28,67,1019,7,571,60,63,1031,24772,103,21126],"浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ebf57ec710cf7b3feb2eb738b90919.jpg","28x43.5厘米",[],{"id":24777,"slug":24778,"title":24779,"dynasty":80,"author":178,"museum":135,"description":24780,"tags":24781,"thumbUrl":24782,"material":169,"size":24783,"collection":71,"collections":24784,"showCount":257,"zanCount":961,"manualWeight":48,"mainColor":75},221700,"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[23,24,25,149,59,65,7,979,165,734,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[71,212],{"id":24786,"slug":24787,"title":24788,"dynasty":18,"author":194,"museum":135,"description":24789,"tags":24790,"thumbUrl":24791,"material":24792,"size":24793,"collection":127,"collections":24794,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[23,24,100,25,164,7,65,59,103,62,495,125,61,765,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":24796,"slug":24797,"title":24798,"dynasty":54,"author":1096,"museum":20,"description":6567,"tags":24799,"thumbUrl":24800,"material":1697,"size":2597,"collection":127,"collections":24801,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},220911,"shan-shui-ce-5-dong-qi-chang-220911","山水册5",[23,100,24,59,65,164,7,60,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a4d51b4537b87d26db812e65f4def5.jpg",[],{"id":24803,"slug":24804,"title":7,"dynasty":2272,"author":24805,"museum":5303,"description":24806,"tags":24807,"thumbUrl":6873,"material":127,"size":127,"collection":127,"collections":24808,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},220513,"shan-shui-pu-xin-she-220513","溥心畬","此作以高远、平远之法铺展秋山江居之景。远景峰峦含烟，青嶂间朱檐古阁半隐雾霭，恍若仙乡。中景汀渚蜿蜒，苍松挺秀，丹枫点染秋光，村居藏于林麓，野趣悠然。近境临水高轩敞亮，二人凭栏对晤，秋水潺湲，石矶错落，霜叶漫山晕开暖红。\n笔墨兼融北宗苍劲与南宗秀润，浅赭花青晕染出明净秋意，题诗与画境相融，尽显清寂萧散的隐逸诗意，晕染出文人幽淡出尘的襟怀。",[24,25,28,65,7,104,34,167,720,35,64],[],{"id":24810,"slug":24811,"title":24812,"dynasty":54,"author":945,"museum":1542,"description":24813,"tags":24814,"thumbUrl":24815,"material":169,"size":24816,"collection":71,"collections":24817,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,25,26,59,67,66,101,65,7,34,61,62,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[71],{"id":24819,"slug":24820,"title":24821,"dynasty":54,"author":21329,"museum":556,"description":24822,"tags":24823,"thumbUrl":24825,"material":169,"size":24826,"collection":71,"collections":24827,"showCount":257,"zanCount":961,"manualWeight":48,"mainColor":49},220026,"ce-zhang-kan-shan-tu-wei-zhi-ke-220026","策杖看山图","此作用淡墨晕染山峦，以虚实相生之法铺展烟岚幽谷，栈道隐没在空濛雾气间，恍若通连世外秘境。近景枯木虬曲苍劲，皴笔勾勒出嶙峋老干，尽显岁月沉凝。幽篁小径蜿蜒，策杖老者缓步山隅，简淡衣纹间漾出林下悠然。\n画作以清瘦秀逸的线条、浅淡设色营造萧散简远的意境，将文人寄情林泉的隐逸襟怀融在山野景致中，观之如随画中人静听松风山岚，暂忘尘嚣，尽显文人画尚意抒情的特质。",[23,24,59,149,7,65,125,60,64,1738,24824],"策杖人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe08037b225d61dec338ea640adbb3e0.jpg","132x32厘米",[71],{"id":24829,"slug":24830,"title":24831,"dynasty":54,"author":14675,"museum":396,"description":24832,"tags":24833,"thumbUrl":24834,"material":139,"size":24835,"collection":71,"collections":24836,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},219735,"shi-hu-mu-se-tu-sheng-mao-ye-219735","石湖暮色图","此作用淡墨晕染铺展暮色氛围感，远山轻笼烟岚，山巅浮屠隐现濛濛霭气间，将黄昏的朦胧柔焦晕染尽致。近岸林木错落，屋舍藏于深翠之中，湖畔浅滩温润柔和，空茫湖面漾着晚色静波。\n\n笔墨松秀简淡，以干湿层次区分远近虚实，把江南水畔黄昏的清寂淡远尽数铺陈。整体意境萧疏沉静，将暮色四合时的松弛空茫藏在水墨晕染里，尽显晚山归暮的温柔意韵，让观者仿若置身于这沉静的暮色湖山之间，沉醉在江南水泽的黄昏意趣中。",[23,24,28,7,65,149,318,520,34,166,37,15663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7485dfc0e033834ef6aef1379c333e4e.jpg","纵113.5横48厘米",[71],{"id":24838,"slug":24839,"title":24840,"dynasty":811,"author":1137,"museum":135,"description":24841,"tags":24842,"thumbUrl":24843,"material":87,"size":24844,"collection":44,"collections":24845,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":75},219643,"zhang-li-qiu-shuang-tu-ju-ran-219643","杖藜秋爽图","以淡墨晕染出空蒙远山，烟岚轻笼，将秋意的清寂铺陈开来。近岸老木虬枝枯槎，劲挺中带着萧疏况味，苔点依稀，暗合秋深之态。秋水如镜，不着波澜，将天地的静穆悉数收纳。\n\n独行杖藜之人，彳亍坡岸，似在骋目遥天，与冷寂秋光相融。全幅以水墨写意，笔意松秀苍润，淡墨轻岚间，把秋爽疏阔的林下幽致尽显，带着悠悠山野闲情，观之如身临清秋郊野，沁得满身秋凉清逸。",[100,24,25,164,59,7,103,372,16917,167,1695,3865,20474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0fbd8054be9c23123eb7c6689396b7.jpg","23.3x22.7厘米",[44],{"id":24847,"slug":24848,"title":24849,"dynasty":177,"author":19730,"museum":20,"description":24850,"tags":24851,"thumbUrl":24852,"material":139,"size":24853,"collection":44,"collections":24854,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},219636,"gao-feng-han-zi-hua-xiang-gao-feng-han-219636","高凤翰自画像","此画中的主人翁为作者自己。高凤翰身着白色宽服长袍，头戴斗笠，长髯垂胸，双手相合，双目凝视，侧身依石坐于断壁悬崖的石台上。其背景截取山河的一角。山石险峻陡峭，造型奇特。悬崖和山腰松柏怪生，有的矗立山腰平坡处，有的倒悬在悬崖壁，有的横卧在悬崖上，崖下为宽阔的江河、波涛澎湃。在画面左下侧江面上，陡峭巨石冲出水面，似一根巨大的石柱，巨石顶端屹立数株松柏，与对岸悬崖上的卧松遥相呼应，点缀着美好的湖光山色。在这幽雅谧静的环境中，作者正在俯视水面，突然长空中有孤鹤飞翔而来。",[23,24,28,103,7,264,583,65,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facddc378a306e418671feb475b1a42ed.jpg","纵106厘米，横53.4厘米",[44],{"id":24856,"slug":24857,"title":24858,"dynasty":18,"author":178,"museum":56,"description":24859,"tags":24860,"thumbUrl":24861,"material":169,"size":127,"collection":44,"collections":24862,"showCount":257,"zanCount":48,"manualWeight":48,"mainColor":49},219516,"song-xia-qi-ji-tu-yi-ming-219516","松下憩寂图","淡墨晕染开幽寂林泉，松枝斜斜探入空濛烟霭，似将山岚轻轻挑起。袒腹老僧倚石而卧，袈裟半敞，眉眼松弛自在，将浮生俗虑尽数抛却。\n\n身旁药葫芦悬于松根，石上摊开素纸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。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。\n此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[24,100,149,59,65,103,7,125,64,20401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa15f5abc30d1fdeadcb813b27c6ca6.jpg",[71],{"id":25098,"slug":25099,"title":25100,"dynasty":177,"author":5885,"museum":119,"description":22420,"tags":25101,"thumbUrl":25102,"material":127,"size":127,"collection":71,"collections":25103,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":379},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷",[24,26,59,7,65,62,101,34,64,37,31,104,3764,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[71,212],{"id":25105,"slug":25106,"title":25107,"dynasty":177,"author":25108,"museum":119,"description":25109,"tags":25110,"thumbUrl":25111,"material":127,"size":127,"collection":71,"collections":25112,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,25,164,28,304,7,104,34,62,36,101,67,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[71,45],{"id":25114,"slug":25115,"title":25116,"dynasty":54,"author":5538,"museum":119,"description":25117,"tags":25118,"thumbUrl":25119,"material":349,"size":127,"collection":927,"collections":25120,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[24,25,149,59,7,65,66,101,67,165,64,62,61,167,21187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[927],{"id":25122,"slug":25123,"title":159,"dynasty":177,"author":6003,"museum":20,"description":6004,"tags":25124,"thumbUrl":25125,"material":375,"size":127,"collection":127,"collections":25126,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},237199,"shan-shui-ce-sun-yi-237199",[24,100,25,164,28,27,65,7,61,34,64,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534e78f6ec35caef7a3efdced7daa730.jpg",[],{"id":25128,"slug":25129,"title":25130,"dynasty":177,"author":24941,"museum":20,"description":25131,"tags":25132,"thumbUrl":25133,"material":375,"size":25134,"collection":71,"collections":25135,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},236126,"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[24,25,149,59,65,7,413,3965,165,64,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 横51厘米",[71,212],{"id":25137,"slug":25138,"title":25139,"dynasty":54,"author":19325,"museum":119,"description":25140,"tags":25141,"thumbUrl":25142,"material":127,"size":127,"collection":127,"collections":25143,"showCount":24954,"zanCount":961,"manualWeight":48,"mainColor":49},235853,"dian-nan-jin-sha-jiang-jing-zhou-huang-xiang-jian-235853","滇南金沙江景轴","此作用高远、深远构图铺展峡谷盛景，以披麻皴晕染山石肌理，苍厚朴拙的笔力勾勒出两岸层叠峰峦。崖间古松错落虬劲，金沙江蜿蜒穿谷，江面上轻舟随波缓行，山脚佛塔古寺隐于林麓，野意盎然。\n\n淡墨晕开江雾空濛，将滇南山河的荒寒奇秀尽藏毫端，搭配题诗将纪游的真切感触融于山水间，既绘就西南山川的雄阔幽寂，也以笔墨寄放行旅途中对山河的体察，是纪游山水中兼具纪实性与抒情性的佳构。",[24,149,59,65,7,61,62,63,264,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff430ba9b406814fba1294612a5fa22cd.jpg",[],{"id":25145,"slug":25146,"title":25147,"dynasty":54,"author":178,"museum":119,"description":25148,"tags":25149,"thumbUrl":25150,"material":127,"size":127,"collection":127,"collections":25151,"showCount":24954,"zanCount":961,"manualWeight":48,"mainColor":75},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,25,149,100,28,65,7,30,61,34,583,64,104,533,1120,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],{"id":25153,"slug":25154,"title":159,"dynasty":54,"author":15209,"museum":119,"description":25155,"tags":25156,"thumbUrl":25157,"material":127,"size":127,"collection":71,"collections":25158,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},235147,"shan-shui-ce-li-liu-fang-235147","此作用笔枯淡萧疏，绘就秋林幽境。虬曲古木枝干遒劲，细条错落延展，自带霜后清刚之态。石畔竹丛清润挺秀，与枯木相生，冷暖意趣交织。山石以淡墨勾勒皴擦，留白衬出山涧空寂，寥寥数笔便将深秋的疏冷氛围晕染开来。\n笔意简淡却意韵悠长，把文人寄情丘壑、静守枯淡的林下襟怀藏于尺幅间，古雅清旷，耐人寻味。",[24,25,164,59,65,7,125,264,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2987a8c2e2ecebb95cc45b5b456c27.jpg",[71,212],{"id":25160,"slug":25161,"title":5022,"dynasty":177,"author":395,"museum":20,"description":5750,"tags":25162,"thumbUrl":25163,"material":9188,"size":2777,"collection":127,"collections":25164,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},234998,"yuan-ji-shan-shui-tu-ce-shi-tao-234998",[100,24,25,164,59,28,7,61,64,34,199,103,35,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d770c7c8d6328bae3a2edfaafc2d.jpg",[],{"id":25166,"slug":25167,"title":25168,"dynasty":54,"author":25169,"museum":119,"description":25170,"tags":25171,"thumbUrl":25172,"material":337,"size":937,"collection":127,"collections":25173,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},234835,"fang-gu-kai-zhi-qing-shan-bai-yun-shan-gu-ning-yuan-234835","仿顾恺之青山白云扇","顾凝远","顾凝远（1580? —1645后），号青霞。吴郡（今江苏苏州）人。为人好学，于古今坟典艺志无所不窥，喜蓄商周秦汉文物。画山水师董、巨、又出入荆、关，兼精画理。",[24,25,2484,27,28,122,7,62,103,1617,165,264,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11fd43f6398ebbe444dac28d65fc0fd.jpg",[],{"id":25175,"slug":25176,"title":25177,"dynasty":177,"author":178,"museum":119,"description":17259,"tags":25178,"thumbUrl":25181,"material":337,"size":937,"collection":127,"collections":25182,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},234447,"e-mi-tuo-fo-ji-le-shi-jie-tang-ka-yi-ming-234447","阿弥陀佛极乐世界唐卡",[12197,1042,29,28,12166,103,104,4459,25179,8532,7,278,14486,12382,1631,11135,25180],"莲花","莲花池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1547b88b586a795e0d8869e0cdf7e3a.jpg",[],{"id":25184,"slug":25185,"title":25186,"dynasty":177,"author":21032,"museum":119,"description":25187,"tags":25188,"thumbUrl":25189,"material":40,"size":127,"collection":44,"collections":25190,"showCount":24954,"zanCount":961,"manualWeight":48,"mainColor":49},234319,"jiu-ru-zhi-ji-ce-wang-gai-234319","九如治迹册","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。\n王概（生卒年未详），最初名“匄”（发音：gai），可以写为“改”，也可以写为“丐”，字东郭，又字安节，浙江秀水（今嘉兴）人。一直以来居住于江宁（今江苏南京）。王概从龚贤(1618—1689)学山水画，用墨浓重，善作大幅及松石等。\n王概曾应李渔之婿沈因伯之请，与其兄王耆，其弟王臬在沈因伯保存的明末画家李流芳原有四十三幅画稿的基础上，补绘完成《芥子园画传》，后经李渔的帮助，刻印出版。\n王概兄弟皆笃行嗜古，旁及诗、画，擅名于时。一生专心艺事，不入仕途，以卖画为生。山水学龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”与当时名流汤燕生、李渔、程邃、孔尚任、周亮工等交往。",[24,164,28,29,304,7,103,104,60,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06918a767082105822cbcaec82eed402.jpg",[44],{"id":25192,"slug":25193,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":25194,"thumbUrl":25195,"material":349,"size":2207,"collection":127,"collections":25196,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},234086,"wu-zhong-shan-shui-ce-shen-zhou-234086",[25,24,59,164,67,7,165,12027,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48adc97417d1815506faccdbda051647.jpg",[],{"id":25198,"slug":25199,"title":25200,"dynasty":1051,"author":1052,"museum":20,"description":25201,"tags":25202,"thumbUrl":25203,"material":40,"size":25204,"collection":127,"collections":25205,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},233807,"jing-ji-rui-xue-tu-wan-shan-li-si-xun-233807","京畿瑞雪图纨扇","扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且目前尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[2484,24,25,100,27,304,28,7,104,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ee61859bd068c3c6b8fd3ba0b72f1f.jpg","纵42.7厘米，横45.2厘米",[],{"id":25207,"slug":25208,"title":25209,"dynasty":177,"author":2017,"museum":20,"description":25210,"tags":25211,"thumbUrl":25214,"material":16249,"size":25215,"collection":127,"collections":25216,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},233790,"gao-yan-jian-pu-tu-zhou-yun-shou-ping-233790","高岩溅瀑图轴","本幅近景所绘树木不多，但富于形态变化，古木虬枝，青藤临风垂挂，二者穿插盘绕中显现出条理性。中景泉水潺潺，芦苇简约，将远、中景自然隔开，从而增强了全幅的纵深感及空间感。远山以淡墨干笔作长披麻皴，笔触开阔疏朗，显示出清逸深幽的韵致。此图不刻意求工、求似，唯求自然天趣，显示出恽寿平一向所追求的平淡超逸的审美意趣，为恽寿平精品之一。",[24,25,149,59,65,7,25212,25213,607,125,64,61,34,1738,239,199],"高岩","溅瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96806cdc12bdc9e67c5c0a37ca3b8e61.jpg","纵104.9厘米，横43厘米",[],{"id":25218,"slug":25219,"title":22228,"dynasty":177,"author":178,"museum":20,"description":22229,"tags":25220,"thumbUrl":25221,"material":349,"size":22239,"collection":127,"collections":25222,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},233051,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233051",[24,25,100,29,28,65,103,7,64,34,6756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fddf725ebf57af05b7ed69deb289f01.jpg",[],{"id":25224,"slug":25225,"title":25226,"dynasty":54,"author":1652,"museum":20,"description":25227,"tags":25228,"thumbUrl":25229,"material":349,"size":25230,"collection":127,"collections":25231,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},232956,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232956","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,25,164,59,67,101,65,7,61,34,64,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ed62dc5cfe09f6bce91b30b580bae4.jpg","28.5×15.8厘米",[],{"id":25233,"slug":25234,"title":25235,"dynasty":8332,"author":178,"museum":119,"description":25236,"tags":25237,"thumbUrl":25239,"material":337,"size":937,"collection":127,"collections":25240,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},231612,"fu-hua-xu-kong-cang-pu-sa-mo-he-sa-yi-ming-231612","佛画 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老树枯干，几只黑乌鸦没能栖息； 野鸭在浅滩上成群结队，踱步，或觅食； 接吻雁扇动着翅膀飞了起来，以“一”字形飞向天涯。 这幅画以水墨构想了一个冰冷、寂静、空旷的场景。",[23,24,149,59,28,372,25308,15504,766,166,7,5932,106],"鸿雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","125.9＊92.6cm",[308,212],{"id":25313,"slug":25314,"title":25315,"dynasty":177,"author":3973,"museum":135,"description":15830,"tags":25316,"thumbUrl":25317,"material":28,"size":25318,"collection":71,"collections":25319,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴",[23,24,25,149,59,65,7,318,734,979,63,34,201,66,101,241,1616,37,8249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[71,212],{"id":25321,"slug":25322,"title":4968,"dynasty":54,"author":368,"museum":135,"description":17937,"tags":25323,"thumbUrl":25324,"material":87,"size":127,"collection":71,"collections":25325,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},222592,"hua-xue-jing-zhou-lan-ying-222592",[23,24,149,28,7,65,878,60,61,62,63,372,64,35,103,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[71,212],{"id":25327,"slug":25328,"title":25329,"dynasty":54,"author":368,"museum":135,"description":25330,"tags":25331,"thumbUrl":25334,"material":87,"size":17931,"collection":71,"collections":25335,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},222591,"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,28,65,149,7,765,34,201,199,239,1674,103,372,583,64,878,5644,766,25332,25333],"雪景山水","工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg",[71,45],{"id":25337,"slug":25338,"title":25339,"dynasty":54,"author":15209,"museum":119,"description":25340,"tags":25341,"thumbUrl":25342,"material":59,"size":25343,"collection":71,"collections":25344,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":379},222140,"yu-zhong-shan-se-tu-li-liu-fang-222140","雨中山色图","李流芳的《雨中山色图》手卷，可见画面全貌近似宋人笔意与董华亭画法而稍露方折，整体图画层次明晰又显出笔墨清润，构图完满又富有变化。顺形追踪，开卷就顿见留有“米家云山”之痕迹，持续读去又感山石含有董源披麻皴遗法，全图结尾处似乎蕴有沈周秀润散淹墨法。若拈笔墨技法论，画家大胆以泼墨、积墨、渗墨、破墨为主，间以少许勾勒皴染。名士奚冈曾跋李流芳山水册时赞云：“流芳以笔墨诗酒自娱，……擅长山水，尤好吴仲圭，布白奇古，笔笔有意，墨痕浑化，神味盎然，亦善写生，出入宋元，逸气飞动，水墨浅深，韵味深永。”此手卷从一定层面反映出李流芳的笔墨修炼已达纯青火候，心胸境界已臻上乘。\n李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[23,24,26,59,65,7,318,165,35,37,85,320,4203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[71,212],{"id":25346,"slug":25347,"title":25348,"dynasty":18,"author":1085,"museum":135,"description":25349,"tags":25350,"thumbUrl":25351,"material":139,"size":25352,"collection":127,"collections":25353,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},221673,"a-ge-tu-zhou-zhao-bo-ju-221673","阿阁图轴","这幅画佛盤膝坐毡上说法，下方海神身披弓剑跪地合掌参拜。前置海神奉献的聚宝盆。几上瓶中有烟，将说法内容显现于后，作云中的宫阙。但因绢色陈旧，不容易看清楚。全幅人物勾画圆劲，著色明净沉静，神采不减于新画。",[23,24,100,27,304,28,29,104,7,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a4900b271346803958202ba89e9f1.jpg","73.3x55.6",[],{"id":25355,"slug":25356,"title":25357,"dynasty":177,"author":2017,"museum":704,"description":25358,"tags":25359,"thumbUrl":25360,"material":25361,"size":25362,"collection":71,"collections":25363,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[23,24,25,149,28,65,304,7,104,34,372,64,61,167,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[71,45],{"id":25365,"slug":25366,"title":25367,"dynasty":177,"author":3760,"museum":119,"description":4881,"tags":25368,"thumbUrl":25369,"material":69,"size":4885,"collection":127,"collections":25370,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4",[23,24,25,17381,28,59,65,7,60,61,62,34,64,150,31,3763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39feb4bfd7c05be91065cc43167d1a.jpg",[],{"id":25372,"slug":25373,"title":25374,"dynasty":177,"author":3760,"museum":119,"description":4881,"tags":25375,"thumbUrl":25376,"material":69,"size":4885,"collection":127,"collections":25377,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},220130,"mo-gu-shan-shui-hua-5-wang-hui-220130","摹古山水画5",[23,24,17381,28,7,65,60,61,335,372,125,64,103,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007cf6e6237657652062701099155b76.jpg",[],{"id":25379,"slug":25380,"title":25381,"dynasty":54,"author":24139,"museum":6577,"description":25382,"tags":25383,"thumbUrl":25384,"material":139,"size":25385,"collection":71,"collections":25386,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},219939,"han-lin-tiao-shu-tu-zhang-lu-219939","寒林挑书图","张路（1464-1538），字天驰，号平山，仅以字行于世，祥符（今河南开封）人。擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名。",[23,24,59,28,65,223,103,372,766,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421caf7257300c2841033656677c2b35.jpg","132.4x71.4",[71],{"id":25388,"slug":25389,"title":25390,"dynasty":177,"author":3760,"museum":650,"description":25391,"tags":25392,"thumbUrl":25395,"material":169,"size":25396,"collection":71,"collections":25397,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},219913,"su-yu-xiao-yan-tu-wang-hui-219913","宿雨晓烟图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[24,25,59,7,65,165,37,64,4998,25393,25394,20246,238,1616,204],"传统山水画技法","水墨写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62056f5499481d2ef5d82d187387f38.jpg","48.8x33.5cm",[71],{"id":25399,"slug":25400,"title":25401,"dynasty":177,"author":1872,"museum":56,"description":3500,"tags":25402,"thumbUrl":25403,"material":349,"size":3503,"collection":127,"collections":25404,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},219854,"ba-jing-shan-shui-tu-3-gong-xian-219854","八景山水图-3",[24,59,7,372,1674,1329,37,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19de21601c89225b55803f981dddc27.jpg",[],{"id":25406,"slug":25407,"title":25408,"dynasty":177,"author":1872,"museum":56,"description":3500,"tags":25409,"thumbUrl":25410,"material":349,"size":3503,"collection":127,"collections":25411,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},219853,"ba-jing-shan-shui-tu-4-gong-xian-219853","八景山水图-4",[24,59,65,164,7,34,347,62,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd597d6542b9862b226d5d90a4607334.jpg",[],{"id":25413,"slug":25414,"title":25415,"dynasty":80,"author":13080,"museum":135,"description":25416,"tags":25417,"thumbUrl":25418,"material":139,"size":127,"collection":127,"collections":25419,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},218829,"jiang-cun-huan-du-tu-zhu-de-run-218829","江村唤渡图","纨扇间铺展的江村小景，似是元人袖中藏起的一段清寂时光。枯树以苍劲笔线勾勒，枝桠如蟹爪般遒劲，与岸边柔婉的垂柳相映成趣，刚柔之间晕开季节的况味。远山以淡墨轻染，隐于云雾之后，与近岸的村落、渡头形成虚实层次，水面留白似泛着轻烟，将天地空濛感拉得悠长。渡头人影虽小，却似携着一声唤渡轻响，打破山林静谧又让静意更显深沉。墨色浓淡相宜，绢本古雅质感衬得景致愈发悠远，笔意间藏着林泉之志的向往，将寻常渡头的片刻，凝成耐人寻味的水墨诗行。",[23,24,25,164,59,65,7,372,125,61,85,6476,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754738568dfb446c4439248b95ec0a4d.jpg",[],{"id":25421,"slug":25422,"title":25423,"dynasty":18,"author":178,"museum":135,"description":25424,"tags":25425,"thumbUrl":25426,"material":139,"size":25427,"collection":71,"collections":25428,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,100,24,28,7,2484,65,1478,653,4192,165,318,319,508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[71],{"id":25430,"slug":25431,"title":25432,"dynasty":80,"author":1715,"museum":135,"description":25433,"tags":25434,"thumbUrl":25435,"material":139,"size":127,"collection":71,"collections":25436,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},218781,"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[23,24,2484,28,65,7,583,61,106,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[71],{"id":25438,"slug":25439,"title":25440,"dynasty":54,"author":9615,"museum":135,"description":25441,"tags":25442,"thumbUrl":25444,"material":596,"size":25445,"collection":71,"collections":25446,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},218141,"gu-yu-fei-tao-tu-sun-ke-hong-218141","孤屿飞涛图","孤屿飞涛图是明朝画家孙克弘的一幅著名的写意山水画作品。这幅画描绘了一个孤岛上的悬崖峭壁和奔腾的海浪。画中的孤岛位于茫茫大海之中，周围没有其他的岛屿或陆地。这使得孤岛显得格外的孤独，令人想象。\n\n孤屿飞涛图画风精细，笔画流畅，色彩鲜明。画中的海浪十分壮观，充满了生命力和动感。孤岛上的山峰高耸，悬崖峭壁俯瞰着海面，使得整幅画充满了险峻的气氛。\n\n孙克弘是明朝时期的一位著名画家，他的作品中经常出现山水、花鸟、人物等题材。孙克弘善于运用自然的色彩和线条来描绘自然美景，使他的作品充满了生机和活力。孤屿飞涛图就是他的一幅杰作，充分展现了他的画风和技巧。\n\n总的来说，孤屿飞涛图是一幅优秀的写意山水画作品，值得一看。",[23,24,25,164,59,28,7,264,25443,319],"波涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f979371de8839632bf5dcdf028a48c6.jpg","22.7x26.6cm",[71],{"id":25448,"slug":25449,"title":25450,"dynasty":54,"author":178,"museum":3774,"description":25451,"tags":25452,"thumbUrl":25453,"material":139,"size":25454,"collection":71,"collections":25455,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},217918,"liu-an-xue-yu-tu-yi-ming-217918","柳岸雪渔图","柳岸雪渔图是明朝时期的一幅绘画作品，作者不详。这幅画描绘了一个冬天的景象，一位渔夫正在雪地里钓鱼。画面中的柳树上积了厚厚的一层雪，而渔夫则穿着厚厚的衣服，站在寒冷的柳岸边。他手里拿着鱼竿，似乎正在等待鱼儿上钩。\n\n这幅画被认为是明朝时期绘画艺术的代表作之一，因为它体现了当时绘画艺术的特点：细致、精细、写实。画面中的每一个细节都被精心描绘，比如渔夫的衣服、柳树的枝叶、雪地的花纹。\n同时，这幅画还体现了明朝时期艺术家对自然界的热爱。画中的冬天景象并不寒冷而残酷，相反，它给人以温馨、宁静的感觉。渔夫手边的鱼缸里放着一条活鱼，这也许意味着他已经成功地钓到了鱼，并且生活充满希望。\n\n总的来说，柳岸雪渔图是一幅描绘冬天景象的优秀绘画作品，它展现了明朝时期艺术家的精湛画技和对自然界的热爱。",[24,59,28,2484,7,571,508,765,373,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f30799baed7df89bbb654c278069a2.jpg","26.5x30.5cm",[71],{"id":25457,"slug":25458,"title":25459,"dynasty":177,"author":178,"museum":161,"description":25460,"tags":25461,"thumbUrl":25462,"material":596,"size":25463,"collection":71,"collections":25464,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},217868,"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[24,28,149,29,106,125,64,61,7727,7,1249,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[71],{"id":25466,"slug":25467,"title":25468,"dynasty":177,"author":9047,"museum":135,"description":25469,"tags":25470,"thumbUrl":25471,"material":69,"size":25472,"collection":44,"collections":25473,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},216976,"hao-liang-tu-jin-ting-biao-216976","濠梁图","庄子和惠施在濠梁上游泳时，看到一只白麋鹿的小鬼在平静地游泳，就讨论是否知道鱼的乐趣。",[24,28,29,65,103,7,61,165,64,533,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191f0402066ce0f5d7d6c21fe12d46c9.jpg","165.4x95.4",[44],{"id":25475,"slug":25476,"title":25477,"dynasty":54,"author":96,"museum":119,"description":16052,"tags":25478,"thumbUrl":25479,"material":139,"size":127,"collection":127,"collections":25480,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":49},216275,"er-shi-si-xiao-tu-16-chou-ying-216275","二十四孝图-16",[24,25,28,29,103,3986,3988,7,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F927b2853b94fe72995de2827e9add8b4.jpg",[],{"id":25482,"slug":25483,"title":25484,"dynasty":177,"author":1925,"museum":161,"description":25485,"tags":25486,"thumbUrl":25487,"material":1752,"size":127,"collection":127,"collections":25488,"showCount":24954,"zanCount":48,"manualWeight":48,"mainColor":75},214430,"shan-shui-tu-ce-1-zhu-da-214430","山水图册-1","清代画家朱耷的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了朱耷对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n朱耷是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，朱耷的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了朱耷对自然的热爱和对传统文化的尊重。",[23,24,25,164,59,65,7,34,106,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403d9e777b773eaf5209313cbf74a82.jpg",[],{"id":25490,"slug":25491,"title":25492,"dynasty":80,"author":160,"museum":135,"description":2547,"tags":25493,"thumbUrl":25494,"material":337,"size":937,"collection":127,"collections":25495,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},290838,"xiu-zhu-yuan-shan-zhou-wang-meng-290838","修竹远山轴",[24,100,149,59,7,630,63,61,60,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba21185b71455e692695f9c1528909e.jpg",[],{"id":25497,"slug":25498,"title":25499,"dynasty":80,"author":616,"museum":119,"description":6065,"tags":25500,"thumbUrl":25501,"material":337,"size":937,"collection":127,"collections":25502,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},290833,"ping-lin-yuan-xiu-zhou-ni-zan-290833","平林远岫轴",[24,149,59,7,238,34,31,63,66,101,65,8614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04dfa51199c3ad35772c52d3f5762112.jpg",[],{"id":25504,"slug":25505,"title":15158,"dynasty":18,"author":178,"museum":135,"description":25506,"tags":25507,"thumbUrl":25508,"material":139,"size":25509,"collection":42,"collections":25510,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},290760,"yu-fu-tu-zhou-yi-ming-290760","开阔无涯的江面，烟雾弥漫，寒气逼人。芦苇环绕汀渚，野雁几只点缀其间，另则凌空与游于江上者相呼应，为冷寂的江面凭添生意。",[100,24,149,59,28,7,103,106,61,890,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98865113a54a85a68a35f61ab7db94e.jpg","105.4x53.5",[42],{"id":25512,"slug":25513,"title":25514,"dynasty":177,"author":2017,"museum":119,"description":4358,"tags":25515,"thumbUrl":25516,"material":337,"size":937,"collection":127,"collections":25517,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},290517,"wan-heng-xiang-xue-tu-zhou-yun-shou-ping-290517","万横香雪图轴",[100,24,149,59,28,7,2127,63,61,413,878,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad4a6e995ee7f9c06ba18b7fe95f55c.jpg",[],{"id":25519,"slug":25520,"title":25521,"dynasty":80,"author":160,"museum":119,"description":2547,"tags":25522,"thumbUrl":25523,"material":337,"size":937,"collection":127,"collections":25524,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},290442,"qiu-shan-du-shu-tu-ke-luo-ban-wang-meng-290442","秋山读书图（珂罗版）",[23,24,100,59,149,7,199,34,2216,60,61,5387,5464,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5464f995e7c474f65e7423200238cf.jpg",[],{"id":25526,"slug":25527,"title":25528,"dynasty":18,"author":604,"museum":119,"description":25529,"tags":25530,"thumbUrl":25531,"material":337,"size":937,"collection":127,"collections":25532,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},290325,"song-jian-yin-yue-zhou-ma-yuan-290325","松间吟月轴","该幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢於画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[100,24,149,59,28,7,583,125,103,60,61,1643,6501,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5499ddfdf61e30afc97a7fce10525.jpg",[],{"id":25534,"slug":25535,"title":20448,"dynasty":80,"author":160,"museum":119,"descrip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山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 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(1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,25,149,28,7,65,60,61,34,64,103,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[71,45],{"id":25650,"slug":25651,"title":25652,"dynasty":177,"author":4747,"museum":119,"description":21017,"tags":25653,"thumbUrl":25654,"material":337,"size":937,"collection":127,"collections":25655,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":75},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴",[24,25,149,28,7,122,62,125,35,34,1886,64,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":25657,"slug":25658,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":25659,"thumbUrl":25660,"material":127,"size":127,"collection":127,"collections":25661,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[24,25,100,59,1099,7,65,164,238,34,61,60,35,37,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":25663,"slug":25664,"title":25665,"dynasty":177,"author":3760,"museum":704,"description":25666,"tags":25667,"thumbUrl":25668,"material":2147,"size":25669,"collection":71,"collections":25670,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,59,65,122,149,101,7,5099,64,34,60,61,62,63,37,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[71],{"id":25672,"slug":25673,"title":25674,"dynasty":177,"author":21032,"museum":20,"description":19148,"tags":25675,"thumbUrl":25676,"material":375,"size":19151,"collection":71,"collections":25677,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":379},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴",[24,25,149,59,28,7,583,372,63,61,64,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg",[71],{"id":25679,"slug":25680,"title":25681,"dynasty":54,"author":14148,"museum":20,"description":25682,"tags":25683,"thumbUrl":25684,"material":127,"size":127,"collection":71,"collections":25685,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","观梅图轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[24,25,149,59,29,65,7,2127,103,125,607,64,34,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[71,212],{"id":25687,"slug":25688,"title":4032,"dynasty":177,"author":395,"museum":119,"description":25689,"tags":25690,"thumbUrl":25691,"material":127,"size":127,"collection":127,"collections":25692,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":75},235893,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235893","以灵动皴擦勾勒山石奇崛肌理，干湿墨色晕染出山林的湿润清寂。山居隐于繁木之间，溪谷蜿蜒穿林而过，野意盎然。诗题与画境浑然相融，笔意纵恣却暗含秀逸，将丘壑灵秀内化于纸面，苍郁朴拙中见平淡天真。画者以眼观山、以心绘境，将林泉雅意寄于尺幅，幽居之景衬出林烟空濛，尽显寄情山水的文人意趣，师法自然又自出机杼，藏着对林烟丘壑的眷恋。",[24,59,7,65,264,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fcbef86eeaaaf2bf9948b9025ca3666.jpg",[],{"id":25694,"slug":25695,"title":25696,"dynasty":177,"author":3760,"museum":119,"description":25697,"tags":25698,"thumbUrl":25699,"material":127,"size":127,"collection":127,"collections":25700,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[24,25,149,59,7,65,63,630,165,60,101,826,64,201,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":25702,"slug":25703,"title":25704,"dynasty":177,"author":5031,"museum":119,"description":25705,"tags":25706,"thumbUrl":25707,"material":337,"size":937,"collection":127,"collections":25708,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[2484,24,25,28,29,7,103,34,35,264,533,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],{"id":25710,"slug":25711,"title":25712,"dynasty":54,"author":25713,"museum":119,"description":25714,"tags":25715,"thumbUrl":25716,"material":127,"size":127,"collection":127,"collections":25717,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},235481,"fang-guo-xi-shan-shui-zhou-yuan-shang-tong-235481","仿郭熙山水轴","袁尚统","整幅画作以雪景铺陈萧索冬意，巨峰以淡墨晕衬留白，尽显积雪覆山的清寒巍峨。枯木虬枝劲挺错落，深谷间栈道蜿蜒回转，行旅车马次第缓行，将隆冬深山的冷寂，和人间行路的烟火暖意相融。\n\n笔墨追摹北宗山水意趣，简劲皴法勾勒山石肌理，细笔描摹林木栈道，既复刻出萧寒雄奇的山水之态，又自带着苍朴的笔底情致，把冬日深山的荒寒古雅，行路迢迢的沉郁氛围尽显纸上，于冷寂雪景中晕开古雅悠远的山水意境。",[24,149,59,65,122,7,1262,34,199,826,103,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeabec41ab82bfb0de0af94b8bf5c215.jpg",[],{"id":25719,"slug":25720,"title":25721,"dynasty":54,"author":178,"museum":56,"description":25722,"tags":25723,"thumbUrl":25724,"material":127,"size":127,"collection":127,"collections":25725,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},234930,"xie-shi-chen-xia-shan-fei-pu-tu-zhou-yi-ming-234930","谢时臣夏山飞瀑图轴","谢时臣（1487-1567），明代画家。字思忠，号樗仙。吴（今江苏苏州）人。工书法，长于隶书。擅山水，师法吴镇、沈周，稍作变化，作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作山峦重叠，高耸险峻，笔墨或细密苍劲，或劲健沉郁，或纵横纷披，富有变化。有《杜陵诗意图》、《溪山揽胜图》、《策杖寻幽图》、《武当霁雪图》、《谪仙玩月图》等传世。\n谢时臣(公元1488-1567年尚在)，字思忠，号樗仙，吴人，专长画山水，画史称他师法梅道人，学沈石田稍变其意。多作屏障大幅，构图雄伟严密，气势纵横，从作品看，画风近于戴进与吴派的沈周之间。传世作品有《虎阜春晴图》(辽宁省博物馆藏)、《江山胜览图》卷、《夏山飞瀑图》(上海博物馆藏)、《杜陵诗意图册》(现藏故宫博物院)、《武当霁雪图》大轴(现藏山东省博物馆)等。上海博物馆藏有谢氏水墨花卉册，作于嘉靖廿三年(1544)，颇有风致，惟传世不多。",[24,59,65,149,7,199,64,34,37,103,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5022b1e88d93f3e65c907903f6e5ddfc.jpg",[],{"id":25727,"slug":25728,"title":2203,"dynasty":54,"author":55,"museum":20,"description":2204,"tags":25729,"thumbUrl":25730,"material":349,"size":2207,"collection":127,"collections":25731,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},234092,"wu-zhong-shan-shui-ce-shen-zhou-234092",[24,25,164,59,7,62,890,166,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd1d74f643d26df0c5226efe37fd95.jpg",[],{"id":25733,"slug":25734,"title":25735,"dynasty":177,"author":395,"museum":20,"description":25736,"tags":25737,"thumbUrl":25738,"material":25739,"size":25740,"collection":127,"collections":25741,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},234053,"yuan-ji-shan-shui-shan-shi-tao-234053","原济山水扇","石涛（1642年－1708年），清初画家。本姓朱，名若极，小字阿长，削发为僧后，更名元济、超济、原济，自称苦瓜和尚。游南京时，得长竿一枝，因号枝下叟，别署阿长，钝根，山乘客、济山僧、石道人、一枝阁。他的别号很多，还有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人、晚号瞎尊者、零丁老人等。与弘仁、髡残、朱耷合称“清初四僧”。\n其擅花果兰竹，兼工人物，尤善山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨恣肆，意境苍莽新奇，一反当时仿古之风。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品、折扇扇面；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。",[24,2484,59,65,7,64,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219facf2cfab380a36a40003b932061.jpg","金笺 ，设色","纵17.6cm，横50.7cm",[],{"id":25743,"slug":25744,"title":25745,"dynasty":54,"author":25746,"museum":20,"description":25747,"tags":25748,"thumbUrl":25749,"material":4566,"size":25750,"collection":127,"collections":25751,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},233743,"xue-ye-fang-pu-tu-zhou-liu-jun-233743","雪夜访普图轴","刘俊","此图描写宋太祖赵匡胤雪夜访赵普的历史故事。据《宋史·赵普本传》记载：“太祖数微行过功臣家，普每退朝，不敢便衣冠。一日，大雪问夜，普意帝不出。久之，闻叩门声，普亟出，帝立风雪中，普惶惧迎拜，帝曰：‘已约晋王矣。'已而太宗至，设重裀地坐堂中，炽炭烧肉，普妻行酒，帝以嫂呼之。因与普计下太原。”画面描绘的正是这一历史情景。在门庭宽敞、屋宇数重的枢密副史府内，前厅正中二人围炉而坐。上首坐的是宋太祖赵匡胤，他头扎巾帽，身穿盘领窄袖袍服，腰束锦带，身材魁伟，气度不凡，其庄严的表情，侧首聆听的姿态，恰当地表现了深夜访贤、商议国家大事的仪态和心境。身着便服的枢密副史赵普在下首侧坐，恭谦地侃侃而谈，细致地刻画出了他诚恳献策的谋臣风度。画家在着意刻画主体人物的同时，对景象做了细致的描写。近岩远山，老树昏鸦，均被夜色笼罩着，竹叶、树枝、屋脊上覆盖着皑皑白雪，天气显然很寒冷。为突出赵匡胤的天子身份，在大门外象征性地画有四个侍卫，他们似乎守候已久。这些细微的描绘，深化了雪夜访贤的主题。\n此画构图主次分明，主题突出，人物刻画精细生动，屋宇、什物结构精确，线条工整。山石树木的勾斫皴擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[54,29,28,304,103,104,372,765,559,64,7,10237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","纵143.2厘米，横75厘米",[],{"id":25753,"slug":25754,"title":25755,"dynasty":177,"author":1801,"museum":20,"description":25756,"tags":25757,"thumbUrl":25759,"material":11046,"size":25760,"collection":127,"collections":25761,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":75},233703,"gu-cha-duan-di-tu-zhou-hong-ren-233703","古槎短荻图轴","此图纸本，墨笔。绘香士陈应颀居所，具有写实意味，简陋的书舍与陈设衬托出主人品性的孤高，书屋内寂静无人，内设几案龛灯，屋前两株古树相对而立，叶落待尽、寒枝舒展，所以给人以萧条纯净之感。拾级而下一弯小溪蜿蜒流淌汇集成塘，周围环绕着高低错落的岩石，溪水宁静无澜犹如主人不逐名利的平淡心境。右边短荻丛生，清润可爱，为幽居的高士生活增添了几许生气。前景潭环石抱，潭边的岩石用方折的线条空勾，几无皴染，为弘仁典型的几何形体画法，潭水用大片的留白来表达，不擦一笔。整幅画墨色枯淡，用笔简疏，意境淡远，虚静、空灵之境油然而生。",[24,59,123,65,149,7,372,25758,35,64,1738],"短荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f27cfcac2aa374ca7abeb7343608a1.jpg","纵61.9cm，横35.3cm",[],{"id":25763,"slug":25764,"title":25765,"dynasty":80,"author":1715,"museum":20,"description":25766,"tags":25767,"thumbUrl":25768,"material":9188,"size":25769,"collection":127,"collections":25770,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},232986,"gu-shan-tu-juan-qian-xuan-232986","孤山图卷","本幅设色，左方自题七绝一首，款：”吴兴钱舜举“。题跋：引首陈沂篆书”溪诗画“本幅上面弘历题诗，后隔水弘历书诗，后幅文征明书林逋诗数首，梁诗正书赋。印记：引首四方，本幅及前后隔水有项子京，乾隆，宣统等引49方，半印一方，后幅印24方。",[23,24,25,26,7,28,29,66,101,63,165,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12955f6e35b97926ac45250b8c8c005a.jpg","纵92.5cm，横23.4cm",[],{"id":25772,"slug":25773,"title":25774,"dynasty":80,"author":160,"museum":119,"description":25775,"tags":25776,"thumbUrl":25777,"material":127,"size":127,"collection":127,"collections":25778,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[24,25,149,59,65,7,64,34,61,239,38,150,372,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],{"id":25780,"slug":25781,"title":19470,"dynasty":18,"author":194,"museum":135,"description":25782,"tags":25783,"thumbUrl":25784,"material":87,"size":6925,"collection":127,"collections":25785,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[23,24,25,7,149,65,28,1389,5408,64,34,199,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg",[],{"id":25787,"slug":25788,"title":25789,"dynasty":177,"author":1925,"museum":119,"description":25790,"tags":25791,"thumbUrl":25792,"material":127,"size":127,"collection":127,"collections":25793,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[23,24,59,122,65,101,66,67,164,7,372,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a04e65a06c5e5dd23ad39258130058b.jpg",[],{"id":25795,"slug":25796,"title":25797,"dynasty":54,"author":15469,"museum":119,"description":25798,"tags":25799,"thumbUrl":25800,"material":127,"size":127,"collection":127,"collections":25801,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},228966,"si-ji-feng-jing-ce-ye-xiao-yun-cong-228966","四季风景册页","此作用浅绛青绿晕染山峦，层叠崖岫以苔点晕出苍润生机，山坳隐见红墙古寺，飞瀑穿林汇作浅溪，板桥引渡，丹鹤独立溪畔，晕开清寂仙气。\n\n右侧老梅虬枝缀花，树下三文士凭坐观览，或低语或凝思，将雅集幽闲融于林泉丘壑。右上角题诗与画境呼应，以书法点出寻梅高士的林下襟怀。\n\n笔墨简淡秀雅，设色明润柔和，整体意境清旷出尘，将山水灵秀与文人雅趣相融，尽显淡远闲逸之美，把春日寻幽的雅兴定格在尺幅之间，淡而弥远，韵致悠长。",[24,28,65,164,7,103,60,61,2127,2505,104,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6394ee68fb4f16fd1443886e59691153.jpg",[],{"id":25803,"slug":25804,"title":25805,"dynasty":54,"author":14544,"museum":119,"description":25806,"tags":25807,"thumbUrl":25808,"material":127,"size":127,"collection":127,"collections":25809,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},228495,"wu-lu-an-tu-ye-li-shi-da-228495","五鹿庵图页","以鸟瞰全景铺展画面，将江渚山水与庵居雅境相融。江面帆影穿梭、石桥卧波，沿坡蜿蜒的石墙围合出错落屋舍，林木葱茏掩映庭台，有人闲坐堂内叙谈，有人缓步庭中，处处漾着松弛鲜活的烟火气。\n笔墨淡润秀雅，浅赭轻施，以简约笔触勾勒屋舍坡岸，省去繁复皴擦，将禅居的清幽静寂，与江南水乡的鲜活日常糅合无间，把晚明文人梦寐的烟火雅居，晕染在纸幅之上。",[24,28,304,17460,7,104,60,61,62,63,34,103,35,2845,1886],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca98128af99bcd4311e6d5f04b4bce8.jpg",[],{"id":25811,"slug":25812,"title":25813,"dynasty":18,"author":10140,"museum":119,"description":25814,"tags":25815,"thumbUrl":25816,"material":127,"size":127,"collection":127,"collections":25817,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[23,100,24,25,26,7,28,3865,23199,238,3601,1616,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],{"id":25819,"slug":25820,"title":25821,"dynasty":54,"author":4764,"museum":119,"description":25822,"tags":25823,"thumbUrl":25824,"material":127,"size":127,"collection":127,"collections":25825,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},228287,"za-hua-tu-ce-8-kai-chen-hong-shou-228287","杂画图册8开","此作用平远法铺展景致，山峦层叠迤逦，以圆润苍劲的皴笔勾勒石体质感，淡赭敷色晕染出暖调山光，清润柔和。水面留白尽显空濛烟波之意，不着一笔却漾漾有水气流动。山石间点缀青绿苔点，冷色调打破赭石的厚重，为静穆山水晕染出鲜活生机。\n整幅简淡清旷，以复古笔致意摹古贤意趣，无繁复刻画，只以极简的点染铺陈，将江南水畔温软沉静的山光凝于尺幅，悠悠透出文人沉湎林泉的静穆襟怀，淡远清和，尽显含蓄内敛的古典诗意。",[23,24,25,164,28,65,101,7,264,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac4124007a9a2c95659e7ef43ddff79.jpg",[],{"id":25827,"slug":25828,"title":5827,"dynasty":80,"author":887,"museum":119,"description":25829,"tags":25830,"thumbUrl":25831,"material":127,"size":127,"collection":127,"collections":25832,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[23,24,25,2484,59,28,7,373,61,62,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":25834,"slug":25835,"title":14077,"dynasty":80,"author":15974,"museum":119,"description":25836,"tags":25837,"thumbUrl":25838,"material":127,"size":127,"collection":127,"collections":25839,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":49},228033,"xie-qin-fang-you-tu-luo-zhi-chuan-228033","此作用平远之景铺陈开卷，近岸古木虬结遒劲，枯枝如铁爪横斜，以劲健笔法勾勒出老树历经风霜的沧桑古拙，苔点错落晕染，更添斑驳质感。寒溪萦回浅滩，碎石错落，淡墨轻皴坡岸，尽显清寂荒寒。远景浅墨晕出山峦平沙，层层推远，寥寥数笔便将郊野冬日的空阔淡宕铺展开来。\n\n全作用笔简劲老辣，干笔皴擦尽显枯木苍劲，墨色浓淡相生，于简淡萧疏间营造出幽远孤清的意境，尽显尚简重意的审美意趣，寄寓着林下幽人超尘出俗的襟怀。",[24,59,65,149,372,64,7,125,7727,399,2942,20070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0822ab22276624f46ebb1f67121fe5.jpg",[],{"id":25841,"slug":25842,"title":25843,"dynasty":18,"author":23215,"museum":119,"description":25844,"tags":25845,"thumbUrl":25847,"material":127,"size":127,"collection":127,"collections":25848,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[23,100,24,25,149,59,7,65,62,372,167,64,166,34,1778,5360,766,1815,720,17940,1871,25846],"宋代山水","https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他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,24,25,7,59,65,164,2813,165,25876],"潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd2704c889b3485019347aec338e950.jpg",[],{"id":25880,"slug":25881,"title":18171,"dynasty":18,"author":899,"museum":119,"description":25882,"tags":25883,"thumbUrl":25884,"material":127,"size":127,"collection":127,"collections":25885,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},226545,"yu-le-tu-juan-jing-hao-226545","荆浩（约850-？），五代后梁最具影响的山水画家，博通经史，并长于文章。字浩然，沁水（一说为山西，一说为河南济源）。士大夫出身，后梁时期因避战乱，曾隐居于太行山洪谷，故自号“洪谷子”。擅画山水，常携笔摹写山中古松。所作云中山顶，能画出四面峰峦的雄伟气势。自称兼得吴道子用笔及项容用墨之长，创造水晕墨章的表现技法。亦工佛像，曾在汴京（今河南开封）双林院作有壁画。是中国山水画发展过程中具有重要影响的画家之一。\n\n存世《匡庐图》。其他均已失传。至于目前传为荆浩所作的五幅画——美国纳尔逊美术馆收藏的《雪景山水图》、日本大阪市立美术馆收藏的《江山瑞霭图》、台湾故宫博物院收藏的《渔乐图》等，其真伪都存有争议。\n\n荆浩不仅创造了笔墨并重的北派山水画，被后世尊为北方山水画派之祖，还为后人留下著名的山水画理论《笔法记》，以假 托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[23,24,25,26,59,65,7,34,239,31,1778,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg",[],{"id":25887,"slug":25888,"title":25889,"dynasty":8332,"author":25890,"museum":119,"description":25891,"tags":25892,"thumbUrl":25893,"material":127,"size":127,"collection":127,"collections":25894,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":49},226542,"du-diao-tu-jiang-xi-meng-226542","独钓图","姜希孟","纸本，墨笔，56*36cm，东京国立博物馆藏。图绘河边杂草丛生，枯木二棵，枝杆张牙舞爪，沧桑孤傲；河面上一老者船头独自垂钓，静谧详和；远处水面广阔，画面透着冷寂之意境。姜希孟，朝鲜王朝的士大夫画家，宫廷画师。",[23,24,25,59,223,65,7,372,62,495,5614,166,15502,16379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],{"id":25896,"slug":25897,"title":25898,"dynasty":177,"author":395,"museum":119,"description":25899,"tags":25900,"thumbUrl":25901,"material":127,"size":127,"collection":127,"collections":25902,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[23,24,59,28,65,164,7,60,61,62,125,64,35,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":25904,"slug":25905,"title":25906,"dynasty":177,"author":1825,"museum":119,"description":25907,"tags":25908,"thumbUrl":25909,"material":127,"size":127,"collection":127,"collections":25910,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},224477,"fang-mei-dao-ren-shan-shui-tu-wang-jian-224477","仿梅道人山水图","此作用笔苍浑沉厚，取法梅道人山水意趣，层峦叠嶂铺陈高远之境，主峰巍峨雄峙，矾头苔点繁密，晕染出江南山峦郁茂华滋的温润质感。\n\n山坳村居错落，板桥卧波、溪流蜿蜒穿梭林麓间，林木疏密交织，将林泉幽居的隐逸意趣缓缓铺展。以披麻皴写山体肌理，湿墨点苔晕染空濛氛围，恪守古法的同时融入自身秀逸笔性，于苍劲间不失温润，既复刻出荒寒清寂的古雅意境，又暗含自家风骨，是师古能化的仿古佳作。",[23,24,59,65,122,149,7,64,35,34,61,60,101,125,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":25912,"slug":25913,"title":25914,"dynasty":177,"author":2075,"museum":119,"description":25915,"tags":25916,"thumbUrl":25917,"material":127,"size":127,"collection":127,"collections":25918,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},224428,"shan-lou-ke-hua-tu-wang-shi-min-224428","山楼客话图","《山楼客话图》是王时敏八十岁之后作品，创作于清代，现藏于天津市艺术博物。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n山峦层叠，深壑溪流，茂林密布，水阁立于其间，名士在此高谈阔论。\n此画以赭墨为主，单纯而深厚，滋润而清脱。\n从笔墨技法来看，复古意味十分明显，皴笔细密，用多层次的皴染表现山体，墨色厚重，流露出作者“熟不甜，生不涩，淡而厚，实而清”的成熟面貌。\n王时敏 ， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,24,25,149,59,65,7,104,34,64,199,35,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":25920,"slug":25921,"title":5077,"dynasty":177,"author":10574,"museum":135,"description":25922,"tags":25923,"thumbUrl":25924,"material":349,"size":25925,"collection":71,"collections":25926,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[24,25,149,59,65,66,101,7,64,34,201,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[71],{"id":25928,"slug":25929,"title":25930,"dynasty":18,"author":178,"museum":119,"description":25931,"tags":25932,"thumbUrl":25933,"material":127,"size":127,"collection":127,"collections":25934,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},223612,"zhu-jian-fen-xiang-tu-yi-ming-223612","竹涧焚香图","此作以边角取景，笔墨简净秀润。浅渚涧水缓流，坡岸幽竹斜曳，士人趺坐石上，静对空山远岑。晕染轻淡的远山融在空濛烟岚里，将天地寥廓之意藏于尺幅留白间。\n\n画面与题诗相契，炉烟随竹风漫过山涧，空山阒寂，将闻未闻的幽玄禅意弥散开来。把林泉高致的隐逸襟怀，化作眼前清寂淡远的图景，于简淡平远中，尽显出世幽居的静穆禅趣，是小品山水里以小见大的精妙之作。",[23,24,25,2484,28,7,630,103,734,67,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52389ef17d1f2b63c69f1c05719db98a.jpg",[],{"id":25936,"slug":25937,"title":25938,"dynasty":18,"author":178,"museum":135,"description":25939,"tags":25940,"thumbUrl":25941,"material":243,"size":25942,"collection":71,"collections":25943,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},223446,"han-lin-lou-guan-yi-ming-223446","寒林楼观","表现冬日雪后树木萧瑟的景致，整幅作品设色淡雅，意境深幽，颇传宋人神韵。",[23,24,304,28,29,7,104,125,607,64,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[71,212],{"id":25945,"slug":25946,"title":25947,"dynasty":1051,"author":178,"museum":20,"description":25948,"tags":25949,"thumbUrl":25950,"material":40,"size":25951,"collection":127,"collections":25952,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},223443,"gong-yuan-tu-zhou-yi-ming-223443","宫苑图轴","此画一说为李思训所绘。远处崇山峻岭，山峰陡峭，山中殿阁亭榭林立，圆形，飞檐，造型不一，隐约可见人们穿梭其中。此图将山野之间的逸趣与宫殿的富丽完美地结合，是一幅极富装饰趣味的山水楼阁画佳作。",[23,100,24,149,304,28,7,104,4924,103,2169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80f5c5554e066d90eb3a659fa472502.jpg","162.5cm＊83.7cm",[],{"id":25954,"slug":25955,"title":25956,"dynasty":8332,"author":178,"museum":3157,"description":25957,"tags":25958,"thumbUrl":25959,"material":454,"size":25960,"collection":127,"collections":25961,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},223391,"tong-nian-yin-yan-tu-zhou-yi-ming-223391","同年饮宴图轴","以淡墨晕染出空濛秋山，飞瀑穿云，江流宛转，枯笔皴擦山峦肌理，苍浑朴拙。画面上下分境，山巅高远清寂，江畔林下定坐宴饮，士人们围坐把酒，将林泉幽致与文会雅兴相融。淡墨轻岚间，萧疏古木衬出雅集闲逸，左上题诗呼应知己情谊，笔墨简淡却意韵悠长，尽显文人寄情山水、酬唱为乐的林下风流，将水墨山水的清旷与雅集的温煦意趣揉合一处，自有冲淡恬和的古雅气韵。",[23,100,24,25,149,28,7,103,199,61,239,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6632dbe6c038a2d36128d0dfee1a52.jpg","纵98厘米，横52厘米",[],{"id":25963,"slug":25964,"title":25965,"dynasty":177,"author":178,"museum":119,"description":25966,"tags":25967,"thumbUrl":25968,"material":127,"size":25969,"collection":127,"collections":25970,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},223331,"san-shan-wu-yuan-tu-yi-ming-223331","三山五园图","在北京西郊的西山脚下，有一片泉泽遍野，群峰叠翠的地方，从公元11世纪起，这里就开始营建皇家园林，到800年后清朝结束时，园林总面积达到了1000多公顷。在这些皇家园林中，最著名的就要数“三山五园”了。\n“三山五园”中的三山是指香山、玉泉山和万寿山。这三座山上分别有静宜园、静明园、清漪园，再加上东边的畅春园和圆明园，就是所谓的五园。如此集中的皇家园林为世所罕见。这主要还是得力于这里优美的自然环境，以及北京作为京城的人文优势。\n在北京的西北郊，素有神京右臂之称的西山，峰峦连绵，自南趋北，余脉在香山的部位兜转而东，远远拱列于北京的西北面。在它的腹心地带，两座小山岗双双平地突起，这就是玉泉山和万寿山。它们附近泉水丰沛，湖泊密布，形成有如江南的优美自然景观，这在华北地区是不多见的。\n早在辽、金时期，香山、玉泉山就有了皇家行宫别苑的建置。但金、元、明三代的主要精力都放在在修建北京的城池和城内的皇宫。这里真正成为皇家独占的宫廷园囿，还是清王朝兴起以后的事。\n清朝的皇帝们十分热衷于园林的建设，尤其是康熙、雍正、乾隆三朝，基本奠定了京城皇家园林的建设格局和规模，“三山五园”就是其中的核心部分。\n三山五园中建造最早的是畅春园，它于康熙二十九年（即公元1691年）建成，位于今天的北京大学一带，是在明代私家园林的旧址上修建的。今天我们在北京大学的校园里，还依稀可以找到一些旧日园林的痕迹。",[23,28,304,29,7,104,61,2559,278,32,3763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf339820c8e9c1373d7b74bcee1b035e.jpg","51x88",[],{"id":25972,"slug":25973,"title":25974,"dynasty":177,"author":3973,"museum":135,"description":15830,"tags":25975,"thumbUrl":25976,"material":5071,"size":25977,"collection":71,"collections":25978,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},223122,"shuang-lin-xiao-si-tu-zhou-dong-bang-da-223122","霜林萧寺图轴",[23,24,149,28,65,7,64,34,4740,60,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e95f112757ec9a532d663ea2c1066f.jpg","79.1x36.8",[71,212],{"id":25980,"slug":25981,"title":17121,"dynasty":177,"author":3973,"museum":135,"description":25982,"tags":25983,"thumbUrl":25984,"material":29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传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,100,24,25,26,59,28,65,7,2682,4740,34,64,37,238,607,125,533,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[42,71,212],{"id":26027,"slug":26028,"title":26029,"dynasty":54,"author":7355,"museum":3323,"description":26030,"tags":26031,"thumbUrl":26032,"material":4884,"size":26033,"collection":127,"collections":26034,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":127},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[23,24,25,26,59,7,65,30,2855,4621,62,106,34,64,816],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","25.6 × 360.8厘米",[],{"id":26036,"slug":26037,"title":26038,"dynasty":2272,"author":24805,"museum":26039,"description":26040,"tags":26041,"thumbUrl":26042,"material":6805,"size":127,"collection":127,"collections":26043,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},220511,"jing-guan-pu-xin-she-220511","景观","The Baltimore Museum of Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[23,25,24,7,149,59,28,65,318,734,165,182,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg",[],{"id":26045,"slug":26046,"title":26047,"dynasty":2272,"author":24191,"museum":5303,"description":24192,"tags":26048,"thumbUrl":26049,"material":127,"size":127,"collection":127,"collections":26050,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},220482,"song-tao-lin-feng-mian-220482","松涛",[24,28,59,223,7,583,62,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ecbc10766dc69df7ee10b85fc7ffb66.jpg",[],{"id":26052,"slug":26053,"title":26054,"dynasty":54,"author":178,"museum":673,"description":26055,"tags":26056,"thumbUrl":26057,"material":139,"size":26058,"collection":45,"collections":26059,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},220352,"shan-lin-hui-you-tu-yi-ming-220352","山林会友图","这幅小品以虚实相生铺陈意境，左侧重峦叠石以石青、石绿晕染，苍松虬劲古雅，山居掩映于林麓间，笔墨苍秀雅致。右侧烟波浩渺，远山如黛隐于霭色中，汀洲屋舍朦胧悠远，以留白衬出山水空阔辽远。近景松下雅士围坐清谈，悠然会友，将山林雅集的闲适意趣娓娓道来。\n\n整体设色沉稳古雅，咫尺尺幅间兼具山水之旷远与文人雅聚的悠然，尽显雅致含蓄的山水意趣，把林下清谈的雅逸氛围融于青绿山水间，淡墨轻岚里藏着中式文人的精神栖居之所。",[24,25,2484,28,27,7,103,104,34,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd57379418541d43f527b09165c063b4.jpg","20.2x21.2",[45],{"id":26061,"slug":26062,"title":26063,"dynasty":54,"author":26064,"museum":556,"description":26065,"tags":26066,"thumbUrl":26067,"material":139,"size":26068,"collection":71,"collections":26069,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,100,24,25,26,59,7,65,318,199,8804,34,278,37,239,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[71],{"id":26071,"slug":26072,"title":26073,"dynasty":177,"author":1872,"museum":56,"description":3500,"tags":26074,"thumbUrl":26075,"material":349,"size":3503,"collection":127,"collections":26076,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":75},219856,"ba-jing-shan-shui-tu-2-gong-xian-219856","八景山水图-2",[24,59,65,7,62,60,61,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc456411e76e601da956e5ada940eb00f.jpg",[],{"id":26078,"slug":26079,"title":909,"dynasty":54,"author":25169,"museum":135,"description":26080,"tags":26081,"thumbUrl":26082,"material":69,"size":26083,"collection":71,"collections":26084,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":75},219470,"shan-shui-tu-gu-ning-yuan-219470","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[24,25,149,59,28,65,101,67,7,167,37,34,372,35,7328,1695,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[71],{"id":26086,"slug":26087,"title":26088,"dynasty":8332,"author":178,"museum":135,"description":26089,"tags":26090,"thumbUrl":26091,"material":87,"size":26092,"collection":71,"collections":26093,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},219368,"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[24,25,100,149,7,59,65,165,64,61,150,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[71],{"id":26095,"slug":26096,"title":3674,"dynasty":18,"author":178,"museum":275,"description":26097,"tags":26098,"thumbUrl":26099,"material":139,"size":26100,"collection":71,"collections":26101,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},219030,"guan-pu-tu-yi-ming-219030","一条瀑布从山涧中流下，远处的山峰在云雾中清晰可见；在岩石高原的左侧，一个有学问的人拿着杖，仰望着眼前的雄伟山峰。他听着瀑布撞击岩石的声音，看到水蔓延上升，后面跟着一个抱着琵琶的孩子。这幅画是马夏的风格，用大斧头砍的石头，笔力强劲，笔触宽阔，盖子坚硬，使石头的质地很牢固。",[24,25,2484,59,28,7,65,199,103,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c9cc6d2677a6abf31cfae2e0748f4c.jpg","23.2x23.4",[71],{"id":26103,"slug":26104,"title":26105,"dynasty":18,"author":178,"museum":135,"description":26106,"tags":26107,"thumbUrl":26108,"material":139,"size":26109,"collection":71,"collections":26110,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":49},218988,"pin-quan-tu-yi-ming-218988","品泉图","这幅画描绘了一个在峡谷中的有学问的人和一个提供茶水的童仆，而他摇着扇子喝茶。这幅画没有标记，以前被认为是宋代的作品，但宋代没有这种画风，动荡的笔法更接近明代的山水画风格。",[23,24,100,28,65,7,34,239,61,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bddcec30d211866d234b9bd05fadd1.jpg","27.5x57.4",[71],{"id":26112,"slug":26113,"title":26114,"dynasty":80,"author":178,"museum":135,"description":26115,"tags":26116,"thumbUrl":26117,"material":139,"size":127,"collection":71,"collections":26118,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},218656,"xi-shan-ji-yu-yi-ming-218656","溪山积玉","雪覆层峦如积玉，淡墨晕染出远山的温软轮廓，却藏着冬日清寂。坡岸老柳垂丝，枝条似淡烟轻笼，笔意疏朗间见自然生趣。林间茅舍隐现，仿佛有暖意暗涌，与天地素净相映成趣。\n\n画面无喧嚣，只余山水静穆与生机暗涌——雪的冷、树的疏、屋的暖，在对比里藏着文人对山水的眷恋、对闲居的向往。笔墨不刻意求工，简淡中见深致，恰是元人山水意韵：以心观物，以笔写情，每一寸雪色都浸着悠然禅意，让观者于静谧中触到自然与人心的共鸣。",[23,24,25,164,59,28,7,165,63,61,65,125,733,167,150,5134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae9bfc8cfcf642803d8d009b93b445d.jpg",[71],{"id":26120,"slug":26121,"title":1039,"dynasty":18,"author":178,"museum":56,"description":26122,"tags":26123,"thumbUrl":26125,"material":169,"size":26126,"collection":44,"collections":26127,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":49},218597,"lian-she-tu-yi-ming-218597","图绘东晋高僧慧远（334-416）于庐山结社故事，无作者款印，为南宋人据李公麟《莲社图》所作的摹本。画分九段，次序井然：一、乘舆者陶渊明，肩舆者其子、门生，童子一人；二、骑马者谢灵运，随侍两人；三、虎溪三笑，捉手相对者慧远、陆修静，旁立辟蛇行者，童子一人；四、设文殊金像赞颂佛事者三人，昙常、道昺、周续之；五、梵僧两人，旁立一耶舍；六、校经五人，刘程之、张诠、惠叡、惠持、惠永，手捧经笈者一人，童子一人，烹茶三人，汲水一人；七、游山两人，宗炳、昙顺。八、经筵会讲，讲说者道生，听讲者雷次宗、道敬、昙诜等；九、濯足者张野，童子一人。",[23,24,25,26,123,1042,103,7,60,61,34,239,26124],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227278cacb67723b82fe796fc37d2573.jpg","纵28.1厘米，横459.8厘米",[44],{"id":26129,"slug":26130,"title":26131,"dynasty":177,"author":26132,"museum":56,"description":26133,"tags":26134,"thumbUrl":26135,"material":169,"size":127,"collection":44,"collections":26136,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":75},218259,"za-hua-juan-li-yu-218259","杂画卷","李渔","水墨写意间，月色轻笼孤舟，帆影随水草漾开清寂。兰草以简劲线条勾勒，墨色浓淡相生，逸趣盎然。仕女执扇伫立，衣袂翩然，身旁花草点染幽淡诗意。山石淡墨皴擦，云雾缭绕处，二人对坐，似论道品茗，空灵悠远。整卷笔墨疏朗，意境闲淡，文人雅致与自然之趣融于尺幅，每段皆含诗意，尽显写意之妙。",[23,24,25,59,123,67,66,26,101,7,103,62,1643,19943,2911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85eebb03ec7d9b97d1eea30725928f51.jpg",[44],{"id":26138,"slug":26139,"title":4293,"dynasty":18,"author":178,"museum":56,"description":26140,"tags":26141,"thumbUrl":26142,"material":139,"size":26143,"collection":71,"collections":26144,"showCount":229,"zanCount":1080,"manualWeight":48,"mainColor":49},218231,"wan-jing-tu-yi-ming-218231","《晚景图》画夜色朦胧中的远山近丘，近景丘岭连绵，大石横卧；溪水环抱，山石以浓墨勾骨，密布山头的树叶分别以焦墨和浓墨密匝点簇。远景山头用淡墨短笔勾勒，背景全用淡墨烘染，以突出晚景主题。从此图的构图布局和笔法用墨看，是一幅综合北南宋山水画体制的佳构。",[24,25,149,59,65,7,64,34,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f851ecfa2c8d3ceaa533f612b7e3b1.jpg","纵69.5厘米,横37.6厘米",[71],{"id":26146,"slug":26147,"title":909,"dynasty":177,"author":3973,"museum":396,"description":26148,"tags":26149,"thumbUrl":26150,"material":169,"size":26151,"collection":71,"collections":26152,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":75},217886,"shan-shui-tu-dong-bang-da-217886","董邦达是中国清朝时期著名的画家，他以其精湛的山水画而闻名。他的山水画通常被认为是清朝山水画史上的里程碑式的作品。\n\n董邦达的山水画风格独特，他追求自然的写实，同时又注重画面的艺术性。他的山水画中通常会出现大量的细节，比如山的形态、树的形态、云的形态等。他善于运用技法，比如水墨描边、油墨浓淡等，使得他的山水画看起来栩栩如生。\n\n董邦达的山水画中通常会出现许多动物和人物，他善于捕捉动物和人物的形态和神态。他的山水画中常常会出现小溪流动、水鸟飞翔、山鹿奔跑等场景。\n\n董邦达的山水画对后来的中国山水画产生了很大的影响，他的作品被认为是中国山水画史上的经典之作。",[23,24,59,65,149,7,60,61,63,106,264,34,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d68ad231b9d749214643923db64fec.jpg","70.8x36cm",[71],{"id":26154,"slug":26155,"title":26156,"dynasty":54,"author":1096,"museum":161,"description":3149,"tags":26157,"thumbUrl":26158,"material":69,"size":127,"collection":127,"collections":26159,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":75},217016,"fang-gu-shan-shui-ce-liu-kai-5-dong-qi-chang-217016","仿古山水册六开-5",[23,24,25,164,59,7,67,101,372,64,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31baaa2bc3dec82af32f7ba9ddd10f36.jpg",[],{"id":26161,"slug":26162,"title":26163,"dynasty":54,"author":2524,"museum":56,"description":2525,"tags":26164,"thumbUrl":26165,"material":69,"size":2529,"collection":127,"collections":26166,"showCount":229,"zanCount":961,"manualWeight":48,"mainColor":75},214666,"san-jue-tu-6-yao-shou-214666","三绝图-6",[24,25,7,28,164,60,61,34,35,167,62,1738,102,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e731b862b74bacfca285005df0c0ca.jpg",[],{"id":26168,"slug":26169,"title":26170,"dynasty":177,"author":3760,"museum":161,"description":4238,"tags":26171,"thumbUrl":26172,"material":69,"size":127,"collection":127,"collections":26173,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},214597,"fang-gu-shan-shui-ce-7-wang-hui-214597","仿古山水册-7",[100,24,25,164,59,7,372,35,60,61,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67024a0a82abbb02f727849af7897c51.jpg",[],{"id":26175,"slug":26176,"title":26177,"dynasty":177,"author":3760,"museum":161,"description":4238,"tags":26178,"thumbUrl":26179,"material":69,"size":127,"collection":127,"collections":26180,"showCount":229,"zanCount":48,"manualWeight":48,"mainColor":75},214596,"fang-gu-shan-shui-ce-8-wang-hui-214596","仿古山水册-8",[24,25,164,28,7,34,890,167,106,1897],"https:\u002F\u002Foss.chuangqi.store\u00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，仿佛看到一幅幅画面。画家笔下的诗句视觉形象和线条造形尤其简朴闲散，不同米颠的八面书锋，风樯阵马，而是一种看到老树昏鸦的幽隐期约，使人浮想联翩，大隐于市、超然尘外的闲情逸致表现得淋漓尽致。\n画中景物疏密有致、层次分明。作品用笔干净利索：树木用笔以直勾为主，线条方折；舟船、人物刻画细微、用笔轻松，毫无刻板之意；河岸用阔笔、以赭褐色写出；树叶稍有皴染，但颜色较浅，几近于无。整幅画以暖色调为主，点缀以数片绿色。倪云林用笔枯淡静柔，查士标用笔疏散湿润。",[24,197,65,149,7,63,34,239,35,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b15f8c267c7e56aa7cb40b232377f45.jpg","纵90.1厘米，横36.7厘米",[71,212],{"id":26373,"slug":26374,"title":26375,"dynasty":54,"author":20323,"museum":119,"description":26376,"tags":26377,"thumbUrl":26378,"material":127,"size":127,"collection":71,"collections":26379,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},236629,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236629","宋懋晋江南名胜图册","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[24,28,7,65,164,104,60,61,62,63,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1133beead4f63e32f0f91d3e2528fba0.jpg",[71,45],{"id":26381,"slug":26382,"title":26383,"dynasty":177,"author":3760,"museum":20,"description":16305,"tags":26384,"thumbUrl":26385,"material":4711,"size":26386,"collection":71,"collections":26387,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":379},236363,"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴",[24,25,149,59,65,7,34,64,31,167,720,826,238,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纵63.5cm，横36.3cm",[71,212,927],{"id":26389,"slug":26390,"title":159,"dynasty":54,"author":9184,"museum":20,"description":9185,"tags":26391,"thumbUrl":26392,"material":9188,"size":9189,"collection":127,"collections":26393,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},236325,"shan-shui-ce-song-xu-236325",[24,59,7,164,199,62,150,1616,31,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6942f9cce57790f797b1cb0ff08a6128.jpg",[],{"id":26395,"slug":26396,"title":26397,"dynasty":177,"author":26398,"museum":20,"description":26399,"tags":26400,"thumbUrl":26402,"material":127,"size":127,"collection":308,"collections":26403,"showCount":26216,"zanCount":961,"manualWeight":48,"mainColor":75},236189,"hua-mei-xi-fan-ting-liang-shi-zheng-shu-feng-guan-long-jing-ti-ming-cheng-shan-sun-you-236189","画梅溪泛艇梁诗正书奉观龙井题名成扇","孙祐","孙佑[清]佑一作祜。江苏人。\n山水宗娄东（王原祁）乾隆（一七三六至至一七九五）时供奉内廷，曾同陈枚，金昆、戴洪、程志道绘清明上河图，乾隆六年（一七四一）与周昆、丁观鹏合作汉宫春晓图卷。《熙朝名画录、国（清）朝画徵录》",[2484,24,25,28,29,7,2127,8804,26401,60,583,64,103,66,67],"艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b354b57fa498851ae8a5f5ae8d64860.jpg",[308,45],{"id":26405,"slug":26406,"title":26407,"dynasty":177,"author":5162,"museum":20,"description":26408,"tags":26409,"thumbUrl":26410,"material":537,"size":127,"collection":71,"collections":26411,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},236140,"fang-yuan-ren-shan-shui-ce-he-yi-236140","仿元人山水册","赫奕 [清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,25,164,122,7,65,59,165,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[71,212],{"id":26413,"slug":26414,"title":26415,"dynasty":177,"author":24941,"museum":20,"description":25131,"tags":26416,"thumbUrl":26417,"material":375,"size":25134,"collection":71,"collections":26418,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},236127,"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴",[24,25,149,59,7,65,413,61,2446,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg",[71,212],{"id":26420,"slug":26421,"title":26422,"dynasty":177,"author":10574,"museum":20,"description":26423,"tags":26424,"thumbUrl":26425,"material":375,"size":26426,"collection":71,"collections":26427,"showCount":26216,"zanCount":961,"manualWeight":48,"mainColor":75},236110,"zhang-zong-cang-shan-shui-zhou-zhang-zong-cang-236110","张宗苍山水轴","此图是张宗苍担任宫廷画师期间精心创作的山水画。图中山石反复以线条皴染，再以焦墨点苔，多遍始成，令繁复的林壑不失明爽之致，笔情墨韵间不失苍郁秀雅之气，反映了画家成熟期的典型风格。乾隆皇帝对此图赞赏有加，将它收贮于塞外最重要的行宫避暑山庄，并且在画上题诗三首，以示恩宠。",[24,59,65,7,61,125,264,167,37,34,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946aacb8352879e4db037849980e60c1.jpg","纵143厘米，横75.6厘米",[71,212],{"id":26429,"slug":26430,"title":159,"dynasty":177,"author":26431,"museum":119,"description":26432,"tags":26433,"thumbUrl":26434,"material":127,"size":127,"collection":308,"collections":26435,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},235323,"shan-shui-ce-wen-dian-235323","文点","此作用笔清劲简淡，近景双松虬枝舒展，扎根嶙峋石畔，旁生细草杂木，野趣悠然。白衣高士静踞溪岸，凭虚远眺，将幽居林泉的澹泊心境寄于山水间。\n画面以留白代秋水，远山以浅墨轻晕，烟岚弥漫，虚实相生间，萧疏淡远的氛围油然而生。题识小诗与景致相融，愈发衬出画面简净空灵的意趣，尽显文人画澄怀观道的雅逸格调，将观者带入这无尘烟嚣的静穆天地，共赴林泉高致之约。",[24,25,164,59,65,7,165,64,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b31c251154b62abd3e860a5dabf4c58.jpg",[308,71],{"id":26437,"slug":26438,"title":7594,"dynasty":177,"author":178,"museum":119,"description":26439,"tags":26440,"thumbUrl":26441,"material":127,"size":127,"collection":127,"collections":26442,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},235161,"hong-ren-shan-shui-ce-yi-ming-235161","此作以极简笔墨铺陈清寂意境，枯硬淡墨勾勒石壁，冷峻苍朴，壁上古梅虬枝斜出，寥寥数笔便将孤寒疏朗之态写尽。坡前修竹亭亭玉立，清润秀雅，与古梅萧疏柔刚互衬。\n\n搭配行书题诗，笔意清逸，文心与画意相融。整体空灵冷峭，尽显新安画派简淡孤高的特质，遗世独立的禅意浸透纸面，于尺幅间勾勒出淡远宁静的天地，暗藏孤高沉郁的心境，将文人画清雅出尘的格调诠释尽致。",[24,25,164,59,7,372,1738,64,67,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5030c2cb2f07a2905e8001cd39c8c377.jpg",[],{"id":26444,"slug":26445,"title":6073,"dynasty":54,"author":1096,"museum":119,"description":6524,"tags":26446,"thumbUrl":26447,"material":127,"size":127,"collection":127,"collections":26448,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},234978,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234978",[24,25,164,59,65,7,63,165,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d6512d006560515fe7d39ca6ee3f5c.jpg",[],{"id":26450,"slug":26451,"title":26452,"dynasty":54,"author":410,"museum":20,"description":26453,"tags":26454,"thumbUrl":26455,"material":375,"size":8542,"collection":127,"collections":26456,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},233967,"guan-shan-xing-lv-tu-zhou-dai-jin-233967","关山行旅图轴","本幅署款“静庵”，无年款，从趋于成熟的集大成面貌判断，当作于戴进晚年的天顺年间（1457—1464年）。\n作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[24,100,149,59,65,7,583,239,31,35,238,34,200,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac0a0c15fc8e857f3e1f36e5c19ea41.jpg",[],{"id":26458,"slug":26459,"title":26460,"dynasty":54,"author":14148,"museum":20,"description":26461,"tags":26462,"thumbUrl":26463,"material":16509,"size":26464,"collection":127,"collections":26465,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},233478,"zhu-shi-yun-q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江山秋霁图","此作用淡墨干笔铺写秋江暮色，峰峦以披麻皴轻擦晕染，温润秀拙间带着松弛的苍厚，坡岸林木萧疏错落，留白托出澹澹江水，空寂淡远的秋意漫溢卷间。\n师法前贤却不囿于形，将元人山水的天真简淡，融于自身秀逸松灵的笔致，以禅意入画，寄寓林泉幽隐的文人心境。卷后诸家题跋绵延，以笔墨赓续宋元文脉，尽显晚明文人画的风雅韵致，是师古自化的上乘之作。",[23,100,24,25,26,59,122,65,67,101,7,238,34,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42bf74014b353f5b93fb8e51f870d3.jpg",[],{"id":26537,"slug":26538,"title":17762,"dynasty":80,"author":178,"museum":119,"description":26539,"tags":26540,"thumbUrl":26541,"material":127,"size":127,"collection":127,"collections":26542,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},230901,"gao-shi-guan-mei-tu-yi-ming-230901","画面以高远之境铺展，近岸怪石层叠，古松虬曲苍劲，老梅疏枝横斜，暗孕花苞。林下高士凭石闲坐，静静凝望寒梅，意态萧散出尘。\n\n中景薄雾轻笼水村山榭，淡墨晕化开空濛水汽，虚虚实实间晕染出幽寂氛围。远景危峰削立，隐没在烟岚之中，墨色清浅简淡。\n\n全作用笔老辣简练，枯湿浓淡相映，以简淡笔墨勾勒出林泉冬景，尽显尚意之风，将文人幽赏的雅趣与出世忘俗的襟怀融于淡墨轻岚间。",[24,149,59,65,7,2127,413,103,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb1d405c0d739c732ba9240f8397c91b.jpg",[],{"id":26544,"slug":26545,"title":909,"dynasty":811,"author":26546,"museum":119,"description":26547,"tags":26548,"thumbUrl":26549,"material":337,"size":937,"collection":127,"collections":26550,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},230841,"shan-shui-tu-gui-guan-230841","珪观","珪观，唐代画家，代表作有《山水图》。",[100,24,25,2484,65,28,7,318,583,103,335,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa92278b55313173802c39eb57a8cf6.jpg",[],{"id":26552,"slug":26553,"title":26554,"dynasty":177,"author":26555,"museum":119,"description":26556,"tags":26557,"thumbUrl":26558,"material":127,"size":127,"collection":127,"collections":26559,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},229003,"ni-gu-shan-shui-ce-huang-shan-shou-229003","拟古山水册","黄山寿","此作以留白晕染冬雪覆山，浅绛设色清润柔和，笔墨简淡秀逸。近处崖畔文士凭窗观览，沙岸渔舟静泊，梢公待客将发；中景木桥跨溪，连接两岸林峦，枯木疏枝衬出萧寒之气。远山素净空蒙，整体意境清寂淡远，将文人幽居林泉、寄情山水的闲雅意趣融于雪景之中，萧疏恬静的冬日山居图景跃然纸上，尽显温婉雅致的仿古意韵，澹泊出尘。",[24,28,7,60,61,62,64,34,122,65,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fb4f6b62265c8b3a4b2dff321a9b14.jpg",[],{"id":26561,"slug":26562,"title":26563,"dynasty":54,"author":1652,"museum":119,"description":26564,"tags":26565,"thumbUrl":26566,"material":127,"size":127,"collection":127,"collections":26567,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},228873,"gu-mu-han-quan-wen-zheng-ming-228873","古木寒泉","此作用笔清瘦秀雅，枯荣相生的古木虬曲苍劲，或秃枝嶙峋尽显风霜，或残叶攒簇尚存生机。寒泉在乱石间蜿蜒穿绕，浅滩洄波皆以细笔勾勒，淡墨晕染开空寂萧疏的秋意。\n画面兼工带写，以劲挺线条刻画枝干石纹，墨点攒簇为叶，将幽寂林泉化作澹泊丘壑，题诗与画境呼应，把沉静心绪寄寓其中，尽显文人画以景抒怀的清雅意趣。",[23,24,59,149,65,66,101,7,125,61,64,2315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fbd293a709812c7a0bf8b31c0bea29a.jpg",[],{"id":26569,"slug":26570,"title":26571,"dynasty":54,"author":26572,"museum":119,"description":26573,"tags":26574,"thumbUrl":26575,"material":127,"size":127,"collection":127,"collections":26576,"showCount":26216,"zanCount":961,"manualWeight":48,"mainColor":49},228754,"qiu-shu-qing-quan-tu-zhu-lang-228754","秋树清泉图","朱朗","此作取景清寂萧疏，以虬曲苍劲的枯林为画面核心。老木枝桠如蟹爪舒张，细笔勾染残叶、宿苔，将深秋的凋敝之态尽藏笔底。侧锋皴擦的山石与坡岸浅渚错落排布，留白暗喻寒水萦回，寥寥数笔便将郊野荒寒的秋意烘托尽致。\n\n笔墨苍秀兼具，勾勒皴擦不失法度，枯淡墨色铺陈出清旷冷寂的氛围，静穆之中暗含内敛生机，尽显文人山水尚简重韵的审美意趣，将深秋郊野的疏淡幽寂娓娓绘出，笔情墨趣间皆是淡然萧索的秋日诗意。",[23,24,25,149,59,65,125,1738,61,264,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd470dac0b1a8ee6ac422dd38eb8afe6.jpg",[],{"id":26578,"slug":26579,"title":26580,"dynasty":80,"author":1962,"museum":119,"description":26581,"tags":26582,"thumbUrl":26583,"material":127,"size":127,"collection":127,"collections":26584,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},228046,"qiu-xi-diao-ting-tu-sheng-mao-228046","秋溪钓艇图","元盛懋秋溪钓艇图 中国古画、扇面画 私人收藏 宣纸，尺寸：4.×4.cm\u002F 盛懋，元代画家，字子昭，原籍临安（今浙江省杭州市）。\n承袭父业，以精湛的技艺称誉当世，和吴镇的墨竹、岳彦高的草书、章文茂的笔，共被誉为“武塘四绝”。\n他善画山水，兼作人物、花卉。\n详细介绍“盛懋” 《秋溪钓艇图》绘一叶渔艇行于江中，有一翁于船尾垂钓，右边是茫茫江水，近处可见山石树木，而远处渐见山峦。\n整幅作品结构严整，笔墨清润，在浓郁浑厚的气韵中具有潇洒隽逸的格调",[23,24,28,7,62,61,34,373,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3c21778a859a2f0bf01a09c1d9a01b.jpg",[],{"id":26586,"slug":26587,"title":14730,"dynasty":18,"author":288,"museum":119,"description":26588,"tags":26589,"thumbUrl":26590,"material":127,"size":127,"collection":127,"collections":26591,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},227983,"ze-pan-ji-feng-tu-xia-gui-227983","取景偏于一隅，以少胜多尽显空灵意蕴。坡岸古松欹斜偃蹇，枝叶被劲风催动翻卷，将无形疾风化作可见的动势。滩头渔人躬身急收渔具，在仓促忙乱间把江上风急的冷寂氛围具象化。对岸远山以淡墨晕染，崖顶隐于朦胧间，不着一笔却见江天辽远。留白化作淼淼烟波与空阔长天，以虚代实，寥寥数笔便将骤风起于泽畔的瞬态凝固，把江野的清寂苍劲藏在简淡水墨中，尽显山水小景的写意妙趣。",[100,24,25,2484,59,28,7,125,62,373,65,64,34,15501,14733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee58dbb89ce2c636b498ecbaa6feb6ca.jpg",[],{"id":26593,"slug":26594,"title":26595,"dynasty":18,"author":2434,"museum":119,"description":26596,"tags":26597,"thumbUrl":26598,"material":127,"size":127,"collection":127,"collections":26599,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},227941,"yun-shan-tu-juan-mi-you-ren-227941","云山图卷","以水墨晕染写就烟峦百态，峰岫浮沉在流岚雾霭之中，汀渚林木隐现于云水之间。不施勾勒皴擦，纯以墨色浓淡晕出山之体态，尽显江南山水氤氲空濛的烟雨气象。\n运笔简率萧散，信笔挥洒间便将润泽秀雅的江天景致铺展卷上。一叶孤舟泛于江上，更衬江天寥廓悠远，尽显“墨戏”的写意特质，于虚灵中藏沉厚，平淡里见悠远，将江南烟岚朝暮的朦胧诗意定格卷间，尽显寄兴笔墨的文人雅趣。",[23,24,25,26,59,65,7,979,62,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0dedd99ab89fbc71fe9e1671080a2e.jpg",[],{"id":26601,"slug":26602,"title":26603,"dynasty":18,"author":6369,"museum":135,"description":26604,"tags":26605,"thumbUrl":26606,"material":292,"size":127,"collection":127,"collections":26607,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},227750,"feng-yan-zhan-juan-zhao-bo-su-227750","风檐展卷","本幅画傍山临水，庭院湖石点缀，长松修竹环抱，营造出文人理想燕居之室。亭内屏前设卧榻，漆桌上置书卷、瓷瓶、香炉，文士右持羽扇，左倚凭几，神态悠闲；左方仕女二人凭栏而立，右方两童手执茶具，趋步向亭。题签订为南宋画家赵伯骕（1124-1182），对幅书法则为乾隆御题。宋人强调「烧香、烹茶，挂画、插花，四般闲事」（见南宋《梦粱录》）。此帧小扇面，除了反映宋代文人品茶挂画的生活文化，更保留了宋代园林建筑及家具的造型特色，弥足珍贵。",[23,100,24,25,28,29,7,103,63,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92817d91df028c880aa3c02bbd0c810.jpg",[],{"id":26609,"slug":26610,"title":26611,"dynasty":18,"author":288,"museum":119,"description":26612,"tags":26613,"thumbUrl":26614,"material":127,"size":127,"collection":127,"collections":26615,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},227731,"yao-cen-yan-ai-tu-ye-xia-gui-227731","遥岑烟霭图页","暮色四围，烟岚沉沉，远方数峰缥缈，近处水石萦回，在空茫的背景中衬出树木的剪影一般的身姿。画家夏圭着意渲染出黄昏时分那微茫昏沉的感觉和诗意，犹如醉酒的微醺，令人着迷。",[23,24,59,65,164,7,167,4998,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7af6ddb62a8cb81e7c3c1551de268c7.jpg",[],{"id":26617,"slug":26618,"title":21936,"dynasty":18,"author":2535,"museum":135,"description":26619,"tags":26620,"thumbUrl":26621,"material":127,"size":127,"collection":127,"collections":26622,"showCount":26216,"zanCount":961,"manualWeight":48,"mainColor":75},227636,"bing-zhu-ye-you-tu-ma-lin-227636","《宋马麟秉烛夜游图》是宋代画家马麟创作的一幅古画。\n\n朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[23,100,24,25,1555,28,304,104,103,34,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35159932efb51b829eecc61539b4cc0.jpg",[],{"id":26624,"slug":26625,"title":26626,"dynasty":18,"author":274,"museum":119,"description":14875,"tags":26627,"thumbUrl":26628,"material":127,"size":127,"collection":44,"collections":26629,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},227605,"long-mian-shan-zhuang-tu-er-ju-bu-li-gong-lin-227605","龙眠山庄图二（局部）",[23,100,24,25,123,7,103,64,34,1674,1947,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae494a47b809a3618a60d989e4610588.jpg",[44],{"id":26631,"slug":26632,"title":26633,"dynasty":18,"author":194,"museum":119,"description":26634,"tags":26635,"thumbUrl":26636,"material":127,"size":127,"collection":127,"collections":26637,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},227496,"xue-shan-tu-ye-fan-kuan-227496","雪山图页","《雪山萧寺图》是北宋画家范宽创作的一幅中国画。该幅画表现雪中山水的代表作品，构图不同于其他作品。画中山石树木直现于幅前，不留空间，让观赏者觉得有一股寒气袭来的身临其境感。群山簇拥，直指天空，深深的沟壑中，密林隐藏着萧寺，丛岩叠嶂中，“溪出深虚，水若有声”。由近而远堆叠的山峦，“折落有势”，山下寒树苍劲坚挺，势如铁帚，显示出范宽“写山真骨”，“与山传神”的精湛技艺。",[23,100,24,25,164,59,28,65,7,1262,264,125,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323a384e10f929ca675c2d84c6b715b5.jpg",[],{"id":26639,"slug":26640,"title":26641,"dynasty":18,"author":26642,"museum":119,"description":26643,"tags":26644,"thumbUrl":26645,"material":127,"size":127,"collection":127,"collections":26646,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},227436,"han-lin-ju-qin-tu-gao-dao-227436","寒林聚禽图","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[23,100,24,149,28,1249,7,766,372,106],"https:\u002F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江贯道的山水画风格融合了董源、巨然的画风，擅画远山丛丛，水天一色。 清初的王鉴很喜欢江贯道的画风，临仿了多幅他的作品。 从清初四王的风格来看，他们都有强大的摹古能力，尤其是宋元名家的风格特征已经深深地烙印在他们的作品之中。",[24,100,25,7,28,65,607,125,1586,5624,103,318,334,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],{"id":26656,"slug":26657,"title":26658,"dynasty":177,"author":11730,"museum":119,"description":21203,"tags":26659,"thumbUrl":26660,"material":127,"size":127,"collection":127,"collections":26661,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},226632,"si-shi-shan-shui-05-pu-ru-226632","四时山水05",[23,24,59,65,7,583,64,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1a4e3f15c64dc930ae6a157ad9e18.jpg",[],{"id":26663,"slug":26664,"title":26665,"dynasty":1051,"author":178,"museum":8528,"description":8529,"tags":26666,"thumbUrl":26667,"material":337,"size":937,"collection":127,"collections":26668,"showCount":26216,"zanCount":961,"manualWeight":48,"mainColor":49},226315,"ku-zhu-shi-bei-pi-yi-ming-226315","窟主室北披",[3985,28,1042,7,103,106,3988,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e7a45ac598bde267688c63fca13f886.jpg",[],{"id":26670,"slug":26671,"title":26672,"dynasty":177,"author":395,"museum":119,"description":26673,"tags":26674,"thumbUrl":26675,"material":127,"size":127,"collection":127,"collections":26676,"showCount":26216,"zanCount":961,"manualWeight":48,"mainColor":75},224518,"shan-shui-tu-ce-8-kai-5-zhang-da-qian-jiu-cang-shi-tao-224518","山水图册8开-5-张大千旧藏","这幅画以板桥通幽开篇，苍虬古木引向临渊茅舍，二人松下晤谈，岸柳轻拂添了灵动生机。远景群峰用枯涩皴笔写就，墨色干湿浓淡交织，于简淡勾勒间见出层峦雄浑之态。\n整幅以笔意载山乡幽怀，将林下隐逸的桃源意趣藏于尺幅。题字纵逸朴拙，与山水笔墨浑然相合，不见雕琢之痕。观之如踏入烟岚溪山，俗虑尽消，尽显笔底丘壑的林下清趣。",[23,100,24,25,164,59,65,7,165,103,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db64bd599b59aa160742e31ee3c7ca.jpg",[],{"id":26678,"slug":26679,"title":26680,"dynasty":177,"author":395,"museum":119,"description":26681,"tags":26682,"thumbUrl":26683,"material":127,"size":127,"collection":127,"collections":26684,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},224506,"shan-shui-ce-kai-shi-yi-shi-tao-224506","山水冊开(十一)","淡墨晕染江天，烟霭轻笼远山，将春日春江晕染得愈发空濛柔婉。岸侧垂柳疏条袅袅，几只禽鸟栖止枝头，清寂中又添几分灵动生机。江心孤帆半展，随波缓行，似载着晚春归人，悠悠划入淡远烟波之中。\n整幅画作笔墨简淡空灵，不着浓艳色彩，以写意之笔勾勒出江乡暮春的闲散幽寂。题诗与画境浑然相融，把春昼悠长的慵懒恬然藏在浅淡笔墨间，寥寥数笔便将悠远空寂的江天胜境铺展开来，尽显雅致文心。",[23,24,25,164,59,65,7,62,61,106,607,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a05b280c06a6313490c10405c040edb.jpg",[],{"id":26686,"slug":26687,"title":26688,"dynasty":177,"author":395,"museum":119,"description":26689,"tags":26690,"thumbUrl":26691,"material":127,"size":127,"collection":127,"collections":26692,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},224498,"shan-shui-ce-kai-qi-shi-tao-224498","山水冊开(七)","此作用淡青晕染远山，朦胧如含烟笼雾，留白湖面恰似空濛烟波，汀渚苇草轻曳，将江渚清寂铺陈开来。近坡以浓墨点苔，苍润朴拙，村居隐于繁荫之下，檐下仿佛有幽人对坐，暗合题诗里的江村闲意。\n行书题跋错落排布，与水墨山水相融相生，笔墨随性却章法自洽。将江南野居的清寂诗意晕染纸上，淡而不薄，简而不空，把文人幽居寄情山水的意趣藏在每一处皴擦点染里，观之如临无人烟渚，坐忘林泉，尽得山野闲逸之味。",[23,24,59,164,65,28,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61e210656cf02ca4c403e9a8efe90f9.jpg",[],{"id":26694,"slug":26695,"title":26696,"dynasty":177,"author":2075,"museum":119,"description":26697,"tags":26698,"thumbUrl":26699,"material":127,"size":127,"collection":127,"collections":26700,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,24,25,149,1388,65,59,28,7,583,199,37,64,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":26702,"slug":26703,"title":26704,"dynasty":177,"author":5740,"museum":119,"description":26705,"tags":26706,"thumbUrl":26708,"material":127,"size":127,"collection":127,"collections":26709,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},224255,"tao-yuan-tu-cha-shi-biao-224255","桃园图","此作用笔松秀简淡，以浅绛设色晕染出桃源幽境。左侧村舍错落隐于林樾间，田陇横斜延展，数位乡贤执礼晤谈，稚童随行、家犬嬉游，晕开融融烟火意趣。右侧崖壁清峭苍古，松枝偃仰遒劲，江流宛转萦回，扁舟静泊汀岸，淡施花青赭石点染枝梢，晕开春日柔润清和。\n全画以留白衬出空寂幽远的氛围，将林泉静穆与村居恬和相融，把文人心中避世归乡的桃源理想，化作可感的山水村居图景，尽显萧散简远的审美意趣。",[23,24,25,26,59,65,7,103,35,34,583,102,62,26707],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ee26c49185665d7885d138604cf597.jpg",[],{"id":26711,"slug":26712,"title":26713,"dynasty":18,"author":178,"museum":135,"description":26714,"tags":26715,"thumbUrl":26716,"material":292,"size":26717,"collection":127,"collections":26718,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},223426,"song-ren-song-yan-xian-guan-zhou-yi-ming-223426","宋人松岩仙馆轴","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[23,24,25,149,59,65,7,413,1500,104,165,64,167,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29c46de45092ebaff5ce785caa37a19.jpg","171x115.7公分",[],{"id":26720,"slug":26721,"title":26722,"dynasty":177,"author":178,"museum":20,"description":26723,"tags":26724,"thumbUrl":26725,"material":22359,"size":26726,"collection":127,"collections":26727,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,24,28,26,65,7,30,34,278,2845,31,37,520,63,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","纵32厘米，横210厘米",[],{"id":26729,"slug":26730,"title":26731,"dynasty":54,"author":178,"museum":4678,"description":26732,"tags":26733,"thumbUrl":26734,"material":40,"size":26735,"collection":127,"collections":26736,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},223356,"fang-fan-kuan-jin-bi-feng-tu-juan-yi-ming-223356","仿范宽金碧峰图卷","长卷绘山峦连绵，山头绿色点缀，山间云雾缭绕，山脚河水绕山而行，河面或宽阔或窄细，岸上绿树成荫，房舍、良田隐于山中。此画设色厚重，笔力鼎健，山河皆雄伟气魄，房舍、小桥、人物等细节上又精细柔和。",[23,24,26,28,65,122,7,34,64,60,61,63,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0279aacb6bccc03741b537e171d940bc.jpg","32.9×520.5CM",[],{"id":26738,"slug":26739,"title":26740,"dynasty":177,"author":26741,"museum":161,"description":26742,"tags":26743,"thumbUrl":26744,"material":59,"size":26745,"collection":71,"collections":26746,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},223250,"ku-mu-han-ya-pu-hua-223250","枯木寒鸦","蒲华","款识：枯木寒鸦。曾见李莹邱有此本，偶一效之，大略如是，作英蒲华。",[23,24,59,223,65,733,106,7,264,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac8fd8af8dbebd94497968fae5fd6bb.jpg","33×127cm",[71,212],{"id":26748,"slug":26749,"title":26750,"dynasty":177,"author":5768,"museum":20,"description":26751,"tags":26752,"thumbUrl":26753,"material":40,"size":26754,"collection":308,"collections":26755,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},223146,"yao-xie-shi-yi-tu-ce-di-yi-kai-fu-jian-long-yuan-shen-hua-tian-zhong-shan-shu-ren-xiong-223146","姚燮诗意图册-第一开：俯见龙渊深，花田种珊树","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,24,28,164,29,7,61,64,3171,372,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a59808ca4c73d2f3f45837adf2e796.jpg","纵27.3厘米，横32.5厘米",[308],{"id":26757,"slug":26758,"title":26759,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":26760,"thumbUrl":26764,"material":87,"size":15463,"collection":127,"collections":26765,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":49},223012,"hong-lou-meng-137-sun-wen-223012","红楼梦137",[23,24,29,28,26,8815,304,7,104,559,124,26761,17269,26762,26763],"花卉树木","古典题材","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d51b49ad3ae0a6342c15fbbb315de6.jpg",[],{"id":26767,"slug":26768,"title":26769,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":26770,"thumbUrl":26773,"material":87,"size":15463,"collection":127,"collections":26774,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":75},222951,"hong-lou-meng-76-sun-wen-222951","红楼梦76",[23,24,29,28,27,7,103,4496,181,6299,63,104,165,26771,61,26772],"灯笼","对联"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这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[23,24,25,149,59,7,125,35,64,34,31,223,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 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武夷放棹图》比较接近，不属于兴之所、至率性而为的作品，是画家澄心静虑的经意之作。卷首是程南云篆书题写的“方壶真迹”引首，卷尾有高谷、周凯、雪坡道人、王谦、沈成章、钱博、詹景凤和吴湖帆的题跋，并有著名收藏家王季迁的鉴藏印。",[23,24,25,26,59,7,65,318,979,165,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e14e9fbcbc029dd475988a0493766d.jpg","纵27厘米，横144.5厘米",[],{"id":26856,"slug":26857,"title":26858,"dynasty":54,"author":13805,"museum":3323,"description":26859,"tags":26860,"thumbUrl":26861,"material":26862,"size":26863,"collection":127,"collections":26864,"showCount":26216,"zanCount":48,"manualWeight":48,"mainColor":127},220726,"chong-shan-shui-xie-tu-li-zai-220726","崇山水榭图","李在，字以政，福建莆田人。明宣德时被征召入宫，与谢环、倪端、石锐、戴进等绘画名手同为仁智殿待诏。东京国立博物馆现藏《破墨山水图》上有日本室町时代画圣画僧雪舟的自赞，谓曾入明朝向当时极具声望的李在学习设色与破墨之法，可见李在画名曾远播东洋。\n\n此幅山水为李在将南、北宋绘画传统融会于一体的成果。近景右侧的蟹爪树向左方斜出，下有一策杖行人与童子步上木桥，似引导观者进入画中的理想世界。后方主山向上蜿蜒攀升，深具北宋巨障山水的体量感，但位置稍偏于画面右侧，将画幅左侧让给河流、远山，层层后退，表现山水的深远感。画中各种人物活动，清晰可见，中心山腰处有两名行人头戴斗笠，手持拐杖，由山后转出，随山径而下；中景处有两名文士造访山间凉亭，亭前则有童子洒扫；山脚处则有一人于水榭中读书。人物比例显得略大，但更拉近了观者与画面的距离，为画作带来亲密感与活泼生机。此外，此画的建构模式，例如充满动势的主山、中景处雾气蒸腾的松林、前景的蟹爪树、各式点景人物等，亦见于李在的其他作品，例如《山庄高逸图》与《山村图》。惟此《崇山水榭图》的皴染更为湿润，山石上骚动的卷云皴近乎隐没于墨染之中，并不明显，而中景右侧的两棵劲挺松树，则接近南宋的松树样式，于李在的传世立轴中较为少见。",[23,24,59,65,149,7,278,60,34,103,61,64,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3089547ba99e8fe6ce6a1d45917564c.jpg","水墨,设色,绢本,立轴","画心：124.3×59.4厘米 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水畔草堂临流而建，屋中主人偃卧观山，阶下童子侍立，尽显山居高隐的闲雅意趣。\n\n画作笔墨温婉秀润，山石以披麻皴写就，淡墨晕染出清润质感，林木点染疏密得宜，浅淡设色衬出古雅格调，将寄情林泉、慕求幽居闲适的心境，融在烟林清旷的山水小景之中，意境萧散淡远，尽显文人山水画的雅逸之致。",[24,149,28,65,7,238,199,201,34,7987,60,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a9341797746526cddd68189ee910.jpg",[],{"id":27185,"slug":27186,"title":27187,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":27188,"thumbUrl":27189,"material":127,"size":127,"collection":212,"collections":27190,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},238319,"yan-yu-lou-tu-zhou-dong-gao-238319","烟雨楼图轴",[24,149,59,7,104,34,31,9031,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae96fa2834c3c09ba001a9aaec286bb.jpg",[212,927],{"id":27192,"slug":27193,"title":27194,"dynasty":177,"author":8865,"museum":119,"description":27195,"tags":27196,"thumbUrl":27197,"material":127,"size":127,"collection":308,"collections":27198,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},237960,"mo-song-si-ye-hu-yu-kun-237960","墨松寺页","山水有家法，用笔虚无缥缈，咫尺千里。兼长花卉、兰竹。为胡氏一门之杰，称逸品。康熙八年（一六六九）与会周亮工宴于南京，九年（一六七o）作碧梧依山图，十二年（一六七三）作金陵古迹册。有栗园集。《明画录、读画录、桐阴论画、墨香居画识、香祖笔记、赖古堂集、青溪遗稿、赖古堂书画跋、画传编韵、清画家诗史》",[24,59,28,7,583,64,167,533,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03a7c2f35cdcb613b2a1c9bba86f824d.jpg",[308,45],{"id":27200,"slug":27201,"title":27202,"dynasty":54,"author":2842,"museum":119,"description":27203,"tags":27204,"thumbUrl":27205,"material":127,"size":127,"collection":308,"collections":27206,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},237920,"shan-song-se-zhou-zhang-hong-237920","山松色轴","字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州)人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[100,24,149,59,65,7,583,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf66bb758d89c6cdfc0908d408a0d49c.jpg",[308,212],{"id":27208,"slug":27209,"title":27210,"dynasty":177,"author":12146,"museum":119,"description":27211,"tags":27212,"thumbUrl":27213,"material":127,"size":127,"collection":71,"collections":27214,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},237690,"mei-qing-qu-xing-shi-shi-tu-zhou-mei-qing-237690","梅清瞿硎石室图轴","梅清（1623-1697），清初画家、诗人。原名士羲，后改今名，字渊公，号瞿山、敬亭山农，宣城（今属安徽）人。世祖顺治十一年（1654）举人，四次 北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 梅清、梅庚、石涛，戴本孝等为黄山派。传世作品有《山村清景图》、《黄山图》、《黄山十九景图》、《黄山炼丹台图》等。",[24,149,59,7,103,583,264,65,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980073cdbde0a994569769bb864028f.jpg",[71],{"id":27216,"slug":27217,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":27218,"thumbUrl":27219,"material":127,"size":127,"collection":308,"collections":27220,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},237594,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237594",[24,25,164,59,65,122,7,583,199,64,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae0c88738c7130fc52a28d7ea721399c.jpg",[308,45],{"id":27222,"slug":27223,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":27224,"thumbUrl":27225,"material":127,"size":127,"collection":127,"collections":27226,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},237590,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237590",[24,197,1099,65,123,164,7,165,630,734,167,166,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93ac8d5e23f56de21baeb4d646ef856.jpg",[],{"id":27228,"slug":27229,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":8901,"tags":27230,"thumbUrl":27231,"material":127,"size":127,"collection":127,"collections":27232,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582",[24,25,164,59,65,122,7,372,125,264,239,452,34,2315,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],{"id":27234,"slug":27235,"title":27236,"dynasty":177,"author":27237,"museum":135,"description":27238,"tags":27239,"thumbUrl":27240,"material":349,"size":27241,"collection":71,"collections":27242,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},237237,"bai-lu-quan-tu-zhou-fang-shi-shu-237237","白鹿泉图轴","方士庶","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。\n能诗善画，书法严密端秀，绘画笔墨敏洁灵秀，气势跌宕飞动，谓之为王原祁后山水第一。受学于黄鼎，山水用笔灵敏，气晕骀宕，早有出蓝之目，时称妙品。兼善花卉写生。其得意之作，皆钤“偶然拾得”小墨印。复以书法名芜城。行楷结构严密，纯学董其昌。惜中寿而殁。亦工诗，有《环山诗钞》。是“娄东派”卓有成就的名家。",[24,25,149,59,65,7,104,34,64,826,559,167,5068,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd777ea183e5a3b1907c7c59e0962cf28.jpg","369x102",[71],{"id":27244,"slug":27245,"title":1420,"dynasty":177,"author":27246,"museum":20,"description":27247,"tags":27248,"thumbUrl":27249,"material":632,"size":27250,"collection":71,"collections":27251,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},237121,"shan-shui-zhou-cheng-sui-237121","程邃","全图以枯笔焦墨表现丘峦林壑，带有程邃典型的笔墨特征。其渴笔干墨的行笔线条刚劲有力，具有以书入画的金石味，将山石树木荒拙苍老的筋骨之美表现得别有情致，从而成功地勾画出作者理想中那种摆脱尘嚣缰锁、陶然世外的高人雅境。",[24,25,7,59,65,149,318,34,35,201,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aea53b6cd918a5d89fec19f2000ba36.jpg","纵64.6厘米，横29.4厘米",[71],{"id":27253,"slug":27254,"title":27255,"dynasty":177,"author":683,"museum":20,"description":27256,"tags":27257,"thumbUrl":27258,"material":375,"size":27259,"collection":71,"collections":27260,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},236412,"fang-li-cheng-yan-jing-zhou-wang-yuan-qi-236412","仿李成烟景轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,149,59,65,122,7,64,34,35,61,37,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[71,45,927],{"id":27262,"slug":27263,"title":27264,"dynasty":177,"author":3760,"museum":20,"description":27265,"tags":27266,"thumbUrl":27268,"material":736,"size":27269,"collection":71,"collections":27270,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},236391,"zhong-lin-die-zhang-zhou-wang-hui-236391","重林叠嶂轴","“虞山画派”大家王翚(1632－1717)一生的画腊极长，创作精力旺盛，各阶段绘画风格的变化亦较为明显。对此，近代鉴藏大家吴湖帆(1894－1968)题本展王石谷《仿巨然夏山烟雨图卷》中，曾有极为精辟的剖析：“王石谷子(王翚)年四十左右，在娄东王奉常(王时敏)家临摹宋元名迹，艺乃大成，间为太常代笔，亲受指点，益臻神化，故石谷画当以四十至五十为极诣，五十至六十自具面目，六十至七十渐落俗套、每失韵致，七十至八十有衰颓气，八十以外又复变化入神，用笔如万岁枯藤，苍辣兼具，有空前绝后之妙。后人之诋諆石谷者，盖多见其六十以后八十以前作也。”梅景书屋主人之评，的为灼见，其对石谷画风的如数家珍，实得益于其本人鉴藏之丰厚。\n众所周知，近现代的江南地区，无疑是“四王”书画流散与聚集的重镇。不仅吴氏如此，他如庞莱臣、顾文彬、钱镜塘等近现代大藏家亦然，购藏“四王”精品之机会甚多。而他们的旧藏，之后成为了上海博物馆馆藏“四王”的主要来源。以王翚为例，不仅数量逾百，且自成体系，如自王氏四十岁至八十六岁的四十七年中，除四十三、五十六、五十七、五十八、六十及七十六岁这六年无藏品外，其余则可按系年排列。而传世本就不多的王翚四十岁前早期作品，上海博物馆亦拥有重要画作若干。其二，上海博物馆所藏王翚各时期作品，皆有诸多精品与代表作，如四十岁前《早年山水图轴》、《十里溪塘图轴》，四十至五十岁间的《仿曹知白西林禅室图卷》、《元人高韵图轴》、《小中现大图册》、《黄鹤传灯图卷》、《仿关仝溪山晴霭图卷》、《仿黄公望富春山居图卷》，五十至六十岁间的《溪阁晤对图轴》、《重江叠嶂图卷》，六十至七十岁的《泰岳松风图轴》、《西斋图卷》、《寒林雅趣图卷》，七十至八十岁的《六境图卷》、《嵩山草堂图轴》，八十以后如《唐人诗意图轴》、《仿大痴山水图轴》等。其系统性与代表性，对全面把握与理解王翚一生的绘画风格演变，提供了良好的实物基础，这也是本展得以举办的主要缘由。\n另一方面，察考上博王翚作品中所涉及的相关人物，可以发现，这些或受赠者，或鉴题者，在王氏的艺术生涯以及人生轨迹的转变中扮演了重要的角色。同时，亦可注意到，伴随着王翚交游圈的不断拓展，其从艺心态随之产生了微妙的变化。而这种转变，与上述吴湖帆所析其各阶段画风特点，亦有某种程度上的关联，也折射出王翚与同时代如王原祁、八大山人、恽寿平等艺术家在个性、气质方面的些许差异。",[24,25,149,59,65,7,64,34,63,27267,3261],"重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纵129.7cm，横44.1cm",[71,212],{"id":27272,"slug":27273,"title":5022,"dynasty":177,"author":395,"museum":119,"description":27274,"tags":27275,"thumbUrl":27276,"material":127,"size":127,"collection":127,"collections":27277,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},235883,"yuan-ji-shan-shui-tu-ce-shi-tao-235883","此开以淡墨晕染出夜江空濛之境，远山如笼轻烟，朦胧柔婉。坡岸古松虬曲苍劲，枝叶疏密交错，暗合晚风拂林之态。浅滩扁舟静泊，舱内灯影隐约，将羁旅夜泊的清寂诗意缓缓铺陈。\n\n行书题诗与画面相映成趣，笔意疏朗清逸，诗句将烟月横塘的缱绻旅思娓娓道来，诗画交融无间。整幅以简驭繁，淡设色烘托出静谧悠远的晚江氛围，寥寥数笔便写尽江湖寄兴的闲淡意绪，尽显文人画诗画合璧的雅致风神，把幽寂淡远的羁愁融于尺幅之间。",[24,25,164,59,28,7,583,1674,238,67,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d386381e3f4f6870eb0fa126626adb4.jpg",[],{"id":27279,"slug":27280,"title":22137,"dynasty":177,"author":12146,"museum":119,"description":27281,"tags":27282,"thumbUrl":27283,"material":127,"size":127,"collection":127,"collections":27284,"showCount":130,"zanCount":1080,"manualWeight":48,"mainColor":75},235673,"huang-shan-tu-zhou-mei-qing-235673","《梅清黄山图轴》是清代画家梅清创作的一幅纸本设色画。\n图绘被世人称为“黄山绝胜处”的文殊台。\n群峰松林以平行的斜线构成，白云蒸腾而上，气势雄浑。\n作者用豪放、泼辣的笔法突出了黄山奇、峻、险、秀的意境，山石以皴勾画，繁而不乱，松树枝叶墨气浓郁，独树一帜，别开生面。\n本幅自题诗一首，款署：“瞿山梅清并题”，钤“瞿山清”白文印、“渊公”朱文印。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[24,25,149,59,65,7,583,37,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e76d80fe37e232fb28534fb90d10bcd.jpg",[],{"id":27286,"slug":27287,"title":159,"dynasty":177,"author":1925,"museum":20,"description":7614,"tags":27288,"thumbUrl":27289,"material":537,"size":7617,"collection":127,"collections":27290,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},234302,"shan-shui-ce-zhu-da-234302",[24,59,65,164,101,7,62,34,64,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F407a0f23048f46ee0041bf52f26c96e4.jpg",[],{"id":27292,"slug":27293,"title":27294,"dynasty":177,"author":18412,"museum":20,"description":27295,"tags":27296,"thumbUrl":27297,"material":375,"size":27298,"collection":127,"collections":27299,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[24,149,28,7,104,60,103,34,65,29,101,66,64,278,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":27301,"slug":27302,"title":2773,"dynasty":177,"author":395,"museum":20,"description":7604,"tags":27303,"thumbUrl":27304,"material":20547,"size":20548,"collection":127,"collections":27305,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},233420,"yuan-ji-shan-shui-ce-shi-tao-233420",[24,59,65,7,125,1674,64,166,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthum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107.1x28.9公分、詩塘 50.4×28.9公分、全幅 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三字。赵盂頫，，元代书画家、文学家，字子昂，号松雪道人，浙江吴兴(今浙江湖州)人。擅画山水、人物，工墨竹、花鸟，以飞白法画石，以书法用笔写竹，皆以笔墨圆润苍秀见长。\n第十开，仿郭熙，以水墨作雪景，曲堤长桥，枯草秃树，全景堆银砌玉，清静致远，题：“郭河阳法，拟古十册奉正于升先生，时丙午长至又二日，士标呵冻纪事”。郭熙，北宋画家，字淳夫，河南温县人。工画山水，画山石多“卷云”或“鬼脸”皴法；画树枝如蟹爪下垂，笔力劲健，水墨爽洁。对四季山水有“春山如笑，夏山如滴，秋山如妆，冬山如睡”之况。",[24,59,65,164,7,103,60,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d81252af5e22b8cb3c78773254a0281.jpg","纵22厘米，横]7厘米",[],{"id":27341,"slug":27342,"title":27343,"dynasty":54,"author":178,"museum":4678,"description":27344,"tags":27345,"thumbUrl":27346,"material":127,"size":127,"collection":127,"collections":27347,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,24,59,28,7,65,1643,583,64,103,335,347,61,37,34,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":27349,"slug":27350,"title":15791,"dynasty":80,"author":1410,"museum":135,"description":27351,"tags":27352,"thumbUrl":27353,"material":87,"size":27354,"collection":127,"collections":27355,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},231382,"shuang-song-tu-wu-zhen-231382","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[24,25,59,65,149,7,583,64,167,34,452,13649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf0fcc10dffdd8cca23f577240f388d.jpg","纵180厘米横111.4厘米",[],{"id":27357,"slug":27358,"title":27359,"dynasty":18,"author":178,"museum":135,"description":27360,"tags":27361,"thumbUrl":27366,"material":349,"size":27367,"collection":127,"collections":27368,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[100,24,25,7,149,59,65,27362,85,27363,27364,12949,27365,2505,64,125,60,61,63],"山岭","茅亭","荷塘","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":27370,"slug":27371,"title":27372,"dynasty":177,"author":3760,"museum":119,"description":27373,"tags":27374,"thumbUrl":27375,"material":127,"size":127,"collection":127,"collections":27376,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[24,25,59,65,7,2127,63,199,61,64,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":27378,"slug":27379,"title":27380,"dynasty":177,"author":5740,"museum":119,"description":27381,"tags":27382,"thumbUrl":27383,"material":127,"size":127,"collection":127,"collections":27384,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},230299,"shan-shui-shi-kai-cha-shi-biao-230299","山水十开","此作用笔松秀空灵，以极简构景铺就幽寂冬境。几株寒木瘦劲出枝，淡笔勾勒嶙峋躯干，细笔写残叶萧疏，尽显清癯孤傲之态。留白为寒水浅滩，隐见板桥卧波，远山以枯淡泼墨轻扫，虚实间晕染出淡远空濛。\n\n整幅以少胜多，脱尽尘俗烟火气，将江南冬日清旷荒寒之景诉诸笔端，淡墨轻岚里晕开空寂诗意。观之如临荒寒水畔，浸得一身清宁，尽显静穆淡远的文人雅韵。",[24,25,59,7,125,60,64,65,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfc33c830462f885ce8379dce9b76aa.jpg",[],{"id":27386,"slug":27387,"title":2007,"dynasty":177,"author":6184,"museum":119,"description":27388,"tags":27389,"thumbUrl":27390,"material":127,"size":127,"collection":127,"collections":27391,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},228953,"shan-shui-li-zhou-yuan-jiang-228953","此作用高远、平远之法铺展丘壑，烟岚轻笼层叠峰峦，虚实掩映间晕开幽寂氛围。幽谷飞瀑垂落，亭台楼阁错落栖于崖畔水岸，尽显雅致逸趣。近岸林木扶苏，渔舟泛于涟漪之上，渔人悠然摇橹，野逸生机跃然绢素。\n\n笔墨苍秀兼工带写，山石皴擦兼具厚重质感与氤氲气韵，设色古雅沉静，糅合院体的精细整饬与文人山水的萧散意趣，将江南山林温润空濛的灵秀之态描摹尽致。观之如临林泉，恍可听瀑声、闻棹歌，尽得山水意境之美。",[24,149,28,7,199,34,35,62,63,304,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacdf90198a83bdeccf8510a9ccdbe3d.jpg",[],{"id":27393,"slug":27394,"title":27395,"dynasty":54,"author":27396,"museum":119,"description":27397,"tags":27398,"thumbUrl":27399,"material":127,"size":127,"collection":127,"collections":27400,"showCount":130,"zanCount":961,"manualWeight":48,"mainColor":49},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","杜堇","画面以淡墨晕染出清寂冬山，古松虬枝横斜，苍劲老辣。寒溪蜿蜒穿谷，水波轻漾间漾出幽冷空茫。曳杖文士缓行山径，衣袂翩然尽是闲适从容，侍童抱琴紧随其后，将文人携琴探梅的雅兴藏于萧寒丘壑。\n\n笔墨洗练疏朗，山水皴擦简括写意，人物线条清劲灵动，淡墨轻岚晕染出空寂淡远的氛围，将冬日山林的萧寒清冷与文人寻幽访胜的孤高雅趣相融，于简淡之中尽显出超尘脱俗的文人情致。",[23,24,28,29,103,7,2127,2414,264,125,167,166,34,5068,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":27402,"slug":27403,"title":27404,"dynasty":80,"author":8313,"museum":135,"description":27405,"tags":27406,"thumbUrl":27407,"material":243,"size":27408,"collection":127,"collections":27409,"showCount":130,"zanCount":961,"manualWeight":48,"mainColor":49},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,24,25,100,7,28,65,373,62,495,2832,103,34,64,5069,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 横106.2 公分",[],{"id":27411,"slug":27412,"title":27413,"dynasty":80,"author":15974,"museum":119,"description":27414,"tags":27415,"thumbUrl":27416,"material":127,"size":127,"collection":127,"collections":27417,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},228034,"xi-qiao-ce-zhang-tu-luo-zhi-chuan-228034","溪桥策杖图","画作以枯木为视觉重心，双木虬曲苍劲，枝条如倒挂蟹爪，皴笔老辣简练，尽显岁寒枯槁之态。近岸山石以淡墨晕染，勾勒寥寥便见嶙峋质感，远景山峦以淡墨轻扫，晕染出空濛悠远的秋山暮色。\n\n溪桥横卧寒波，策杖行人缓步桥上，三两相伴，为冷寂天地添上些许烟火暖意，动静之间，将荒寒萧索与悠然意趣相融。全作用笔简淡空灵，以水墨写尽隐逸幽怀，枯淡之中暗藏生机，尽显文人超脱尘俗的林下襟怀，是元人尚意山水的逸格之作。",[23,24,25,2484,59,7,65,125,60,61,103,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8663ca638f193764ba17f57c5396ca4c.jpg",[],{"id":27419,"slug":27420,"title":27421,"dynasty":80,"author":1715,"museum":119,"description":27422,"tags":27423,"thumbUrl":27424,"material":127,"size":127,"collection":127,"collections":27425,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":379},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,26,28,7,65,67,34,35,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":27427,"slug":27428,"title":27429,"dynasty":18,"author":3217,"museum":119,"description":27430,"tags":27431,"thumbUrl":27432,"material":127,"size":127,"collection":127,"collections":27433,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,24,100,25,26,59,65,7,34,60,61,62,64,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":27435,"slug":27436,"title":27437,"dynasty":18,"author":604,"museum":119,"description":27438,"tags":27439,"thumbUrl":27440,"material":127,"size":127,"collection":127,"collections":27441,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},227827,"fang-gu-qiu-dao-tu-ma-yuan-227827","访古求道图","此作截取林苑一隅，老梅虬枝盘曲如铁，繁花密缀其上，冷香暗涌。古松倚侧挺健，苍郁沉雄。策杖雅士缓行林间，仆从悄然随行，衣袂轻扬间，尽显萧散古雅的林下风致。\n\n笔墨洗练刚劲，以硬屈的线条勾勒枝干，尽显枯木的苍古之态，梅花晕染清润素雅，淡设色晕染出幽寂清寒的氛围，将林泉访古的幽怀雅趣融于边角取景中，简淡空灵，带着清寂悠远的韵致，尽显南宋院体画的精妙功力。",[23,100,24,25,28,65,103,7,2127,607,125,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe844b4a474880c32edeb6e516001d511.jpg",[],{"id":27443,"slug":27444,"title":27445,"dynasty":177,"author":395,"museum":119,"description":27446,"tags":27447,"thumbUrl":27448,"material":127,"size":127,"collection":127,"collections":27449,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},224512,"shan-shui-tu-ce-8-kai-2-zhang-da-qian-jiu-cang-shi-tao-224512","山水图册8开-2-张大千旧藏","这幅山水以留白铺就江天空寂，右侧危崖飞瀑直落，笔墨苍莽朴拙，尽显山石嶙峋质感。左侧崖巅孤松斜曳，茅舍孑立，归雁成阵掠过长空，远江帆影悠悠往来。\n\n简淡设色晕染山石松枝，寥寥数笔便勾勒出山野清寂之境。题款朱印错落于崖侧，与水墨相映成趣，以写意之笔铺陈出天人相融的幽远意趣，尽显简淡疏朗的林下之风，将江乡山居的空阔自在藏于尺幅之中。",[23,100,24,25,2145,59,65,223,7,62,583,1707,199,106,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcffdcba7a6958b40f93316c1d03b2b96.jpg",[],{"id":27451,"slug":27452,"title":27453,"dynasty":177,"author":3760,"museum":119,"description":27454,"tags":27455,"thumbUrl":27456,"material":127,"size":127,"collection":127,"collections":27457,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},224448,"tang-ren-shi-yi-tu-juan-wang-hui-224448","唐人诗意图卷","此作以长卷铺展江南胜景，开篇浩渺江天，远帆孤悬于烟霭之间，水天相融尽得平远之致。继而丘壑渐起，田畴村落错落于林麓溪畔，野趣盎然。中段奇峰崛立，皴笔苍劲厚重，林木蓊郁间隐见山居梵塔，兼得高远深邃。末段山峦复归淡远，墨色晕染间烟岚轻笼。\n全作用笔清润灵秀，干笔皴擦间兼具宋元山水之妙，以诗意入画，将江南山水的温润清和、林泉雅趣缓缓铺陈，移步换景间，尽显山河安闲悠然之态。",[23,24,26,1388,65,28,7,238,167,34,35,106,891,201,64,4203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9deecc02f68f4e5c292be2c407e77717.jpg",[],{"id":27459,"slug":27460,"title":27461,"dynasty":177,"author":12146,"museum":119,"description":27462,"tags":27463,"thumbUrl":27464,"material":127,"size":127,"collection":127,"collections":27465,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},224340,"shan-shui-jing-pin-mei-qing-224340","山水精品","此作用笔清劲老辣，山石以干笔枯皴勾勒轮廓，方折奇崛，尽显峭拔之态。虬松横斜苍劲，枝桠如铁，掩映处茅舍幽居，恍若世外灵台。\n\n画作以虚衬实，下半幅大片留白以代深谷云岚，将山谷幽邃辽远尽数托出，虚实相生间，把山林空寂超逸的禅意缓缓铺展。题诗与笔墨相映，文气郁郁，尽显画师胸中丘壑，淡远静穆里，藏着出世高蹈的雅逸襟怀。",[23,24,25,149,59,65,7,264,63,413,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a46e171cbd8812b39da98beb1afde6.jpg",[],{"id":27467,"slug":27468,"title":27469,"dynasty":177,"author":27470,"museum":119,"description":27471,"tags":27472,"thumbUrl":27473,"material":127,"size":127,"collection":127,"collections":27474,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},224197,"bai-he-ling-tu-ye-xin-224197","白鹤岭图","叶欣","这幅画作以淡墨勾勒皴擦，绘就层叠陡峻的岭岳，山道逶迤盘桓，楼阁凭崖而立，将雄奇山势与雅致人文景致相融。远山以简笔淡染，衬出江天浩渺的空寂意境，整体笔致清疏秀雅，尽显静穆萧散的文人画气质。\n画面右上角题字与山水呼应，文气悠然晕开。以简淡笔墨写尽丘壑之幽，既有山峦的苍浑厚重，又不失江南山水的秀逸空灵，将登高览胜的开阔心境藏于层叠山石间，意韵悠长内敛，是小品山水画里的清逸佳构。",[23,24,25,7,59,28,65,66,101,64,104,334,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eec84ce1e5fd0e1223a28f0051174f.jpg",[],{"id":27476,"slug":27477,"title":27478,"dynasty":177,"author":12035,"museum":704,"description":27479,"tags":27480,"thumbUrl":27481,"material":349,"size":27482,"collection":71,"collections":27483,"showCount":130,"zanCount":961,"manualWeight":48,"mainColor":49},224164,"shan-shui-lou-ge-tu-liu-du-224164","山水楼阁图","该作品写冈峦叠起、山石林立、峭崖绝壁、云雾蒸腾。画作正中，主峰高耸、陡峭的崖壁处有瀑布飞流直下，在迷雾笼罩的山腰间汇成湍湍溪水。溪水沿着凹凸不平的石道蜿蜒而下，泻入碧水涟漪、明净清澈的湖中。画中主峰峥嵘突兀，烟霭弥漫，山间楼宇若隐若现，画面虚实相生、宁静空灵。山石轮廓线刻画曲折有力，皴法用笔细密工致，极为精严。山下水榭、楼阁依水而建，亭内和湖中舟上点缀以人物。近处古树高耸，黄叶灿然。看此幽山、绿崖、白云、古树，如同进入清新怡人的脱俗之境。\n《山水楼阁图》画法工细，色调明快，具有较强的装饰美。山间的白云不是用勾的方法表现，而是运用了晕染和留白的方法，墨色浓淡变化丰富，颇有韵味。古树苍茂，树叶或填以黄色、或点以绿色、或红绿相杂，树干双勾后均用淡墨兼赭色填涂。掩映于山间的楼阁亭台与水边的回廊水榭安排得错落有致，勾描工细而不僵滞。它们在山水的环抱中显得格外幽雅、别致。画中人物造型准确，临水亭台中的坐观者神态怡然，舟中收网的渔人也忙而不乱、轻松自在。此画无半点甜俗之气，让人有一种远离尘嚣的脱俗感。\n能在如此小的册页上绘出这般大的气象，可见刘度绘画水平的高超。",[23,24,100,25,28,304,65,7,104,61,62,64,199,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa71146b215b69f0608d84fc286be05.jpg","纵28.8厘米，横15.2厘米",[71],{"id":27485,"slug":27486,"title":27487,"dynasty":177,"author":27246,"museum":220,"description":27488,"tags":27489,"thumbUrl":27490,"material":349,"size":27491,"collection":127,"collections":27492,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[23,100,24,25,59,65,7,60,61,62,264,125,35,64,34,4342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","43.6x66.",[],{"id":27494,"slug":27495,"title":27496,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":27497,"thumbUrl":27498,"material":87,"size":15463,"collection":127,"collections":27499,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},223057,"hong-lou-meng-182-sun-wen-223057","红楼梦182",[23,24,25,26,29,28,103,4496,7,34,629,5360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d4b98e1d2c02477657bf80b0a7cefc.jpg",[],{"id":27501,"slug":27502,"title":27503,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":27504,"thumbUrl":27506,"material":87,"size":15463,"collection":127,"collections":27507,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},223021,"hong-lou-meng-146-sun-wen-223021","红楼梦146",[23,24,29,28,26,17269,27505,104,722,2559,559,335,34,1643,7],"古装人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62c76177cac49c4471790bae375b2831.jpg",[],{"id":27509,"slug":27510,"title":27511,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":27512,"thumbUrl":27516,"material":87,"size":15463,"collection":127,"collections":27517,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},223017,"hong-lou-meng-142-sun-wen-223017","红楼梦142",[23,24,29,28,26,103,27513,2559,6951,27514,7,27515],"古建筑","桃树","红楼题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5da4a987ea8c73575cae802c4869f0.jpg",[],{"id":27519,"slug":27520,"title":27521,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":27522,"thumbUrl":27523,"material":87,"size":15463,"collection":127,"collections":27524,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},222962,"hong-lou-meng-87-sun-wen-222962","红楼梦87",[23,29,28,27,304,63,60,104,103,7,8337,34,64,4193,559,2911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc11a0901c1842776189869693f3bf0.jpg",[],{"id":27526,"slug":27527,"title":27528,"dynasty":177,"author":10955,"museum":20,"description":27529,"tags":27530,"thumbUrl":27531,"material":40,"size":27532,"collection":127,"collections":27533,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},222863,"shi-gong-ci-tu-ce-02-leng-mei-222863","十宫词图册02","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,5254,24,25,29,28,304,164,66,67,103,12167,104,559,64,34,102,5034,3695,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5944fe731c667f949444ac12150a4fc0.jpg","纵33.1厘米，横29.3厘米",[],{"id":27535,"slug":27536,"title":8592,"dynasty":54,"author":368,"museum":119,"description":27537,"tags":27538,"thumbUrl":27539,"material":127,"size":27540,"collection":127,"collections":27541,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},222589,"shan-shui-tu-zhou-lan-ying-222589","蓝瑛绘画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。",[23,24,149,28,65,7,64,583,35,63,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3137530f69bbbbed7b90a40b906f24f9.jpg","70x38",[],{"id":27543,"slug":27544,"title":27545,"dynasty":54,"author":27546,"museum":135,"description":27547,"tags":27548,"thumbUrl":27549,"material":292,"size":27550,"collection":71,"collections":27551,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},222065,"xue-ye-fang-dai-zhou-zhou-wen-jing-222065","雪夜访戴轴","周文靖","此图描写东晋名士王徽之夜里梦醒，见月色皎洁兴致突生，遂趋船造访好友戴逵。然抵达之后，又打消念头而折回，或曰：「乘兴而来，尽兴而返。」为明代历史人物故事画之佳例。此幅构图继承南宋马、夏特色，却较之概括简约，而其潇洒放逸之笔法，则近似元人风格。",[23,24,59,28,65,149,7,62,103,878,34,25054,372,4496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c217c7206bd4b15f36643d89ad02332.jpg","320X120.2",[71,212],{"id":27553,"slug":27554,"title":27555,"dynasty":80,"author":9149,"museum":135,"description":27556,"tags":27557,"thumbUrl":27560,"material":164,"size":27561,"collection":127,"collections":27562,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":75},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","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。",[23,24,100,26,1388,59,7,27558,27559,60,5361,335,1778,15503,61,65,66,101,3865],"树石","矮屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","该幅31x117.4公分",[],{"id":27564,"slug":27565,"title":27566,"dynasty":18,"author":2391,"museum":704,"description":27567,"tags":27568,"thumbUrl":27569,"material":87,"size":27570,"collection":127,"collections":27571,"showCount":130,"zanCount":48,"manualWeight":48,"mainColor":49},221626,"yue-se-qiu-sheng-tu-ma-he-zhi-221626","月色秋声图","南宋马和之月色秋声图页，其截取一个小景特写，一高士临流而坐，沉吟幽思，一童侍立旁边。人物、坡石、树木色线即是“柳叶描”笔法。马和之的画法在南宋独树一帜，不仅在技法上，意境上亦是如此。",[23,24,25,164,28,7,103,1643,165,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ab6d572995a48566475e47dec9aeb3.jpg","25.9x60.5cm",[],{"id":27573,"slug":27574,"title":27575,"dynasty":18,"author":2391,"museum":1542,"description":27576,"tags":27577,"thumbUrl":27578,"material":454,"size":27579,"collection":127,"collections":27580,"showCount":130,"zanCount":961,"manualWeight":48,"mainColor":49},221625,"xiao-ya-hong-yan-zhi-shen-tu-ma-he-zhi-221625","小雅·鸿雁之什图","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。\n擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,25,26,123,28,67,103,34,106,7,264,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb39b1e043ef15aca59080d2812129.jpg","32.4 1304.9 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间作花卉，亦多逸致，康熙八年（1669）作山水图。",[24,25,59,65,7,318,319,165,35,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[71],{"id":27845,"slug":27846,"title":23871,"dynasty":177,"author":10061,"museum":119,"description":23872,"tags":27847,"thumbUrl":27848,"material":127,"size":127,"collection":127,"collections":27849,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},239051,"shan-shui-hua-niao-ce-yang-jin-239051",[24,25,164,59,65,101,7,103,61,264,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6136e48c08d32b04c6c2777897512f54.jpg",[],{"id":27851,"slug":27852,"title":159,"dynasty":177,"author":10061,"museum":119,"description":10062,"tags":27853,"thumbUrl":27854,"material":127,"size":127,"collection":71,"collections":27855,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},238987,"shan-shui-ce-yang-jin-238987",[24,25,164,28,7,65,34,1674,62,61,167,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b2b48963874015c5128a1c9ccdd5a4.jpg",[71,45],{"id":27857,"slug":27858,"title":27859,"dynasty":177,"author":6622,"museum":119,"description":27860,"tags":27861,"thumbUrl":27862,"material":337,"size":937,"collection":308,"collections":27863,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},238541,"hua-shou-pu-ce-yu-sheng-238541","画兽谱册","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,25,164,28,3988,7,64,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9544dfd446f8c2df9428c8857d17029f.jpg",[308,45],{"id":27865,"slug":27866,"title":27867,"dynasty":177,"author":25108,"museum":119,"description":27868,"tags":27869,"thumbUrl":27870,"material":127,"size":127,"collection":71,"collections":27871,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},238243,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238243","塞山二十四景册","以淡墨勾勒皴擦，写尽峰峦层叠之态，危岩高耸，林木依石而生，留白处似云气萦回山谷，将幽寂的山巅清景铺展开来。笔致苍秀细腻，山石纹理尽显嶙峋质感，枯松错落萧疏，带着塞地萧寒之气，仿佛可闻山风穿林而过。\n\n右侧大片留白与左侧繁密山景形成强烈虚实对照，朱红鉴藏印点缀素纸，墨色丹印相映成趣，既有荒寒山境的冷逸清寂，又添古雅金石意趣，将塞上山川的静穆荒寒凝于尺幅，悠悠古意扑面而来。",[24,25,59,29,65,164,7,318,583,64,532,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3004413fb4a3a4c945a56f3045298730.jpg",[71],{"id":27873,"slug":27874,"title":27875,"dynasty":177,"author":1825,"museum":119,"description":9266,"tags":27876,"thumbUrl":27877,"material":127,"size":127,"collection":71,"collections":27878,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},238120,"zi-jiu-shan-shui-zhou-wang-jian-238120","子久山水轴",[24,149,59,7,65,238,34,35,60,61,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec101e743627000ca6e774bee120ef.jpg",[71,212],{"id":27880,"slug":27881,"title":27882,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":27883,"thumbUrl":27884,"material":337,"size":937,"collection":127,"collections":27885,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},237794,"hong-ren-song-zhu-you-ting-tu-shan-ye-hong-ren-237794","弘仁松竹幽亭图扇页",[24,25,2484,59,65,413,630,63,264,7,103,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10aaadad94df684872c4363df1411bc.jpg",[],{"id":27887,"slug":27888,"title":27889,"dynasty":177,"author":27890,"museum":119,"description":27891,"tags":27892,"thumbUrl":27893,"material":127,"size":127,"collection":71,"collections":27894,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},237564,"hua-fen-yong-xiao-shi-shi-ce-wang-fu-237564","画分咏小石诗册","王凫","此作以开合之景铺展山居雅趣，高岭卧石隐于浅草疏林，溪谷蜿蜒穿林而过，将画面裁为丘山与雅居两处景致。坡岸林间，士人围坐清谈，草亭之内宾主对坐酬唱，右侧层叠楼阁依岩而建，有人凭栏远眺。设色淡雅清和，赭石晕染山峦，花青点染林木，笔致秀润细腻，将文人士子幽居雅集的闲逸尽数铺陈。整体氛围安恬静穆，林下风流与山居幽趣相融，将江南山居的清旷雅致凝于尺幅之间，藏着文人栖居林泉的浮生雅事，尽显丘林雅韵。",[24,25,164,28,304,29,7,63,104,60,61,103,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3599c8cb93fc6d7c7fb6bd6e4a8dcf3c.jpg",[71,45,927],{"id":27896,"slug":27897,"title":27898,"dynasty":177,"author":3760,"museum":119,"description":27899,"tags":27900,"thumbUrl":27901,"material":127,"size":127,"collection":927,"collections":27902,"showCount":27701,"zanCount":961,"manualWeight":48,"mainColor":75},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[24,59,149,65,66,101,7,318,319,37,34,35,62,199,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[927],{"id":27904,"slug":27905,"title":27906,"dynasty":177,"author":5740,"museum":20,"description":27907,"tags":27908,"thumbUrl":27909,"material":349,"size":127,"collection":71,"collections":27910,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},237208,"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,25,164,59,7,67,65,34,35,239,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[71,45],{"id":27912,"slug":27913,"title":27914,"dynasty":54,"author":21379,"museum":119,"description":27915,"tags":27916,"thumbUrl":27917,"material":337,"size":937,"collection":127,"collections":27918,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},236801,"chi-bi-tu-shan-mian-liu-yuan-qi-236801","赤壁图扇面","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,25,2484,59,7,65,62,64,34,103,31,532,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85014b4daa5b192d99d625c5a10d25b.jpg",[],{"id":27920,"slug":27921,"title":27922,"dynasty":177,"author":27923,"museum":119,"description":27924,"tags":27925,"thumbUrl":27926,"material":127,"size":127,"collection":71,"collections":27927,"showCount":27701,"zanCount":961,"manualWeight":48,"mainColor":75},235923,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235923","湖山梵刹图册","潘恭寿","这幅山水以淡墨轻晕远山，层峦在烟霭中虚实错落，似被晨雾揽入怀抱，晕开悠远空寂的意境。近岸林木以水墨点染，苍润的枝叶错落生姿，烟波水泽之上孤舟独行，更衬出湖面的浩渺清寂。林间隐露梵刹一角，将禅意悄藏在湖山深处，与清远景致相融无间。\n\n画面题诗与笔墨呼应，诗画相生，以浅绛淡墨绘就江南湖山的空濛灵秀，将禅寂澹泊揉入山水烟岚，观之如身临幽寂水畔，可感风烟俱净的安宁，尽抒寄情丘壑的文人襟怀。",[24,59,7,15832,62,34,37,65,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedbd2ce17f3643e153453e3dffb7440.jpg",[71,45],{"id":27929,"slug":27930,"title":27931,"dynasty":177,"author":22872,"museum":119,"description":22873,"tags":27932,"thumbUrl":27933,"material":337,"size":937,"collection":127,"collections":27934,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},235808,"shan-shui-ren-wu-shan-fan-qi-235808","山水人物扇",[24,2484,7,103,28,59,65,583,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018c25de95b8ba299cd7eb0feb4ec252.jpg",[],{"id":27936,"slug":27937,"title":27938,"dynasty":177,"author":3760,"museum":119,"description":10519,"tags":27939,"thumbUrl":27940,"material":337,"size":937,"collection":127,"collections":27941,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},235369,"fang-ni-zan-shan-shui-zhou-wang-hui-235369","仿倪瓒山水轴",[24,25,149,59,7,122,65,372,64,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1642df578d1930c54ea3752bace297.jpg",[],{"id":27943,"slug":27944,"title":27945,"dynasty":177,"author":178,"museum":119,"description":27946,"tags":27947,"thumbUrl":27948,"material":127,"size":127,"collection":127,"collections":27949,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},235335,"wang-jian-fang-gu-shan-shui-ce-yi-ming-235335","王鉴仿古山水册","此作绘冬日山林雪景，层峰叠峙，积雪覆于嶙峋山石与枯木之上，以留白晕染出清寒空濛之意。山坳飞瀑垂落，崖畔古寺幽藏，萧寒之中暗蕴灵动生机。\n笔墨苍秀沉厚，以干笔皴擦勾勒山石肌理，淡墨晕铺雪色，布景繁密却通透空灵。将宋元山水古雅意韵融于尺幅，简淡清旷间尽显林泉萧疏淡远之致，可观可游，静中生趣，尽显仿古山水的雅致格调。",[24,25,164,28,7,238,34,104,67,101,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11341c2949a21315b30cb3cbf08de4c6.jpg",[],{"id":27951,"slug":27952,"title":1420,"dynasty":177,"author":2075,"museum":20,"description":14606,"tags":27953,"thumbUrl":27954,"material":632,"size":11924,"collection":127,"collections":27955,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},234845,"shan-shui-zhou-wang-shi-min-234845",[100,24,59,149,7,65,318,165,583,35,201,239,199,238,1616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg",[],{"id":27957,"slug":27958,"title":27959,"dynasty":54,"author":27960,"museum":119,"description":23399,"tags":27961,"thumbUrl":27962,"material":127,"size":127,"collection":127,"collections":27963,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},234670,"cong-shan-shui-shan-mian-gong-yun-234670","从山水扇面","龚云",[2484,24,25,59,28,7,60,61,62,106,63,238,104,103,101,65,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0deb888dcc6e61f9401f6daf73a09633.jpg",[],{"id":27965,"slug":27966,"title":159,"dynasty":177,"author":5740,"museum":119,"description":27967,"tags":27968,"thumbUrl":27969,"material":127,"size":127,"collection":71,"collections":27970,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},234638,"shan-shui-ce-cha-shi-biao-234638","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,100,164,59,28,7,165,734,319,67,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d726fef1640e5e482b9d8d3b16c206.jpg",[71],{"id":27972,"slug":27973,"title":27974,"dynasty":54,"author":178,"museum":119,"description":27975,"tags":27976,"thumbUrl":27977,"material":127,"size":127,"collection":127,"collections":27978,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},234495,"song-yuan-ming-hua-ce-ming-ren-shan-shui-lou-ge-ye-yi-ming-234495","宋元明画册-明人山水楼阁页","画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和、色调明快。",[24,28,304,7,104,34,64,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c7c138c7ec5fbae641dc96dc938520.jpg",[],{"id":27980,"slug":27981,"title":19095,"dynasty":54,"author":23973,"museum":20,"description":27982,"tags":27983,"thumbUrl":27984,"material":375,"size":127,"collection":127,"collections":27985,"showCount":27701,"zanCount":961,"manualWeight":48,"mainColor":75},234244,"shan-shui-juan-zhang-fu-234244","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[23,24,26,25,59,28,65,7,62,60,61,104,34,64,1433,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":27987,"slug":27988,"title":27989,"dynasty":54,"author":27990,"museum":119,"description":27991,"tags":27992,"thumbUrl":27993,"material":243,"size":127,"collection":127,"collections":27994,"showCount":27701,"zanCount":961,"manualWeight":48,"mainColor":49},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[23,100,24,25,26,28,65,7,104,60,61,62,63,106,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":27996,"slug":27997,"title":27998,"dynasty":177,"author":18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,"title":28071,"dynasty":54,"author":7927,"museum":119,"description":28072,"tags":28073,"thumbUrl":28074,"material":127,"size":127,"collection":127,"collections":28075,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,24,25,149,7,28,65,1262,583,104,60,61,334,103,335,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":28077,"slug":28078,"title":28079,"dynasty":54,"author":27396,"museum":119,"description":28080,"tags":28081,"thumbUrl":28083,"material":337,"size":937,"collection":127,"collections":28084,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},228492,"gu-xian-shi-yi-tu-juan-du-jin-228492","古贤诗意图卷","全卷共分九段，分别为：右军笼鹅、桃源图、把酒问月、听颖师弹琴、茶歌、饮中八仙、东山宴饮、咏水仙、舟中夜雪。\n金琮书法偏向于厚重一路，倾向沉稳的风格，因其书法很似赵书，故很多金琮的字，即使不是有意作伪，也被后人挖去原款，添上“赵孟頫”三字，以欺世人。\n杜堇所画之人物采用白描法，笔法细劲透逸，形象生动有神。树石、藤草、桌椅、车、马、小舟等点景穿插有致。墨色淡雅，但淡而不薄，雅而不空。构图简洁，意境清幽，皆得诗意要旨。",[23,24,25,26,123,59,29,66,67,103,7,34,264,1643,101,7062,3836,1369,28082],"花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],{"id":28086,"slug":28087,"title":28088,"dynasty":80,"author":178,"museum":119,"description":28089,"tags":28090,"thumbUrl":28091,"material":127,"size":127,"collection":127,"collections":28092,"showCount":27701,"zanCount":1080,"manualWeight":48,"mainColor":49},228205,"gong-nv-tu-yi-ming-228205","宫女图","此作以界画工法描摹层叠宫苑，青绿晕染的山水烘托出楼宇朱栏的明丽雅致。数百宫女素衣翩跹，错落游走在亭台廊榭间：凭栏者凝眸远山，执役者缓步穿廊，低语嬉游者顾盼生姿，将深宫日常的幽闲意绪细腻铺陈。古雅沉润的色调晕开，把皇家苑囿的恢宏与深院女子的柔婉相融，工细的线条勾勒出楼阁规制的严整，也晕染出宫女情态的灵动，让森严深宫晕开缕缕烟火暖意，尽显传统工笔与界画结合的精妙意韵。",[23,24,25,149,28,29,304,103,104,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3d48c6d9c6ff91ec23b7c25f039eeb.jpg",[],{"id":28094,"slug":28095,"title":28096,"dynasty":80,"author":28097,"museum":135,"description":28098,"tags":28099,"thumbUrl":28100,"material":596,"size":28101,"collection":127,"collections":28102,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","王渊","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[23,100,24,25,149,59,65,413,63,103,60,61,62,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":28104,"slug":28105,"title":24607,"dynasty":80,"author":7974,"museum":119,"description":28106,"tags":28107,"thumbUrl":28108,"material":127,"size":127,"collection":127,"collections":28109,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},228069,"teng-wang-ge-tu-ye-xia-yong-228069","《滕王阁图》是 夏永创作的绢本墨笔画，现藏于美国波士顿美术馆。\n该图描绘中国名胜滕王阁的形势景色，画上并以细微楷写唐代王勃《滕王阁序》，用笔极为精细而不失矩度，堪称界画绝品。\n滕王阁位于江西 城外，唐高祖为其子 洪州刺史所建，元婴后封滕王故得名。\n此图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面。\n高台之下，江坡浩渺，鱼舟往来，高低错落的楼阁亭台,殿内文士雅集，颇有园林趣味。\n如此规模的绘画景点，作者竟然在楼阁台基旁还描绘了陈设的精美古盆和盆景，一只高足束腰敞口渣斗式古盆，栽培着一棵 ，陈设在高阁空荡平台的中间。\n由此也可证实，当时社会时尚和作者艺术生活与美学观念的倾向。\n此图采用册页形式，取景重心偏置于画幅边角，以墨笔白描法表现著名楼阁。\n夏永擅画界画，喜绘滕王阁、岳阳楼、黄鹤楼，颇合营造规模，能迎合士夫趣味，画风对后世影响很大。\n此图用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n夏永（公元14世纪中）， 画家，字明远，钱塘（今浙江杭州）人，生卒年不详。\n擅长宫殿楼阁界画，师法王振鹏。\n所作《滕王阁图》、《 图》、《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n《花间笑语》云：“细若蚊睫，侔于鬼工。\n”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。\n传世作品有至正七年（147）作《岳阳楼图》册页，绢本，墨笔，纵25厘米，横26厘米，图右上书范仲淹《岳阳楼记》全文，款署“至正七年四月二十日，钱塘夏永明远画并题”；《丰乐楼图》册页，绢本，墨笔，纵25.8厘米，横25.8厘米，图中有夏永微楷书“十里挲平丰乐楼”长题，未署款，钤有“夏明远印”一方，现均藏故宫博物院；《岳阳楼图》页和《黄鹤楼图》页，尺寸相同，绢本，设色，纵27.厘米，横27.6厘米，藏 ；《滕王阁图》册页藏上海博物馆；《楼阁山水图》册页，绢本，设色，纵21.5厘米，横26.1厘米，藏美国高居翰教授景元斋。",[23,24,25,304,123,104,62,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e076c91b09ebf8640c247633824730.jpg",[],{"id":28111,"slug":28112,"title":28113,"dynasty":18,"author":3217,"museum":119,"description":28114,"tags":28115,"thumbUrl":28116,"material":127,"size":127,"collection":127,"collections":28117,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","危崖斜出，古木盘虬扎根崖壁，数道飞瀑破壁而出，訇然落向下方深潭。山石以粗劲短皴勾勒轮廓，苍莽厚重，尽显崖石坚硬荒寒；飞瀑以留白衬墨色，线条劲挺利落，将水流奔涌之势藏在简淡笔墨里。\n\n整幅画作以水墨浓淡铺展山野幽寂，无多余点染，却将空谷间瀑流轰鸣、林壑沉静的氛围感拉满，带着独有的萧散冷逸，于尺幅间尽显磅礴大气，暗合寄情林泉、澄怀观道的文人意趣。",[23,100,24,25,149,59,65,7,199,2813,34,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],{"id":28119,"slug":28120,"title":28121,"dynasty":18,"author":178,"museum":119,"description":28122,"tags":28123,"thumbUrl":28124,"material":127,"size":127,"collection":127,"collections":28125,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},227833,"lin-liu-fu-qin-tu-yi-ming-227833","临流抚琴图","画面以边角取势，古松虬曲苍劲，垂藤萦绕，将崖岸的荒古野逸晕开。临流石上，隐士安然抚琴，襟怀自适。远处汀渚隐现于烟岚薄雾之间，水色空蒙，淡墨轻皴尽绘江天寥廓。\n笔墨简淡却意韵悠长，以苍劲勾勒写松之老态，晕染铺就江天虚静，将林下幽居、寄情山水的文人意趣藏于尺幅间，尽显尚简求雅的禅寂风骨，静穆之中，似有琴音随波远逝，恍若带人走入物我两忘的幽远之境。",[23,24,59,65,2484,7,103,61,34,264,1522,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F525e8494d45cb369b9a329292fc78b89.jpg",[],{"id":28127,"slug":28128,"title":28129,"dynasty":18,"author":2535,"museum":119,"description":20670,"tags":28130,"thumbUrl":28131,"material":127,"size":127,"collection":127,"collections":28132,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},227635,"chun-jiao-hui-yan-tu-ye-ma-lin-227635","春郊回雁图页",[23,24,100,25,2145,28,7,106,334,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f17cd983e2e0d63867687a89a84056.jpg",[],{"id":28134,"slug":28135,"title":28136,"dynasty":18,"author":234,"museum":119,"description":28137,"tags":28138,"thumbUrl":28139,"material":127,"size":127,"collection":127,"collections":28140,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[23,24,25,164,65,28,7,335,103,334,372,64,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":28142,"slug":28143,"title":28144,"dynasty":1051,"author":178,"museum":119,"description":28145,"tags":28146,"thumbUrl":28148,"material":127,"size":127,"collection":127,"collections":28149,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":940},227123,"fu-shuo-guan-pu-xian-pu-sa-xing-fa-jing-yi-ming-227123","佛说观普贤菩萨行法经","小说主人公是阿难,释迦牟尼,诸菩萨的小说叫做佛说观普贤菩萨行法经，本小说的作者是佚名所编写的近代社会、社科、人文小说，书中主要讲述了：强烈推荐《佛说观普贤菩萨行法经》这本书，本人特别喜欢这本书，从前看的那些连套路都是一样的，甚至有些文章思维紊乱文笔极。",[8531,1042,14351,4768,29,28147,7,103,6239,37],"描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89ed3aaacbebe9a7950d89b2f968183.jpg",[],{"id":28151,"slug":28152,"title":28153,"dynasty":8332,"author":19195,"museum":119,"description":28154,"tags":28155,"thumbUrl":28156,"material":127,"size":127,"collection":127,"collections":28157,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,100,24,197,149,7,878,104,372,64,533,167,65,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":28159,"slug":28160,"title":28161,"dynasty":177,"author":11730,"museum":119,"description":21203,"tags":28162,"thumbUrl":28163,"material":127,"size":127,"collection":127,"collections":28164,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},226634,"si-shi-shan-shui-07-pu-ru-226634","四时山水07",[23,24,25,59,28,65,7,63,583,64,35,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559be15cbf0d7b675d5eeea0f7e508f.jpg",[],{"id":28166,"slug":28167,"title":28168,"dynasty":177,"author":4747,"museum":135,"description":28169,"tags":28170,"thumbUrl":28171,"material":139,"size":28172,"collection":127,"collections":28173,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},224494,"mei-hua-shan-guan-zhou-wu-li-224494","梅花山馆轴","青绿山峦雄踞左幅，古松虬曲苍劲，枝桠舒展撑出一片清寂天地。山涧春水初涨，暖雾轻笼远峰，将黛色晕作朦胧烟影，柔化了山棱的冷硬。\n右侧水榭山馆凌波而起，几株梅树临水横斜，素花缀枝，暗香仿佛随春水悠悠漫开。白衣策杖的隐者驻足松下，凝睇烟景，将尘俗心绪尽皆抛却。\n整作设色古雅沉静，构图疏密相济，把早春山乡的清润生机，和幽居雅逸的林下襟怀相融，笔底漫溢着悠然淡远的隐逸诗意，藏着文人寄情林泉的悠悠雅兴。",[24,25,149,28,65,7,2127,104,60,125,64,63,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b205a90514253e5b2536e69943f40e.jpg","104.3x52.1",[],{"id":28175,"slug":28176,"title":28177,"dynasty":177,"author":3760,"museum":119,"description":28178,"tags":28179,"thumbUrl":28180,"material":127,"size":127,"collection":127,"collections":28181,"showCount":27701,"zanCount":961,"manualWeight":48,"mainColor":49},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,24,25,1388,149,65,59,28,7,583,64,199,35,533,34,1707,201,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":28183,"slug":28184,"title":28185,"dynasty":177,"author":683,"museum":119,"description":28186,"tags":28187,"thumbUrl":28188,"material":127,"size":127,"collection":127,"collections":28189,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,24,25,149,28,7,238,34,35,60,61,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":28191,"slug":28192,"title":28193,"dynasty":177,"author":6995,"museum":119,"description":28194,"tags":28195,"thumbUrl":28200,"material":127,"size":127,"collection":127,"collections":28201,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":379},224357,"xiu-zhu-you-ju-tu-yu-zhi-ding-224357","修竹幽居图","《修竹幽居图》是清代禹之鼎创作的设色纸本画。\n本幅右上题“高宗修竹幽居图”，左上款署：“己卯长夏敬绘，十二家恭颂师保相国王老大人千秋，后学禹之鼎。\n”钤“禹之鼎”、“慎斋”印二方。\n己卯为清康熙三十八年（1699年），禹之鼎时年5岁。\n画面上水天空旷，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[23,24,100,11572,29,223,28,27,59,7,630,102,24426,63,3695,64,34,103,28196,28197,28198,28199],"茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],{"id":28203,"slug":28204,"title":28205,"dynasty":177,"author":12146,"museum":119,"description":28206,"tags":28207,"thumbUrl":28208,"material":127,"size":127,"collection":71,"collections":28209,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},224341,"ming-quan-tu-mei-qing-224341","鸣泉图","此作用高远取景，层叠飞瀑自云山深处奔涌而下，跌水层层相续，水雾漫过山峦，将空山的幽寂尽数铺展。崖巅红衣旅人持杖伫立，凝听泉音，以人物的静，衬出飞瀑轰鸣，一动一静间，山野清绝之趣尽显。\n\n笔墨糅合纵逸与温润，山石以皴擦晕染写出苍莽质感，虬松古木点染灵动苔痕，浅赭淡晕晕开幽渺空蒙的氛围。题诗与山水相映，诗画交融，将观泉听涛的林泉雅志藏入尺幅，尽显出世幽怀与山水禅意。",[23,24,25,149,28,7,61,318,165,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af8d90ec82816cfa1ccb2770015b814.jpg",[71],{"id":28211,"slug":28212,"title":28213,"dynasty":18,"author":178,"museum":119,"description":28214,"tags":28215,"thumbUrl":28216,"material":337,"size":937,"collection":127,"collections":28217,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},223553,"shen-shan-hui-qi-tu-yi-ming-223553","深山会棋图","该画青绿设色，主要表现一士人策杖而行，身后跟随二童仆，一仆携琴，另一仆则肩扛巨大的葫芦，暗示道教的“壶中天”；主仆三人正走向山洞洞门，门后高山耸立，山后却别有天地，象征道教中的“洞天”；“洞天”内则琼楼玉宇，二仙人正在弈棋。\n此类画作，无款无印，是专于墓葬的使用而创作，喻示死者能够仙化，从而进入人所仰慕的神仙世界。此画是中国古代“洞天”和“仙弈”等思想观念的体现。",[23,24,25,7,59,65,28,64,583,104,103,61,9598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30288ef13f2034087c552c24805539d6.jpg",[],{"id":28219,"slug":28220,"title":28221,"dynasty":18,"author":178,"museum":20,"description":28222,"tags":28223,"thumbUrl":28224,"material":349,"size":28225,"collection":71,"collections":28226,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,25,26,122,59,65,7,165,199,239,63,61,103,264,60,372,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[71,212],{"id":28228,"slug":28229,"title":28230,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":28231,"thumbUrl":28233,"material":87,"size":15463,"collection":127,"collections":28234,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},223030,"hong-lou-meng-155-sun-wen-223030","红楼梦155",[23,29,28,304,103,104,7,630,34,559,3695,28232,5034,184],"窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff333b78bc458b864fa110eb261e62863.jpg",[],{"id":28236,"slug":28237,"title":5077,"dynasty":177,"author":18319,"museum":135,"description":18320,"tags":28238,"thumbUrl":28239,"material":127,"size":28240,"collection":71,"collections":28241,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850",[23,24,25,149,59,28,65,7,61,34,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 公分",[71,45],{"id":28243,"slug":28244,"title":28245,"dynasty":177,"author":1872,"museum":119,"description":2871,"tags":28246,"thumbUrl":28247,"material":632,"size":2874,"collection":71,"collections":28248,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2",[23,100,24,25,26,11368,65,59,7,34,64,37,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg",[71,212,927],{"id":28250,"slug":28251,"title":7629,"dynasty":54,"author":4301,"museum":135,"description":28252,"tags":28253,"thumbUrl":28254,"material":225,"size":28255,"collection":127,"collections":28256,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},222183,"fang-fan-kuan-shan-shui-zhao-zuo-222183","本幅收在赵左《山水册》第八开。近景画寒林、古刹，远处一峰高起，瀑悬其间。\n全画布置简洁，着墨无多，以淡柔雅逸取胜。左方题：「仿范宽。」刘道醇《宋朝名画评》（1057）称范宽（约950-1031间）画冬景好作「冒雪出云之势」，此作或系追摹此意。",[23,24,25,122,65,28,164,7,318,165,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53718b9f1aaaa21bae715bc637496395.jpg","23x21.5.",[],{"id":28258,"slug":28259,"title":28260,"dynasty":80,"author":1962,"museum":1542,"description":28261,"tags":28262,"thumbUrl":28263,"material":4566,"size":28264,"collection":127,"collections":28265,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":49},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[23,24,2484,59,65,7,1389,62,106,373,165,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","26.7×33.7cm",[],{"id":28267,"slug":28268,"title":9686,"dynasty":18,"author":2391,"museum":704,"description":28269,"tags":28270,"thumbUrl":28271,"material":87,"size":28272,"collection":127,"collections":28273,"showCount":27701,"zanCount":961,"manualWeight":48,"mainColor":49},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,100,26,123,59,25,101,7,103,63,34,64,104,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":28275,"slug":28276,"title":28277,"dynasty":54,"author":1096,"museum":3323,"description":28278,"tags":28279,"thumbUrl":28280,"material":164,"size":3327,"collection":127,"collections":28281,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":127},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,24,25,59,65,122,7,318,165,63,239,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg",[],{"id":28283,"slug":28284,"title":28285,"dynasty":54,"author":1096,"museum":3323,"description":28286,"tags":28287,"thumbUrl":28288,"material":164,"size":3327,"collection":127,"collections":28289,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":127},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[23,24,59,7,122,65,101,125,264,238,34,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg",[],{"id":28291,"slug":28292,"title":639,"dynasty":2272,"author":28293,"museum":5303,"description":28294,"tags":28295,"thumbUrl":28296,"material":127,"size":127,"collection":127,"collections":28297,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","黄君璧","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,24,25,149,28,65,7,583,199,239,37,201,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":28299,"slug":28300,"title":28301,"dynasty":2272,"author":24191,"museum":28302,"description":24192,"tags":28303,"thumbUrl":28304,"material":127,"size":127,"collection":127,"collections":28305,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},220484,"feng-jing-lin-feng-mian-220484","风景","中国美术学院美术馆",[24,28,59,7,238,34,37,1815,450,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dba5fd9b465d1b9e96fe17dfd4d4d0f.jpg",[],{"id":28307,"slug":28308,"title":28309,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":28310,"thumbUrl":28311,"material":349,"size":1805,"collection":127,"collections":28312,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},220325,"huang-shan-tu-ce-5-hong-ren-220325","黄山图册-5",[23,24,25,164,59,65,7,264,583,103,532,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48c1a6440b9359b890d503ad1a69aae.jpg",[],{"id":28314,"slug":28315,"title":28316,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":28317,"thumbUrl":28318,"material":349,"size":1805,"collection":127,"collections":28319,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},220318,"huang-shan-tu-ce-11-hong-ren-220318","黄山图册-11",[23,24,25,164,59,65,7,318,60,61,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8da9dac501fd5659eee07e6c4e5d31.jpg",[],{"id":28321,"slug":28322,"title":28323,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":28324,"thumbUrl":28326,"material":349,"size":1805,"collection":127,"collections":28327,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},220301,"huang-shan-tu-ce-25-hong-ren-220301","黄山图册-25",[23,100,24,25,164,59,7,28325,64,65],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537b52c55ec90132c7d498af46f17294.jpg",[],{"id":28329,"slug":28330,"title":28331,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":28332,"thumbUrl":28333,"material":349,"size":1805,"collection":127,"collections":28334,"showCount":27701,"zanCount":48,"manualWeight":48,"mainColor":75},220300,"huang-shan-tu-ce-26-hong-ren-220300","黄山图册-26",[23,24,25,164,59,7,64,34,61,199,2216,65],"ht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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[24,25,149,59,65,7,765,34,104,64,5387,5464,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aadc14ab00840c1f1800f468d3cccf0.jpg",[],{"id":28816,"slug":28817,"title":28818,"dynasty":54,"author":178,"museum":119,"description":28819,"tags":28820,"thumbUrl":28821,"material":127,"size":127,"collection":127,"collections":28822,"showCount":91,"zanCount":961,"manualWeight":48,"mainColor":49},235681,"tao-cheng-chan-gong-yu-tu-tu-zhou-yi-ming-235681","陶成蟾宫玉兔图轴","此作图绘仙乡秘境，一轮素月悬于空濛天际，清辉铺洒四野。玉兔静伏于青竹之侧，茸毛细密柔润，红眸澄澈灵动，憨态可掬，为清冷画面晕开一抹柔温。\n\n青绿山石晕染雅致，水流蜿蜒有声，远山瀑布垂挂如练，浅绛淡青交织出幽谧空寂的氛围感。数竿修竹挺秀清疏，枯木虬枝添了几分古意，与题诗相映成趣，诗画相融，晕染出出尘的仙家意韵。\n\n笔墨兼工带写，设色古雅沉静，将缥缈蟾宫的清寂与鲜活生机揉和一处，尽显古典雅致的仙境意趣。",[24,149,28,29,7,630,9211,1643,61,64,199,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199c4e3ce8b760deb87b3e87847a32a2.jpg",[],{"id":28824,"slug":28825,"title":159,"dynasty":177,"author":13236,"museum":119,"description":28826,"tags":28827,"thumbUrl":28828,"material":337,"size":937,"collection":71,"collections":28829,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},235546,"shan-shui-ce-zhu-chang-235546","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[24,25,164,59,65,7,60,61,62,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ad5b2fa16ff516a5cdea7f7f52a564.jpg",[71],{"id":28831,"slug":28832,"title":28833,"dynasty":54,"author":10318,"museum":119,"description":28834,"tags":28835,"thumbUrl":28836,"material":127,"size":127,"collection":127,"collections":28837,"showCount":91,"zanCount":961,"manualWeight":48,"mainColor":75},235164,"san-feng-chun-se-zhou-lu-zhi-235164","三峰春色轴","此作以淡绛浅绘铺展春日丘壑，取高远构图，层峦奇崛苍劲，勾勒皴擦尽显山石嶙峋骨相。空阔春水横陈其间，汀渚错落，寒林带浅红新芽，村居隐于林麓溪畔，淡远清寂里暗蕴初春风光。\n笔墨秀挺劲爽，设色清简克制，只以淡赭轻染峰林枝梢，衬出春寒未褪的润雅生机，将江南早春的疏朗清远晕染纸上，意境萧散淡和，尽显文人山水雅淡出尘之致。",[24,149,59,65,7,30,34,166,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50e2117ede6573ff78446f0cb4dcf51.jpg",[],{"id":28839,"slug":28840,"title":28841,"dynasty":177,"author":5984,"museum":119,"description":24737,"tags":28842,"thumbUrl":28843,"material":337,"size":937,"collection":71,"collections":28844,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},235092,"zheng-min-shan-shui-ce-zheng-min-235092","郑旼山水册",[24,25,164,59,65,67,7,318,165,239,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb34c32d893f22e763f30d2b17213649.jpg",[71,212],{"id":28846,"slug":28847,"title":394,"dynasty":177,"author":672,"museum":119,"description":28848,"tags":28849,"thumbUrl":28850,"material":127,"size":127,"collection":71,"collections":28851,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},235070,"shan-shui-tu-ce-hua-yan-235070","此作笔墨清隽秀逸，江畔枯枝干瘦虬曲，皴擦间尽显苍劲古拙之态，怪石错落暗藏嶙峋野趣。淡墨晕染远山，将江天寥廓的空寂意境铺陈开来，简淡中藏着幽远意趣。\n\n左侧行书题诗笔势舒展俊朗，诗画相映，将幽居江渚、寄情山水的文人襟怀融于尺幅。整幅以极简笔墨勾勒萧散淡远的林下之风，未作繁复铺陈，却把江渚间清冷澹泊的意蕴娓娓道来，尽显文人画简净空灵的审美意趣。",[24,25,164,59,7,372,264,319,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58096078f671bcc61fca71c47b69df0.jpg",[71,212],{"id":28853,"slug":28854,"title":5022,"dynasty":177,"author":395,"museum":20,"description":5750,"tags":28855,"thumbUrl":28856,"material":9188,"size":2777,"collection":127,"collections":28857,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},235000,"yuan-ji-shan-shui-tu-ce-shi-tao-235000",[24,59,164,65,7,264,106,63,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F827300976b1c7e0d41a3cb96f2232948.jpg",[],{"id":28859,"slug":28860,"title":16286,"dynasty":54,"author":14078,"museum":20,"description":16287,"tags":28861,"thumbUrl":28862,"material":40,"size":16291,"collection":127,"collections":28863,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},234949,"yu-zhou-du-shu-tu-zhou-jiang-song-234949",[24,59,7,62,103,65,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b436fb46365514b47ff47102ebf8511.jpg",[],{"id":28865,"slug":28866,"title":28867,"dynasty":177,"author":5740,"museum":119,"description":28868,"tags":28869,"thumbUrl":28870,"material":127,"size":127,"collection":127,"collections":28871,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},234692,"ri-zhang-shan-jing-tu-zhou-cha-shi-biao-234692","日长山静图轴","《查士标日长山静图轴》是清代的图轴。\n自题：“日长山静净无尘，风下松花满葛巾。\n自是人间清回处，辋川盘谷总天真。\n丙辰九月画。\n请象老道年翁教正。\n弟查士标。\n”钤“士标私印”白文印、“查二瞻”朱文印。\n款识中的“丙辰”为清康熙十五年（1676年），查士标时年62岁。\n图绘远景山峦高耸如壁。\n近水岸边，长松杂树。\n一高士携童子踱桥而至。\n布局以高远法取势，笔法轻快疏秀，墨气华润蕴藉，意境荒寒清旷，是作者在仿倪瓒的基础上的变体画，堪称其艺术成熟期的代表作。",[24,25,149,59,7,65,64,34,583,103,60,61,532,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b3052f2ac3b856b3b70c157b198284.jpg",[],{"id":28873,"slug":28874,"title":28875,"dynasty":54,"author":368,"museum":119,"description":28876,"tags":28877,"thumbUrl":28878,"material":127,"size":127,"collection":127,"collections":28879,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},234631,"fang-zhao-gan-jiang-gao-xue-qian-shan-ye-lan-ying-234631","仿赵幹江皋雪骞扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[2484,24,25,100,59,28,7,878,413,2127,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":28881,"slug":28882,"title":28883,"dynasty":177,"author":395,"museum":20,"description":28884,"tags":28885,"thumbUrl":28886,"material":375,"size":127,"collection":127,"collections":28887,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},234505,"yuan-ji-shui-zai-gan-shi-shi-yi-tu-dan-ye-shi-tao-234505","原济水灾感事诗意图单页","石涛（1642年－1708年）清代著名画家，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“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,59,28,67,65,164,7,167,34,1815,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad7ee64e8e7b98701b3672d4cb80d8f.jpg",[],{"id":28889,"slug":28890,"title":20662,"dynasty":177,"author":3760,"museum":1542,"description":16305,"tags":28891,"thumbUrl":28892,"material":454,"size":28893,"collection":127,"collections":28894,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202",[23,24,26,7,59,65,28,878,238,31,34,372,583,35,60,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":28896,"slug":28897,"title":28898,"dynasty":54,"author":5538,"museum":20,"description":5540,"tags":28899,"thumbUrl":28900,"material":537,"size":127,"collection":127,"collections":28901,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷",[23,24,25,26,59,67,101,66,630,7,264,34,103,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":28903,"slug":28904,"title":28905,"dynasty":177,"author":2292,"museum":20,"description":28906,"tags":28907,"thumbUrl":28908,"material":28909,"size":28910,"collection":127,"collections":28911,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,26,59,7,65,66,67,101,318,319,413,165,734,199,533,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":28913,"slug":28914,"title":159,"dynasty":54,"author":1096,"museum":20,"description":5261,"tags":28915,"thumbUrl":28916,"material":1697,"size":2597,"collection":127,"collections":28917,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},234059,"shan-shui-ce-dong-qi-chang-234059",[100,24,25,164,28,59,65,7,60,61,63,125,607,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":28919,"slug":28920,"title":28921,"dynasty":54,"author":1652,"museum":20,"description":28922,"tags":28923,"thumbUrl":28925,"material":632,"size":28926,"collection":127,"collections":28927,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},233819,"wen-zheng-ming-qu-gang-gui-zhou-tu-zhou-wen-zheng-ming-233819","文徵明曲港归舟图轴","本幅自题五言诗并署：“雨绝树如沐，云空山欲浮。草分波动处，曲港有归舟。徵明。”钤“徵仲父印”（白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[24,25,149,59,65,101,7,34,199,64,201,1707,264,372,28924],"常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纵115厘米，横33.6厘米",[],{"id":28929,"slug":28930,"title":28931,"dynasty":18,"author":592,"museum":20,"description":14023,"tags":28932,"thumbUrl":28933,"material":14026,"size":14027,"collection":127,"collections":28934,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},233132,"cai-wei-tu-juan-li-tang-233132","采薇图卷",[23,24,25,26,59,28,29,65,103,7,34,239,3696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6db3df0be865cf051082196fc209b4d.jpg",[],{"id":28936,"slug":28937,"title":28938,"dynasty":177,"author":683,"museum":119,"description":22130,"tags":28939,"thumbUrl":28940,"material":127,"size":28941,"collection":127,"collections":28942,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图",[23,24,28,7,122,65,101,2682,34,64,60,278,166,1120,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbw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厘米",[],{"id":28944,"slug":28945,"title":7196,"dynasty":177,"author":10955,"museum":119,"description":28946,"tags":28947,"thumbUrl":28948,"material":127,"size":127,"collection":127,"collections":28949,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},230872,"tan-mei-tu-leng-mei-230872","此作以冬日寻梅铺陈景致，主仕女身着宝蓝团花长袄，容色温婉端凝，侍童撑伞随侍身侧，另有侍女捧炉趋前，暗递融融暖意。寒梅虬枝缀满繁花，淡赭远山衬着素朴亭台，苍劲皴石古拙静立，设色雅致沉稳，勾勒细腻写实。将深闺仕女探春寻幽的闲情逸趣，融于萧寒冬景，冷暖色调交织，既绘就隆冬清寂况味，又晕染出闺中雅游的温婉意韵，写实工细间尽显雅致情致，把仕女矜贵闲适的情态，与冬日园林的清寒雅致完美糅合，静穆中暗藏鲜活的闺中闲趣。",[23,24,28,29,103,124,24240,2127,7,64,104,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaafd8ade9438d3959f176e539370fad.jpg",[],{"id":28951,"slug":28952,"title":28953,"dynasty":54,"author":1096,"museum":119,"description":28954,"tags":28955,"thumbUrl":28956,"material":127,"size":127,"collection":127,"collections":28957,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},230850,"gao-yi-tu-dong-qi-chang-230850","高逸图","此作用笔松秀灵动，以干笔枯墨绘就，兼施淡墨晕染。画面分远中近三境，远山以淡墨轻扫，虚灵空濛，似含烟霭；中平湖如镜，汀渚错落，漾出澹澹清寂；近景枯木虬曲苍古，姿态疏朗萧散，尽显荒寒雅逸之气。\n\n以书入画，笔墨间自带文人疏淡风骨，删繁就简，褪去实景冗杂，独留山水精神，将林下高贤寄情丘壑、坐忘林泉的隐逸意趣藏于尺幅之间，静穆清寂的氛围里，尽显文人画尚意重韵的极致品格。",[23,24,25,59,65,67,66,7,34,64,31,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df79a27a9101f03f274d4311d3360.jpg",[],{"id":28959,"slug":28960,"title":28961,"dynasty":177,"author":2075,"museum":119,"description":28962,"tags":28963,"thumbUrl":28964,"material":127,"size":127,"collection":127,"collections":28965,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,24,25,100,149,59,65,7,318,319,165,104,60,347,64,37,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":28967,"slug":28968,"title":28969,"dynasty":177,"author":2075,"museum":119,"description":28970,"tags":28971,"thumbUrl":28972,"material":127,"size":127,"collection":127,"collections":28973,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},230177,"fang-gu-tu-ce-wang-shi-min-230177","仿古图册","《清王翚仿古山水册》是清代 作者创作的画册。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n此册由苏州过云楼后人捐赠。\n现收藏于常熟博物馆。\n王翚作。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n其中，仿董源、范宽各二开，仿王维，关仝、高克明、李成、郭熙、王诜、宋徽宗、阎次平、李唐、刘松年、赵伯驹、赵大年、夏圭、黄公望、赵孟頫、王蒙各一开。\n此册由苏州过云楼后人捐 赠。\n21年， 与 强强联手，共同打造了数字化、立体化的权威知识普及平台： 之 。\n该数字馆通过陶瓷器馆、铜器馆、金银器等分馆，全方位展示了 的众多珍贵展品。\n【简介】 纸本，水墨，纵：25.6厘米，横：2.5厘米。\n《 》共计十二页，其中设色二页，水墨十页。\n仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。\n每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。\n前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。\n笔墨疏秀，意境苍莽迷蒙。\n得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，4岁时即名闻海内。\n王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。\n顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。\n后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。\n尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。\n其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。\n”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。\n王翚（162—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。\n后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。\n在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。\n在王翚5岁到6岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。\n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”。",[24,59,164,122,65,7,165,61,35,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c633d3f56a943ca1180e458ba8904cf.jpg",[],{"id":28975,"slug":28976,"title":15488,"dynasty":54,"author":15469,"museum":119,"description":28977,"tags":28978,"thumbUrl":28979,"material":127,"size":127,"collection":127,"collections":28980,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[24,25,100,164,59,28,65,7,64,34,61,62,103,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":28982,"slug":28983,"title":28984,"dynasty":177,"author":6184,"museum":119,"description":28985,"tags":28986,"thumbUrl":28987,"material":127,"size":127,"collection":127,"collections":28988,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},228952,"shan-shui-ren-wu-ce-ye-liu-kai-yuan-jiang-228952","山水人物册页六开","《袁江塞北彤云》是清代袁江创作的一幅水墨设色画。\n此图是山水人物六开册页中的一幅。\n袁江擅画山水、界画，但在这幅画中，画家显示了他在表现人物方面的深厚功力。\n画面左上方题“塞北彤云”，描绘的是一女子怀抱孩子坐在马上，在一肩扛樱枪，腰挂弯刀的男子护卫下在塞外风雪中前行的场景。\n雪景刻画简洁生动，延伸出画外，营造了塞外一望无际、空无一物的自然环境；人物刻画细致精到，妇人低着头紧紧地用外衣裹住小童，马也低垂着头，前面的男子姿态紧张地回望妇人，这样的动态都揭示着他们正经历着恶劣的大风，天空一片阴霾，也许一场大雪即将袭来。\n袁江，生卒年不详。\n字文涛，江苏江都（今扬州）人。\n雍正年间曾在宫廷作画，供奉养心殿。\n他善画山水、楼阁，是清代界画能手，亦作花鸟。\n早年学习仇英，又继承了宋代画院的风格，山水宗阎次平，楼阁宗郭忠恕。\n所作多青绿山水，工致异常，与其精密的界画相配合，十分协调。\n他的界画在继承前人基础上，加强了生活气息的描绘，笔法工整，设色艳丽，风格富丽堂皇，在当时被推为第一。\n但由于清初“四王”画派风靡一时，所以画史上对他的记载不多。",[24,25,164,28,7,103,335,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f535a750f80cee391f878cb498a94f.jpg",[],{"id":28990,"slug":28991,"title":28992,"dynasty":54,"author":410,"museum":119,"description":28993,"tags":28994,"thumbUrl":28996,"material":127,"size":127,"collection":127,"collections":28997,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,25,100,59,7,65,318,583,104,60,335,35,878,61,28995,202,5408],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":28999,"slug":29000,"title":29001,"dynasty":54,"author":7945,"museum":119,"description":29002,"tags":29003,"thumbUrl":29004,"material":127,"size":127,"collection":127,"collections":29005,"showCount":91,"zanCount":961,"manualWeight":48,"mainColor":75},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[23,24,25,26,59,65,122,67,66,101,7,979,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":29007,"slug":29008,"title":159,"dynasty":54,"author":18446,"museum":119,"description":29009,"tags":29010,"thumbUrl":29011,"material":127,"size":127,"collection":127,"collections":29012,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},228490,"shan-shui-ce-yun-xiang-228490","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[100,24,25,164,59,7,63,60,61,67,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":29014,"slug":29015,"title":29016,"dynasty":54,"author":945,"museum":673,"description":29017,"tags":29018,"thumbUrl":29019,"material":127,"size":127,"collection":127,"collections":29020,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,24,25,26,7,28,59,67,4768,101,65,318,319,63,165,239,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":29022,"slug":29023,"title":29024,"dynasty":80,"author":178,"museum":135,"description":29025,"tags":29026,"thumbUrl":29027,"material":292,"size":29028,"collection":127,"collections":29029,"showCount":91,"zanCount":961,"manualWeight":48,"mainColor":49},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,25,26,27,28,29,7,103,335,104,34,64,31,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":29031,"slug":29032,"title":29033,"dynasty":80,"author":1962,"museum":119,"description":29034,"tags":29035,"thumbUrl":29036,"material":127,"size":127,"collection":127,"collections":29037,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,24,25,26,28,7,65,318,319,62,34,103,61,63,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":29039,"slug":29040,"title":6157,"dynasty":80,"author":1962,"museum":119,"description":29041,"tags":29042,"thumbUrl":29043,"material":127,"size":127,"collection":127,"collections":29044,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,24,25,164,59,65,28,7,34,62,60,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":29046,"slug":29047,"title":29048,"dynasty":80,"author":29049,"museum":119,"description":29050,"tags":29051,"thumbUrl":29052,"material":127,"size":127,"collection":127,"collections":29053,"showCount":91,"zanCount":961,"manualWeight":48,"mainColor":49},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,25,100,26,59,65,7,583,64,61,60,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":29055,"slug":29056,"title":29057,"dynasty":18,"author":3431,"museum":119,"description":29058,"tags":29059,"thumbUrl":29060,"material":127,"size":127,"collection":127,"collections":29061,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[23,100,24,25,164,28,304,65,7,62,104,607,125,61,334,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":29063,"slug":29064,"title":29065,"dynasty":18,"author":592,"museum":119,"description":29066,"tags":29067,"thumbUrl":29068,"material":127,"size":127,"collection":127,"collections":29069,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,100,24,25,26,122,65,59,28,66,101,7,62,495,61,64,34,264,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":29071,"slug":29072,"title":12673,"dynasty":18,"author":274,"museum":119,"description":29073,"tags":29074,"thumbUrl":29075,"material":127,"size":127,"collection":127,"collections":29076,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,25,26,123,28,103,7,63,60,61,62,34,104,66,101,559,2833,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":29078,"slug":29079,"title":29080,"dynasty":18,"author":10102,"museum":119,"description":29081,"tags":29082,"thumbUrl":29084,"material":127,"size":127,"collection":127,"collections":29085,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,100,24,25,26,59,28,65,66,67,101,7,29083,18553,30,559,34,64],"松杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":29087,"slug":29088,"title":29089,"dynasty":18,"author":178,"museum":119,"description":29090,"tags":29091,"thumbUrl":29092,"material":127,"size":127,"collection":127,"collections":29093,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,24,100,25,2484,59,28,7,878,34,35,64,65,766,2216,61,238,6850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":29095,"slug":29096,"title":29097,"dynasty":18,"author":5994,"museum":119,"description":29098,"tags":29099,"thumbUrl":29100,"material":127,"size":127,"collection":127,"collections":29101,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},227334,"jiang-fan-shan-shi-juan-song-ren-227334","江帆山市卷","艺术赏析 江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[100,24,25,26,59,65,7,9434,10670,2845,85,167,3796,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],{"id":29103,"slug":29104,"title":29105,"dynasty":18,"author":17684,"museum":119,"description":29106,"tags":29107,"thumbUrl":29108,"material":337,"size":937,"collection":127,"collections":29109,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},227329,"yan-guan-gu-si-tu-ye-jia-shi-gu-227329","严关古寺图页","贾师古，生卒年不详，南宋画家。汴（今河南开封）人，善画道释人物，师法李公麟。高宗绍兴时为画院祗候。白描人物，颇得闲逸自在之状。尝作《归去来图》，有所谓“一笔法”，甚古雅。梁楷为其高足，名过其师。传世作品有《岩关古寺图》、《大士像》等。",[23,24,25,164,28,65,101,7,583,64,17687,167,720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f001dee4f7caf5c80f9cbb0734173ec.jpg",[],{"id":29111,"slug":29112,"title":29113,"dynasty":177,"author":6184,"museum":119,"description":29114,"tags":29115,"thumbUrl":29116,"material":127,"size":127,"collection":127,"collections":29117,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},224594,"qiu-she-tu-yuan-jiang-224594","秋涉图","此作用硬朗皴笔勾勒出山岩肌理，奇峰高拔陡立，崖间飞瀑隐于云气，晕染出幽谷空濛之态。丹黄秋叶点染古木，萧疏秋意里晕开暖意。山道滩涂之上，行旅商贾或策马涉水，或沿山径徐行，将山野秋行的鲜活意趣融于冷寂山川，添上人间烟火暖意。画面兼工带写，既得北派山水的雄浑气势，又以细腻的人物刻画赋予山水灵动生机，将秋日山野的旷远意境与行旅图景相融，尽显古典山水的雅致意韵。",[23,100,24,25,149,28,7,65,318,319,34,103,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5727adba9d3c7f163dd3a83df59fa6a.jpg",[],{"id":29119,"slug":29120,"title":29121,"dynasty":177,"author":16220,"museum":119,"description":29122,"tags":29123,"thumbUrl":29124,"material":127,"size":127,"collection":127,"collections":29125,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[23,24,149,7,65,59,238,37,34,35,201,583,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":29127,"slug":29128,"title":29129,"dynasty":177,"author":395,"museum":119,"description":29130,"tags":29131,"thumbUrl":29132,"material":127,"size":127,"collection":127,"collections":29133,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},224520,"shan-shui-tu-ce-8-kai-6-zhang-da-qian-jiu-cang-shi-tao-224520","山水图册8开-6-张大千旧藏","近处村舍错落，农人悠然，烟火气晕开山林野趣。中峰以枯笔勒石骨，淡墨晕出山岚，焦墨点苔缀松，干湿浓淡铺展出苍莽层次。右侧题笔朴拙老辣，诗画相映，将秋山萧索寄于木叶疏凉。\n\n笔意纵恣灵秀，不拘成法，以简淡笔墨写尽丘壑生机，把山居隐逸的静穆与山川清旷融为一体，借景抒怀，尽显山野朴拙之态，亦藏画者洒落襟怀。",[23,24,59,28,164,65,7,35,34,238,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb60ef25126ad857219560ef580fe319.jpg",[],{"id":29135,"slug":29136,"title":6447,"dynasty":177,"author":3760,"museum":119,"description":29137,"tags":29138,"thumbUrl":29139,"material":127,"size":127,"collection":127,"collections":29140,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},224453,"fu-chun-da-ling-tu-wang-hui-224453","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[23,24,25,149,28,7,65,30,37,34,201,239,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":29142,"slug":29143,"title":27938,"dynasty":177,"author":683,"museum":119,"description":29144,"tags":29145,"thumbUrl":29146,"material":127,"size":127,"collection":127,"collections":29147,"showCount":91,"zanCount":961,"manualWeight":48,"mainColor":75},224394,"fang-ni-zan-shan-shui-zhou-wang-yuan-qi-224394","近岸坡石错落，修篁杂木扶苏，林间草庐隐现，一人凭石静憩。远山以淡墨轻勾浅皴，留白代水，漾开萧疏淡远的空寂氛围。\n以干笔枯墨勾勒皴擦山石，笔意松秀古拙，墨色清润层次分明。题诗与画面相映成趣，将幽居林下的隐逸雅怀藏于尺幅间，尽显空疏冷隽的林下之风，尽显文人山水独有的简淡清和意趣。",[24,25,149,59,65,7,630,264,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfdd7175bc5126f78214c90c4a16c909.jpg",[],{"id":29149,"slug":29150,"title":29151,"dynasty":177,"author":12146,"museum":119,"description":29152,"tags":29153,"thumbUrl":29154,"material":127,"size":127,"collection":127,"collections":29155,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,24,25,7,59,65,149,30,583,37,63,103,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":29157,"slug":29158,"title":29159,"dynasty":177,"author":29160,"museum":119,"description":29161,"tags":29162,"thumbUrl":29163,"material":337,"size":937,"collection":127,"collections":29164,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},224158,"fang-zhao-da-nian-zhou-li-224158","仿赵大年","周笠","周笠，字牧山，清嘉定人，周颢之侄。善刻竹，与周颢齐名。擅长绘画，山水师法元四家，水墨花卉生意盎然。周笠少时与周颢同学画，同刻竹，但各得其意，各不相袭。清人评其作品“生意远出，神气内涵，万点当虚，千层叠起，浑厚中自露秀色”。周笠晚年客居扬州，六十岁而病卒，今传世作品较少。",[23,24,28,7,63,103,165,122,101,66,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe513da2bebf872dfea6fb96b6d62e632.jpg",[],{"id":29166,"slug":29167,"title":15488,"dynasty":54,"author":178,"museum":1542,"description":29168,"tags":29169,"thumbUrl":29170,"material":87,"size":29171,"collection":71,"collections":29172,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},223457,"shan-shui-ce-ye-yi-ming-223457","魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。",[23,24,25,164,59,28,65,7,30,37,64,35,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa61be3e6ce1f76dc236feac0ec9224.jpg","38.1×40",[71,212],{"id":29174,"slug":29175,"title":29176,"dynasty":18,"author":178,"museum":135,"description":29177,"tags":29178,"thumbUrl":29179,"material":8143,"size":29180,"collection":127,"collections":29181,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},223422,"song-ren-qian-yan-wan-he-zhou-yi-ming-223422","宋人千岩万壑轴","此幅绘千山万水，长松巨壑，中有村落楼阁掩映，一老者倒骑毛驴刚过溪桥，更有渔樵者出没。此图全用郭熙笔意，然细察之宋画气息不足，当是元人学郭熙，而深得其髓者。",[23,24,149,59,65,7,238,239,34,37,201,533,722,7189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","126.3x49.7厘米",[],{"id":29183,"slug":29184,"title":29185,"dynasty":54,"author":178,"museum":14280,"description":29186,"tags":29187,"thumbUrl":29188,"material":1576,"size":29189,"collection":71,"collections":29190,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","该作品，以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。托名李唐之作，当是明人仿古之作。",[23,26,24,100,25,7,12830,65,28,104,60,61,63,150,756,238,34,1099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","35.1X661.9",[71,212],{"id":29192,"slug":29193,"title":29194,"dynasty":177,"author":3973,"museum":135,"description":15830,"tags":29195,"thumbUrl":29197,"material":349,"size":29198,"collection":71,"collections":29199,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},223119,"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴",[23,24,25,149,59,65,101,7,534,29196,60,61,62,63,103,64,34],"云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[71,212],{"id":29201,"slug":29202,"title":29203,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":29204,"thumbUrl":29205,"material":87,"size":15463,"collection":127,"collections":29206,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},222996,"hong-lou-meng-121-sun-wen-222996","红楼梦121",[23,24,25,26,29,28,27,103,7,34,64,60,61,1738,6300,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97caa72c6480983bdaf4d7d5fa77643a.jpg",[],{"id":29208,"slug":29209,"title":29210,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":29211,"thumbUrl":29212,"material":87,"size":15463,"collection":127,"collections":29213,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},222964,"hong-lou-meng-89-sun-wen-222964","红楼梦89",[23,24,29,28,27,7,104,60,61,103,63,34,64,559,826,3695,8877,167,3796,38,2559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47977a652d2d5f9e1117cd7b5f61cae4.jpg",[],{"id":29215,"slug":29216,"title":19289,"dynasty":177,"author":1872,"museum":119,"description":7754,"tags":29217,"thumbUrl":29218,"material":632,"size":19292,"collection":127,"collections":29219,"showCount":91,"zanCount":961,"manualWeight":48,"mainColor":75},222623,"shan-shui-shan-mian-3-gong-xian-222623",[23,24,25,2484,59,65,7,165,64,63,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3bf5c009d2a486816b700ff2873d73.jpg",[],{"id":29221,"slug":29222,"title":29223,"dynasty":54,"author":368,"museum":135,"description":29224,"tags":29225,"thumbUrl":29226,"material":139,"size":29227,"collection":71,"collections":29228,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},222597,"xi-ge-qing-yan-tu-lan-ying-222597","溪阁清言图","此图的灵感来源是元代画家赵雍。画山石的时候，先用“披麻皴”来描绘质理，然后上面再轻轻罩染一层石青、石绿的颜料。山峰上的苔点和攀附松身的女萝，也是用冷色调的石青敷填，显得十分醒目。蓝瑛灵活地运用元代绘画的模式，将它转化成新的绘画语汇，再融入自己的创作之中。",[23,24,25,149,28,65,7,583,104,64,201,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5032344b2a24faa1cebce70996974eca.jpg","纵167.5cm，横48.3cm",[71,45],{"id":29230,"slug":29231,"title":29232,"dynasty":54,"author":368,"museum":82,"description":17937,"tags":29233,"thumbUrl":29234,"material":28,"size":29235,"collection":127,"collections":29236,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},222587,"shan-shui-tu-shan-mian-lan-ying-222587","山水图扇面",[23,24,25,2484,7,65,64,34,104,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cde9f4eb2290a631bd378b1cfb6db4d.jpg","长15.8，宽47.5",[],{"id":29238,"slug":29239,"title":29240,"dynasty":54,"author":368,"museum":29241,"description":17937,"tags":29242,"thumbUrl":29243,"material":225,"size":29244,"collection":71,"collections":29245,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":379},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学院",[23,24,25,26,122,65,28,66,67,101,7,34,64,60,61,63,106,607,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 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提供了技法上跟进的可能。其二，宋代“理学”的主导地位促使两宋画家对自然物态描绘上的理性追求。其三，南宋的特殊社会状况一方面促进了山水画图示的新取向，一方面也使山水画走向“艰涩刻板”的程式化囹囿。其四，文人画思潮的逐渐势强将山水画的精神内涵带入“得之于象外”的“适性”之作和技法上温婉醇和的“天真平淡”。\n从以上四点中也可以看出，南宋的山水画是在文人画之前的一个集“理性化”“图式化”和“风格化”的高峰期，而在这之后，除明代初年“院体”对它的短暂重视之外，几乎影响甚微。此幅“河阳宋迪画”的雪景山水正是南宋山水画的突出代表。纵观全幅，气象萧森沉郁，格调清刚峻拔，白山黑水间透出一股雪景的清旷和雅致，让人体会着浑然静穆的冷静。全幅构图以深远和高远为主。近处幽谷深邃，远景峰峦迢递，加以寒江和虚空的间隔使画面景物分明，层层递进，既有北宋山水巍峨雄壮之势，兼具马远、夏圭“半边一角”之形。近景左侧古木嵯峨相生，寒枝低垂，因风摇曳。巨石陡峭突兀，竞相峥嵘。期间一低矮乔木盘旋石上，干若曲铁，枝如银钩，全出马远画法，虽存于幽谷险境，亦生机勃勃不挠。巨石间一浮桥幽悬，将观者的视线引入古木之下的高士寒舍。舍内高士凭窗，注视着院落中煮茗饲鹤的童子，似有语相嘱，又悠然散淡，无限天真。更可观处，画家于山谷屋旁杂以翠竹寒梅，覆雪怒放，生机盎然。全画以白粉作雪，赋于物象高处，又以白粉散落渲染于水天之中，重墨之内，更增雪天景物杳冥之相。远山峰顶，以细密之点攒簇成树，有别于其他植被，可见穷究物理、物态之功。画中浮桥之栏、高士之衣，又以朱红点染，这一抹热色活跃了气氛也打破了色彩的单一。山石全用折笔廓形和大斧劈皴，瘦硬之感强烈，折射出画家内心深处的刚毅。实可宝之！",[24,25,26,59,65,7,1262,318,165,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef06665fc5cec6884293eb85a3b2e69.jpg",[71],{"id":29388,"slug":29389,"title":29390,"dynasty":18,"author":6369,"museum":135,"description":29391,"tags":29392,"thumbUrl":29393,"material":139,"size":29394,"collection":71,"collections":29395,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},218681,"song-zhai-chi-ke-tu-zhao-bo-su-218681","松斋迟客图","这幅画描绘了小河岸边的松树荫下的书房，一个童仆正在扫地迎客，一个隐士躺在水中。这幅画的笔触和色彩与故宫博物院收藏的画相似，可以接受为赵伯钦画派的作品。",[23,24,25,164,28,7,413,125,63,167,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6c2f0f32ae35c24eafb3a720ef6232.jpg","26.3x26.7",[71],{"id":29397,"slug":29398,"title":29399,"dynasty":54,"author":178,"museum":3774,"description":29400,"tags":29401,"thumbUrl":29402,"material":139,"size":29403,"collection":44,"collections":29404,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},218486,"lan-ting-tu-yi-ming-218486","兰亭图","绢本墨色晕开东晋风烟，茂林修竹间溪光蜿蜒。文士们或临流捧盏，或倚石清谈，曲水畔觞影浮动，衣袂轻扬处藏着《兰亭序》的旷达。山石皴法带明代疏朗意趣，林木层叠隐宋画余韵，人物姿态虽简却神形毕肖——握笔的凝思、笑谈的畅意，都在墨色流转中鲜活。没有名款的笔触，以最朴素的方式将那场雅集定格：不必追问作者是谁，只需在绢素的斑驳里，触摸千年文人心中的山水清欢与诗意栖居。",[23,24,25,28,103,7,63,34,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f3b2430c8326afefcf82c43b3b2e61.jpg","24.8x25.1",[44],{"id":29406,"slug":29407,"title":29408,"dynasty":177,"author":10955,"museum":396,"description":24895,"tags":29409,"thumbUrl":29410,"material":139,"size":24898,"collection":127,"collections":29411,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},218335,"shen-xian-gu-shi-tu-ce-4-leng-mei-218335","神仙故事图册-4",[23,100,24,25,164,29,28,103,7,979,34,1042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ab169d7708da28bcaab243755917c4.jpg",[],{"id":29413,"slug":29414,"title":29415,"dynasty":80,"author":178,"museum":56,"description":29416,"tags":29417,"thumbUrl":29418,"material":139,"size":29419,"collection":71,"collections":29420,"showCount":91,"zanCount":961,"manualWeight":48,"mainColor":49},218192,"shan-dian-shang-chun-tu-yi-ming-218192","山殿赏春图","《山殿赏春图》是一幅典型的元朝时期山水画作品，作者是佚名。这幅画描绘了一座位于山间的小山殿，山殿周围群山环绕，远处是一片茂密的森林。山殿前有一道小溪流过，溪边有许多花草树木。画中还有许多小鸟在欢快地飞翔，整幅画充满了春天的气息。\n\n《山殿赏春图》的画风浓郁，笔画细腻，色彩丰富，整幅画给人以舒适、宁静、平和的感觉。这幅画是元朝时期山水画中的杰作，具有很高的艺术价值。\n\n元朝时期的山水画在中国画史上占有重要的地位，它不仅体现了元朝时期艺术家的高超技艺，还反映了元朝时期社会的文化氛围。《山殿赏春图》是元朝山水画中的经典之作，值得我们珍视和欣赏。",[24,2484,28,304,7,104,60,103,34,559,826,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311780d392276a45c48f87622c8ca437.jpg","27.5x28.6cm",[71],{"id":29422,"slug":29423,"title":19902,"dynasty":177,"author":19903,"museum":3323,"description":7249,"tags":29424,"thumbUrl":29425,"material":169,"size":7252,"collection":71,"collections":29426,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},218106,"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218106",[23,24,25,164,59,65,7,165,318,103,63,167,720,2942],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ae8e14ea491b022cb2182598655da5.jpg",[71],{"id":29428,"slug":29429,"title":29430,"dynasty":177,"author":1925,"museum":161,"description":2224,"tags":29431,"thumbUrl":29432,"material":169,"size":127,"collection":127,"collections":29433,"showCount":91,"zanCount":961,"manualWeight":48,"mainColor":75},216356,"hua-niao-ce-2-zhu-da-216356","花鸟册-2",[23,24,25,59,7,34,64,65,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffffd42f504ff7d40786c580ab5d99539.jpg",[],{"id":29435,"slug":29436,"title":29437,"dynasty":177,"author":178,"museum":135,"description":6149,"tags":29438,"thumbUrl":29439,"material":139,"size":6152,"collection":127,"collections":29440,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":75},214661,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-4-yi-ming-214661","乾隆缂丝山水挂屏四轴-4",[4923,24,25,26332,28,7,318,165,104,239,319,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5072727135356eb515299eb140d3d0fa.jpg",[],{"id":29442,"slug":29443,"title":29444,"dynasty":177,"author":3760,"museum":161,"description":4238,"tags":29445,"thumbUrl":29446,"material":69,"size":127,"collection":127,"collections":29447,"showCount":91,"zanCount":48,"manualWeight":48,"mainColor":49},214602,"fang-gu-shan-shui-ce-3-wang-hui-214602","仿古山水册-3",[24,59,7,122,164,61,264,65],"https:\u002F\u002Foss.chuangqi.store\u002Ft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(《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,25,149,59,65,66,101,7,63,34,64,103,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[71,212,927],{"id":29680,"slug":29681,"title":29682,"dynasty":177,"author":29683,"museum":119,"description":29684,"tags":29685,"thumbUrl":29686,"material":127,"size":127,"collection":71,"collections":29687,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},238980,"shan-shui-ce-peng-xin-xie-wang-chen-238980","山水册－蓬心写","王宸","此作用笔苍秀松脱，以干笔皴擦追摹披麻古意，墨色干湿层叠，淡赭与花青轻施晕染，色调清和雅致。近景草堂依水，古松亭亭如盖，木桥架于浅溪，坡岸草木葱茏，山居意趣悠然尽显。中景峰峦环合，林木蓊郁掩映，水泽迂回流连，藏露得宜。远景平峦以淡墨虚写，空蒙渺远，铺展出悠远空间层次。\n\n整幅以简淡之笔绘就江南丘壑，将山川温润秀逸之态，与文人寄情林泉的幽寂襟怀相融，观之如身临幽居，俗虑尽消，尽显静穆淡远的文人山水意韵。",[24,25,164,59,28,7,65,60,61,165,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdce2d56454e2dcb3893504b67bb526.jpg",[71,44,45],{"id":29689,"slug":29690,"title":29691,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":29692,"thumbUrl":29693,"material":127,"size":127,"collection":71,"collections":29694,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},238339,"si-jing-shan-shui-xiao-ce-dong-gao-238339","四景山水小册",[24,25,164,59,28,65,7,318,165,35,37,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a1147384ebec720ae9dfe5d6b1add9.jpg",[71,45],{"id":29696,"slug":29697,"title":2582,"dynasty":177,"author":1801,"museum":119,"description":2583,"tags":29698,"thumbUrl":29699,"material":127,"size":2586,"collection":127,"collections":29700,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},238028,"hong-ren-shan-shui-tu-ce-hong-ren-238028",[24,25,59,7,164,65,123,64,34,35,166,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cd8e2a8b9ef7aa9b3c431dd9e276fe.jpg",[],{"id":29702,"slug":29703,"title":29704,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":29705,"thumbUrl":29707,"material":337,"size":937,"collection":127,"collections":29708,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237969,"hong-ren-qiu-feng-shan-hong-ren-237969","弘仁秋枫扇",[24,2484,59,65,7,29706,103,278,101,66],"枫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee672f2e629a5f8260a53c32f8a229d6.jpg",[],{"id":29710,"slug":29711,"title":11729,"dynasty":54,"author":4959,"museum":119,"description":4960,"tags":29712,"thumbUrl":29713,"material":337,"size":937,"collection":127,"collections":29714,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},237943,"shan-shui-shan-mian-wu-bin-237943",[24,25,2484,59,65,7,64,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ba100191b06c111a401b4fc3e003d.jpg",[],{"id":29716,"slug":29717,"title":29718,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":29719,"thumbUrl":29720,"material":337,"size":937,"collection":127,"collections":29721,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237850,"fang-ni-zan-shan-shui-shan-dong-qi-chang-237850","仿倪瓒山水扇",[2484,24,59,122,7,165,734,65,166,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe56f94b85cc2111160b5c9a7022474.jpg",[],{"id":29723,"slug":29724,"title":29725,"dynasty":54,"author":27768,"museum":119,"description":27769,"tags":29726,"thumbUrl":29727,"material":337,"size":937,"collection":127,"collections":29728,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237846,"long-tan-xiao-yu-shan-cheng-jia-sui-237846","龙潭晓雨扇",[24,25,2484,59,7,630,64,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6625835e8171d6cba2ccce1bb4472c4e.jpg",[],{"id":29730,"slug":29731,"title":5022,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":29732,"thumbUrl":29733,"material":127,"size":127,"collection":127,"collections":29734,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237770,"yuan-ji-shan-shui-tu-ce-shi-tao-237770",[24,25,164,59,65,7,372,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0569d30c8c1e7e5d53b701ff531c8ac.jpg",[],{"id":29736,"slug":29737,"title":159,"dynasty":177,"author":26431,"museum":20,"description":29738,"tags":29739,"thumbUrl":29740,"material":127,"size":127,"collection":71,"collections":29741,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237551,"shan-shui-ce-wen-dian-237551","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,25,164,59,65,7,583,64,60,103,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ad5700825cb73019c96712ef15dc32.jpg",[71,212],{"id":29743,"slug":29744,"title":394,"dynasty":177,"author":29745,"museum":119,"description":29746,"tags":29747,"thumbUrl":29748,"material":337,"size":937,"collection":71,"collections":29749,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237479,"shan-shui-tu-ce-yao-song-237479","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,164,59,7,65,67,101,318,319,165,60,35,63,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[71],{"id":29751,"slug":29752,"title":8592,"dynasty":177,"author":29753,"museum":119,"description":29754,"tags":29755,"thumbUrl":29756,"material":127,"size":127,"collection":71,"collections":29757,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237468,"shan-shui-tu-zhou-zhou-tang-237468","周棠","周棠（1806 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1876），字召伯，一字少白，号兰西，山阴（今浙江绍兴）人。官光禄寺署正。写意花卉酷似徐渭、陈淳。山水则师石涛。晚年专画石，张之万称为清代画石第一。朝鲜使者每乞其画归。能诗，兼工篆、隶，善刻印章。",[24,25,149,59,223,7,347,34,103,2527,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d739fa2aaf5310e49b14142a60cf5b.jpg",[71,212],{"id":29759,"slug":29760,"title":23581,"dynasty":54,"author":14586,"museum":20,"description":23582,"tags":29761,"thumbUrl":29762,"material":349,"size":127,"collection":71,"collections":29763,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237452,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452",[24,25,149,59,7,583,64,878,65,34,5987,20070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[71,212],{"id":29765,"slug":29766,"title":29767,"dynasty":177,"author":29768,"museum":119,"description":29769,"tags":29770,"thumbUrl":29771,"material":337,"size":937,"collection":127,"collections":29772,"showCount":5,"zanCount":961,"manualWeight":48,"mainColor":75},237449,"wu-gu-xiang-qing-lu-heng-yun-shan-mian-wu-gu-xiang-237449","吴穀祥晴麓横云扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[24,25,2484,28,59,7,64,34,979,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a7f0dc5675aae5a446ce84cedfe87a.jpg",[],{"id":29774,"slug":29775,"title":11729,"dynasty":54,"author":29776,"museum":119,"description":29777,"tags":29778,"thumbUrl":29779,"material":337,"size":937,"collection":127,"collections":29780,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237404,"shan-shui-shan-mian-xie-dao-ling-237404","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[2484,24,7,59,65,104,60,61,62,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b71c94b91201216e2e0f580b8bddcc.jpg",[],{"id":29782,"slug":29783,"title":8493,"dynasty":177,"author":3760,"museum":135,"description":8494,"tags":29784,"thumbUrl":29785,"material":349,"size":127,"collection":127,"collections":29786,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237206,"shan-shui-zhu-shi-ce-wang-hui-237206",[24,25,164,59,7,630,734,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cce4f8f5ac5d999d33e87735030674e.jpg",[],{"id":29788,"slug":29789,"title":8493,"dynasty":177,"author":3760,"museum":135,"description":8494,"tags":29790,"thumbUrl":29791,"material":349,"size":127,"collection":127,"collections":29792,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237205,"shan-shui-zhu-shi-ce-wang-hui-237205",[24,25,164,59,7,165,734,61,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef44c46debc96ae64d8e2e55d88d995.jpg",[],{"id":29794,"slug":29795,"title":29796,"dynasty":177,"author":178,"museum":20,"description":29797,"tags":29798,"thumbUrl":29799,"material":29800,"size":29801,"collection":71,"collections":29802,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237151,"zheng-min-qiu-lin-du-shu-tu-zhou-yi-ming-237151","郑旼秋林读书图轴","此作用笔萧散简淡，远山奇崛冷峻，枯松虬木姿态苍劲古拙，水畔文士持杖独立，似在凝眺幽林远岫，静享林泉清寂。左侧题诗与画作相融，以水墨淡皴晕染山石，浓墨点苔醒出苍润质感，枯荣林木错落相衬，满卷秋意萧寒空灵。借林下幽境，寄寓避俗忘机的文人襟怀，将山水之幽与隐逸之思交织，笔意藏着清疏雅逸的出世意趣，尽显传统文人画以画明心的雅致风骨。",[24,25,149,59,65,7,103,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11420027d975e42468ac799413d85192.jpg","纸本淡设色","纵135cm，横112.5cm",[71,212,927],{"id":29804,"slug":29805,"title":159,"dynasty":177,"author":5740,"museum":119,"description":14247,"tags":29806,"thumbUrl":29807,"material":127,"size":127,"collection":71,"collections":29808,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237099,"shan-shui-ce-cha-shi-biao-237099",[24,25,164,59,65,7,318,319,165,63,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168aeb0486c41328f6e24fb32764dd3a.jpg",[71],{"id":29810,"slug":29811,"title":1420,"dynasty":54,"author":29812,"museum":119,"description":29813,"tags":29814,"thumbUrl":29815,"material":127,"size":127,"collection":71,"collections":29816,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237095,"shan-shui-zhou-xu-hong-ze-237095","徐弘泽","徐弘泽，字润卿，号春门，自号所浪老人，浙江嘉兴人，明嘉靖间书画名家，书法从赴孟俯取途，晚爱张伯雨，遂与姚绶颉颃，画出入元，明诸大家，与李晔，陈继儒相埒。",[24,149,28,7,125,305,63,103,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88b84f122c9d61a2d5bc9fc317e6025.jpg",[71],{"id":29818,"slug":29819,"title":159,"dynasty":54,"author":29820,"museum":119,"description":29821,"tags":29822,"thumbUrl":29823,"material":349,"size":127,"collection":71,"collections":29824,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},237027,"shan-shui-ce-zhang-yan-237027","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[24,25,164,59,65,7,64,34,532,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f632a06e9383dc4a5468b0b3c0a111b.jpg",[71,45],{"id":29826,"slug":29827,"title":29674,"dynasty":54,"author":27326,"museum":119,"description":29675,"tags":29828,"thumbUrl":29829,"material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卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,25,26,28,29,304,103,104,60,61,63,335,34,438,790,2715,2845,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 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横29.2厘米",[],{"id":29943,"slug":29944,"title":13447,"dynasty":1051,"author":1052,"museum":20,"description":24352,"tags":29945,"thumbUrl":29946,"material":349,"size":29947,"collection":127,"collections":29948,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},232987,"jiu-cheng-bi-shu-tu-ye-li-si-xun-232987",[27,28,304,7,104,63,29,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febf97e3a54593299e198f3eff15e7d0e.jpg","纵28.5cm，横31.6cm",[],{"id":29950,"slug":29951,"title":29952,"dynasty":80,"author":178,"museum":119,"description":29953,"tags":29954,"thumbUrl":29955,"material":127,"size":127,"collection":127,"collections":29956,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[23,24,25,149,59,65,7,103,413,199,239,61,14207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],{"id":29958,"slug":29959,"title":29960,"dynasty":8332,"author":29961,"museum":119,"description":29962,"tags":29963,"thumbUrl":29964,"material":337,"size":937,"collection":127,"collections":29965,"showCount":5,"zanCount":961,"manualWeight":48,"mainColor":379},231749,"si-ji-shan-shui-tu-ping-feng-di-4-ping-zhou-wen-231749","四季山水图屏风第4屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,59,7,104,34,64,65,8336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5a32141c2718bb6b808c418df78505.jpg",[],{"id":29967,"slug":29968,"title":29969,"dynasty":8332,"author":178,"museum":119,"description":29970,"tags":29971,"thumbUrl":29974,"material":337,"size":937,"collection":127,"collections":29975,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 流亡的皇帝屏风","金箔为底晕开朦胧暖光，淡墨细绘出浩渺水岸，层层水纹带着澹澹涟漪，铺陈开幽寂江景。左岸孤客彳亍，衣袂似随江风微扬，满溢羁旅怅惘。右畔水榭依水而立，灼灼桃枝缀着浅淡花意，晕开零落暖意，和空阔江天的萧寂形成温柔的对照。\n水墨冷寂被金箔柔光轻轻中和，将沉郁藏在清雅笔意间，留白里晕开澹澹愁思，以侘寂幽玄的笔致，把漂泊况味融在烟暮色中，在极简构图里铺陈出含蓄悠长的诗意。",[23,100,24,25,8336,59,28,29972,65,7,103,278,34,239,31,29973],"金碧","开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcce2a562d3507c088b54444c8a8b0f.jpg",[],{"id":29977,"slug":29978,"title":14176,"dynasty":18,"author":899,"museum":4678,"description":29979,"tags":29980,"thumbUrl":29981,"material":349,"size":127,"collection":127,"collections":29982,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,25,1388,59,28,65,29,66,67,101,103,7,64,34,334,63,18,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":29984,"slug":29985,"title":6664,"dynasty":177,"author":1825,"museum":161,"description":29986,"tags":29987,"thumbUrl":29988,"material":349,"size":29989,"collection":127,"collections":29990,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},231488,"xi-shan-xian-guan-tu-wang-jian-231488","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[23,24,25,149,28,65,7,60,61,125,104,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg","78×39cm",[],{"id":29992,"slug":29993,"title":29994,"dynasty":54,"author":29995,"museum":135,"description":29996,"tags":29997,"thumbUrl":29998,"material":349,"size":29999,"collection":127,"collections":30000,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,25,149,28,65,122,101,7,103,104,60,61,335,583,199,202,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":30002,"slug":30003,"title":3908,"dynasty":18,"author":3909,"museum":119,"description":30004,"tags":30005,"thumbUrl":30006,"material":127,"size":127,"collection":127,"collections":30007,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[23,100,24,25,149,28,29,103,335,334,607,125,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":30009,"slug":30010,"title":30011,"dynasty":54,"author":4301,"museum":119,"description":30012,"tags":30013,"thumbUrl":30015,"material":127,"size":127,"collection":127,"collections":30016,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","此作用淡墨晕开寒雾，远山隐没其中，高岭悬崖覆着素雪，以留白衬出积雪清寒厚重，山石勾勒硬朗古拙，尽显崖壁巍峨肃穆。\n\n中景枯木虬曲苍劲，枝桠舒展，雪覆槎丫，林麓间山居掩映，篱舍静谧安闲，似能隔绝冬日霜寒。近处石径蜿蜒，策杖行人缓步徐行，暗合冬日寻幽的雅趣。\n\n整体笔墨简练老辣，以空寂清冷的意境，将山野萧寒与幽居恬然相融，尽显文人寄情林泉、静悟山水的隐逸雅兴。",[24,25,149,59,65,7,30014,6850,372,583,64,35,103,238,37],"寒崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":30018,"slug":30019,"title":30020,"dynasty":80,"author":8313,"museum":119,"description":30021,"tags":30022,"thumbUrl":30024,"material":127,"size":127,"collection":127,"collections":30025,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230900,"song-yin-ju-yin-tu-zhou-tang-di-230900","松荫聚饮图轴","《松阴聚饮图》是元代画家 创作的绢本设色画，现藏于上海博物馆。\n此图近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。\n此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。\n长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。\n此图1近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘礴，不拘礼仪。\n图1的左边作者行书自题一行，文曰：“元统甲戌冬十一月，吴兴唐棣子华制。\n”钤有“唐氏子华”朱文方印。\n按图中自题，甲戌为元统二年（14）唐棣时年9岁。\n此画为作者早年作品，故较多保留着师承前人技法的痕迹。\n图写平远山水，远处山峦叠嶂，绵延起伏。\n近处均为浩荡江水，旷无边际。\n中间为树木、平岗。\n三棵巨树拔地而起，枝干粗实，盘根虬曲，有的枝杈盘曲伸展，枝叶疏落，树干上长满了疤节。\n树荫下有数间茅亭屋宇，将远景与近处相隔，截分为近远两景，这是远、中、近景三段式的格局。\n这样的布局，使整幅显得富有层次，使旷野的山光水色的美景更为显眼。\n此图2的画法，人物用白描法，线条细腻而又简练，笔触柔和，远山浅淡而远杳，近景的几株枯树明显反映出唐棣的线条功底，点顿精凝，不为懈笔怠笔，树干盘龙走虺，脉理纷然，瘢节回护，古拙怪异。\n树下三五成群的聚饮者，也是一种静谧而萧然的格调，尤其是图中描画对饮者解衣盘膝，或跽或蹲，不矜礼仪，生动地表现出村民、野老酒酣兴豪的生活乐趣。\n远处，山石逶迤起伏的山脉，作淡墨晕染，山峰均用短披麻皴，长松的勾皴苍劲精巧，细枝形类似蟹爪形。\n山上的草木丛杂，设色雅淡。\n218年1月21日，上海博物馆书法和绘画陈列开放，《松荫聚饮图》在其中展出。\n唐棣（1296—164），元代画家。\n字子华，湖州（今属浙江）人。\n“以茂才异等起家：”官至吴江知州：早熟，称“神童”，工画山水，“尝游翰林公之门”，得赵孟頫指授，并师法李成、郭熙，善于布置景物，点缀人物尤佳，笔力坚硬，画风清森华润，犹存宋人遗法。\n曾参与集庆（治今江苏南京）龙翔寺及元宫嘉熙殿作壁画，晚年兼学高克恭。\n明鉴赏家张丑推举他为“元人中之巨擘。\n”传世作品有《霜浦归渔图》轴、《雪港捕渔图》轴等。",[100,24,25,149,28,65,7,125,413,103,30023],"聚饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2873aee32f3e632b734453cf38006c24.jpg",[],{"id":30027,"slug":30028,"title":30029,"dynasty":54,"author":410,"museum":119,"description":30030,"tags":30031,"thumbUrl":30032,"material":127,"size":127,"collection":127,"collections":30033,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228845,"ji-shan-gao-yin-tu-zhou-dai-jin-228845","箕山高隐图轴","画面以雄奇山水铺陈意境，斧劈皴勾勒出山岩棱角刚硬，危峰迭起直入烟霭。古松虬曲苍劲，盘崖绕谷，枝干舒展如腾龙，松针攒簇尽显苍郁生机。\n\n松下高士坦襟趺坐，凭石观山，意态萧散悠然，将山野林泉间的隐逸闲趣尽显。整作以刚劲笔墨绘就山川风骨，又以简淡笔触描摹人物风神，将北宗山水的雄浑大气与文人高隐的清雅意趣相融，尽抒林泉高致，恍见太古幽情。",[23,24,25,149,59,65,7,103,583,64,199,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb2ac4e2251e083f824252fb1f3869f.jpg",[],{"id":30035,"slug":30036,"title":233,"dynasty":54,"author":178,"museum":119,"description":30037,"tags":30038,"thumbUrl":30039,"material":127,"size":127,"collection":127,"collections":30040,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,100,24,25,26,28,27,29,65,101,66,7,104,60,61,63,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":30042,"slug":30043,"title":5293,"dynasty":54,"author":5538,"museum":119,"description":30044,"tags":30045,"thumbUrl":30046,"material":127,"size":127,"collection":127,"collections":30047,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":379},228755,"shan-shui-tu-juan-wen-jia-228755","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,24,25,26,59,65,7,34,64,37,63,61,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],{"id":30049,"slug":30050,"title":30051,"dynasty":54,"author":27396,"museum":119,"description":30052,"tags":30053,"thumbUrl":30054,"material":127,"size":127,"collection":127,"collections":30055,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},228493,"pei-yue-xian-xing-tu-du-jin-228493","陪月闲行图","《陪月闲行图》是中国明代画家杜堇的国画作品。\n该画为纸本水墨，纵156.5厘米，横72.4厘米，现流落于（美）克里夫兰艺术博物馆。\n杜堇[明]十五—十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒人。\n丹徒（今江苏镇江）人，占籍燕京（今北京市）。\n宪宗成化（一四六五―一四八七）中试进士不第，绝意进取。\n工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。\n人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。\n弘治二年（一四八九）为吴原博（宽）作赏菊宴集图。\n《画史会要》、《图绘宝鉴续纂》、《无声诗史》、《艺苑巵言》 。\n杜堇的传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（15）由金琮（1449-151）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。\n《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《郡雍像》轴等，上述画均藏故宫博物院。\n从艺活动约在成化、弘治间。",[24,59,149,103,7,372,64,65,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d45025facb50d10416b1c61101165b.jpg",[],{"id":30057,"slug":30058,"title":16101,"dynasty":18,"author":178,"museum":119,"description":30059,"tags":30060,"thumbUrl":30061,"material":127,"size":127,"collection":127,"collections":30062,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},227891,"shen-tang-qin-qu-tu-yi-ming-227891","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,24,25,100,2484,28,7,104,34,64,60,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":30064,"slug":30065,"title":30066,"dynasty":18,"author":6369,"museum":119,"description":30067,"tags":30068,"thumbUrl":30069,"material":127,"size":127,"collection":127,"collections":30070,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","南宋 赵伯骕 碧山绀宇图绢本25.5x25\n\n赵伯骕,（一一二四至一一八二）字希远。伯驹弟。和州防御使。少从高宗于康邸，以文艺侍左右。善山水、人物，尤长于花鸟，傅染轻盈，颇有生意。界画亦精，尝绘姑苏天庆观样进呈，考宗书其上令依原样建造，即今之玄妙观。\n兄弟博涉书史，皆妙于丹青，以萧散高迈之气，见于毫素。尝论画以为写人物、动、植，画家颇能具其相貌，但吾辈胸次，自应有一种风规，神气悠然，韵味清远，不为物态所拘，便有佳处。况吾所存，无媚於世，而能合於丛情者，要在悟此。故二人以一圆墨，舒卷万象，俱受圣知。凡所落墨，皆缥囊玉轴为上方珍玩。卒年五十九。",[23,24,25,7,27,28,104,64,34,199,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa140c79a62d2d325e3c86c73ee3a47e.jpg",[],{"id":30072,"slug":30073,"title":5701,"dynasty":18,"author":2434,"museum":119,"description":20141,"tags":30074,"thumbUrl":30075,"material":127,"size":127,"collection":127,"collections":30076,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227706,"dai-du-tu-mi-you-ren-227706",[23,24,59,65,7,62,61,1738,167,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b90154e546073fde551209019683cef.jpg",[],{"id":30078,"slug":30079,"title":30080,"dynasty":177,"author":395,"museum":119,"description":30081,"tags":30082,"thumbUrl":30083,"material":127,"size":127,"collection":127,"collections":30084,"showCount":5,"zanCount":961,"manualWeight":48,"mainColor":75},224510,"shan-shui-tu-ce-8-kai-1-zhang-da-qian-jiu-cang-shi-tao-224510","山水图册8开-1-张大千旧藏","淡墨晕染远山，恍如烟霭轻笼，望之渺渺。近前丘峦以枯笔焦墨皴擦勾勒，苍劲朴拙，自带厚重古意。坡岸寒林萧疏，枝桠错落淡写，空寂清寒之境跃然纸上。右侧三两茅舍依偎岩岫，隐于林木间，尽出世幽居之趣。\n书画相融，题诗佐景，朱红金石印章错落点缀，更添雅致。笔意纵恣又不失内敛，将山雨初歇后的微茫空濛铺陈开来，淡而弥厚，简而愈远，尽显静穆萧散的文人逸趣，把江南山野的幽淡之美，晕作悠然忘尘的林下诗意。",[23,100,24,25,164,59,65,7,372,35,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93031ba8b540688941b476a31e5177ff.jpg",[],{"id":30086,"slug":30087,"title":30088,"dynasty":177,"author":395,"museum":119,"description":30089,"tags":30090,"thumbUrl":30091,"material":127,"size":127,"collection":127,"collections":30092,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},224500,"shan-shui-ce-kai-jiu-shi-tao-224500","山水冊开(九)","近景虬松斜出，板桥横卧浅溪，野意悠然。中景崖边村居错落，山径蜿蜒隐入青山，远江烟棹朦胧，翠微含黛，浅绛设色晕染出温润清和的春日山乡。\n\n枯笔皴擦勾勒山石，朴拙苍劲间带着灵动生气，林木简笔点染，形神兼备。题画诗与山水相融，将伤春怀远的幽寂心绪藏在清寂丘壑里，以山川写尽文人缱绻情思，简淡天真中见纵逸灵秀，笔底既有林泉野趣，又含寄情山水的文人心魂，尽显平淡悠远的画中真意。",[23,100,24,59,28,65,164,7,60,61,35,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112ef3c7e0ff3fa7d53483405b5d3c67.jpg",[],{"id":30094,"slug":30095,"title":29232,"dynasty":177,"author":1825,"museum":119,"description":12629,"tags":30096,"thumbUrl":30097,"material":337,"size":937,"collection":127,"collections":30098,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},224482,"shan-shui-tu-shan-mian-wang-jian-224482",[23,24,25,2484,7,28,65,64,34,167,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4553a79a1bb08b744bb24b9bf960af.jpg",[],{"id":30100,"slug":30101,"title":30102,"dynasty":177,"author":3760,"museum":119,"description":30103,"tags":30104,"thumbUrl":30105,"material":127,"size":127,"collection":127,"collections":30106,"showCount":5,"zanCount":961,"manualWeight":48,"mainColor":75},224458,"hua-hui-shan-shui-he-ce-1-5-wang-hui-224458","花卉山水合册1-5","此作设色清妍明快，以石青石绿晕染山峦，柔缓晕开丘棱轮廓，晕出春日山景的温润鲜活。左上桃枝绽粉，点破春讯，飞泉沿幽谷蜿蜒而下，牵起山林灵动生机。一叶扁舟随波泛于烟水间，大片留白铺陈出空濛云水意境，尽现幽远之致。\n\n右侧题诗补全画中雅趣，笔致秀逸舒展，与山水景致相映成趣，将文人耽于林泉的悠然雅意融于尺幅之间。整幅淡冶雅致，既见青绿山水的明丽秀润，又有文人画的萧散意境，尽显春日山水的静穆清和。",[23,24,100,25,164,28,27,65,7,34,61,102,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05457a1878b4c600149d327541c4eeee.jpg",[],{"id":30108,"slug":30109,"title":30110,"dynasty":177,"author":3760,"museum":119,"description":30111,"tags":30112,"thumbUrl":30113,"material":127,"size":127,"collection":127,"collections":30114,"showCount":5,"zanCount":1080,"manualWeight":48,"mainColor":75},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[23,24,25,149,59,65,7,318,199,61,60,125,63,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":30116,"slug":30117,"title":30118,"dynasty":177,"author":6327,"museum":119,"description":30119,"tags":30120,"thumbUrl":30121,"material":127,"size":127,"collection":127,"collections":30122,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[23,100,24,25,26,59,7,65,165,372,734,33,61,167,1738,7502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":30124,"slug":30125,"title":30126,"dynasty":18,"author":178,"museum":119,"description":30127,"tags":30128,"thumbUrl":30129,"material":337,"size":937,"collection":127,"collections":30130,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223621,"hu-jia-shi-ba-pai-quan-juan-yuan-pai-yi-ming-223621","胡笳十八拍全卷（原拍）","所谓“胡茄十八拍”，是指蔡琰谱写的茄谱及歌词的总称。明胡笳十八拍图卷为明中期摹本。无款印， 图中人物勾写严谨，神情如生。",[23,24,26,29,28,103,335,278,7,6756,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0162d600dbddb17ec2ee4e429f3fbf.jpg",[],{"id":30132,"slug":30133,"title":30134,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":30135,"thumbUrl":30136,"material":87,"size":15463,"collection":127,"collections":30137,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},223018,"hong-lou-meng-143-sun-wen-223018","红楼梦143",[23,24,29,28,103,63,60,61,34,104,7,3695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a19995a4847d6851179196e17d3fca.jpg",[],{"id":30139,"slug":30140,"title":30141,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":30142,"thumbUrl":30143,"material":87,"size":15463,"collection":127,"collections":30144,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},222912,"hong-lou-meng-37-sun-wen-222912","红楼梦37",[23,29,28,304,103,124,559,630,7,278,63,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44dc558540f4d6b844829f7415cf33b0.jpg",[],{"id":30146,"slug":30147,"title":30148,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":30149,"thumbUrl":30150,"material":87,"size":15463,"collection":127,"collections":30151,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},222886,"hong-lou-meng-11-sun-wen-222886","红楼梦11",[23,24,29,28,27,7,103,104,61,34,64,8207,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13d5c48011833b14f4605b458d73403.jpg",[],{"id":30153,"slug":30154,"title":30155,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":30156,"thumbUrl":30157,"material":87,"size":15463,"collection":127,"collections":30158,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},222882,"hong-lou-meng-7-sun-wen-222882","红楼梦7",[23,24,100,29,28,103,104,60,61,63,26772,34,3695,7,15457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c7e9c57c5191efaad6178b445f8396.jpg",[],{"id":30160,"slug":30161,"title":30162,"dynasty":177,"author":5885,"museum":135,"description":12894,"tags":30163,"thumbUrl":30164,"material":225,"size":12897,"collection":71,"collections":30165,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴",[23,24,25,149,7,65,28,318,319,34,35,201,167,101,64,3765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg",[71,45],{"id":30167,"slug":30168,"title":30169,"dynasty":54,"author":15301,"museum":369,"description":30170,"tags":30171,"thumbUrl":30172,"material":349,"size":30173,"collection":927,"collections":30174,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},222534,"wang-wu-tu-bing-shi-juan-wang-duo-222534","王屋图并诗卷","此卷草书用墨苍润，行笔峻爽遒劲，布白参差错落，纵逸之中含有稳健，沉郁之中富有灵性，从中可以看出他集数十年的功力，融会“二王”、李北海、颜真卿、怀素、黄庭坚、米芾、赵孟俯于一炉的化境。可谓是“风樯阵马，笔走龙蛇”，后人鲜有至者。",[23,26,25,67,19975,66,59,7,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ba62362da41f16cf87df548bbc578c.jpg","纵29.9厘米，横639.8厘米",[927],{"id":30176,"slug":30177,"title":909,"dynasty":54,"author":2641,"museum":56,"description":23001,"tags":30178,"thumbUrl":30179,"material":225,"size":30180,"collection":127,"collections":30181,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},222377,"shan-shui-tu-bian-wen-yu-222377",[23,24,2484,7,65,59,28,64,34,278,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd45f49317fea0c08e05b689921eab9.jpg","纵23.7厘米横29.3厘米",[],{"id":30183,"slug":30184,"title":30185,"dynasty":54,"author":55,"museum":135,"description":30186,"tags":30187,"thumbUrl":30188,"material":28,"size":30189,"collection":127,"collections":30190,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},222115,"shu-yin-chui-diao-tu-shen-zhou-222115","树阴垂钓图","老树三株，点叶笔极老辣。平坡上坐一老者垂纶，笔细挺而有致。对山数石，横波数抹。",[23,24,2484,59,7,165,373,101,66,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e71db6d9e06df008768db3647fc1e04.jpg","纵18.5公分，横50公分",[],{"id":30192,"slug":30193,"title":30194,"dynasty":80,"author":30195,"museum":704,"description":30196,"tags":30197,"thumbUrl":30199,"material":375,"size":30200,"collection":127,"collections":30201,"showCount":5,"zanCount":961,"manualWeight":48,"mainColor":75},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,24,25,100,149,59,28,10143,571,106,20817,264,30198,5474,7,223],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],{"id":30203,"slug":30204,"title":30205,"dynasty":80,"author":1962,"museum":20,"description":30206,"tags":30207,"thumbUrl":30208,"material":349,"size":30209,"collection":127,"collections":30210,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},221751,"san-xia-qu-tang-tu-ye-sheng-mao-221751","三峡瞿塘图页","瞿塘峡的名胜古迹，多而又集中，游览者称便。此画为元代画家盛懋所作，其早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,25,164,7,59,28,62,182,34,64,37,167,31,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b234dc745f130418cd0edc13a5a06d2.jpg","78X69厘米",[],{"id":30212,"slug":30213,"title":30214,"dynasty":18,"author":604,"museum":135,"description":30215,"tags":30216,"thumbUrl":30217,"material":454,"size":30218,"collection":127,"collections":30219,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,24,25,59,28,7,583,106,264,5657,65,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","41.5x60厘米",[],{"id":30221,"slug":30222,"title":11298,"dynasty":177,"author":30223,"museum":119,"description":30224,"tags":30225,"thumbUrl":30226,"material":349,"size":30227,"collection":71,"collections":30228,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},220251,"xi-shan-yan-yu-tu-hu-gong-shou-220251","胡公寿","胡公寿（1823年—1886年），初名远，号瘦鹤、小樵，别号横云山民，华亭（今上海松江）人，清末书画家。其书法出入于平原、北海间，独具体势。诗宗少陵，清健遵练。为海上画派代表画家之一。传世作品有《桂树图》、《香满蒲塘图》等",[23,24,59,149,7,199,34,64,9031,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee7a7a41050c79328c18df5f5c33a46.jpg","49.54*180",[71],{"id":30230,"slug":30231,"title":30232,"dynasty":54,"author":14865,"museum":673,"description":30233,"tags":30234,"thumbUrl":30235,"material":139,"size":127,"collection":71,"collections":30236,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},219924,"liu-ting-tu-zhang-guan-219924","柳艇图","生卒年不详，字可观，松江枫泾（今上海金山）人。元代迁居嘉兴（今属浙江），明洪武中寓长洲（今江苏苏州市）。生长于木匠家庭，从小爱游览山水，喜欢作山水画。师法马远、夏圭，亦参学李、郭熙，后与吴镇、盛懋、丁野夫相交，笔墨大进，所作雍容苍秀，格韵悉佳，古劲清润，秀雅胜俗。",[24,59,7,1478,62,103,64,319,373,149,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92728b3c452c53bcaa2010c0930b8fc4.jpg",[71],{"id":30238,"slug":30239,"title":30240,"dynasty":54,"author":178,"museum":3793,"description":30241,"tags":30242,"thumbUrl":30243,"material":596,"size":127,"collection":71,"collections":30244,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},219897,"jun-ling-tu-yi-ming-219897","峻岭图","危峰拔地直插烟岚，苔痕皴染崖壁，凭添苍古荒寒之意。山巅与幽谷间云气漫漶，虚实相生衬出峰峦巍峨雄浑。下方虬松横斜出枝，蟠曲如游龙，苍劲松针攒簇，尽现山野老松的疏狂之姿。\n\n山麓茅亭敞轩，高士偃卧假寐，篱舍隐于浅渚林泉间，枯木荒坡错落排布，淡墨晕染出空寂萧散的汀岸野趣。全作用笔兼具勾勒皴擦，水墨干湿浓淡层叠铺陈，将山水的宏阔与林下幽居的静穆相融，尽显林泉高致的隐逸意趣，于尺幅间铺展出文人心底旷远高逸的林下襟怀。",[24,25,149,59,7,583,64,34,278,103,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaeb6304a00605300597860cc5dd69c6.jpg",[71],{"id":30246,"slug":30247,"title":30248,"dynasty":177,"author":30249,"museum":275,"description":30250,"tags":30251,"thumbUrl":30252,"material":169,"size":30253,"collection":71,"collections":30254,"showCount":5,"zanCount":961,"manualWeight":48,"mainColor":49},219720,"yun-ling-shui-sheng-tu-wang-jian-zhang-219720","云岭水声图","王建章","《云岭水声图》画层峦叠嶂，瀑布挂落，溪流绕岸，小径蜿蜒，云雾弥漫，数间房舍掩映于葱郁的树林间，境界超逸。山石以披麻皴描绘，树木以湿润浓墨点染，画面苍郁沉厚。图右题唐诗：“横云岭外千里树，流水声中三五家。”诗情画意交融。",[23,24,100,59,65,149,7,979,199,61,34,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18c7c418b4dff5a1a53023aff36e0194.jpg","纵95厘米,横48．1厘米",[71],{"id":30256,"slug":30257,"title":30258,"dynasty":18,"author":178,"museum":135,"description":30259,"tags":30260,"thumbUrl":30261,"material":139,"size":127,"collection":44,"collections":30262,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},219647,"xie-qin-kan-shan-tu-yi-ming-219647","携琴看山图","苍松虬曲斜伸，撑起画面骨架，枝桠间松针层叠如盖，疏梅横斜于松下添了几分清寒意趣，淡墨晕染的远山如黛，漾开空濛暮色。\n士人携琴偕仆驻步松下，二人遥望远山，似正指点烟岚丘壑，僮仆捧炉侍立，将林泉雅意藏进细微情态里。设色沉雅温润，皴染兼具，远景山水虚淡悠远，虚实相生间烘托出江南暮色的清寂，将宋人寄情山水、寻幽访胜的隐逸意趣凝缩在尺幅扇面，尽显林下风流的雅逸格调。",[24,28,65,164,7,103,583,2414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb902321b31609328d6c2e1c91ceb4c44.jpg",[44],{"id":30264,"slug":30265,"title":30266,"dynasty":54,"author":20760,"museum":135,"description":30267,"tags":30268,"thumbUrl":30269,"material":349,"size":30270,"collection":71,"collections":30271,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},219466,"shan-cai-ding-li-tu-xiang-yuan-bian-219466","善才顶礼图","项元汴（西元一五二五－一五九0年）字子京，别字墨林居士，为江南的大收藏家，家藏既多，薰习之久，亦能自运。其山水学元黄公望、倪瓒，尤醉心于倪，得其胜趣。此幅画松石崖瀑，用笔秀劲流畅，构景命意皆静穆之甚。善才童子向空顶礼，取势生动，似见仇英风范。虽云画佛，仍是山水画格局。右下有其孙项圣谟之题识「天童弟子通变天籁阁孙男圣谟。壬辰（一六五二）中秋日拜题」。",[24,25,149,59,7,103,64,34,31,583,37,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fadde91c721a075251422a51b21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苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 于是跨年夜过后，孩子们在街上游行，大喊大叫卖痴呆症。",[24,25,149,28,7,103,104,372,35,64,63,101,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe24ffa84bd65559c421b643f58bad25.jpg","纵113横28.7厘米",[71,44],{"id":30282,"slug":30283,"title":30284,"dynasty":80,"author":7127,"museum":1497,"description":15941,"tags":30285,"thumbUrl":30286,"material":139,"size":127,"collection":44,"collections":30287,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},219394,"qiu-lin-du-qi-tu-zhao-yong-219394","秋林独骑图",[24,25,2484,28,7,103,335,1389,34,64,334,66,101,67,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82362cf51743c1d61b49e21bf59d4c8.jpg",[44],{"id":30289,"slug":30290,"title":30291,"dynasty":54,"author":580,"museum":135,"description":30292,"tags":30293,"thumbUrl":30294,"material":139,"size":127,"collection":44,"collections":30295,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},219364,"mo-li-gong-lin-lian-she-tu-wen-zheng-ming-219364","摹李公麟莲社图","本幅画莲社十八贤士图，按晋时慧远高僧，于庐山建立白莲社，聚众百二十三人，修念佛学，时陶潜辞官居栗里，慧远致书陶潜，邀请参加，陶潜答曰：“许我酒就来。”慧远答应。陶潜每来社中，或时才至，不久即攒眉而去。幅中乘篮舆者即是陶潜。幅中设色，用笔均去文仇水准颇远，为后世托名。",[24,25,122,28,103,7,34,335,66,101,104,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e13b06d2397288d1823e0ca8f2b717b.jpg",[44],{"id":30297,"slug":30298,"title":30299,"dynasty":54,"author":997,"museum":135,"description":30300,"tags":30301,"thumbUrl":30302,"material":59,"size":1001,"collection":71,"collections":30303,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},219293,"shan-shui-ji-jing-ce-yuan-shan-shui-cao-zhi-bai-219293","山水集景册-元山水","曹知白（西元一二七二—一三五五年），华亭（今江苏上海）人。字又玄，号云西。至元（一三三五—一三四○年）间，为昆山教谕。善画山水，师法郭熙。水墨画虬松双株并立于前，树枝往下伸张如蟹爪状，是典型李郭派画法。茅屋层基而起，流水下泻于旁，淙淙有声，窗间有人仰谛，鹤步松阴，一派闲散之意。全图之山石树木，用墨浓淡相间，饰以苔点，疏林深秀，天真平淡。",[24,25,59,164,65,7,64,34,125,61,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86004cc62cb48c9f04a95ff719be5e31.jpg",[71],{"id":30305,"slug":30306,"title":30307,"dynasty":80,"author":30308,"museum":424,"description":30309,"tags":30310,"thumbUrl":30312,"material":139,"size":127,"collection":45,"collections":30313,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":940},219242,"han-lin-ji-xue-tu-chao-xian-jin-zhi-219242","寒林霁雪图","朝鲜·金禔","雪裹层岩，寒林疏枝横斜，墨色皴擦间晕开雪后空濛。左侧屋舍隐于林麓，似藏暖意；远岫如黛横陈，天际淡远，水面孤舟轻泛，更添清寂。笔意简淡却见深致，绢素上留白与墨韵交织，凝住霁雪后的清冷静谧——风过寒枝的微吟，雪落远山的轻响，仿佛都在这山水间流转，尽显空远之趣与隐者般的安然。每一处线条都藏着细腻心思，将雪霁后的天地凝作一幅清绝画卷，让观者沉湎于这份独有的静谧与悠远。",[23,100,24,25,7,59,65,16136,766,3260,150,399,62,30311,4729,6747,18569],"雪霁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2991e912331c63c1479894bce4fc0cd.jpg",[45],{"id":30315,"slug":30316,"title":30317,"dynasty":18,"author":178,"museum":135,"description":30318,"tags":30319,"thumbUrl":30321,"material":139,"size":20347,"collection":42,"collections":30322,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},218848,"qiu-shan-gu-du-tu-yi-ming-218848","秋山古渡图","这幅画描绘了一连串的山脉，右边的巨石高耸入云，岩石下隐约可见几间小屋，一只狗跑来迎接它的主人，而隐士一定是从峡谷中搜索回来的。这幅画是郭熙的研究，充满了兴趣。",[23,100,24,25,2484,7,65,59,2682,30320,61,62,64,34],"古渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b2090c0a9578d59578b77ac40979c0.jpg",[42],{"id":30324,"slug":30325,"title":30326,"dynasty":80,"author":5576,"museum":135,"description":30327,"tags":30328,"thumbUrl":30329,"material":87,"size":127,"collection":71,"collections":30330,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},218771,"qing-xi-tai-xie-tu-wang-zhen-peng-218771","清溪台榭图","楼阁依山傍水而立，飞檐翘角似振翅的禽鸟，斗拱层叠如织就的锦纹，线条精准若刀刻般利落，尽显界画之工细。清溪如练，波光隐约映出台榭一角，添几分清寂。远山以淡墨晕染，云雾缭绕间露嶙峋轮廓，与近景建筑的规整形成虚实相生之韵。整幅画于严谨技法中透出空灵意境，建筑的精巧与山水的悠远相互映衬，似一处远离尘嚣的栖居，引人沉醉于这份宁静雅致的元人笔墨之美。",[23,24,304,29,28,104,61,7,12038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d849b6217ab9ba987457aabcd016dc.jpg",[71],{"id":30332,"slug":30333,"title":30334,"dynasty":18,"author":178,"museum":135,"description":30335,"tags":30336,"thumbUrl":30337,"material":139,"size":30338,"collection":71,"collections":30339,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},218705,"xue-xi-gu-si-tu-yi-ming-218705","雪溪古寺图","这幅画描绘了一个山村和一座耸立在深雪中的山谷中的古寺，一个骑驴的和尚与一个拿着雨伞的仆人一起走在雪地里。这幅画的尺寸很小，是郭熙风格的典范，画中的小屋和小刺沏是程式化的，可能是元明时期的作品。",[23,24,25,59,65,7,765,17687,64,34,201,278,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b70cfa37a2e0c165015de0b7e5d2a2.jpg","24.5x25",[71],{"id":30341,"slug":30342,"title":30343,"dynasty":177,"author":10955,"museum":396,"description":24895,"tags":30344,"thumbUrl":30345,"material":139,"size":24898,"collection":127,"collections":30346,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},218330,"shen-xian-gu-shi-tu-ce-7-leng-mei-218330","神仙故事图册-7",[23,24,28,29,103,7,104,165,64,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90a6d18f63cd7053041df309952abe6d.jpg",[],{"id":30348,"slug":30349,"title":30350,"dynasty":54,"author":178,"museum":396,"description":1663,"tags":30351,"thumbUrl":30352,"material":69,"size":127,"collection":127,"collections":30353,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},217941,"ming-ren-shan-shui-hua-ce-zhi-shi-yi-ming-217941","明人山水画册之(十)",[24,25,164,123,59,7,583,264,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe642084064b9a9dd6b35437b724efcfc.jpg",[],{"id":30355,"slug":30356,"title":30357,"dynasty":80,"author":178,"museum":424,"description":30358,"tags":30359,"thumbUrl":30360,"material":596,"size":127,"collection":127,"collections":30361,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},214606,"shan-ge-liang-ting-tu-yi-ming-214606","山阁凉亭图","元代是中国历史上的一个时期，时间大约在公元1271年至公元1368年。\n\n佚名是一个术语，用于描述一些文献或艺术品的作者未知或不详的情况。因此，如果一幅画的作者是佚名，则我们并不知道创作这幅画的人是谁。\n\n山阁凉亭图是一幅中国画，其中展现了一个山阁凉亭的景色。凉亭是一种设计精美的户外建筑，通常设在花园、公园或池塘边，供人休息或观赏风景。山阁凉亭图可能描绘了一个美丽的山阁凉亭，周围环绕着美丽的山景。",[23,24,25,304,59,7,63,104,60,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe27321a916c6a22e06cd6aa95e65ac.jpg",[],{"id":30363,"slug":30364,"title":5154,"dynasty":177,"author":1925,"museum":161,"description":30365,"tags":30366,"thumbUrl":30367,"material":169,"size":127,"collection":127,"collections":30368,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":75},214392,"shan-shui-tu-ce-6-zhu-da-214392","淡墨晕染的山影朦胧绰约，大片留白拓出空濛辽远的天地。骑驴人戴笠缓行，素衣简影嵌在苍茫间，似在寻一处避世的幽境。笔墨极简却见筋骨：山石以淡皴轻擦，云雾借墨色深浅流转，每一笔都藏着沉郁的况味。没有繁复的铺陈，仅用寥寥数笔勾勒心境——驴蹄踏过的湿润地，似有余音；墨色里的孤寂与超脱，悄然漫溢。画面简淡却深远，空寂中藏着千回百转的思绪，如同一首无声的诗，让观者于留白处品尽水墨里的风骨与幽情。",[23,24,59,164,7,103,3988,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf00e77e58a2edf345eadb910ec06938.jpg",[],{"id":30370,"slug":30371,"title":30372,"dynasty":18990,"author":17343,"museum":56,"description":30373,"tags":30374,"thumbUrl":30376,"material":127,"size":127,"collection":71,"collections":30377,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":30378},203078,"kang-you-wei-fu-ren-xiang-xu-bei-hong-203078","康有为夫人像","女子身着素白长袍，衣缘以靛蓝勾勒，线条雅致，尽显温婉端庄。她立于庭院一角，身旁石桌叠放典籍，指尖轻触书页，似含沉静书卷气。背景绿植、花钵与远山淡影相映，中西绘画技法交融，既保留传统人物画神韵，又以写实笔触刻画细节，衣褶质感与面部神情细腻生动，传递出人物内敛气质与时代文化印记。",[24007,103,28,30375,7,23],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8b94007c4787acd9155bef28ac8931.jpg",[71],"d1c3a4",{"id":30380,"slug":30381,"title":1420,"dynasty":18990,"author":6800,"museum":56,"description":30382,"tags":30383,"thumbUrl":30385,"material":127,"size":127,"collection":71,"collections":30386,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":30387},202825,"shan-shui-zhou-huang-bin-hong-202825","这幅山水轴笔墨苍劲浑厚，意境幽远深沉。上部山峦层叠，以浓淡干湿的墨色皴擦点染，山体纹理交错，尽显雄奇厚重之态；山脚下溪流蜿蜒，屋舍隐于苍松翠柏间，岸边亭台小巧，林木错落有致，一派静谧的山居气象。画家运用积墨与破墨技法，墨色层次丰富，线条刚柔相济，既承传统山水的笔墨精髓，又融入个人对自然的深刻体悟，画面气韵生动，于苍莽中见清幽，引人步入林泉之境，心生向往。",[24,7,65,59,63,150,34,238,201,11368,30384,23],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4686603adc4b2ff54977912a749d19c.jpg",[71],"c2beb2",{"id":30389,"slug":30390,"title":30391,"dynasty":18,"author":10140,"museum":135,"description":30392,"tags":30393,"thumbUrl":30394,"material":87,"size":30395,"collection":127,"collections":30396,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},290941,"guan-shan-mi-xue-tu-zhou-xu-dao-ning-290941","关山密雪图轴","该图以立幅形式表现深山春雪过后的景色。画之上部雪山巍峨，巨大的山体覆盖住了画卷的上部，起伏雄伟的山峰上树木茂密，山腰之中，有几间屋舍，画家用工笔画出屋舍，使之与粗犷的群山形成对应。小屋旁边溪水流淌，水磨欢转，使寂寥静谧的雪山增添了生气，使得画面更加的传神与生动。该图运笔凝重细劲，以短笔布皴，严谨而有法度，故疏而不薄。这幅雪景图里既有李成的绘画特点，也有从范宽那里学到的刚劲雄厚的格调。",[24,7,149,878,1262,372,766,65,59,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b5e8337a90edbc0f062b91c23ff162.jpg","121.3x81.3",[],{"id":30398,"slug":30399,"title":30400,"dynasty":54,"author":5538,"museum":119,"description":30401,"tags":30402,"thumbUrl":30403,"material":337,"size":937,"collection":127,"collections":30404,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},290890,"fang-lu-shan-shi-hua-zhou-wen-jia-290890","仿庐山诗画轴","文嘉（1501年～1583），字休承，号文水，南直隶 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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,164,59,65,7,125,62,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc717244aa971e7b3f826512d59005905.jpg",[71,45],{"id":30612,"slug":30613,"title":2582,"dynasty":177,"author":1801,"museum":119,"description":2583,"tags":30614,"thumbUrl":30615,"material":127,"size":2586,"collection":127,"collections":30616,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},238026,"hong-ren-shan-shui-tu-ce-hong-ren-238026",[24,25,164,59,65,7,165,64,979,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd878af4f1ee29a1194aa9d7c0a0456e.jpg",[],{"id":30618,"slug":30619,"title":11729,"dynasty":54,"author":4959,"museum":119,"description":4960,"tags":30620,"thumbUrl":30621,"material":337,"size":937,"collection":127,"collections":30622,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},237869,"shan-shui-shan-mian-wu-bin-237869",[24,2484,59,65,7,34,64,62,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c22e0115a9fdf45ed559e83e83397d8.jpg",[],{"id":30624,"slug":30625,"title":30626,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":30627,"thumbUrl":30628,"material":337,"size":937,"collection":127,"collections":30629,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},237795,"hong-ren-shan-shui-shan-hong-ren-237795","弘仁山水扇",[24,25,100,2484,7,630,64,165,35,59,28,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee2deb1860be3554b6c635c695732f0.jpg",[],{"id":30631,"slug":30632,"title":15931,"dynasty":177,"author":219,"museum":20,"description":30633,"tags":30634,"thumbUrl":30635,"material":375,"size":30636,"collection":71,"collections":30637,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},237735,"shang-shan-si-hao-tu-huang-shen-237735","此图描绘的是秦末东园公、绮里季、夏黄公、甪里隐于商山（今陕西省商县东南）的故事。四人皆80高龄，为避秦暴政而隐居商山，时人称之为“商山四皓”。西汉初，高祖屡召之而不得。后，高祖欲废太子刘盈，改立戚夫人子赵王如意，群臣谏而不听。吕后用张良计，礼遇四皓。高祖以为太子既得此四皓，羽翼已成，只得打消了废太子之念。图中峰峦高耸，飞瀑流泉，意境幽雅。人物的分布错落有致，形貌神态生动自然，笔墨放纵而又不失法度，为黄慎晚年之佳作。",[24,59,28,7,103,583,64,182,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43829eb0e770be99167513bd0f2bbea.jpg","纵120.2厘米，横68.3厘米",[71,212],{"id":30639,"slug":30640,"title":1420,"dynasty":54,"author":14936,"museum":119,"description":30641,"tags":30642,"thumbUrl":30643,"material":349,"size":127,"collection":71,"collections":30644,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},237576,"shan-shui-zhou-wang-wen-237576","王问（1497～1576）明代官员。字子裕，号仲山，江苏无锡人。嘉靖十一年进士，历官车驾郎中，擢广东按察佥事，因思念老父，未赴任，即弃官归家。书法类米芾，又似黄庭坚，点染山水、花鸟皆精。诗作萧闲疏放，冲然自得，有《仲山诗选》、《崇文馆稿》等。",[24,25,149,59,65,7,60,61,34,64,199,1674,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cefbf455b6e8d825dad7eb7a7b291de.jpg",[71,212],{"id":30646,"slug":30647,"title":30648,"dynasty":54,"author":10318,"museum":119,"description":24480,"tags":30649,"thumbUrl":30650,"material":337,"size":937,"collection":127,"collections":30651,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},237417,"you-zhang-gong-dong-shan-lu-zhi-237417","游张公洞扇",[2484,24,7,28,65,583,64,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193fe877694581eca743fdfcdc0ae876.jpg",[],{"id":30653,"slug":30654,"title":159,"dynasty":177,"author":672,"museum":4678,"description":30655,"tags":30656,"thumbUrl":30657,"material":127,"size":127,"collection":71,"collections":30658,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},236731,"shan-shui-ce-hua-yan-236731","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,59,164,66,101,7,62,264,61,1286,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43d5f7e219be9710dcb9f942f6ea8a7.jpg",[71,45],{"id":30660,"slug":30661,"title":30662,"dynasty":54,"author":9356,"museum":119,"description":22164,"tags":30663,"thumbUrl":30664,"material":337,"size":937,"collection":127,"collections":30665,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},236701,"guan-pu-shan-zhou-chen-236701","观瀑扇",[100,24,25,2484,59,65,103,7,64,34,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8157a9dde39dc9be6fd83fde962e9723.jpg",[],{"id":30667,"slug":30668,"title":30669,"dynasty":177,"author":15133,"museum":82,"description":30670,"tags":30671,"thumbUrl":30673,"material":537,"size":30674,"collection":71,"collections":30675,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞此画笔墨简淡，苍秀卓立，轮廓中锋勾勒，山作背面少皴。画坡树萧疏，水中野亭，高峰见顶。画家的作品最鲜明的特点就是“简”，主要以线表现，有时简练到一根线条表现一个境地，又决不因为线少而致景陋。其论画有云：“能疏能密，有奇有正，方为好手。”在明末清初的画家中，汪之瑞具有十分雄厚的艺术功力，可惜流传的作品太少。本幅上有戴洪魁的题语：“此前辈汪之瑞真迹，其势高洁，其笔简老，亦一时名手也。”\n此图作者用渴笔、焦墨，画远山疏林、小桥流水，山石有皴无染， 画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[24,7,59,65,149,60,64,125,34,2813,37,201,240,30672,101,11714,223],"书法题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[71,212],{"id":30677,"slug":30678,"title":30679,"dynasty":177,"author":10574,"museum":119,"description":18476,"tags":30680,"thumbUrl":30681,"material":127,"size":127,"collection":71,"collections":30682,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},236109,"lin-xia-xie-qiong-zhou-zhang-zong-cang-236109","林下携笻轴",[24,28,65,149,7,34,239,199,35,826,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[71,212],{"id":30684,"slug":30685,"title":159,"dynasty":177,"author":30686,"museum":119,"description":30687,"tags":30688,"thumbUrl":30689,"material":127,"size":127,"collection":71,"collections":30690,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},236076,"shan-shui-ce-shen-zong-jing-236076","沈宗敬","此作用笔苍秀，以干笔皴擦勾勒近侧危崖，嶙峋石体质感尽显，崖顶古松挺劲，枝桠舒展带风霜之态。崖畔孤亭兀立石台，凭虚临空，暗合幽人隐逸之思。\n烟波浩渺的江面之上，扁舟随波缓行，远景山峦澹晕隐现，晕染出空濛悠远的水天色。整幅水墨写意，糅合北派山水的雄健质感与南宗山水的淡远意境，萧散简淡的笔意间铺展出林泉高致的幽旷之境，将山居江湖的清寂冷逸尽数彰显，把文人寄情山水的隐逸襟怀藏于尺幅之中。",[24,59,164,65,7,64,583,63,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4bd7b1242ed0c8d84ab4be3bba94b9.jpg",[71],{"id":30692,"slug":30693,"title":5022,"dynasty":177,"author":395,"museum":119,"description":30694,"tags":30695,"thumbUrl":30696,"material":127,"size":127,"collection":127,"collections":30697,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[24,25,164,67,59,28,65,66,101,7,238,34,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f749a49e7b8c667c20c3c60e27a09e8.jpg",[],{"id":30699,"slug":30700,"title":5022,"dynasty":177,"author":395,"museum":119,"description":30701,"tags":30702,"thumbUrl":30703,"material":127,"size":127,"collection":127,"collections":30704,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},235879,"yuan-ji-shan-shui-tu-ce-shi-tao-235879","这幅册页诗画合璧，行书题诗萧散俊逸，笔墨间自带林下幽居的清寂意趣。\n\n山水取景奇崛苍润，危崖拔地而起，飞泉挂壁落于溪涧，苍松杂木错落生姿，山居隐于林间烟岚之中，淡墨轻皴写尽丘壑之态。笔底兼具黄山奇峭风神，又融禅意隐逸之思，以简驭繁，将诗中静伴秋雨、枯禅幽栖的心境，铺陈在咫尺画卷里。\n诗境衬着画境，画境晕染诗心，淡远空灵的气韵漫溢纸面，尽显文人画诗画交融的雅致风神。",[24,25,164,67,59,7,264,34,101,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b855edfdb93578bdd513ec9b3f934a.jpg",[],{"id":30706,"slug":30707,"title":30708,"dynasty":54,"author":178,"museum":119,"description":30709,"tags":30710,"thumbUrl":30711,"material":127,"size":127,"collection":127,"collections":30712,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},235841,"lu-zhi-tian-ping-shan-tu-ye-yi-ming-235841","陆治天平山图页","此作左文右图，诗画合璧。右侧绘层岩峻耸，浅绛设色清润柔和，山石勾勒苍秀兼具，山脚水陂萦回，隐见村舍错落其间，远山晕染朦胧杳霭，尽显江南丘壑灵秀清旷之意。远景山峦淡抹轻皴，近景林木屋舍细致清雅，于工写之间晕染出山林幽寂野趣。\n左侧行书题跋笔意舒展流畅，以文述景，将山川形胜娓娓铺陈，把实景奇崛与人文底蕴融于一卷，笔墨间晕开清雅意趣，将江南名山的形神与文人情思相融，淡远空灵，古意悠然。",[24,25,164,28,7,318,734,34,61,63,66,67,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],{"id":30714,"slug":30715,"title":30716,"dynasty":54,"author":178,"museum":119,"description":30717,"tags":30718,"thumbUrl":30720,"material":127,"size":127,"collection":127,"collections":30721,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},235814,"cui-zi-zhong-cang-yun-tu-zhou-yi-ming-235814","崔子忠藏云图轴","此作用全景式构图铺展意境，上段危峰怪石奇崛冷峻，淡墨晕染出空濛云雾，衬出山岫灵秀幽邃。中段留白托举云气，枯林萧疏愈显山野寂寥。下段辎车缓行于山径，长者安坐、侍童相随，人物意态简雅生动，车马细节入微。\n左上题诗与画意相融，水墨皴染结合，笔意清劲古雅，将藏云林泉的幽居雅兴，与静穆高古的山水意境合二为一，尽显文人避世寻幽的审美意趣。",[100,24,25,149,28,65,103,7,34,64,30719],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc9720526c0678b1bafbcaf3a821ab4.jpg",[],{"id":30723,"slug":30724,"title":30725,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":30726,"thumbUrl":30727,"material":337,"size":937,"collection":127,"collections":30728,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},235788,"hong-ren-nan-gang-qing-yun-tu-shan-ye-hong-ren-235788","弘仁南冈清韵图扇页",[24,25,2484,59,7,64,34,35,65,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c9cebec78b4c98d9b073af86409e76.jpg",[],{"id":30730,"slug":30731,"title":7594,"dynasty":177,"author":178,"museum":119,"description":30732,"tags":30733,"thumbUrl":30734,"material":127,"size":127,"collection":127,"collections":30735,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},235159,"hong-ren-shan-shui-ce-yi-ming-235159","此作诗书合璧，意韵清寂淡远。画面中山石以淡墨轻勾慢皴，简劲利落，危崖垂瀑，涧水泠泠仿佛可闻，旁侧古木疏朗，枝叶简净，留白铺就出悠远天地，尽显萧疏空灵。\n\n题笔书法清隽挺秀，与山水意趣相融，暗合林泉幽怀。整幅以极简笔墨写尽山川风骨，冷静出尘的禅意溢满尺幅，将山野间苍岩古渡的幽寂之境凝于纸面，尽显文人山水寄情丘壑的雅逸，藏着独与天地精神往来的林下襟怀。",[24,25,164,59,65,66,101,7,199,34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内容与设色方式近乎一致，基本可判定二者出于同一稿本，属于书画鉴定中俗称的“双胞胎”，这两件作品分别现名为《邛崃图》和《溪山深秀图》。通过对两件作品现状及笔墨细节比较，笔者认为前者为真，且所绘与“邛崃”无关，应以《溪山深秀图》为是。从更广泛的艺术史角度看，侯氏《溪山深秀图》属于宋代以来流行的长卷“溪山图”画意范畴，并体现了明中后期吴门画派隐(避)居山水所发生的新变化。",[23,24,26,59,7,34,64,31,35,60,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5d1e0ed58bff06f6bd49f006660055.jpg","34 * 258cm",[],{"id":30801,"slug":30802,"title":29001,"dynasty":177,"author":5740,"museum":119,"description":30803,"tags":30804,"thumbUrl":30805,"material":127,"size":127,"collection":127,"collections":30806,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","查士标在《秋林暮霭图》的款识中曾说自己的山水画初学米芾，后学倪瓒，并且寻根求源，以自己的绘画实践追溯董、巨，从中探索绘画源流的发展变化。而创造米点山水的米芾和米友仁，他们在绘画上开创了水墨山水的新风尚，为了抒写胸臆而不求工细，即在董源水墨山水的基础上，挥洒出了江南烟雨空濛的景象。米芾长子米友仁，继承家学，作画尤其在于尽兴，自称“墨戏”。总体来看，“二米”山水多作江南平远景色，突破了前人运用线条表现峰峦、云水、树木的画格，另辟蹊径。山石不作轮廓，而用清水笔墨润泽出大概，再以淡墨渍染，然后用稍浓的墨笔破出并皴擦大体层次，趁笔墨尚湿之时再以大小错落的浓墨、焦墨横点叠垛。山体上部用墨稍浓，用笔较密，下部用墨稍淡，用笔较疏。云气以淡墨空勾并加以渲染。树木枝干多用浓墨一笔画出，以大浑点作叶。山脚坡岸用浓淡适中的水墨横扫，多数不加皴斫。整个过程显得随意而自然，表现出江南山水烟雨蒙眬、丘陵晦明、丛林隐现的意境，大大丰富了中国山水画的表现技法。这种新的山水风格，对元以后的水墨山水产生了较大影响。从目前所见画迹来看，查士标最早一幅仿米家山水的作品，是顺治十七年（1660）夏四月所作《山谷闲云图》。其题诗有云：“闲云无四时，散漫此山谷。\n幸乏霖雨姿，何妨媚幽独。”该幅作品完全仿学米氏云山，横点山、树之形，间及渲染，烟雨空濛之景跃然纸上。题诗也不乏自得之意，可以见出查士标在米家山水方面下过较大的功夫。除此之外，查士标临仿米家山水的作品尚有很多，如北京荣宝斋藏查士标康熙二年（1663）嘉平月六日夜作《云树江村图》、扬州市博物馆藏查士标康熙五年（1666）六月作《云山图》、故宫博物院藏查士标康熙十一年（1672）作《鹤林烟雨图》、山西省博物馆藏查士标康熙十三年（1674）秋天作《米家云山图》和故宫博物院藏查士标康熙十九年（1680）六月作《南山云树图》等，这些作品都是他学习米家山水的优秀代表。其中，扬州市博物馆所藏《云山图》，是查士标52岁时仿学米友仁《楚山清晚图》而作。该画主峰突起，衬以远山，近处桥屋树木，均寥寥数笔，然墨气淋漓，大有烟雨空濛之感。在作品中，查士标抓住了米友仁自称“墨戏”的特点—写意大于写形，因此在构图形式与笔墨变化上，较米友仁更为肆意潇洒。米友仁在画中以横点水墨的浓淡积染，分出山体的层次，试图摆脱轮廓线的束缚，但画中的墨点还是显得比较严谨、缜密，细察之下还有无形的轮廓线在羁绊着笔墨的灵动。而到了查士标这里，画面近乎泼墨，充分体现了他在用墨上的灵动变化。特别是上述故宫博物院藏其康熙十九年（1680）六月作《南山云树图》长卷，作品以“迷远法”构图，图中云雾占有大半。卷首云海弥漫，山峦隐约可见，远山坡脚随着云气的浮动变幻，逐渐显露，并重叠起伏地展开，远处峰峦终于出现在团团白云之中。中段主峰耸立，林木扶疏，表现出远近层次。全卷云树掩映，峰峦明灭，处处体现出生意郁勃的造化生机和苍莽雨雾的特殊韵致。画面水墨淋漓，少见笔触，形象不作具体细致的刻画，含蓄自然，浑然一体，给人留下了远景云山空濛的印象。查士标在款识中有云：\n康熙庚申六月，余客润州。再登金山，留宿慈云阁。雨中为德润禅兄画南山云树，仿米家笔意，累日乃竣事。\n根据他的款识记载，我们知道这件作品是他在润州（今镇江）登金山，看到烟江缥缈的景致后，联想起米家山水的粉本，触景生情而作。这件作品也得到了后人的称赞，如清人张熊在题跋中评说：\n此卷仿米家泼墨云山，简淡清新，直欲上追宋元。洵是罕见逸品，岂浅学者所能梦见耶。",[23,24,59,26,122,7,318,979,165,60,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":30808,"slug":30809,"title":30810,"dynasty":80,"author":1962,"museum":20,"description":30811,"tags":30812,"thumbUrl":30813,"material":454,"size":30814,"collection":127,"collections":30815,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[24,25,59,7,103,34,62,495,66,101,65,61,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],{"id":30817,"slug":30818,"title":159,"dynasty":54,"author":1096,"museum":20,"description":5261,"tags":30819,"thumbUrl":30824,"material":1697,"size":2597,"collection":127,"collections":30825,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},234056,"shan-shui-ce-dong-qi-chang-234056",[24,25,164,7,28,59,27,122,65,241,534,3306,199,35,7043,4893,9031,30820,66,101,30821,1447,30822,30823],"松涧","云树","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg",[],{"id":30827,"slug":30828,"title":21856,"dynasty":18,"author":288,"museum":20,"description":30829,"tags":30830,"thumbUrl":30831,"material":87,"size":21861,"collection":127,"collections":30832,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[24,100,164,67,59,28,65,7,630,9230,4097,60,61,165,734,3695,278,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg",[],{"id":30834,"slug":30835,"title":30836,"dynasty":177,"author":23313,"museum":20,"description":30837,"tags":30838,"thumbUrl":30839,"material":375,"size":30840,"collection":71,"collections":30841,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},233918,"dai-lu-fang-bei-tu-ce-huang-yi-233918","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,59,65,164,7,63,34,239,103,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d96a04c3dfd290a7d014ab25a0f80.jpg","纵17.4厘米，横50.8厘米",[71,308],{"id":30843,"slug":30844,"title":10872,"dynasty":18,"author":288,"museum":20,"description":30845,"tags":30846,"thumbUrl":30848,"material":23360,"size":30849,"collection":127,"collections":30850,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},233212,"yan-xiu-lin-ju-tu-ye-xia-gui-233212","图中绘一老者走过板桥，沿小径而行，远处山林后隐现房舍一角，意境幽深。近景树石着重墨，中景以淡墨勾染，至远景则以极浅淡的水墨渲染出一片雾色，拉开空间层次。用笔轻松简洁，皴中带染，染中有皴，整体风格不失精致秀润。构图是夏圭惯用的半边式。\n此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。\n陈文璟：《烟岫林居图》营造的正是一种烟云境界，近处以重墨勾勒树木、山石、人物，皴染却以淡墨扫出，显得浓重透出空间来，使节奏感明快而庄重，而远山渺渺，烟雾缭绕，使背景和前景的对比更加突出，则人物所居，自然是“只在此山中，云深不知处”。尤为人不可及的当然是线条的凝练畅快，显示出画者的心态安定而悠闲忘机，既不媚世求欢，也不率意而狂狷，彬彬然，霭霭然，内敛而外平，越品味越觉意味深远，不免有“珠玉在侧，觉我形秽”的感慨。\n陈振濂：《烟岫林居图》为小团扇——这是宫廷内多见的特殊形式。笔墨皆一遍施足，不重复皴染——这是步骤的简；树木繁纷，但却以粗笔为之，形成几个团块组合，外形并不过于曲折回环——这是造型的简。远山一二而已，空白处尽量加多，以见旷达之趣、约略之景——这是构图的简。最后，并无峰回路转、溪桥重叠、丘壑幽深的气韵：一切都是平淡的、直率的、简约的。这三种简复合起来，即构成一个简洁的减笔夏挂。",[24,100,25,7,59,65,2145,318,165,20600,30847,4621,64],"居处","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73197fa365d71fb00c132cb41deb0b52.jpg","纵25cm，横26.1cm",[],{"id":30852,"slug":30853,"title":2773,"dynasty":177,"author":395,"museum":20,"description":2774,"tags":30854,"thumbUrl":30855,"material":349,"size":2777,"collection":127,"collections":30856,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},233129,"yuan-ji-shan-shui-ce-shi-tao-233129",[24,25,164,59,28,7,278,34,167,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ea36ca025104421f82367b525e57ec.jpg",[],{"id":30858,"slug":30859,"title":2773,"dynasty":177,"author":395,"museum":20,"description":2774,"tags":30860,"thumbUrl":30861,"material":349,"size":2777,"collection":127,"collections":30862,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},233125,"yuan-ji-shan-shui-ce-shi-tao-233125",[24,25,164,59,28,7,104,372,64,101,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ecd5e9a88ca195d5a33c884ecf3e42.jpg",[],{"id":30864,"slug":30865,"title":2773,"dynasty":177,"author":395,"museum":20,"description":2774,"tags":30866,"thumbUrl":30867,"material":349,"size":2777,"collection":127,"collections":30868,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},233124,"yuan-ji-shan-shui-ce-shi-tao-233124",[24,59,28,65,164,7,104,60,61,62,63,34,35,167,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c602cd77091e21913fd0d6ad29641db.jpg",[],{"id":30870,"slug":30871,"title":30872,"dynasty":177,"author":30873,"museum":135,"description":30874,"tags":30875,"thumbUrl":30876,"material":225,"size":30877,"collection":127,"collections":30878,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,149,59,28,29,65,7,103,34,372,583,35,31,64,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":30880,"slug":30881,"title":30882,"dynasty":18,"author":10549,"museum":119,"description":30883,"tags":30884,"thumbUrl":30887,"material":87,"size":30888,"collection":127,"collections":30889,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,100,24,26,28,27,29,7,165,1120,30885,30886,64,199,101],"獐","猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":30891,"slug":30892,"title":30893,"dynasty":8332,"author":30894,"museum":119,"description":30895,"tags":30896,"thumbUrl":30897,"material":337,"size":937,"collection":127,"collections":30898,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德","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。",[23,100,24,25,1388,28,7,165,61,64,979,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":30900,"slug":30901,"title":909,"dynasty":18,"author":234,"museum":135,"description":30902,"tags":30903,"thumbUrl":30904,"material":127,"size":127,"collection":127,"collections":30905,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},230967,"shan-shui-tu-guo-xi-230967","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[23,24,25,7,65,59,28,164,62,125,64,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":30907,"slug":30908,"title":30909,"dynasty":8332,"author":787,"museum":119,"description":30910,"tags":30911,"thumbUrl":30912,"material":127,"size":127,"collection":127,"collections":30913,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,24,26,28,29,304,103,104,7,34,8876,60,722,438,6756,756,3171,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":30915,"slug":30916,"title":30917,"dynasty":177,"author":178,"museum":119,"description":30918,"tags":30919,"thumbUrl":30920,"material":337,"size":937,"collection":127,"collections":30921,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,28,29,65,26,7,104,60,61,334,63,34,35,3765,32,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":30923,"slug":30924,"title":30925,"dynasty":177,"author":1925,"museum":119,"description":30926,"tags":30927,"thumbUrl":30928,"material":127,"size":127,"collection":127,"collections":30929,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},230275,"shan-shui-ce-12-fu-zhu-da-230275","山水册12幅","此作用笔枯淡老辣，以焦墨勾勒皴擦山石轮廓，删繁就简，褪去繁杂修饰，只留山水神骨。萧疏古木枝桠奇崛扭曲，带着孤傲冷逸的姿态，山居错落隐于林麓之间，藏着幽僻野趣。\n\n画作留白开阔肆意，将天地空寂的氛围感拉满，寥寥数笔便铺展出荒寒山居的清冷意境，把遗世独立的心境融于淡墨疏林之中。笔意简远通透，以极简的水墨写意尽显空灵禅味，清冷幽寂的山水图景，尽显水墨写意的高妙格调，将孤寂澹泊的心绪藏于每一处淡笔枯墨之中。",[24,59,164,65,101,7,64,34,35,167,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21323aa743aff19ec0971a23cc6574f.jpg",[],{"id":30931,"slug":30932,"title":18634,"dynasty":177,"author":18635,"museum":119,"description":30933,"tags":30934,"thumbUrl":30935,"material":127,"size":127,"collection":127,"collections":30936,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},230211,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-230211","《乾隆皇帝洗象图》是清代画家 创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,24,25,149,29,28,103,3988,6239,3986,7,34,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":30938,"slug":30939,"title":30940,"dynasty":177,"author":672,"museum":119,"description":30941,"tags":30942,"thumbUrl":30943,"material":127,"size":127,"collection":127,"collections":30944,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[100,24,25,164,59,27,28,7,583,64,34,61,60,62,3171,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":30946,"slug":30947,"title":15488,"dynasty":177,"author":14049,"museum":119,"description":30948,"tags":30949,"thumbUrl":30950,"material":127,"size":127,"collection":127,"collections":30951,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},230113,"shan-shui-ce-ye-xi-gang-230113","此作用淡墨晕染铺就底色，山峦以枯笔皴擦勾勒嶙峋肌理，留白衬出山涧飞瀑，似能闻声泠泠。坡岸杂木错落，虬曲与挺拔相映，淡墨点叶疏密有致，尽染清秋疏朗况味。\n\n左侧茅舍临水幽居，隔绝尘嚣；右侧板桥孤悬，更衬林泉静寂。右上角题字清雅，与山水意境相融，满溢文人书卷之气。\n\n整幅以简淡为骨，笔意松秀空灵，不事浓丽雕琢，将出世幽居之思寄于萧散山光水色，以笔墨写心，尽显静穆淡远的林下之风，藏着文人心底的丘壑。",[24,25,164,59,65,7,64,34,199,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba38e7a5a03f2ceeed631fcab0deec5.jpg",[],{"id":30953,"slug":30954,"title":30955,"dynasty":177,"author":30956,"museum":119,"description":30957,"tags":30958,"thumbUrl":30959,"material":127,"size":127,"collection":127,"collections":30960,"showCount":155,"zanCount":961,"manualWeight":48,"mainColor":75},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,24,25,164,59,65,7,104,63,62,64,34,37,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":30962,"slug":30963,"title":30964,"dynasty":54,"author":1652,"museum":119,"description":15923,"tags":30965,"thumbUrl":30966,"material":337,"size":937,"collection":127,"collections":30967,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[23,24,25,2484,28,59,7,583,35,103,399,34,64,533,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":30969,"slug":30970,"title":30971,"dynasty":54,"author":96,"museum":119,"description":1628,"tags":30972,"thumbUrl":30973,"material":337,"size":937,"collection":127,"collections":30974,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},228856,"shan-mian-hua-xuan-chou-ying-228856","扇面画选",[23,24,25,2484,29,28,103,62,7,165,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc80210af56788cd85ba9dc0cd734cc.jpg",[],{"id":30976,"slug":30977,"title":27380,"dynasty":54,"author":368,"museum":119,"description":30978,"tags":30979,"thumbUrl":30981,"material":127,"size":127,"collection":127,"collections":30982,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},228425,"shan-shui-shi-kai-lan-ying-228425","此作用笔苍秀兼具，远景层峦叠嶂，云气轻笼，山寺浮屠隐现烟岚间，漾出幽寂禅意。近水岸洲渚错落，虬松杂木姿态夭矫，茅庐临水静立，板桥横卧浅流，野逸之趣扑面而来。以斧劈皴写山石，轮廓爽利劲健，墨色浓淡铺陈拉开远近空间层次，将林壑清旷冷寂与山居闲适安然相融，把林泉高致的隐逸向往寄寓寻常丘壑间，简淡尺幅里尽显苍润格调，是意韵悠然的山水小品佳构。",[24,100,25,7,59,65,164,30980,520,20816,60,61,583,19974,6744,9755,23508],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7732be2a59ff5b0e60ffc6785e38c.jpg",[],{"id":30984,"slug":30985,"title":30986,"dynasty":54,"author":4764,"museum":119,"description":30987,"tags":30988,"thumbUrl":30989,"material":127,"size":127,"collection":127,"collections":30990,"showCount":155,"zanCount":961,"manualWeight":48,"mainColor":49},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","《五泄山志》是《五泄山志》编纂委员会编纂的地方志。\n本志记述范围，重点是五泄风景主景区9．5平方公里，以在建景区5平方公里为环界。\n有些必要涉及的人、物、事件，记述范围为传统意义上的整个五泄区域内。\n记述年代，上限不定，下限至2年，个别事件延伸到成稿之时。\n封面 五泄山志 《五泄山志》编纂委员会顾问 《五泄山志》编纂委员会 《五泄山志》编纂室 图片 江泽民与夏征农亲切握手 尉健行视察五泄 俞正声视察五泄 张德江视察五泄 曾培炎视察五泄 五泄导游图 绿树掩清溪 五泄水上森林公园 五泄东龙湫 夹岩烟雨 五泄东湫阁 白鹤临湖 五泄春来早 春在溪头 西源——绿色氧吧 银杏秋韵 江南罕见楠木林 画舫迎客 空气洁净蓝天白云 溪水悠悠 西源步幽亭 灵默真身塔 五泄禅寺 唐·灵默舍利子宝瓶 南北朝砖雕观音 果实(种子)化石 五泄古石器 灵默禅师舍利子 古寺玉兰 山龟 水濑 穿山甲 鸳鸯 眼镜蛇 花蝶 金钱豹 山鸡 蝶恋石蒜花 编纂人员合影 荣誉 陈洪绶《五泄图轴》 五泄山水甲天下 附图 序 《五泄山志》编辑凡例 概述 大事记 目录 第一篇 地理环境 第一章 自然地理 第一节 地理位置 第二节 地理面积 第三节 地理交通 第二章 地质地形 第一节 地质地层 第二节 风景地貌 第三节 土壤 第四节 地形成因 第三章 水文 第一节 水系 第二节 水文测量 第三节 雨量 第四节 经流量、水位 第五节 水质供水量 第四章 旅游气象 第一节 温度和日照 第二节 雨日和概率 第三节 雾和风 第四节 霜和雪 第二篇 自然资源 第五章 植物 第一节 木本植物 第二节 草本药物 第三节 古树名木 第六章 动物 第一节 哺乳纲(兽类) 第二节 鸟纲(禽类) 第三节 爬行纲 第四节 两栖、鱼纲 第五节 昆虫纲 第六节 其它类 第七章 土特产 第一节 土纸 第二节 茶叶 第三节 竹笋 第四节 干鲜果 第三篇 景区沿革 第八章 五泄畈村 第一节 姓氏由来 第二节 群落区划 第三节 移民外迁 第九章 五泄林场 第一节 历史演变 第二节 森林培育 第三节 森林管护 第四节 经营规划 第十章 五泄水库(五泄湖) 第一节 历史背景 第二节 建库经过 第三节 工程规模 第四节 工程效益 第五节 大坝除险加固 第六节 管理体制 第四篇 景区开发 第十一章 县级景区 第一节 项目提出 第二节 组织调查 第三节 确定建设 第四节 合力开发 第五节 首期规划 第六节 开通观瀑通道 第十二章 省级景区 第一节 实地调查 第二节 科学考察 第三节 组织考察 第三节 总体规划 第四节 批准省级景区 第十三章 国家重点风景名胜区 第一节 申报 第二节 创建 第三节 考察与评估 第四节 总体规划 第五篇 风景名胜 第十四章 平湖揽胜 第一节 紫藤长廊 第二节 坝顶揽胜 第三节 平湖泛舟 第四节 湖上观峰 第五节 湖后景观 第十五章 五级飞瀑 第一节 蛟龙出海 第二节 烈马奔腾 第三节 诸态备出 第四节 珠濂飘洒 第五节 隽永奇巧 第十六章 西源探幽 第一节 幽谷 第二节 奇峰 第三节 险崖 第四节 怪石 第五节 清溪碧潭 第六节 朱林 第七节 趣桥 第八节 紫微岭 第九节 刘龙坪 第十七章 开发中的景点 第一节 青口 第二节 玉京洞 第三节 遗址与沈氏宗祠 第六篇 宗教 第十八章 沿革 第一节 历史变迁 第二节 日寇罪迹 第三节 兴衰历程 第十九章 高僧 第一节 灵默 第二节 藏奂 第三节 良价 第四节 正元 第五节 苏溪 第六节 贯休 第七节 茂真 第八节 智三 第九节 敏康 第十节 慈明 第二十章 五泄禅寺 第一节 地理位置 第二节 悠久历史 第三节 寺院佛像 第四节 如意宝塔 第五节 寺院特色 第二十一章 良价祖庭 第一节 曹洞圣迹 第二节 良价出师图 第三节 祖师纪念像 第四节 曹洞宗风 第二十二章 寺院藏品 第一节 灵默石棺 第二节 舍利子宝瓶 第三节 祖师白玉像 第四节 佛像、陶俑、砖雕瓦档 第五节 匾牌、碑刻、字画 第二十三章 佛教活动 第一节 建立、健全寺内规章 制度 第二节 编印五泄禅寺史迹 第三节 开展佛教文化交流 第七篇 管理 第二十四章 管理机构 第一节 行政隶属 第二节 机构沿革 第三节 五泄风景旅游管理局 第四节 公安派出所 第二十五章 现代专业管理 第一节 文物管理 第二节 防火管理 第三节 林木管理 第四节 水库管理 第五节 卫生管理 第六节 规划管理 第七节 工商管理 第八节 安全管理 第八篇 旅游 第二十六章 游览活动 第一节 名人游山 第二节 旅游线路 第三节 大型活动 第二十七章 旅游接待 第一节 五泄旅游公司 第二节 诸暨旅行社 第三节 五泄游客接待中心 第二十八章 服务设施 第一节 馆舍 第二节 交通 第三节 通讯 第四节 商店 第五节 水电 第六节 娱乐 第二十九章 名产 第一节 土特产 第二节 风味小吃 第三节 工艺品 第九篇 文学艺术 第三十章 史志典籍摘抄 第一节 专著拾英 第二节 辞书条目 第三节 史志摘录 第四节 禅史节选 第三十一章 诗词 第一节 五泄胜景(综合篇) 第二节 飞瀑奇观 第三节 西源峡谷 第四节 禅寺觅踪 第五节 平湖掠影 第六节 歌曲 第七节 外围(规划)景点拾零 第三十二章 散记 第一节 游踪散记 第二节 游记纵揽 第三节 开发纪实 第三十三章 石刻联额 第一节 摩崖石刻 第二节 匾额楹联 第三节 书画墨宝 附：编余文化 第三十四章 民间传说 第一节 神话传说 第二节 民间故事 第三节 佚事旧闻 附：本志编辑参考书目 后记 版权页",[23,24,25,149,59,65,7,64,34,238,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":30992,"slug":30993,"title":30994,"dynasty":18,"author":178,"museum":119,"description":30995,"tags":30996,"thumbUrl":30997,"material":127,"size":127,"collection":127,"collections":30998,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[23,100,24,25,2484,28,29,304,103,104,1478,653,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":31000,"slug":31001,"title":31002,"dynasty":18,"author":14666,"museum":119,"description":31003,"tags":31004,"thumbUrl":31007,"material":127,"size":127,"collection":127,"collections":31008,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,24,25,2484,28,7,65,29,1586,31005,34,167,264,61,31006],"堤岸","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":31010,"slug":31011,"title":31012,"dynasty":18,"author":14666,"museum":119,"description":31013,"tags":31014,"thumbUrl":31015,"material":127,"size":127,"collection":127,"collections":31016,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,24,25,2484,28,7,65,101,583,104,62,64,34,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":31018,"slug":31019,"title":31020,"dynasty":18,"author":2434,"museum":119,"description":20141,"tags":31021,"thumbUrl":31024,"material":127,"size":127,"collection":127,"collections":31025,"showCount":155,"zanCount":961,"manualWeight":48,"mainColor":75},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷",[23,24,25,26,59,65,101,67,473,7,238,37,3865,31022,31023],"雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":31027,"slug":31028,"title":31029,"dynasty":18,"author":178,"museum":119,"description":31030,"tags":31031,"thumbUrl":31033,"material":127,"size":127,"collection":127,"collections":31034,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[23,24,25,26,304,29,28,7,104,4496,1777,31032,66,67,101],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":31036,"slug":31037,"title":23062,"dynasty":18,"author":234,"museum":119,"description":25874,"tags":31038,"thumbUrl":31039,"material":127,"size":127,"collection":127,"collections":31040,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},227542,"qiu-shan-ce-zhang-tu-guo-xi-227542",[23,24,2484,7,103,34,61,64,65,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301e81485e068c4f080628a129182f75.jpg",[],{"id":31042,"slug":31043,"title":31044,"dynasty":18,"author":178,"museum":119,"description":31045,"tags":31046,"thumbUrl":31047,"material":127,"size":127,"collection":127,"collections":31048,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 (今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[23,24,25,26,59,65,7,103,104,60,61,62,63,106,607,125,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":31050,"slug":31051,"title":31052,"dynasty":8332,"author":19195,"museum":119,"description":31053,"tags":31054,"thumbUrl":31055,"material":127,"size":127,"collection":127,"collections":31056,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},226652,"qiu-dong-shan-shui-tu-er-qiu-jing-xue-zhou-226652","秋冬山水图二（秋景）","雪舟等杨是日本绘画史上“汉画派”的开创者和集大成者，他的绘画代表着日本汉画的最高成就，他所处的时代是汉画的全盛期。雪舟等杨，12岁入相国寺为僧，热衷于绘画，曾师从日本的山水画大师学习绘画，兼容并蓄临摹了大量的中国宋元的水墨画样式。为了探究中国画之真谛，1467年，他作为画僧随日本遣明使节来到中国，历览中国名山大川，创作了大量的山水画，并向各方绘画大师交流绘画技艺。他领悟到中国画的根源在于中国的自然风物，中国的自然风物是最好的老师。",[23,24,25,59,149,7,104,62,64,61,65,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62940e9c2c67e15be413e65dd353aee4.jpg",[],{"id":31058,"slug":31059,"title":31060,"dynasty":177,"author":11730,"museum":119,"description":21203,"tags":31061,"thumbUrl":31062,"material":127,"size":127,"collection":127,"collections":31063,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},226633,"si-shi-shan-shui-06-pu-ru-226633","四时山水06",[23,24,25,164,59,65,7,30,34,239,61,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a07a1da90f3721a821c6ce420630cd0.jpg",[],{"id":31065,"slug":31066,"title":31067,"dynasty":177,"author":5740,"museum":119,"description":31068,"tags":31069,"thumbUrl":31070,"material":127,"size":127,"collection":127,"collections":31071,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},224259,"qing-shan-bian-ju-zhou-cha-shi-biao-224259","青山卞居轴","此作用笔简淡松灵，枯笔皴擦绘就远山，留白晕染出烟水空濛。近岸茅亭孑然独立，疏柳杂木错落萧疏，淡墨轻写出浅滩陂陀，处处漫溢着清寂冷逸。\n\n整幅师法云林笔意，删去俗冗细节，以极简线条勾勒物象，铺陈出江南水村的静穆清旷。无浓墨重彩，只以干笔淡墨写尽荒寒淡远，隔绝尘嚣的幽居之景跃然纸上，寄寓着幽隐世外的襟怀，尽显简淡清逸的文人风神，将空寂淡远融于尺幅之间，观之如临无人之境，心绪随烟水一同沉静。",[23,24,149,59,65,123,7,63,372,1738,64,61,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006ae7f50b438d9d6964e4b663017571.jpg",[],{"id":31073,"slug":31074,"title":31075,"dynasty":177,"author":178,"museum":119,"description":31076,"tags":31077,"thumbUrl":31078,"material":127,"size":127,"collection":127,"collections":31079,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,100,24,25,26,29,28,304,7,104,103,756,102,63,36,35,559,6756,3695,64,31,790,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":31081,"slug":31082,"title":31083,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":31084,"thumbUrl":31085,"material":87,"size":15463,"collection":127,"collections":31086,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},223042,"hong-lou-meng-167-sun-wen-223042","红楼梦167",[23,24,29,28,103,104,60,63,7,34,559,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3aabc155038cf6916dca7447d819276.jpg",[],{"id":31088,"slug":31089,"title":31090,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":31091,"thumbUrl":31092,"material":87,"size":15463,"collection":127,"collections":31093,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},223000,"hong-lou-meng-125-sun-wen-223000","红楼梦125",[23,24,29,28,26,103,12167,104,60,61,63,102,2559,7,2911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac58242e2054c8fba0b1a1f2c176f5e.jpg",[],{"id":31095,"slug":31096,"title":31097,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":31098,"thumbUrl":31099,"material":87,"size":15463,"collection":127,"collections":31100,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},222975,"hong-lou-meng-100-sun-wen-222975","红楼梦100",[23,24,29,28,103,60,61,104,34,64,124,7,3695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc02cea595cc9e460aa38cbb1a814dd9e.jpg",[],{"id":31102,"slug":31103,"title":31104,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":31105,"thumbUrl":31108,"material":87,"size":15463,"collection":127,"collections":31109,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},222963,"hong-lou-meng-88-sun-wen-222963","红楼梦88",[23,24,29,28,7890,8815,124,12167,7,24426,34,6300,31106,2559,31107],"楼台","红楼梦情节","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81dd96b93bcf696156383a370be35d1.jpg",[],{"id":31111,"slug":31112,"title":31113,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":31114,"thumbUrl":31118,"material":87,"size":15463,"collection":127,"collections":31119,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},222961,"hong-lou-meng-86-sun-wen-222961","红楼梦86",[23,29,28,304,7,104,60,103,124,878,3695,1707,31115,34,102,278,372,31116,64,559,5932,31117],"伞","古装","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumb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，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[23,24,25,26,59,67,66,7,65,63,583,64,106,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":31161,"slug":31162,"title":31163,"dynasty":54,"author":31164,"museum":369,"description":31165,"tags":31166,"thumbUrl":31171,"material":349,"size":31172,"collection":127,"collections":31173,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},222319,"xi-yuan-shi-juan-wang-chong-222319","西苑诗卷","王宠","《西苑诗》为明代书法家王宠所书，是王宠的行书力作。该作书于1530年，正值王宠盛年。王宠一生极其短暂，写完此书后的第三年就去世了。",[23,67,66,26,31167,2559,7,31168,17123,101,31169,31170],"墨书","池沼","疏朗秀雅","明代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350669abdb79a0b55660e6422bb97d35.jpg","25×235cm",[],{"id":31175,"slug":31176,"title":22437,"dynasty":54,"author":55,"museum":56,"description":22438,"tags":31177,"thumbUrl":31178,"material":454,"size":22441,"collection":127,"collections":31179,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},222132,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222132",[23,24,25,164,28,7,65,104,62,520,34,61,3764,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb344ee3c9cde2e862603824960d7fefa.jpg",[],{"id":31181,"slug":31182,"title":31183,"dynasty":54,"author":410,"museum":704,"description":31184,"tags":31185,"thumbUrl":31186,"material":40,"size":31187,"collection":127,"collections":31188,"showCount":155,"zanCount":961,"manualWeight":48,"mainColor":75},222037,"da-mo-zu-tu-juan-dai-jin-222037","达摩祖图卷","描绘的是禅宗自菩提达摩到六代慧能祖师的形象。图上不同时期的祖师在山洞里、深山里等静谧、清幽之地打座念佛的场景，诠释“佛在心中”的禅悟。卷后有唐寅、祝允明等大家题款。",[23,100,24,25,26,1042,103,7,29,28,65,67,583,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911d3d439313053bf137a91abe6661e9.jpg","240x33.8cm",[],{"id":31190,"slug":31191,"title":31192,"dynasty":54,"author":1652,"museum":135,"description":31193,"tags":31194,"thumbUrl":31195,"material":292,"size":31196,"collection":127,"collections":31197,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":49},222017,"jin-shan-tu-zhou-wen-zheng-ming-222017","金山图轴","文氏将金山描绘成万顷波涛中的一座岛屿，波涛间点缀着风帆。全幅以秃笔中锋出之，笔致苍健。乾隆皇帝南巡经过金山寺江阁，曾取此图展玩，并题诗云:“携将亲证取，当境固如斯”，说明了他携带古画即景印证的雅好。",[23,24,25,149,59,65,7,104,62,101,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db83391670deabb833cf95e93affb45.jpg","横23.8cm，纵70cm",[],{"id":31199,"slug":31200,"title":31201,"dynasty":80,"author":31202,"museum":704,"description":31203,"tags":31204,"thumbUrl":31205,"material":736,"size":31206,"collection":127,"collections":31207,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","张渥","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[23,100,24,25,26,59,123,65,66,67,101,7,630,34,1458,60,61,103,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":31209,"slug":31210,"title":31211,"dynasty":80,"author":9857,"museum":135,"description":31212,"tags":31213,"thumbUrl":31215,"material":349,"size":31216,"collection":71,"collections":31217,"showCount":155,"zanCount":961,"manualWeight":48,"mainColor":75},221728,"shi-jing-you-tan-fang-cong-yi-221728","石径幽探","方从义善画，又兼工诗文、书法。其画初师 他的画风格潇洒，笔致跌岩，意境苍茫，无尘俗之气，以幽为其画特色。他善画云山墨戏，笔下的景色多是冷寞，幽闭，尘俗绝少的地方：高山奇峰，深谷幽涧，古树老屋，野水孤舟，给人以深沉、奇特和悲壮之感。他早年的画严谨，晚年不拘于形，用笔奔放，满含激情。传世不多，人以礼求之，始为出其一二。尝言：“太行、居庸天下之岩险，其雄杰奇丽，皆古之名画，余所顾见者今皆见之，而有以慊吾志，充吾操，吾非若世俗者区区而至也。”盖学仙之颖然者，由无形而有形，虽有形终归无形，画能如是，其至矣乎？",[23,24,25,59,65,7,238,34,31214,37,2942,10875,16267,223],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","91.3x63.5厘米",[71,212],{"id":31219,"slug":31220,"title":31221,"dynasty":18,"author":7734,"museum":135,"description":31222,"tags":31223,"thumbUrl":31224,"material":292,"size":7738,"collection":927,"collections":31225,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":75},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,24,25,26,7,59,65,66,67,30,3601,62,34,239,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg",[927],{"id":31227,"slug":31228,"title":909,"dynasty":54,"author":15209,"museum":3323,"description":31229,"tags":31230,"thumbUrl":31231,"material":31232,"size":31233,"collection":127,"collections":31234,"showCount":155,"zanCount":48,"manualWeight":48,"mainColor":127},220662,"shan-shui-tu-li-liu-fang-220662","李流芳，初字茂宰，后字长蘅，号檀园、香海、六浮道人、慎娱居士，祖籍安徽歙县丰南，侨居上海嘉定。万历三十四年（1606）举乡试，后五次会试皆不第。至天启二年（1622）第六次北上应试，闻金兵攻陷广宁，又感时局昏暗，遂绝意仕途南归，以书画自娱。诗文方面，与唐时升、程嘉璲（1565-1643）、娄坚（1567-1631）合称「嘉定四先生」。绘画上又与董其昌（1555-1636）、王时敏（1592-1680）同誉「画中九友」。\n\n此卷山水绘于绢上，画坡石虚亭高树，河水远山，一片宁寂。虽是草草而就，却显现元代大师黄公望（1269-1354）、倪瓒（1301-1374）笔意，且墨色苍润、笔法峻爽简洁，当是晚年之作。画上作者自识：「欲晴不晴山翠浓，欲雨不雨林霏重，幽人不来谁领此，溪潮急处晚来风。」更见寄情山川之意。此卷曾为晚明大收藏家朱之赤（17世纪）收藏，后面有清初著名鉴藏家高士奇（1645-1703）跋，至近代为广州小画舫斋收藏，终于1999年入藏文物馆。",[23,100,24,25,26,59,65,7,63,125,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5a525f194403dc4909e63b6409e00.jpg","水墨,绢本,手卷","画心：32×205.2厘米 徒步：32×31厘米 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年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,25,164,123,59,7,372,63,264,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daad7599809d3ad232a5bec970b5b7b.jpg",[71],{"id":31608,"slug":31609,"title":31610,"dynasty":54,"author":31611,"museum":119,"description":31612,"tags":31613,"thumbUrl":31614,"material":349,"size":127,"collection":71,"collections":31615,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},237649,"yue-dai-shan-shui-tu-zhou-yue-dai-237649","岳岱山水图轴","岳岱","［明］字东伯，自称秦余山人，又号漳余子，先世以军功隶苏州衞，至其父，始好读书，辟草堂于阳山。性狷介，好游，历尽宇内名山。能诗，善画。嘉靖二十四年（一五四五）作寒林峻岭图。《苏州府志、列朝诗集小传、明画录》",[24,59,7,149,65,66,101,64,61,34,167,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793aa582a24781c0232ca1da41efa8e7.jpg",[71,212,927],{"id":31617,"slug":31618,"title":31619,"dynasty":54,"author":1096,"museum":119,"description":31620,"tags":31621,"thumbUrl":31622,"material":127,"size":127,"collection":927,"collections":31623,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},237492,"zhang-gan-she-li-ge-tu-zhou-dong-qi-chang-237492","长干舍利阁图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖） 。 颇能诗文，著有《画禅室随笔》《容台文集》等。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[24,25,149,59,65,67,7,104,34,64,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[927],{"id":31625,"slug":31626,"title":15782,"dynasty":54,"author":5538,"museum":119,"description":31627,"tags":31628,"thumbUrl":31629,"material":127,"size":127,"collection":127,"collections":31630,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},237478,"guan-pu-tu-zhou-wen-jia-237478","此作用高远章法铺展景致，山峦以淡墨轻皴，留白晕出空濛云气，层叠峰峦间苍松虬劲挺秀。涧谷飞瀑蜿蜒穿林而下，松下幽人临流观瀑，野逸悠然。\n\n笔墨秀雅温润，以淡赭轻敷晕染山林，简淡笔触里尽显苍润质感，尽显清隽雅致的意趣。题诗与画境相融，将林泉高致的隐逸情怀藏于尺幅间，把文人寄情山水、静享丘壑的雅怀，化作可感的画面，是明代文人山水画中寓情于景的典型佳构。",[100,24,25,149,59,65,7,199,34,64,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f782bbeca3d1ae43c0ee0954efdb627.jpg",[],{"id":31632,"slug":31633,"title":31634,"dynasty":54,"author":18446,"museum":119,"description":18447,"tags":31635,"thumbUrl":31636,"material":337,"size":937,"collection":127,"collections":31637,"showCount":296,"zanCount":961,"manualWeight":48,"mainColor":379},237458,"fang-ju-ran-shan-shui-shan-ye-yun-xiang-237458","仿巨然山水扇页",[24,25,2484,59,65,122,7,64,34,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33bb82ef2826a18b206fb0142da7222.jpg",[],{"id":31639,"slug":31640,"title":31641,"dynasty":177,"author":29768,"museum":119,"description":31642,"tags":31643,"thumbUrl":31644,"material":127,"size":127,"collection":127,"collections":31645,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},237445,"xue-jing-mei-zhu-shu-wu-shan-mian-wu-gu-xiang-237445","雪景梅竹书屋扇面","以淡墨晕染积雪，留白铺就天地清寒底色。虬曲梅枝破雪而出，细小红萼点点，暗透生机；修竹亭亭立雪，墨色浓淡层叠，苍劲枝叶凝着雪意，更显挺秀疏朗。覆雪湖石隐现棱骨，留白处尽是薄雪覆地，极简便烘托出冬日清寂。右侧题字清雅疏朗，书画相映成趣。\n\n整体笔意秀润温婉，无萧索苦寒，反倒带着幽淡文人气韵，将岁寒梅竹的清逸风骨收于扇面尺幅间，静谧雅致，尽显文人幽怀雅趣。",[24,25,2484,59,878,2127,630,2446,264,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf01914bbf0494ae177982be3e9f7bab.jpg",[],{"id":31647,"slug":31648,"title":24479,"dynasty":54,"author":10318,"museum":119,"description":24480,"tags":31649,"thumbUrl":31650,"material":337,"size":937,"collection":127,"collections":31651,"showCount":296,"zanCount":961,"manualWeight":48,"mainColor":75},237418,"shan-shui-shan-lu-zhi-237418",[24,25,2484,7,65,28,318,165,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc2286a29440d23512f2e1af77a0ce.jpg",[],{"id":31653,"slug":31654,"title":394,"dynasty":177,"author":31655,"museum":119,"description":31656,"tags":31657,"thumbUrl":31658,"material":337,"size":937,"collection":71,"collections":31659,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},237389,"shan-shui-tu-ce-xue-xuan-237389","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,28,164,7,318,319,165,33,571,238,1695,10875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6087b7a29c377aafef71cea9d8bd43f7.jpg",[71],{"id":31661,"slug":31662,"title":159,"dynasty":177,"author":6003,"museum":20,"description":6004,"tags":31663,"thumbUrl":31664,"material":375,"size":127,"collection":127,"collections":31665,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},237198,"shan-shui-ce-sun-yi-23719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清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[24,25,149,59,65,7,30,199,34,35,63,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[71,212],{"id":31691,"slug":31692,"title":4032,"dynasty":177,"author":395,"museum":119,"description":31693,"tags":31694,"thumbUrl":31695,"material":127,"size":127,"collection":127,"collections":31696,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},235894,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235894","此作用笔干湿互济，左侧危崖以焦墨勾勒皴擦，线条朴拙厚重，苍劲雄浑。右侧水泽间芦荻随风轻曳，浅渚扁舟静泊，淡墨晕染出水气空濛的柔润质感，虚实相生晕开江南水畔清寂氛围。\n\n题诗落于左上角，以书入画诗画相融，铺展出江湖幽独的野逸之趣。画师以极简笔墨绘就林泉隐逸之景，淡简中自含苍茫悠远的意境，寄寓着寄情山水的隐逸襟怀，尽显萧散淡远的文人意趣。",[100,24,25,164,59,65,7,264,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8cd68e458f9c8cd71f269d55f44adc.jpg",[],{"id":31698,"slug":31699,"title":31700,"dynasty":177,"author":10061,"museum":119,"description":31701,"tags":31702,"thumbUrl":31703,"material":127,"size":127,"collection":127,"collections":31704,"showCount":296,"zanCount":961,"manualWeight":48,"mainColor":75},235781,"yu-shan-zhu-xian-he-bi-ce-fang-ju-ran-xiao-jing-ce-ye-yang-jin-235781","虞山诸贤合璧册-仿巨然小景册页","此作用淡墨晕染出空山新雨的清润意境，远山含黛隐于烟岚之间，层崖间飞瀑直下，暗合“树杪百重泉”的诗意。山坳溪流转折，苍松错落成林，溪侧茅舍孑立，野趣横生。\n画师以松秀苍雅的笔意追摹巨然，水墨皴染间元气淋漓，将山雨初歇后的空濛静穆铺陈开来，不见艳色，却把江南山野的湿润生机与文人幽居的逸趣融于尺幅。观之便如身临幽谷，似能听见泉鸣溪淙，呼吸到林间清润的空气，尽揽山居悠然诗意。",[24,25,164,59,65,122,7,199,31,34,63,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ca409c904227b12e2f2e2c545a309b.jpg",[],{"id":31706,"slug":31707,"title":31708,"dynasty":177,"author":14049,"museum":119,"description":31709,"tags":31710,"thumbUrl":31711,"material":127,"size":127,"collection":127,"collections":31712,"showCount":296,"zanCount":961,"manualWeight":48,"mainColor":75},235672,"yan-ju-qiu-shuang-tu-zhou-xi-gang-235672","岩居秋爽图轴","《奚冈岩居秋爽图轴》是清代奚冈创作的一幅画。\n图绘峰峦高耸、庭轩虚敞的江南秋景。\n奚冈的山水画在宗法元四家的基础上又上溯五代董源、巨然，下逮明人董其昌及清人王原祁诸公，萃其逸韵而自成一格。\n此图是他法黄公望（号井西道人）笔意所作，笔法清秀，润色淡雅，意境深远，颇得黄氏画作中雅洁淡逸之趣。\n款署：“仿井西老人岩居秋爽图。\n嘉庆丙辰小春。\n蒙泉外史奚冈。\n”钤“奚冈之印”阴阳文印、“蒙泉外史”白文印。\n“丙辰”为清嘉庆元年（1796年），作者时年51岁。",[24,149,59,65,7,239,34,35,201,167,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc6a03c56962e7bf9eca5520ceefbc.jpg",[],{"id":31714,"slug":31715,"title":7678,"dynasty":177,"author":6184,"museum":119,"description":7679,"tags":31716,"thumbUrl":31717,"material":337,"size":937,"collection":127,"collections":31718,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},235666,"shan-shui-ping-yuan-jiang-235666",[24,25,100,149,304,28,7,104,60,61,34,64,37,278,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04d355bfef7f860f03bc022aa5b472.jpg",[],{"id":31720,"slug":31721,"title":31722,"dynasty":177,"author":5740,"museum":119,"description":31723,"tags":31724,"thumbUrl":31725,"material":127,"size":127,"collection":127,"collections":31726,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[24,25,100,149,59,7,63,630,264,165,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":31728,"slug":31729,"title":159,"dynasty":177,"author":27470,"museum":119,"description":31730,"tags":31731,"thumbUrl":31732,"material":127,"size":127,"collection":71,"collections":31733,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":379},235174,"shan-shui-ce-ye-xin-235174","此作用笔秀雅淡逸，以平远之法铺展景致。近岸老梅虬曲苍劲，枝桠缀着新芽，三两行人策蹇徐行，野意悠然自生。中洲淡渚萦回错落，林木参差间，茅舍隐于浅滩，尽显江乡闲寂之态。远景主山以干笔皴擦，墨色清润苍厚，云气吞吐于崖岫，虚灵空濛。\n全幅简淡萧疏，以水墨晕染出江南春日清和之态，未作繁复刻画，却将平林远岫的空阔淡荡铺陈尽致，将文人寄情丘壑的幽怀融于尺幅，淡而弥远，清而有味，尽显静穆淡远的山水逸趣。",[24,59,65,164,7,64,34,60,61,103,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c5744de3032ee5211824bd4b4ccd05.jpg",[71],{"id":31735,"slug":31736,"title":7594,"dynasty":177,"author":178,"museum":119,"description":31737,"tags":31738,"thumbUrl":31739,"material":127,"size":127,"collection":127,"collections":31740,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},235158,"hong-ren-shan-shui-ce-yi-ming-235158","此作用笔清劲洗练，以淡墨勾勒山石轮廓，线条方硬爽利，尽显皖南丘壑冷峻之态。近岸孤树疏枝亭亭，树下茅舍幽隐，野意悠然。远景矶汀错落，浅渚留白铺展出空濛清寂的水色。\n\n搭配行书题诗，笔意疏朗洒脱，诗画相映，将荒寒山居的幽致和文人幽栖之志相融，整体简淡空灵，脱尽尘俗烟火气，把山水的清寂冷逸与林下雅怀合为一体，风骨萧散淡远，余韵悠长。",[24,25,164,59,65,7,23618,64,278,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa067945763735df25b05abe9da2fedc9.jpg",[],{"id":31742,"slug":31743,"title":5022,"dynasty":177,"author":395,"museum":20,"description":5750,"tags":31744,"thumbUrl":31745,"material":9188,"size":2777,"collection":127,"collections":31746,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},235001,"yuan-ji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语，有人舟中弄笛，相映成趣。全图用笔苍劲，设色清丽，点染别致，树木景物，充满生机，巧得江南野趣。",[24,59,65,149,25,7,2315,125,583,64,167,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a75b6d590433c88559de0a0f19d3d2.jpg","纵72.5厘米，横89.5厘米",[],{"id":31851,"slug":31852,"title":8592,"dynasty":18,"author":1085,"museum":135,"description":31853,"tags":31854,"thumbUrl":31855,"material":225,"size":31856,"collection":127,"collections":31857,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":940},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,100,24,25,149,28,7,104,60,61,62,29,65,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":31859,"slug":31860,"title":31861,"dynasty":8332,"author":178,"museum":119,"description":31862,"tags":31863,"thumbUrl":31864,"material":337,"size":937,"collection":127,"collections":31865,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,25,26,28,304,29,1042,104,60,61,63,7,34,64,20199,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":31867,"slug":31868,"title":9417,"dynasty":80,"author":178,"museum":135,"description":31869,"tags":31870,"thumbUrl":31871,"material":6195,"size":31872,"collection":127,"collections":31873,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},231399,"qiu-shan-tu-yi-ming-231399","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[24,25,7,65,59,28,318,165,61,64,3865,239,1616,201,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","46.3x57.1厘米",[],{"id":31875,"slug":31876,"title":31877,"dynasty":177,"author":301,"museum":135,"description":31878,"tags":31879,"thumbUrl":31880,"material":388,"size":31881,"collection":127,"collections":31882,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},231370,"bai-ying-tu-lang-shi-ning-231370","白鹰图","《白鹰图》创作于乾隆十六年（1751年），是郎世宁中西画法完美结合的最杰出作品之一。\n画面主体中的白鹰以白粉精细描绘，传承欧洲绘画技法，注重物象的解剖结构、光影效果及立体感，把翘首殷望的白鹰刻画的形神逼真；而背景中的松石则全然采用中国写意笔墨，清涧石岩，傲松凌立。\n此图绘江南雨后的芭蕉竹石，笔墨粗简，构图也十分简括。画幅上方，留出大面积空白，显得更加深邃清旷。这种“知白守黑”的处理，使画意更加完整而富于张力，给观者以无限的想象空间，正所谓“于无画处，皆成妙境”。整幅作品充满着一种自省的内在精神，耐人寻味。\n《白鹰图》以独特的艺术构思、隽永的表现手法和浑然天成的情景交融给观者以极大的艺术享受，意境深远，令人思绪万千。\n这幅《白鹰图》虽然有着明显欧洲画法的因素，但是画中所含的内容却完全是传统中国的风格。图中白鹰、松树、巨石、流水等均是中国绘画中习见的物象，喻意中象征着强壮、长寿、平安、吉祥等等。根据画上的署款，此图是根据乾隆十六年五月初十日，大学士忠勇公傅恒所进献的白鹰所画，相传皇太后生日即在五月，乾隆大孝，号称“以天下养”，即用天下最美好的财富来侍奉母亲，因此，《白鹰图》也是一幅极为贵重的祝寿图。",[24,25,149,29,28,106,3988,7,125,61,264,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":31884,"slug":31885,"title":31886,"dynasty":177,"author":5740,"museum":119,"description":31887,"tags":31888,"thumbUrl":31889,"material":127,"size":127,"collection":127,"collections":31890,"showCount":296,"zanCount":961,"manualWeight":48,"mainColor":75},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,24,25,149,59,65,7,62,106,125,61,264,373,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":31892,"slug":31893,"title":29232,"dynasty":54,"author":31894,"museum":119,"description":31895,"tags":31896,"thumbUrl":31897,"material":337,"size":937,"collection":127,"collections":31898,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},230927,"shan-shui-tu-shan-mian-wen-xi-230927","文喜","此作用笔枯淡清逸，以水墨写就林泉雅境。崖壁崔嵬，飞泉隐于山坳，皴笔简括写意，尽显山石苍朴质感。几株古松虬曲苍劲，枝桠舒展自带灵动之姿，衬出林间清寂。平岗之上二人伫立，身形简括却宛然可见凭眺幽赏之态，暗合文人寄情丘壑的雅怀。整幅扇面构图疏密得宜，留白暗含空远之境，淡墨轻皴间，萧散出尘的林下意趣扑面而来，尽显小品山水的雅致情致。",[2484,24,25,59,65,7,583,64,103,201,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a09efb7730295a8cdc7f2ba237beb1e.jpg",[],{"id":31900,"slug":31901,"title":31902,"dynasty":177,"author":6995,"museum":119,"description":31903,"tags":31904,"thumbUrl":31905,"material":127,"size":127,"collection":127,"collections":31906,"showCount":296,"zanCount":961,"manualWeight":48,"mainColor":49},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,25,28,29,65,7,103,60,61,571,102,347,2382,24240,28039,15502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":31908,"slug":31909,"title":8293,"dynasty":177,"author":22872,"museum":119,"description":22873,"tags":31910,"thumbUrl":31911,"material":337,"size":937,"collection":127,"collections":31912,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355",[23,24,25,26,28,29,7,63,103,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":31914,"slug":31915,"title":2223,"dynasty":177,"author":1925,"museum":119,"description":31916,"tags":31917,"thumbUrl":31918,"material":127,"size":127,"collection":127,"collections":31919,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},230281,"hua-niao-ce-zhu-da-230281","《题花鸟册》是清代诗人八大山人创作的一首五言绝句。\n诗人说：想想误我害我的乃是自己的书法，现在只能靠这书法来混饭吃了。\n这是诗人对自己的书法较之于所画的石头而言。\n诗人言外之意是在说自己的石头画得好，故用米南宫的石头作一比。\n这张《石头》，就算那些要买我书法的人，对我有三顾之请，我也是不愿意给他的。\n思之误是书（1），只今南郭处（2）。\n南宫石头硬（），三顾那得去（4）。\n（1）思：想。\n误：耽误，害。\n（2）只今：如今、现在。\n南郭：复姓。\n《 ·内储说上》有南郭处士，以吹竽事齐宣王。\n此南郭处，典出“滥竽充数”，诗人自指，比喻混饭吃。\n（）南宫：古称尚书省。\n米芾（151～117），字元章，北宋著名书画家。\n因其累官礼部员外郎，故世称南宫先生。\n米芾一生痴爱石头，千金难买。\n故有“石头硬”一说。\n（4）三顾：典出《 》刘备中“ ”访贤诸葛亮事。\n此诗有学者解释为：有人看见他的书法好，要请他去。\n但是要请他去的那个主人，招待的客人，都是 ，像南郭先生那样的骗子，所以他说他的脾气，有如米芾拜的石头那么硬，就是请他三次，他也不去。\n此一说不仅有些牵强，且与诗人晚年的性格、行为不相吻合。\n因为八大山人的晚年以出售书画为生，即使有些自己不喜欢的人或不懂书画的人，他也照样有应酬，只是应酬的方式有些不同罢了，比如要求画四幅，他却只给三副等。\n八大山人（1626－175），明末清初人，杰出画家。\n原名朱耷，又名朱道朗，字雪个，又字个山、道朗、个山驴、朗月、刃庵、传綮、破云樵者、人屋、驴屋和因是僧号良月，一生所用名号多达五十五个，八大山人是他晚年的文号。\n“八大山人”的来历有两种说法：一说“尝持《 》，因号八大”；另一说“八大者，四方四隅，皆我为大，而无大于我者也”。\n八大山人为清初“四大画僧（ 、 、 、 ）”之一，他以大笔水墨写意画著称，尤以花鸟画见长，以简略见胜。",[24,25,59,7,372,264,125,223,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd06328a99007e276effefc6b4d8683.jpg",[],{"id":31921,"slug":31922,"title":31923,"dynasty":177,"author":31924,"museum":119,"description":31925,"tags":31926,"thumbUrl":31927,"material":127,"size":127,"collection":127,"collections":31928,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},230216,"fang-gu-shan-shui-ce-ye-8-kai-gu-kui-230216","仿古山水册页8开","顾逵","此作用淡墨晕染出烟雨江南的朦胧意趣，山峦以浅皴轻苔点出温润质感，如被薄雾轻笼。水面留白衔接着远天近岸，一叶扁舟随波缓行，载着晚归的闲散意趣。\n\n林间茅舍隐于枝叶之间，不见喧嚣，唯余清寂。简笔点染的林木不带繁饰，却将风雨初歇的湿润淋漓尽数藏于墨色层次里。通篇以水墨铺陈，无一处浓艳设色，把平和冲淡的林下之思晕在烟岚雾霭中，将人轻轻拉入这幅水墨长卷，静看波痕微动，坐听晚风穿林，尽得古典山水空灵澹远的禅意。",[24,59,164,65,1099,7,62,61,264,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab22a74172d9c0fa0f97e6463ea3e86.jpg",[],{"id":31930,"slug":31931,"title":16245,"dynasty":177,"author":3760,"museum":119,"description":31932,"tags":31933,"thumbUrl":31934,"material":127,"size":127,"collection":127,"collections":31935,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,25,26,28,7,65,583,64,35,167,34,63,61,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":31937,"slug":31938,"title":31939,"dynasty":177,"author":5885,"museum":119,"description":31940,"tags":31941,"thumbUrl":31942,"material":127,"size":127,"collection":127,"collections":31943,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[23,24,25,304,28,29,104,7,34,278,559,64,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":31945,"slug":31946,"title":31947,"dynasty":54,"author":31948,"museum":119,"description":31949,"tags":31950,"thumbUrl":31952,"material":127,"size":127,"collection":127,"collections":31953,"showCount":296,"zanCount":961,"manualWeight":48,"mainColor":75},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,25,26,28,29,103,7,60,61,63,583,1738,102,3836,31951,5350,67],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":31955,"slug":31956,"title":31957,"dynasty":54,"author":410,"museum":119,"description":31958,"tags":31959,"thumbUrl":31960,"material":337,"size":937,"collection":127,"collections":31961,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,24,25,26,1042,103,7,59,28,65,66,67,101,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":31963,"slug":31964,"title":31965,"dynasty":54,"author":55,"museum":119,"description":31966,"tags":31967,"thumbUrl":31968,"material":337,"size":937,"collection":127,"collections":31969,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,24,25,26,7,28,59,65,67,101,318,165,347,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":31971,"slug":31972,"title":31973,"dynasty":54,"author":9549,"museum":119,"description":31974,"tags":31975,"thumbUrl":31976,"material":127,"size":127,"collection":127,"collections":31977,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,25,26,59,28,7,1478,61,62,106,890,103,373,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":31979,"slug":31980,"title":1934,"dynasty":177,"author":12035,"museum":119,"description":31981,"tags":31982,"thumbUrl":31983,"material":127,"size":127,"collection":127,"collections":31984,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},228397,"fang-ju-ran-shan-shui-liu-du-228397","此作用披麻皴晕染山石肌理，层叠山峦似含江南烟岚，氤氲着湿润朦胧的空寂质感。近岸苍松杂木蓊郁，山居屋舍掩映林间，汀渚蜿蜒入水，清波澹澹漾开涟漪，将幽居野逸之趣藏于丘壑之间。\n\n笔墨追摹古意，苍润兼具，把山林幽寂、溪声松涛的林下之思铺陈开来，恍如引观者踏入避世桃源，静赏林泉烟霞，尽得山水寄情的悠远意韵。",[23,24,7,122,65,59,238,34,61,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8672297878af1e9fe4bc94a8e35ae8.jpg",[],{"id":31986,"slug":31987,"title":31988,"dynasty":54,"author":19185,"museum":119,"description":31989,"tags":31990,"thumbUrl":31991,"material":127,"size":127,"collection":127,"collections":31992,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[23,24,25,26,59,7,630,34,61,101,67,19975,65,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":31994,"slug":31995,"title":14442,"dynasty":18,"author":13099,"museum":119,"description":31996,"tags":31997,"thumbUrl":31998,"material":127,"size":127,"collection":127,"collections":31999,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},227950,"mu-niu-tu-li-di-227950","淡墨晕开暮色山岗，枯木寒槎的枝桠如铁线劲挺，萧疏间漫着郊野冬日的荒寒意趣。坡岸间老牛缓步垂首，憨拙身形似正衔着衰草慢行，幼犊轻捷随行左右，一大一小的动静反差，晕开牧归时分的松弛温情。\n\n画作以淡赭晕染坡石，水墨铺陈烟霭，不着过多繁复刻画，以极简笔墨铺展出山野清寂氛围，于淡远荒寒中藏着质朴的田园意趣，寥寥数笔便融物态与意境为一体，尽现独有的雅致淡远诗意。",[23,100,24,25,2484,28,29,7,630,165,1586,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f28a98374dd8c8b309719c6f9a66639.jpg",[],{"id":32001,"slug":32002,"title":32003,"dynasty":18,"author":604,"museum":119,"description":32004,"tags":32005,"thumbUrl":32007,"material":127,"size":127,"collection":127,"collections":32008,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},227830,"yuan-yang-tu-ye-ma-yuan-227830","鸳鸯图页","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[23,24,25,164,28,29,630,61,32006,264,1249,7],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":32010,"slug":32011,"title":32012,"dynasty":18,"author":604,"museum":119,"description":32013,"tags":32014,"thumbUrl":32018,"material":127,"size":127,"collection":127,"collections":32019,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},227825,"xing-lv-tu-tuan-shan-ma-yuan-227825","行旅图团扇","此作以边角取景，以简淡笔墨晕染出江南烟柳暮色。劲挺的笔法写垂柳，柔丝拂动暗藏骨力，烟霭轻笼水岸，将空濛湿冷的暮色铺陈开来。\n\n寥寥数笔勾勒出行旅队伍，策骑主仆行色匆匆，荒村野渡隐在淡墨轻烟之间，虚实相映间，羁旅清寂的况味尽显。\n\n古绢沉暗掩不住墨色层次干湿浓淡的精妙，以简驭繁，把征途的萧索与水村烟景的淡远相融，空灵雅致，将宋画小景的隽永意趣藏在暮色烟岚之中，余韵悠然。",[23,24,2484,59,7,103,335,496,32015,32016,15663,200,4729,22653,32017],"荒村","野渡","边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d2515aac4ec3064cf85d6df21f21cd.jpg",[],{"id":32021,"slug":32022,"title":32023,"dynasty":18,"author":32024,"museum":119,"description":32025,"tags":32026,"thumbUrl":32027,"material":127,"size":127,"collection":127,"collections":32028,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},227800,"yan-jiang-fan-ying-tu-xia-sen-227800","烟江帆影图","夏森","此作用淡墨晕染出空濛烟江，远山清瘦，隐在漫卷的雾霭中，只露出错落峰尖，虚实间揉碎了天地边界，将江南烟雨的柔婉朦胧铺展开来。近岸林木简笔勾勒，与烟岚相融，愈发衬出江天的空寂辽远。左下角孤舟凌波，渔人悠然棹行，寥寥数笔便点染出江上行旅的幽寂况味。\n\n全幅以留白衬出水天长阔，笔简意足，将静穆禅意藏在烟波里，把江上一瞬的清寂之美定格，淡远含蓄，尽显山水空濛悠远的诗意。",[23,24,25,100,2484,59,7,62,1777,165,37,15996,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf554147c093468663cf70503980f95.jpg",[],{"id":32030,"slug":32031,"title":32032,"dynasty":18,"author":32033,"museum":119,"description":32034,"tags":32035,"thumbUrl":32036,"material":127,"size":127,"collection":127,"collections":32037,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},227694,"qi-lv-jiao-you-tu-ma-gong-xian-227694","骑驴郊游图","马公显","马公显为南宋四家马远的伯父，马远家族世代以画佛家传，至马远马麟始以山水闻名。本图为马公显传世孤本，主要是描写唐代的药山禅师与朗州刺史李翱“云在青天水在瓶”的禅宗对话故事；李翱，字习之，唐河北赵郡人，韩愈门人，亦为愈之姪婿。不为师之思想所拘，以客观採取佛学之精华。为朗州刺史时，访药山禅师，禅师于松下阅经，不理睬。李曰：“见面不如闻名。”禅师曰：“何得贵耳贱目？”李问：“如何是道？”禅师向上一指，向下一指，曰：“云在青天水在瓶。”李闻之，茅塞顿开，呈偈曰：“练得身体似鹤形，千株松下两函经；吾来问道无馀说，云在青天水在瓶。”图上看到药山禅师石桌上放置经函与瓶梅，梅枝倒挂，颇有禅意。图右下角有“马公显”三字款。",[100,24,25,149,59,103,5044,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f96df2cd6c3756724ede8d7c227a03.jpg",[],{"id":32039,"slug":32040,"title":32041,"dynasty":18,"author":178,"museum":119,"description":8529,"tags":32042,"thumbUrl":32043,"material":337,"size":937,"collection":127,"collections":32044,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":940},227367,"yu-lin-ku-003-ku-zhu-shi-xi-bi-yi-ming-227367","榆林窟003窟主室西壁",[23,3985,1042,7,104,64,34,59,28,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9750ce4f94c586b51d9307a835d50ecb.jpg",[],{"id":32046,"slug":32047,"title":32048,"dynasty":18,"author":178,"museum":119,"description":32049,"tags":32050,"thumbUrl":32051,"material":127,"size":127,"collection":127,"collections":32052,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},227344,"nan-tang-wen-hui-tu-yi-ming-227344","南唐文会图","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。",[23,24,25,28,29,103,7,34,3695,10154,67,66,2394,10608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a6e27647f006a060beabf4f36b4ffa.jpg",[],{"id":32054,"slug":32055,"title":1572,"dynasty":18,"author":234,"museum":135,"description":32056,"tags":32057,"thumbUrl":32058,"material":127,"size":127,"collection":127,"collections":32059,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},227292,"shu-se-ping-yuan-tu-guo-xi-227292","《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。",[23,24,25,26,1388,59,65,7,34,167,4574,125,607,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":32061,"slug":32062,"title":32063,"dynasty":177,"author":11730,"museum":119,"description":21203,"tags":32064,"thumbUrl":32065,"material":127,"size":127,"collection":127,"collections":32066,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},226628,"si-shi-shan-shui-01-pu-ru-226628","四时山水01",[24,59,28,65,164,7,64,583,61,63,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c764ce4c7a82085c37e224fd507c9.jpg",[],{"id":32068,"slug":32069,"title":32070,"dynasty":177,"author":32071,"museum":119,"description":32072,"tags":32073,"thumbUrl":32074,"material":127,"size":127,"collection":127,"collections":32075,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","蒋廷锡","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[23,24,149,59,413,630,5484,64,7,1249,65,7189,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],{"id":32077,"slug":32078,"title":5864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》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[23,24,59,28,65,164,7,62,125,35,64,34,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":32108,"slug":32109,"title":32110,"dynasty":177,"author":3760,"museum":119,"description":32111,"tags":32112,"thumbUrl":32113,"material":127,"size":127,"collection":127,"collections":32114,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,24,25,149,122,59,65,7,878,30,239,34,199,6850,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":32116,"slug":32117,"title":8592,"dynasty":177,"author":2075,"museum":119,"description":32118,"tags":32119,"thumbUrl":32120,"material":127,"size":127,"collection":127,"collections":32121,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,100,24,25,149,59,7,34,64,35,201,583,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":32123,"slug":32124,"title":23847,"dynasty":177,"author":672,"museum":119,"description":32125,"tags":32126,"thumbUrl":32127,"material":127,"size":127,"collection":127,"collections":32128,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},224190,"guan-quan-tu-hua-yan-224190","此作画境清逸古雅，右上角古木盘曲，垂藤轻曳，飞泉自崖间潺潺而下。崖下雅士踞石观泉，仰首凝神，似将身心融于泉声林色之中，旁侧童子携囊持壶，静立相随，愈衬画面幽寂。\n\n笔墨苍润秀灵，淡赭铺底晕出春日空濛，浓墨点染木叶，山石勾勒皴擦结合，写意中不失细腻。题诗与画境相得益彰，将草青花初的春景与泉鸣相融，尽显文人寄情林泉、静赏山水的闲逸襟怀，清隽淡远，观之如临其境，恍闻泉声松风。",[23,24,149,59,28,103,7,34,239,199,61,5387,1521,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455ed575cfebe4bc1c8c2a52961e950.jpg",[],{"id":32130,"slug":32131,"title":32132,"dynasty":177,"author":178,"museum":119,"description":32133,"tags":32134,"thumbUrl":32136,"material":127,"size":127,"collection":127,"collections":32137,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,25,59,28,7,65,2145,64,34,31,33,35,238,37,38,201,85,32135,5408],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":32139,"slug":32140,"title":1562,"dynasty":18,"author":178,"museum":704,"description":32141,"tags":32142,"thumbUrl":32143,"material":454,"size":32144,"collection":127,"collections":32145,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},223351,"xian-shan-lou-ge-tu-yi-ming-223351","此图重彩画楼阁、奇峰、云树、仙人跨鹤。清代梁清标题签定为赵伯驹之作,但从画面的画法用笔和构图立意来看,却不似赵氏风格,应是民间画师的作品。图上钤有“黔宁王子王孙孙永宝之印”和梁清标等的收藏印章。《石渠宝芨》著录。",[23,24,28,304,7,104,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9837224f5d06f3d417ca69cec1f10beb.jpg","纵26厘米横27厘米",[],{"id":32147,"slug":32148,"title":32149,"dynasty":177,"author":2620,"museum":20,"description":9519,"tags":32150,"thumbUrl":32151,"material":40,"size":9522,"collection":127,"collections":32152,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},223286,"shan-shui-si-tiao-ping-yang-zhou-si-jing-ping-gang-yan-xue-yuan-yao-223286","山水四条屏-扬州四景-平岗艳雪",[23,24,25,28,29,304,7,63,60,2127,765,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F909e836a0258d68f302808fe9b398499.jpg",[],{"id":32154,"slug":32155,"title":32156,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":32157,"thumbUrl":32158,"material":87,"size":15463,"collection":127,"collections":32159,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},222965,"hong-lou-meng-90-sun-wen-222965","红楼梦90",[23,177,24,29,28,304,27,103,104,7,583,559,3695,64,34,12232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2625fcd8834888bd949f168e4dcd3ba.jpg",[],{"id":32161,"slug":32162,"title":32163,"dynasty":54,"author":9184,"museum":32164,"description":32165,"tags":32166,"thumbUrl":32167,"material":40,"size":32168,"collection":127,"collections":32169,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},222860,"song-he-you-wu-song-xu-222860","松壑幽屋","山东省博物馆","彩绘山峰、流水、小桥、绿树、桃花，一派春意盎然",[23,24,25,149,59,65,29,7,413,12027,60,61,64,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a048a58ed78444f5f47630c6a4faa40.jpg","141×63cm",[],{"id":32171,"slug":32172,"title":28810,"dynasty":54,"author":15469,"museum":20,"description":32173,"tags":32174,"thumbUrl":32175,"material":375,"size":32176,"collection":127,"collections":32177,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":49},222840,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-222840","萧云从的山水画风格多样，但贯穿其中的基本风貌是笔墨多方折而枯瘦，且在方折的骨体中加入一些皴擦，略有渲染，显得笔墨丰富而灵活。当时，松江派绘画风靡画坛，其画多柔曲的线条、秀润的笔墨，萧氏则改用直折的线条、枯瘦爽利的墨色，可谓别具一格。《国朝画征录》评论萧云从的画称：“不专宗法，自成一家，笔亦清快可喜。”道出了萧云从绘画风格的关键所在。他的画并非具体地宗法某一家，但可看出是从宋元画法中演变而来，不宋不元，即宋即元，又明确地表现出萧氏自身的艺术特色。此图虽是描绘雪景，表现手法与平时稍异，但仍可看出萧氏画作的典型特征。\n画面采用高远法构图描绘层岩绝巘。布局丰满，但山间茂密树丛的蓬松枝杈使画面气脉贯通，虽满却不迫塞。山石形廓较为方硬，凹陷处的皴擦笔笔精到；树木刻画亦极工致，用笔细劲清快，描绘树干纹理、树叶形状一丝不苟。地子则巧妙地留白，用以表现大面积山石及树木枝干上的积雪。皑皑白雪在以淡墨晕染的阴郁天空的衬托下愈发显得清寂萧索。但近景的树脚、石隙间偶尔显露出数竿篠竹，树木枝干染以藤黄，树叶则分别施以朱红、汁绿，这一切都使观者在寒冬的肃杀气氛中隐隐感受到蕴藏着的盎然生机，在历代雪景作品中可谓别开生面。这一方面是由于作者有着对自然界的独特感受，同时也昭示着萧云从内心涌动的希望。\n其时，明宗室诸王流亡各地，除弘光、隆武、永历等主要政权外，臣民奉宗室起兵抗清者所在尚多，且颇具声势。萧氏作为明朝遗民，无时无刻不关注着这些复国大事。题识中的“时得三秦好音”似即指此类事件。\n萧云从曾精研杜诗，著有《杜律细》一卷。其诗亦继承杜诗传统，多即事忧时之作，如此画题诗便是一例。诗中“皇旅云腾度渭河”、“将军高唱大风歌”等句更是雄浑奔放，音韵铿锵，与画面相互映照，真切地表现出萧云从作为明代遗民的思想感情。",[23,24,149,59,29,65,7,765,103,63,104,165,64,5464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f11d303d9b585f987c4fc189dc35570.jpg","纵125.3厘米，横47.7厘米",[],{"id":32179,"slug":32180,"title":32181,"dynasty":177,"author":5162,"museum":135,"description":32182,"tags":32183,"thumbUrl":32184,"material":388,"size":32185,"collection":71,"collections":32186,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},222805,"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[23,24,25,149,28,7,65,67,101,2682,891,34,62,63,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","99.4x48.3cm",[71,45],{"id":32188,"slug":32189,"title":32190,"dynasty":54,"author":368,"museum":20,"description":32191,"tags":32192,"thumbUrl":32193,"material":225,"size":32194,"collection":127,"collections":32195,"showCount":296,"zanCount":48,"manualWeight":48,"mainColor":75},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,24,25,164,28,59,65,66,7,64,34,106,61,62,63,37,60,150,3171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":32197,"slug":32198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御制五律一章，以宠其行，行至山东临清以病卒。",[24,149,59,878,7,103,12666,583,372,11163,101,507,27787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebecd8fd68b61db612f78fd8a2c040f.jpg",[],{"id":32527,"slug":32528,"title":32529,"dynasty":177,"author":8024,"museum":119,"description":32530,"tags":32531,"thumbUrl":32532,"material":337,"size":937,"collection":127,"collections":32533,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},290560,"zai-mei-tu-zhou-xu-yang-290560","载梅图轴","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[24,100,149,28,29,7,104,60,61,63,62,34,103,2127,101,6501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffc941dba86a2bf7a200c460c0b3b69c.jpg",[],{"id":32535,"slug":32536,"title":1562,"dynasty":18,"author":178,"museum":119,"description":32537,"tags":32538,"thumbUrl":32539,"material":337,"size":937,"collection":127,"collections":32540,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},290482,"xian-shan-lou-ge-tu-yi-ming-290482","这幅团扇小品以青绿设色晕染山峦，石青石绿的古雅色调与赭色底交融，柔和沉静。楼阁层叠倚山而建，飞檐隐于翠微之间，山坳里流云漫出，将近景的苍松平洲与远景淡墨晕开的远山轻隔，虚实相生间晕染出缥缈仙气。方寸团扇之内，铺展出阔远山水意境，把仙乡的出尘清远融于雅致的宋韵山水之中，静穆淡远的氛围里，尽显寄情林泉、追寻栖居仙乡的意趣。",[23,24,100,2484,27,28,304,7,104,10821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1540e302f2eec408890a643c6a16249f.jpg",[],{"id":32542,"slug":32543,"title":32544,"dynasty":80,"author":160,"museum":119,"description":2547,"tags":32545,"thumbUrl":32546,"material":337,"size":937,"collection":127,"collections":32547,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},290448,"shan-shui-tu-zhou-ke-luo-ban-wang-meng-290448","山水图轴（珂罗版）",[23,100,24,59,7,149,65,238,1616,63,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b0240ac5439bff960e9a16637c156e.jpg",[],{"id":32549,"slug":32550,"title":32551,"dynasty":80,"author":160,"museum":119,"description":2547,"tags":32552,"thumbUrl":32553,"material":337,"size":937,"collection":127,"collections":32554,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},290446,"song-shan-shu-wu-tu-ke-luo-ban-wang-meng-290446","松山书屋图（珂罗版）",[23,100,24,25,149,59,65,7,583,2446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b5fc5f66a2ead3f8f44470180431a2.jpg",[],{"id":32556,"slug":32557,"title":32558,"dynasty":80,"author":32559,"museum":119,"description":32560,"tags":32561,"thumbUrl":32562,"material":337,"size":937,"collection":127,"collections":32563,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},290259,"shan-lin-ye-zhang-tu-jin-fu-290259","山林曳杖图","金黼","此图画高耸入云的树木，枝干虬曲，占据了画面的大半。树下一位长者手持竹杖，正向远方眺望，身后随从一侍童。树干勾勒细致，枝梢有蟹爪皴与夹叶皴，墨色浓淡得宜，陂陀及树干上以浓墨醒点，颇具精神。图中有元倪瓒、虞良、尤玘、董昶等人诗题。金黼的作品流传极少，此幅殊为珍贵。",[100,24,149,59,7,125,607,61,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfcca3c77b56ec4f2d79d414d7cfba1.jpg",[],{"id":32565,"slug":32566,"title":16353,"dynasty":811,"author":13314,"museum":119,"description":32567,"tags":32568,"thumbUrl":32570,"material":337,"size":937,"collection":127,"collections":32571,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},290140,"si-hao-tu-wang-qi-han-290140","王齐翰(公元10世纪)〔五代·南唐〕金陵(今江苏南京)人，生卒年不详。后主李煜朝(961-975)为宫廷翰林图画院待诏。工画人物、佛道宗教画，兼擅山水、花鸟，以画猿獐出名。好作山林丘壑，隐岩幽谷，无朝市风埃气，其画以笔法工细为特色〔南唐〕金陵（今南京）人。仕南唐李煜（九六一至九七五）在位为翰林待诏。画道释人物多思致，好作山林丘壑，隐岩幽卜。其画以笔法入细者胜，无一点朝市风尘气。开宝末商贾刘元嗣以高价售得齐翰画罗汉十六轴，载入京师，置于僧寺。后僧以过期拒赎与讼。时太宗尹京，督索其画，一见大加赏叹。遂留画厚赐而释之。阅十六日太宗即位，后名其画曰应运罗汉。画花鸟如生，人但以獐猨名。",[23,100,24,25,26,28,103,7,32569,66,1630,6923],"隐士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f557cd778aa39fa81a39b6899bedb25.jpg",[],{"id":32573,"slug":32574,"title":20925,"dynasty":80,"author":8313,"museum":119,"description":20926,"tags":32575,"thumbUrl":32576,"material":337,"size":937,"collection":127,"collections":32577,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},290131,"xi-shan-yan-ting-tu-tang-di-290131",[24,59,7,62,372,64,37,65,373,125,61,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46212bb032f1cc623ce1508a316867b1.jpg",[],{"id":32579,"slug":32580,"title":2619,"dynasty":18,"author":1085,"museum":119,"description":5368,"tags":32581,"thumbUrl":32582,"material":337,"size":937,"collection":127,"collections":32583,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},290066,"han-gong-chun-xiao-tu-zhao-bo-ju-290066",[100,24,304,29,104,7,2169,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce9135c18a8b6a33abd63b47c88d18be.jpg",[],{"id":32585,"slug":32586,"title":32587,"dynasty":18,"author":32588,"museum":119,"description":32589,"tags":32590,"thumbUrl":32591,"material":337,"size":937,"collection":127,"collections":32592,"showCount":363,"zanCount":961,"manualWeight":48,"mainColor":75},289843,"cao-tang-ke-hua-tu-he-quan-289843","草堂客话图","何荃","此画用笔精细，画中景物从大到小一丝不乱，工整雅致，是典型的南宋绘画风格。",[23,24,100,25,2484,29,28,7,104,60,61,103,66,67,1458,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febceed3a2a19798d09537bf2b6dc631a.jpg",[],{"id":32594,"slug":32595,"title":10908,"dynasty":18,"author":2213,"museum":119,"description":194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人，主要活动时期在太宗，仁宗二朝，为当时著名的山水画家。善佛道、人马、花竹、翎毛、禽虫、畜兽、鬼神、屋宇，皆造于妙。工画山水，采撷诸家之美，参成一艺之精，团扇卧屏，尤长小景，但矜其巧密，殊乏飘逸之致。喜幽默，多行郊野间，览山林之趣，箕坐终日，归则求静室以居，沉屏思虑；神游物外，景造笔下。景德（1004-1007）中游京师，大中祥符（1008-1016）中入图画院，与太原王端、上谷燕文贵、颖川陈用志为画友。尝诏入殿，命画图壁。迁至待诏，守少府监主簿，赐紫衣。景佑初仁宗命画臣鲍国资画四时景于彰圣阁，国资战惧不已，不能下笔，诏克明代之。淮海富商陈永以百千求春龙起蛰图，克阴坚让不从。皇佑初受勅图画三朝盛德之事，人物才及寸余，宫殿山川，銮与仪衞，成备焉。凡一百事，名三朝训鉴图。 《圣［宋］朝名画评、图画见闻志、宣和画谱、书画题殴记、挥尘后录》。高克明的山水画创作，大多是从实地观察获得素材，复经自己 深思熟虑、苦心经营中得来，并不专师于一家，却能注意采撷诸家之美，参成一艺之精，自为体格，颇有创新的味道。\n高克明的绘画成就，在当时已得到公认。《宋朝名画评》将其作品列为妙品第一，认为：“高克明铺成景物，自 成一家，当代少有。”宋高宗赵恒曾写诗云：“(高)克明已死（许）道宁逝，郭熙后有新成名。”认为高克明品第尚在著名画家郭熙之上。明 人王世贞甚至说：“今世称二马(远、麟)、刘(松年)、夏珪，要亦以易知之耳。若克明，殆犹顾(恺之)、陆(探微)之于张(僧鹞)、吴(道子)， 岂可同日语哉！”高克明山水画作品的代表作为《雪意图》(现藏美国)，描绘溪山雪后的清寒景色。画面中央为一片溪水，近岸为树木房屋， 远方则遥山对峙，稍近又绘有树木房屋道路。整幅画画上表现出一种清旷荒寒的烙调，而又不失苍秀嫣润的气韵。另外，经营位置的周详得当 ，意境表达的幽静深院，笔墨运用的精细整饬，都有自创的新意在内。高克明的其他山水画作品，见于著录的还有《夏山飞瀑》、《窠石野渡 图》，《烟岚窠石图》各二幅。",[24,100,7,878,66,67,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d06dfcc696c5dd85402e98745a0a984.jpg",[],{"id":32616,"slug":32617,"title":32618,"dynasty":18,"author":8730,"museum":119,"description":8731,"tags":32619,"thumbUrl":32620,"material":337,"size":937,"collection":127,"collections":32621,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},288347,"feng-yu-wei-zhou-tu-yan-ci-yu-288347","风雨维舟图",[2484,24,100,7,62,63,34,64,167,4257,65,28,166,2856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa671c596f3518c9f5d1279fe7c89a10.jpg",[],{"id":32623,"slug":32624,"title":32625,"dynasty":80,"author":1715,"museum":119,"description":32626,"tags":32627,"thumbUrl":32631,"material":337,"size":937,"collection":127,"collections":32632,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},288158,"qiu-jiang-dai-du-qian-xuan-288158","秋江待渡","画面中间部分是辽阔的江面，空阔邈远，远处乃是绵延不绝的群山。近处，红树一簇，树下有几人引颈眺望，而江面上隐隐约约有一叶小舟，那就是待渡者的希望。江面空阔，小舟缓缓，似渺然难见，它和人急迫的等待之间构成强大的情绪张力。正是眼前渺渺秋江阔，隔岸扁舟发棹迟。",[23,100,24,26,25,7,28,29,9259,62,32628,106,20817,1285,3865,32629,766,67,101,32630,6501],"丹枫","斜阳","待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ea90e2472344b5a66a2202ee6516b3.jpg",[],{"id":32634,"slug":32635,"title":32636,"dynasty":54,"author":178,"museum":119,"description":32637,"tags":32638,"thumbUrl":32639,"material":337,"size":937,"collection":127,"collections":32640,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},288145,"shan-shui-tu-ti-xu-dao-ning-yi-ming-288145","山水图(题许道宁)","此作用全景式平远构图铺展江湖胜境，烟波浩渺间峰峦连绵起伏，巨岩峻峭处飞瀑垂落，丘壑藏幽。浅汀洲渚错落点缀苍松杂木，渔舟泛于平湖之上，山居隐于林麓之间，处处漫着静谧萧散的野趣。\n\n画师以淡墨皴擦山峦，勾勒与渲染相融，将山石的浑厚质感与云水的空濛柔润相互映衬，树木取法苍劲笔意，简括灵动。整体色调古雅沉静，把平远、深远山水意境汇于一卷，铺展出旷远清逸的江南景致，尽显幽淡天然的文人山水意趣，引人神游林泉，体悟高致。",[23,24,25,26,100,7,61,62,583,3901,199,150,34,65,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21189e70bdbdbedc3253fe6e38816672.jpg",[],{"id":32642,"slug":32643,"title":10019,"dynasty":18,"author":274,"museum":119,"description":16463,"tags":32644,"thumbUrl":32645,"material":337,"size":937,"collection":127,"collections":32646,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},287961,"bai-miao-shou-lie-tu-juan-li-gong-lin-287961",[23,100,24,25,26,123,103,7,3989],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53a424ef0bb781caefcd3e9aa23bb5d.jpg",[],{"id":32648,"slug":32649,"title":32650,"dynasty":54,"author":4301,"museum":119,"description":32651,"tags":32652,"thumbUrl":32654,"material":337,"size":937,"collection":127,"collections":32655,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},287614,"qiu-tang-cao-ting-tu-zhao-zuo-287614","秋塘草亭图","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[23,100,24,25,149,27,28,7,63,34,64,3865,32653,101],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962f475396b35bf70b0dbb4b90e5673e.jpg",[],{"id":32657,"slug":32658,"title":13273,"dynasty":18,"author":274,"museum":135,"description":16463,"tags":32659,"thumbUrl":32661,"material":337,"size":937,"collection":127,"collections":32662,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},287585,"mao-nv-tu-li-gong-lin-287585",[24,149,123,103,32660,3987,7,199,8414],"毛女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517f3897a33c36ffd4fd9d96cbb1ac24.jpg",[],{"id":32664,"slug":32665,"title":32666,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":32667,"thumbUrl":32668,"material":337,"size":937,"collection":127,"collections":32669,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},283718,"fang-mei-dao-ren-shan-shui-tu-zhou-dong-qi-chang-283718","仿梅道人山水图轴",[24,149,59,7,34,35,238,122,101,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a7ad71fa54122d8e46c92daf6aa7d.jpg",[],{"id":32671,"slug":32672,"title":15402,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":32673,"thumbUrl":32674,"material":127,"size":127,"collection":127,"collections":32675,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},238834,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238834",[24,25,164,59,29,630,63,734,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a28434c91ceeec5004c2ce64fc3df1.jpg",[],{"id":32677,"slug":32678,"title":159,"dynasty":177,"author":3973,"museum":119,"description":32679,"tags":32680,"thumbUrl":32681,"material":337,"size":937,"collection":71,"collections":32682,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},238669,"shan-shui-ce-dong-bang-da-238669","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,25,164,59,28,65,7,64,34,35,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc15d3c92b2ab8760893ac4ead1ee3663.jpg",[71],{"id":32684,"slug":32685,"title":5022,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":32686,"thumbUrl":32687,"material":127,"size":127,"collection":127,"collections":32688,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},237765,"yuan-ji-shan-shui-tu-ce-shi-tao-237765",[24,59,65,164,7,64,199,34,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09dc0c32ab98fa7cdb90b009cd5e906.jpg",[],{"id":32690,"slug":32691,"title":7594,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":32692,"thumbUrl":32693,"material":337,"size":937,"collection":127,"collections":32694,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},237617,"hong-ren-shan-shui-ce-hong-ren-237617",[24,25,164,59,65,66,67,101,7,125,35,238,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2039876f758a16a9c834ff7da2a5182d.jpg",[],{"id":32696,"slug":32697,"title":7594,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":32698,"thumbUrl":32699,"material":337,"size":937,"collection":127,"collections":32700,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},237616,"hong-ren-shan-shui-ce-hong-ren-237616",[24,25,164,59,65,67,101,7,264,34,532,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c67fe135fe740c9acc2ed77ec079c59.jpg",[],{"id":32702,"slug":32703,"title":8493,"dynasty":177,"author":3760,"museum":135,"description":8494,"tags":32704,"thumbUrl":32705,"material":349,"size":127,"collection":127,"collections":32706,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},237204,"shan-shui-zhu-shi-ce-wang-hui-237204",[24,25,164,59,65,7,64,34,62,61,630,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f86f65ebff438d9c1b444271fc5d317.jpg",[],{"id":32708,"slug":32709,"title":8493,"dynasty":177,"author":3760,"museum":135,"description":8494,"tags":32710,"thumbUrl":32711,"material":349,"size":127,"collection":127,"collections":32712,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},237202,"shan-shui-zhu-shi-ce-wang-hui-237202",[24,59,164,65,101,7,630,734,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588c3a5135ccd9066912905e330b5d33.jpg",[],{"id":32714,"slug":32715,"title":159,"dynasty":177,"author":6003,"museum":20,"description":6004,"tags":32716,"thumbUrl":32717,"material":375,"size":127,"collection":127,"collections":32718,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},237193,"shan-shui-ce-sun-yi-237193",[24,25,164,27,28,65,7,62,103,583,64,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61beef2d3bca364fe13fe9aad3fb728c.jpg",[],{"id":32720,"slug":32721,"title":1420,"dynasty":54,"author":12464,"museum":119,"description":32722,"tags":32723,"thumbUrl":32724,"material":127,"size":127,"collection":71,"collections":32725,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},237146,"shan-shui-zhou-xiang-sheng-mo-237146","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[100,24,25,149,59,7,65,165,63,734,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d5cf14ad2087901e0d4f16e53aa4cf.jpg",[71],{"id":32727,"slug":32728,"title":32729,"dynasty":177,"author":32730,"museum":20,"description":32731,"tags":32732,"thumbUrl":32733,"material":349,"size":127,"collection":71,"collections":32734,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},236986,"hua-wang-zi-you-xue-ye-fang-dai-zhou-fei-dan-xu-236986","画王子猷雪夜访戴轴","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[24,25,149,28,29,103,62,630,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951170865af0aa8752ff873c504a89af.jpg",[71,45],{"id":32736,"slug":32737,"title":159,"dynasty":54,"author":32738,"museum":119,"description":32739,"tags":32740,"thumbUrl":32741,"material":127,"size":20,"collection":71,"collections":32742,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},236600,"shan-shui-ce-ye-xiang-rong-236600","叶向荣","此作取景于幅面右侧，以奇崛山石为主体，细劲勾勒山石轮廓，淡墨皴擦晕染，尽显岩壁嶙峋质感。古松虬曲苍劲，枝干舒张如铁，松针层叠错落，饱经风霜之态跃然纸面。\n\n山谷间隐现村居茅舍，远景以淡墨轻施，留白晕染出朦胧空茫，将山野的幽寂悠远铺陈开来。笔墨简淡清逸，摒却繁复堆砌，以简驭繁，尽显清雅意趣，于方寸册页间，将林泉隐逸的恬淡山居诗意徐徐铺展，藏着寄情山水的幽远心境。",[24,25,164,59,65,7,583,64,60,61,34],"h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简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,26,59,29,123,101,103,2832,61,34,890,106,373,7,2833,2382,18173,5360,571,495,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":32895,"slug":32896,"title":19095,"dynasty":54,"author":5427,"museum":20,"description":32897,"tags":32898,"thumbUrl":32899,"material":537,"size":127,"collection":127,"collections":32900,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},234242,"shan-shui-juan-sun-zhi-234242","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,26,59,28,65,66,67,7,238,31,2845,34,35,583,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":32902,"slug":32903,"title":32904,"dynasty":18,"author":604,"museum":20,"description":32905,"tags":32906,"thumbUrl":32907,"material":9532,"size":32908,"collection":127,"collections":32909,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},234071,"shi-bi-kan-yun-tu-ye-ma-yuan-234071","石壁看云图页","此图为典型的南宋院派山水画风格的作品，构图简练，根据需要把自然山水理想化，选景皆为主题服务，给人以联想的空间.",[24,59,28,65,164,7,264,103,979,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a3308367e3d067d9670be8e7a73643.jpg","23.7厘米，横：24厘米",[],{"id":32911,"slug":32912,"title":32913,"dynasty":54,"author":368,"museum":20,"description":32914,"tags":32915,"thumbUrl":32916,"material":19606,"size":32917,"collection":127,"collections":32918,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},234050,"qing-shan-hong-shu-tu-shan-ye-lan-ying-234050","青山红树图扇页","此图以“没骨重彩法”绘青山、红树、白云等景致。作者自言拟张僧繇（传为没骨山水画的肇始者）的弟子范长寿法，虽然属托古之词，但是，他在创作中还是显示出对色彩极强的掌控力。图中冷暖色调和谐，石青、石绿、朱砂等矿物质颜料的运用独具特色，于争妍斗丽中营造出明媚亮丽的秋景，富有强烈的视觉冲击力和感染力。 他是继董其昌之后较早创作“没骨山水”的画家并具有新意。",[2484,24,27,28,7,3306,1263,60,61,64,34,104,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbfe4f7e30d09a06ff49125af3fe8c4.jpg","纵17.3厘米，横49.5厘米",[],{"id":32920,"slug":32921,"title":32922,"dynasty":54,"author":17746,"museum":20,"description":32923,"tags":32924,"thumbUrl":32925,"material":40,"size":32926,"collection":127,"collections":32927,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},233882,"pin-pang-tu-zhou-ni-duan-233882","聘庞图轴","画作取材于三国时期荆州刺史刘表聘请隐士庞德公的故事。庞德公是名士庞统的叔父，与徐庶、诸葛亮等贤达交谊笃厚。画中人物描摹精细，设色妍丽，山水气势雄伟浑厚，林木郁茂清朗。",[24,25,149,28,7,103,335,333,64,334,29,65,34,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab76f04567d0262a4fd6a4882fe7a.jpg","纵163.8厘米，横92.4厘米",[],{"id":32929,"slug":32930,"title":32931,"dynasty":177,"author":5740,"museum":20,"description":32932,"tags":32933,"thumbUrl":32934,"material":632,"size":32935,"collection":127,"collections":32936,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},233869,"xi-shan-fang-mu-tu-zhou-cha-shi-biao-233869","溪山放牧图轴","此幅绘一河两岸的空旷景致。构图简洁，平远取势。多以侧锋行笔，线条于精细处见苍劲，富有变化和表现力度，是查氏学倪瓒画风的代表作之一。",[24,59,7,149,65,335,372,201,64,31006,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acd635c29f606478003fbc4a3751dee.jpg","纵116.3厘米，横59.5厘米",[],{"id":32938,"slug":32939,"title":32940,"dynasty":80,"author":9857,"museum":20,"description":32941,"tags":32942,"thumbUrl":32943,"material":537,"size":32944,"collection":127,"collections":32945,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,25,100,59,7,60,61,34,64,65,67,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":32947,"slug":32948,"title":2773,"dynasty":177,"author":395,"museum":20,"description":7604,"tags":32949,"thumbUrl":32951,"material":20547,"size":20548,"collection":127,"collections":32952,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},233421,"yuan-ji-shan-shui-ce-shi-tao-233421",[100,24,25,164,59,65,7,64,125,34,1674,32950,452],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c55c1ae79c7d14fcee18a101340766.jpg",[],{"id":32954,"slug":32955,"title":19095,"dynasty":54,"author":32956,"museum":20,"description":32957,"tags":32958,"thumbUrl":32959,"material":9532,"size":32960,"collection":127,"collections":32961,"showCount":363,"zanCount":961,"manualWeight":48,"mainColor":49},233145,"shan-shui-juan-wang-yan-qiang-233145","王彦强","绘江边山峦起伏，林木繁茂，隐约可见村合依山而建。山石用披麻皴，笔法秀劲细密，林木简笔勾干，以浓淡水墨点叶。\n此图景色清新，境界清寂淡泊，具有春日山乡写生的特点，为王立中罕见传世品。",[24,25,26,59,65,7,34,238,31,305,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95037f673dc059a04e041dad1bea72e2.jpg","纵25．2厘米横53．3厘米",[],{"id":32963,"slug":32964,"title":32965,"dynasty":80,"author":178,"museum":135,"description":32966,"tags":32967,"thumbUrl":32968,"material":6855,"size":32969,"collection":71,"collections":32970,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},232263,"mu-meng-zhan-feng-tu-yi-ming-232263","牧梦占丰图","日已斜挂，远处重岭，烟岚迷濛，村居隐现。前景岸上有柳石环成一状似舞台之空间。一牧童正为牛系紖牛首偏倚，尾巴轻摆，温驯乖巧。另有三牛卧地休憩。一体大健硕，花白相杂；另二当为母子，双目相对，爱意无限。旁有一牧童以簑代席，枕膝而眠，面容祥悦，彷入好梦。身后却有同伴恶作剧而至。\n柳树干老槎枒，而枝嫩幼叶；远方桃林花开繁茂，点缀地通幅春意盎然。树石绘法与元意趣类明浙派风格，或为其先驱。",[24,25,149,28,65,7,34,1586,103,607,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c1f7ae0a2d7bf6eae0fc73297bbaa5.jpg","147.1x98.1厘米",[71],{"id":32972,"slug":32973,"title":32974,"dynasty":8332,"author":178,"museum":119,"description":32975,"tags":32976,"thumbUrl":32979,"material":337,"size":937,"collection":127,"collections":32980,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},231680,"fu-shi-hui-ping-feng-yi-ming-231680","浮世绘屏风","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[23,21213,8336,28,29,103,104,6756,7,8533,32977,32978,278,1110],"战场","士兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b8fbc85ceb5ed9e8c405e27e3e9b00.jpg",[],{"id":32982,"slug":32983,"title":4056,"dynasty":80,"author":7964,"museum":119,"description":32984,"tags":32985,"thumbUrl":32986,"material":349,"size":32987,"collection":127,"collections":32988,"showCount":363,"zanCount":48,"manualWe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创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,25,26,59,7,60,61,62,63,106,34,66,67,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":33015,"slug":33016,"title":3206,"dynasty":54,"author":96,"museum":119,"description":33017,"tags":33018,"thumbUrl":33020,"material":127,"size":127,"collection":127,"collections":33021,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,26,29,28,25,66,67,7,103,335,34,6756,60,3765,33019],"队伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":33023,"slug":33024,"title":33025,"dynasty":54,"author":9810,"museum":119,"description":33026,"tags":33027,"thumbUrl":33028,"material":337,"size":937,"collection":127,"collections":33029,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},228360,"xiao-xiang-guo-yu-tu-quan-juan-xia-chang-228360","潇湘过雨图全卷","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。",[23,100,24,25,26,59,7,630,20425,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d64a4192e950156f996dee8003aabb4.jpg",[],{"id":33031,"slug":33032,"title":33033,"dynasty":54,"author":10318,"museum":673,"description":33034,"tags":33035,"thumbUrl":33036,"material":127,"size":127,"collection":127,"collections":33037,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,24,25,26,28,7,66,67,65,34,31,238,5360,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":33039,"slug":33040,"title":8913,"dynasty":80,"author":997,"museum":119,"description":33041,"tags":33042,"thumbUrl":33043,"material":127,"size":127,"collection":127,"collections":33044,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},228253,"ku-shu-tu-ye-cao-zhi-bai-228253","画面以古木为核心，老干虬曲扭结，皴擦简劲尽显树皮斑驳嶙峋，枯瘦枝桠如铁铸般舒展，倒挂的垂丝晕开幽寂清冷的氛围。侧旁杂木参差，枯荣相衬，更衬出主树孤高之姿。\n\n下方坡石以淡墨勾勒晕染，棱角浑朴古拙，托举着古木更见苍劲。构图疏朗空灵，以极简笔墨铺展出荒寒淡远的意境，尽显元代文人尚简重意的风骨。笔意苍劲松秀，枯中藏腴，淡而弥厚，将冬景萧瑟化作沉静的精神图景，淡墨轻岚间，寄寓着幽淡清寂的隐逸心绪，尽显疏旷出尘的文人意趣。",[23,24,25,2145,59,7,372,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa7ec689131e19f51954940a33d2460.jpg",[],{"id":33046,"slug":33047,"title":33048,"dynasty":18,"author":178,"museum":119,"description":33049,"tags":33050,"thumbUrl":33051,"material":127,"size":127,"collection":127,"collections":33052,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},227893,"yu-le-tu-ye-yi-ming-227893","渔乐图页","这幅小品以虚实相生铺展江渚闲情。右侧江岸苍松虬曲，墨色皴擦间晕染出枝叶蓊郁的清寂意韵，留白处烟霭漫过江天，晕开空濛淡远的朦胧诗意。\n\n水面扁舟轻漾，渔人围坐舟中，姿态松弛悠然，帐幔酒旗随江风微动，将寻常渔居琐事晕染出世外之味。简淡笔墨勾勒人物情态，寥寥数笔便写尽江湖渔隐的闲散日常，将俗世烟火揉入水墨淡彩间。\n\n整体雅致静穆，把宋人寄情林泉的隐逸襟怀藏进烟波里，尽显宋代小品画的诗意意境，将渔家寻常的片刻欢愉，铺陈为悠远淡和的江居雅卷。",[23,24,2484,59,28,7,62,16870,103,373,9755,65,101,5069],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943293d6916514a78dbafe73eefd7416.jpg",[],{"id":33054,"slug":33055,"title":33056,"dynasty":18,"author":178,"museum":119,"description":33057,"tags":33058,"thumbUrl":33059,"material":127,"size":127,"collection":127,"collections":33060,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[23,2484,24,25,28,65,7,103,571,61,264,34,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],{"id":33062,"slug":33063,"title":5701,"dynasty":18,"author":178,"museum":119,"description":33064,"tags":33065,"thumbUrl":33069,"material":127,"size":127,"collection":127,"collections":33070,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},227858,"dai-du-tu-yi-ming-227858","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,100,24,9219,2484,28,59,7,103,104,61,62,571,167,16869,2216,264,33066,33067,6747,33068],"闲寂悠然","怅惘","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":33072,"slug":33073,"title":29065,"dynasty":18,"author":592,"museum":119,"description":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此画绘北方清旷萧森之景，这种寒林平野的主题是由北宋李成所创，但图中坡石皴染和树木枝桠的布置已有郭熙的影响，人物画法精练传神，是北宋风格。因此此图就算不出于郭熙，也是时代相去不远之作。右侧飞雁一行，笔调单薄，与全图气韵不合，可能是后人所补。",[23,24,25,149,59,65,7,125,607,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29861984f9f280d64ed489a7687eeb8e.jpg","该幅42.2x49.2公分全幅66.5公分",[],{"id":33179,"slug":33180,"title":33181,"dynasty":177,"author":25108,"museum":119,"description":33182,"tags":33183,"thumbUrl":33185,"material":454,"size":33186,"collection":71,"collections":33187,"showCount":363,"zanCount":961,"manualWeight":48,"mainColor":75},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,100,24,25,28,304,101,7,104,520,60,61,34,64,5146,33184,3765,3695],"园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[71,45],{"id":33189,"slug":33190,"title":33191,"dynasty":177,"author":26741,"museum":119,"description":33192,"tags":33193,"thumbUrl":33194,"material":127,"size":127,"collection":71,"collections":33195,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},223248,"shan-shui-1-pu-hua-223248","山水1","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,25,149,59,28,65,7,318,165,583,239,37,103,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[71,212],{"id":33197,"slug":33198,"title":33199,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":33200,"thumbUrl":33201,"material":87,"size":15463,"collection":127,"collections":33202,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},223016,"hong-lou-meng-141-sun-wen-223016","红楼梦141",[23,24,28,29,304,7,103,104,102,571,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84111c7cf762139844514a25f574e26.jpg",[],{"id":33204,"slug":33205,"title":33206,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":33207,"thumbUrl":33208,"material":87,"size":15463,"collection":127,"collections":33209,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":49},222891,"hong-lou-meng-16-sun-wen-222891","红楼梦16",[23,24,29,28,103,104,7,630,165,559,60,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e0bcdc03ad6933ac92ed47d7a71e18.jpg",[],{"id":33211,"slug":33212,"title":33213,"dynasty":177,"author":21804,"museum":135,"description":23563,"tags":33214,"thumbUrl":33215,"material":127,"size":33216,"collection":71,"collections":33217,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},222845,"wan-qing-qing-yin-hong-wu-222845","万顷清阴",[23,24,28,65,164,7,63,61,34,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e86d17ce180690e506b45cdbf2ef30.jpg","32x38",[71,45],{"id":33219,"slug":33220,"title":33221,"dynasty":177,"author":21804,"museum":135,"description":23563,"tags":33222,"thumbUrl":33224,"material":21808,"size":21809,"collection":71,"collections":33225,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},222844,"hua-wan-bang-sui-lv-tu-juan-hong-wu-222844","画万邦绥屡图卷",[23,24,26,28,7,65,103,335,13568,451,34,106,64,450,14445,33223,979],"牧民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf84832b44c645958e870473163f5207.jpg",[71,45],{"id":33227,"slug":33228,"title":33229,"dynasty":54,"author":178,"museum":4522,"description":33230,"tags":33231,"thumbUrl":33232,"material":3985,"size":127,"collection":127,"collections":33233,"showCount":363,"zanCount":961,"manualWeight":48,"mainColor":49},222150,"fu-hui-dong-yi-ming-222150","赴会东","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,3985,1042,28,29,103,979,6393,7,34,31,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffedf582a554b3556230ac7d6e2ef4fa2.jpg",[],{"id":33235,"slug":33236,"title":33237,"dynasty":54,"author":55,"museum":135,"description":33238,"tags":33239,"thumbUrl":33240,"material":33241,"size":33242,"collection":127,"collections":33243,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},222119,"shu-lin-ting-zi-tu-shen-zhou-222119","疎林亭子图","高树茅亭，桥间策杖。自题：湖上清湾是子家，绿杨岸下水红花。去年载酒会相覓，一路寻诗览物华。款：沈周为君泽题。钤印三：石田、煮石亭。著录：石渠宝笈续编、故宫书画录卷八。收传印记：石渠定鉴、宝笈重编、乾隆御览之宝、嘉庆御览之宝、石渠宝笈、乾清宫鉴藏宝。",[23,2484,59,65,66,101,7043,1707,34,347,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dca097bc0d71acf5434ad657cde3e77.jpg","片金纸","21.5×57cm",[],{"id":33245,"slug":33246,"title":33247,"dynasty":54,"author":1652,"museum":135,"description":33248,"tags":33249,"thumbUrl":33250,"material":33251,"size":33252,"collection":71,"collections":33253,"showCount":363,"zanCount":48,"manualWeight":48,"mainColor":75},222003,"pan-gu-xu-zhang-ruo-ai-tu-wen-zheng-ming-222003","盘谷叙（张若霭图）","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、父亲张廷玉均为雍正、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。",[23,24,61,7,318,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由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[23,24,7,59,28,65,104,60,103,34,238,166,101,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f03ee7c4a454a27bbbe56bc7379317f.jpg",[],{"id":33719,"slug":33720,"title":33721,"dynasty":54,"author":1305,"museum":119,"description":33722,"tags":33723,"thumbUrl":33724,"material":337,"size":937,"collection":127,"collections":33725,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},287942,"qiu-shan-han-shu-tu-zhou-wang-fu-287942","秋山寒树图轴","王绂(wángfú)， 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评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[24,25,149,59,65,7,630,125,305,35,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[71],{"id":33908,"slug":33909,"title":33910,"dynasty":177,"author":3760,"museum":135,"description":33911,"tags":33912,"thumbUrl":33913,"material":349,"size":127,"collection":71,"collections":33914,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","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王翚 在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,25,164,59,122,65,101,7,63,165,372,167,3796,533,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[71],{"id":33916,"slug":33917,"title":8493,"dynasty":177,"author":3760,"museum":135,"description":8494,"tags":33918,"thumbUrl":33919,"material":349,"size":127,"collection":127,"collections":33920,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},237203,"shan-shui-zhu-shi-ce-wang-hui-237203",[24,59,65,164,7,630,734,61,199,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4a19ad7439222ace0df97572693cdb.jpg",[],{"id":33922,"slug":33923,"title":33924,"dynasty":177,"author":33925,"museum":119,"description":33926,"tags":33927,"thumbUrl":33929,"material":337,"size":937,"collection":127,"collections":33930,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},237045,"gao-ling-han-zhong-shan-mian-zhu-ang-zhi-237045","高岭寒钟扇面","朱昂之","朱昂之[清]（一七六四～一八四一年后），历代人物年表碑传综表作（一七五五～？），今从宋元明清书画家年表。字青立，又字津里，江苏武进人。侨居吴中（今江苏苏州）。",[24,25,2484,59,65,7,33928,238,34,37],"高岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ecdb02de8897eebe40965ddb2b4976.jpg",[],{"id":33932,"slug":33933,"title":159,"dynasty":54,"author":33934,"museum":119,"description":33935,"tags":33936,"thumbUrl":33937,"material":127,"size":127,"collection":71,"collections":33938,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},236924,"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[24,25,164,59,28,7,63,125,60,61,264,167,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[71],{"id":33940,"slug":33941,"title":159,"dynasty":177,"author":672,"museum":4678,"description":30655,"tags":33942,"thumbUrl":33943,"material":127,"size":127,"collection":71,"collections":33944,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},236729,"shan-shui-ce-hua-yan-236729",[24,25,164,28,59,7,63,653,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796e93be747b35bfd33272ec848edc2a.jpg",[71,45],{"id":33946,"slug":33947,"title":159,"dynasty":177,"author":33948,"museum":119,"description":33949,"tags":33950,"thumbUrl":33951,"material":87,"size":127,"collection":71,"collections":33952,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},236496,"shan-shui-ce-cheng-ming-236496","程鸣","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[24,25,164,59,65,7,64,34,372,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c36e79a5f9b30c0ba5a08df138da30a.jpg",[71,45],{"id":33954,"slug":33955,"title":16899,"dynasty":54,"author":16900,"museum":20,"description":16901,"tags":33956,"thumbUrl":33957,"material":349,"size":16904,"collection":127,"collections":33958,"showCount":247,"zanCount":961,"manualWeight":48,"mainColor":75},236491,"shan-shui-ren-wu-ce-guo-fen-ya-236491",[100,24,25,164,59,28,103,62,7,264,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3433dcfa615f2499e49190891608052.jpg",[],{"id":33960,"slug":33961,"title":33962,"dynasty":177,"author":3760,"museum":119,"description":16305,"tags":33963,"thumbUrl":33964,"material":127,"size":127,"collection":71,"collections":33965,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},236445,"ni-qian-ren-shi-yi-ce-wang-hui-236445","拟前人诗意册",[24,25,164,59,65,7,34,37,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62006bed9cd38e5feced8176c057269c.jpg",[71,212],{"id":33967,"slug":33968,"title":33969,"dynasty":177,"author":33970,"museum":119,"description":33971,"tags":33972,"thumbUrl":33973,"material":127,"size":127,"collection":71,"collections":33974,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},236426,"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》。",[24,25,149,28,103,335,8208,106,334,7,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[71,212,927],{"id":33976,"slug":33977,"title":159,"dynasty":54,"author":9184,"museum":20,"description":9185,"tags":33978,"thumbUrl":33979,"material":9188,"size":9189,"collection":127,"collections":33980,"showCount":247,"zanCount":48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上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,25,100,164,28,59,7,103,106,34,61,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c812a5aeb034b109fa0e234d163af6b.jpg","纵24.3厘米，横31.2厘米",[],{"id":34174,"slug":34175,"title":5471,"dynasty":177,"author":395,"museum":119,"description":5472,"tags":34176,"thumbUrl":34177,"material":349,"size":5476,"collection":127,"collections":34178,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},233384,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233384",[24,59,65,164,101,7,35,34,182,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a4c8528fd2d713c7fc6167e55db4.jpg",[],{"id":34180,"slug":34181,"title":5471,"dynasty":177,"author":395,"museum":119,"description":5472,"tags":34182,"thumbUrl":34183,"material":349,"size":5476,"collection":127,"collections":34184,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},233380,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233380",[24,59,65,164,101,7,583,64,533,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bbd7d92c80a69a6c6a4f2a0813882f.jpg",[],{"id":34186,"slug":34187,"title":34188,"dynasty":80,"author":1962,"museum":20,"description":34189,"tags":34190,"thumbUrl":34191,"material":87,"size":34192,"collection":127,"collections":34193,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},233202,"qiu-xi-fang-ting-tu-ye-sheng-mao-233202","秋溪放艇图页","描绘的是隐士于清凉幽野的湖光山色间垂钓的场景。画幅左侧近景处草木繁茂，坡石穿插有序；右边则是茫茫江水，近处可见波动的水纹，渐远渐淡，最远处只有几抹横坡与隐隐的山头。整幅作品笔法严整，设色清淡。",[24,28,7,62,61,103,34,2484,65,59,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21606f47e62e6c69448ef7531dd707c8.jpg","纵24.9厘米磺24.5厘米",[],{"id":34195,"slug":34196,"title":2773,"dynasty":177,"author":395,"museum":20,"description":2774,"tags":34197,"thumbUrl":34198,"material":349,"size":2777,"collection":127,"collections":34199,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},233128,"yuan-ji-shan-shui-ce-shi-tao-233128",[24,25,164,59,28,65,7,60,61,35,372,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4ac134c0a0d2cc60b898eb588378dc.jpg",[],{"id":34201,"slug":34202,"title":34203,"dynasty":177,"author":178,"museum":20,"description":34204,"tags":34205,"thumbUrl":34206,"material":349,"size":19635,"collection":127,"collections":34207,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},233080,"ping-ding-zhong-miao-zhan-tu-ce-yi-ming-233080","平定狆苗战图册","清乾隆五十九年（1794年），湖南、贵州的苗民起义失败后，小规模的苗民起义仍然不断，清政府同样采取了大举镇压的军事策略。嘉庆二年（1797年）贵州南笼（今安龙）苗寨民妇王囊仙率当地苗民起义，嘉庆帝命云贵总督勒保督师征剿。此套图表现的就是当时清廷对苗民起义的镇压。四幅图依次为：剿捕仲苗南笼围解、攻克洞灑当丈贼巢、攻克北乡巴林贼巢、剿净仲苗余党。",[24,164,28,103,7,1630,3807,19632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678b179be2d2ca9678f2317e147f0d1c.jpg",[],{"id":34209,"slug":34210,"title":25226,"dynasty":54,"author":1652,"museum":20,"description":25227,"tags":34211,"thumbUrl":34212,"material":349,"size":25230,"collection":127,"collections":34213,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},232958,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232958",[24,25,164,59,67,66,101,7,60,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a14ee541d3763f5d0fed21da63f835.jpg",[],{"id":34215,"slug":34216,"title":25226,"dynasty":54,"author":1652,"museum":20,"description":25227,"tags":34217,"thumbUrl":34218,"material":349,"size":25230,"collection":127,"collections":34219,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},232957,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232957",[24,25,164,59,65,66,67,7,630,264,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1669656e724541295af682597e5a520.jpg",[],{"id":34221,"slug":34222,"title":34223,"dynasty":18,"author":5557,"museum":119,"description":34224,"tags":34225,"thumbUrl":34226,"material":349,"size":34227,"collection":127,"collections":34228,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},232882,"chun-xiao-bu-yu-tu-zhou-zhao-gou-232882","春晓捕鱼图轴","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，宋朝第十位皇帝、南宋第一代皇帝，在位三十五年。北宋皇帝宋徽宗第九子，宋钦宗之弟；曾获封为“康王”。在位初期因为眼见金朝强势，为了保持江山，起用主战派李纲、岳飞等等。但恐惧将领权力过大，为了强化中央集权，采取求和政策，终于绍兴十一年（1141年）与金朝达成绍兴和议，重用主和派黄潜善、汪伯彦、王伦、秦桧等人，并处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣，对金称臣。从此南宋与金朝形成南北对峙之格局。",[23,100,24,25,149,59,65,7,62,373,34,167,166,15501,31,238,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763ad8aae0080dc493a95d5237f9554.jpg","97x53 厘米",[],{"id":34230,"slug":34231,"title":34232,"dynasty":18,"author":744,"museum":1542,"description":34233,"tags":34234,"thumbUrl":34235,"material":349,"size":34236,"collection":127,"collections":34237,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},232773,"xue-shan-tu-juan-liu-song-nian-232773","雪山图卷","刘松年，约生于1155年，卒于1218年，钱塘（今浙江杭州）人，南宋著名画家，与南宋画家李唐、马远、夏圭合称为“南宋四大家”。\n刘松年有暗门刘的称号，暗门就是清波门，所以刘又号刘清波。他先为画院学生，光宗时期担任画院待诏。在画院工作期间，因成绩斐然，宁宗皇帝还曾给刘松年丰厚的物质奖励。他在画院体系地位也很尊崇，人们以绝品来对待刘松年及其绘画。\n刘松年绘画上，初学李唐、张敦礼，又继承了董源、巨然的部分艺术特征，严谨，典雅，清丽。他的题材多为江浙地区的风貌，西湖，茂林，修竹等。刘松年为人称道的地方，是发展了李唐大笔挥洒的斧劈皴，衍生出刮铁皴。这种皴法基本以小笔触为主，更加细腻。刘松年多园林小景，人称“小景山水”。\n刘松年除了山水之外，同时在人物画、界画、花鸟上，也水平甚高。据传，北京故宫博物院现藏《中兴四将图》，便是他的作品。这幅画人物生动，描绘精到，是宋代写实人物画的佳作。此外，他的《便桥会盟图》、《风雪运粮图》等人物故事画，也在中国绘画史上赫赫有名。此外，他的宗教画，罗汉等形象，则建立了中国佛画的一派典范。\n历史上流传下来的刘松年作品，大约有九十幅左右。这些作品真伪难辨。刘松年及其作品研究，是学术界以后仍然要力度加强的部分之一。",[23,100,24,25,26,59,7,65,1262,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02117c5bf69987bd9f56214a0e41ac.jpg","21.6×142.6厘米",[],{"id":34239,"slug":34240,"title":193,"dynasty":54,"author":23998,"museum":119,"description":34241,"tags":34242,"thumbUrl":34243,"material":349,"size":34244,"collection":127,"collections":34245,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},232635,"xi-shan-xing-lv-tu-leng-qian-232635","冷谦，元末明初武陵人，字启敬，道号龙阳子，初为僧人，后习儒，入道隐杭州吴山，博学，精通易经。著有琴书《琴声十六法》、养生学著作《修龄要指》。明朝协律郎。据说与刘秉忠相交，担任协律郎时已经年过百岁。世传其化鹤入瓶，事甚诡异。",[23,24,25,59,103,5044,7,34,495,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fcf4a51cb2d9205e685b3b317e840a0.jpg","45x33厘米",[],{"id":34247,"slug":34248,"title":909,"dynasty":80,"author":887,"museum":135,"description":34249,"tags":34250,"thumbUrl":34251,"material":349,"size":34252,"collection":127,"collections":34253,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},232256,"shan-shui-tu-zhao-meng-fu-232256","溪涧、泉松水榭桥文房用具文玩（琴棋书画）香炉．火盆瀑布高士（士人、隐士）侍从（侍女、童仆） 家具（屏风）",[24,25,149,100,28,65,59,7,34,103,64,61,278,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e350d4065062d4a7428a6d1c958bfbc.jpg","本幅 57x30.9公分、全幅 56公分",[],{"id":34255,"slug":34256,"title":34257,"dynasty":8332,"author":178,"museum":119,"description":34258,"tags":34259,"thumbUrl":34261,"material":337,"size":937,"collection":127,"collections":34262,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},231687,"ping-an-shi-dai-e-gui-cao-zhi-yi-ming-231687","平安时代 恶鬼草纸","此卷以幽谲笔致铺陈幽冥幻景，起首狞厉恶鬼赤面焰发，拖拽拷打罪者，怪骇形貌带着慑人的怖气。继而转绘冥境丘泽，精怪盘桓、寒鸟掠空，荒寂山景藏着隐秘的妖异氛围。后半段落回人间宅邸，鬼魅附着日常起居，悄然撕开阴阳两界的缝隙。\n\n笔墨简淡古拙，残褪的朱红晕开岁月斑驳，将佛教果报之说揉入和风怪谈，以稚拙线条勾勒出旧时代对幽冥的想象，让泛黄纸本载着千年的畏怖诡奇，铺展出一场跨越阴阳的怪幻绘卷。",[23,26,123,28,103,9212,3988,181,7,278,15459,34260],"室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71db9ddecacf189990a84725835b6d52.jpg",[],{"id":34264,"slug":34265,"title":34266,"dynasty":54,"author":55,"museum":56,"description":34267,"tags":34268,"thumbUrl":34269,"material":349,"size":34270,"collection":127,"collections":34271,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,26,59,28,65,67,473,66,101,7,34,103,756,31,64,583,1738,63,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":34273,"slug":34274,"title":34275,"dynasty":54,"author":1652,"museum":119,"description":34276,"tags":34277,"thumbUrl":34278,"material":736,"size":34279,"collection":127,"collections":34280,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[23,24,59,65,149,7,1262,372,583,201,64,63,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","167×60cm",[],{"id":34282,"slug":34283,"title":34284,"dynasty":18,"author":178,"museum":135,"description":34285,"tags":34286,"thumbUrl":34287,"material":349,"size":34288,"collection":127,"collections":34289,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,59,65,26,7,1673,104,35,64,34,31,167,37,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":34291,"slug":34292,"title":34293,"dynasty":177,"author":34294,"museum":119,"description":34295,"tags":34296,"thumbUrl":34297,"material":127,"size":34298,"collection":127,"collections":34299,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},231377,"yi-yuan-tu-ce-shen-cang-231377","怡园图册","沈苍","顾沄，字若波，号云壶、壶隐等。吴县（江苏苏州）人。工画山水，清丽疏古，得“清初六家”之长。怡园位于苏州，同治十三年（1874年）时任浙江宁绍道台的顾文彬购得此地，兴建怡园。由于顾文彬当时在外地任官，营造事宜由其子顾承主持，顾文彬特地嘱咐他多与画家商议。三年后园林建成，顾沄为绘怡园十六景，后又补绘四景。在苏州园林中，怡园是建造较晚的一座，顾文彬希望能荟萃诸园之长，从顾沄图中可以看到，《松籁阁》的画舫效法拙政园的香洲，《南雪亭》的石幢有似留园的经幢，《绛霞洞》的假山则模仿狮子林，其他如网师园的水池、沧浪亭的复廊等等都能在怡园找到痕迹。顾沄的《怡园图册》将观者带入园中，近距离地游赏各景。\n对研究怡园而言，最重要的是顾沄的十六景图和顾文彬的“词并序”。顾文彬的《怡园十六景词并序》共有十六段，前面有小序介绍园景，后面一阕小词阐发意蕴，与《十六景图》一一对应。这组景致按游览顺序展开，各景为先后关系，而非主次关系。怡园有幸留存至今，提供了将园图与实景对照的机会，从中可发现这套册页的写实程度之高。值得注意的是，传统山水画往往在明山秀水间点缀人物，提示观者应如何欣赏风景，但《怡园十六景图》则未画任何人物。这从侧面证明，顾沄和顾承的主要目的是再现景致。在《怡园图》中，园景成为重点，少了人物的干扰，观者反而可以更专注地投入其中，享受这一片天然的“无我之境”。",[23,24,304,28,29,7,104,63,34,64,61,5034],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58131b67127eeb79a8a1cfa85c6f53b7.jpg","33.3×42.4×26",[],{"id":34301,"slug":34302,"title":2949,"dynasty":54,"author":10318,"museum":119,"description":34303,"tags":34304,"thumbUrl":34306,"material":127,"size":127,"collection":127,"collections":34307,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[24,25,149,54,28,29,62,495,372,2952,878,101,7,34305],"钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],{"id":34309,"slug":34310,"title":5710,"dynasty":177,"author":10061,"museum":119,"description":34311,"tags":34312,"thumbUrl":34313,"material":127,"size":127,"collection":127,"collections":34314,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},230226,"fang-gu-shan-shui-shi-er-kai-yang-jin-230226","此作以淡彩晕染江南春岸晓景，堤岸垂柳柔丝拂水，水汽清润朦胧，晕开浅淡氤氲的晨雾。戴笠行旅骑牛缓行于田埂，为乡野添上鲜活意趣。远景山峦以淡墨轻扫，林麓含烟，归雁掠过长空，将平远山水的空阔疏朗铺陈开来。笔墨秀雅工致，设色明洁温润，把江南水乡的恬静诗意融于尺幅之中，尽显平淡天真的文人画韵致，将春日郊野的闲适悠然娓娓铺展，晕染出一派生机盎然的田园雅景。",[24,28,7,164,65,1099,101,103,106,1586,334,63,61,167,34,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387a052644e1585c611187534130e0d3.jpg",[],{"id":34316,"slug":34317,"title":2007,"dynasty":177,"author":27007,"museum":119,"description":34318,"tags":34319,"thumbUrl":34320,"material":127,"size":127,"collection":127,"collections":34321,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},230186,"shan-shui-li-zhou-zhang-yin-230186","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[23,24,28,65,149,7,583,60,61,35,103,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643fca24d4aa77796b788a14b21b290.jpg",[],{"id":34323,"slug":34324,"title":34325,"dynasty":177,"author":683,"museum":119,"description":34326,"tags":34327,"thumbUrl":34328,"material":127,"size":127,"collection":127,"collections":34329,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,25,26,28,7,65,122,101,67,66,318,319,34,35,104,60,63,201,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":34331,"slug":34332,"title":34333,"dynasty":177,"author":6184,"museum":119,"description":34334,"tags":34335,"thumbUrl":34336,"material":127,"size":127,"collection":127,"collections":34337,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,25,26,304,28,29,7,104,63,34,64,278,103,335,319,167,559,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":34339,"slug":34340,"title":34341,"dynasty":177,"author":34342,"museum":119,"description":34343,"tags":34344,"thumbUrl":34345,"material":127,"size":127,"collection":127,"collections":34346,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},228937,"fang-gu-shan-shui-tu-ce-8-zhen-lu-han-228937","仿古山水图册8帧","陆汉","此作用浅绛糅合青绿晕染山峦，远山以淡墨轻笼云气，晕开幽谷空濛之态。近坡苍松虬曲，桃枝缀花，点染出春日融融生机。溪桥田舍错落排布，渔人操舟、乡人行聚，将武陵桃源的恬适日常铺陈开来。\n\n线条细劲秀雅，皴染柔和，将山水清润与村居和乐融为一体，笔墨间藏着对隐逸田园的向往，把出世之思揉进烟火日常的描摹里，恬淡悠然，意趣绵长。",[24,28,27,7,164,65,60,61,62,63,106,165,35,102,630,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d30e9ffc96d3a4b2b4aa3622ccefd3.jpg",[],{"id":34348,"slug":34349,"title":34350,"dynasty":54,"author":7355,"museum":119,"description":34351,"tags":34352,"thumbUrl":34353,"material":127,"size":127,"collection":127,"collections":34354,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},228853,"si-wan-shan-shui-tu-wen-bo-ren-228853","四万山水图","以极简淡墨铺陈江天，大片留白漾开空濛水色，将天地浩渺揉入卷中。近岸枯木虬根盘错，浅滩蒲草疏疏曳动，扁舟横卧，渔翁静憩，野逸闲趣暗藏其间。远景山峦以淡墨轻扫出柔缓轮廓，恍如黛色浮于云水之畔。数点飞雁列阵划破空寂，愈发衬出江天寥廓。题款小字错落留白之上，诗画相映，晕开江南秋闲的空阔清远。笔致松秀简淡，不见繁缛皴染，却将平远山水的空灵通透娓娓道来，尽显寄情丘壑、淡远萧散的文人意趣，观之如沐江风，心随水色一同沉敛安宁。",[23,24,59,149,7,62,106,165,264,167,166,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa85fe8825904bddc6b0c2e6a9aa859.jpg",[],{"id":34356,"slug":34357,"title":34358,"dynasty":18,"author":744,"museum":119,"description":34359,"tags":34360,"thumbUrl":34361,"material":127,"size":127,"collection":127,"collections":34362,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},228851,"wan-xian-chao-zhen-tu-juan-liu-song-nian-228851","万仙朝真图卷","绢面虽蒙岁月褐晕，仍铺展浩荡仙仪长卷。群仙或乘云驭鹤，或执笏徐行，仪仗森然奔赴灵阙。山峦松枝勾勒清劲，宫观台宇隐现林岫，晕染出缥缈仙气。神祇形貌各殊，衣带翩跹舒展，尽显白描秀逸工致。后幅题跋笔意清隽，与前幅绘事呼应，文墨丹青共叙玄门盛会的庄雅恢弘，将天界朝贺的雍容气象凝于尺幅间，尽显中古仙佛绘事的极致匠心。",[23,24,25,26,2538,1042,103,7,104,28,123,101,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4550bd33f196963e0c2517d9a36fde44.jpg",[],{"id":34364,"slug":34365,"title":34366,"dynasty":54,"author":178,"museum":119,"description":34367,"tags":34368,"thumbUrl":34369,"material":127,"size":127,"collection":127,"collections":34370,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},228779,"fang-li-tang-hao-pu-tu-juan-yi-ming-228779","仿李唐濠濮图卷","此作用斧劈皴写山石，棱角方硬苍劲，两岸危崖叠峙、古木盘根虬曲，浓墨点染的林木蓊郁深秀，暗带秋意。溪谷水面留白晕出浅波，汀渚碎石错落，衬出涧谷幽寂空远。右侧平石之上，雅士简笔勾勒，凭坐观流，恬淡静穆，尽显林泉遁世的悠然意趣。画作兼取北派山水的雄劲与文人画的萧散，将山水之胜与林下雅兴相融，把秋日溪畔的幽寂雅情绘得淋漓尽致，尽显古意山水里的文人心境。",[23,24,26,122,65,28,7,165,239,61,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd1d7c4fadcfa69c00bdc8807b573b.jpg",[],{"id":34372,"slug":34373,"title":34374,"dynasty":54,"author":368,"museum":119,"description":34375,"tags":34376,"thumbUrl":34377,"material":127,"size":127,"collection":127,"collections":34378,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},228426,"zhi-xu-qing-yan-tu-lan-ying-228426","支许清言图","此作用笔刚柔相济，右崖奇崛厚重，以浓墨皴擦堆垒出山岩苍莽质感，左侧淡墨晕染平湖远峰，虚实相映间铺展出空濛悠远的湖山胜境。\n\n古松虬曲苍劲，针叶攒簇见笔力，尽显老松凌寒之姿。松下幽渚上二人对坐晤谈，衣袂简括，神态悠然，暗合魏晋林下雅集的高逸襟怀。\n\n笔墨干湿互融，既有刚劲风骨，又揉入写意萧散淡远的意趣，将林泉清谈的幽旷襟怀藏在松涛湖烟之中，尽现山居雅集的绝尘之味。",[23,100,24,25,149,59,65,7,103,413,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d387a521088c5ae100f06c610991a65.jpg",[],{"id":34380,"slug":34381,"title":34382,"dynasty":54,"author":9184,"museum":119,"description":34383,"tags":34384,"thumbUrl":34385,"material":127,"size":127,"collection":127,"collections":34386,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},228352,"hu-zhou-shi-ba-jing-xian-ding-song-xu-228352","湖州十八景－仙顶","此作用高远、深远法铺展丘壑，以干笔皴擦勾勒山峦筋骨，石体质朴苍拙，遍山松针攒簇，蓊郁深秀。蜿蜒山道盘绕幽谷，引视线拾级而上，崖顶朱红楼阁隐于翠色间，恍若世外梵宫。山坳茅舍幽藏，溪涧穿谷而过，山脚田亩横陈，将林泉野趣与山居烟火相融。笔墨苍劲老辣，设色淡雅清和，兼融浙派刚健与吴门文秀，既绘尽峰峦奇崛之态，又暗合仙境幽绝尘寰的逸韵，把出世高怀与俗世雅趣揉为一体，尽显明代文人心中的林泉雅志。",[23,24,25,164,28,65,7,104,34,64,61,334,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a8a320b1a8a8144d6247b75f4a65f5.jpg",[],{"id":34388,"slug":34389,"title":34390,"dynasty":80,"author":9857,"museum":119,"description":34391,"tags":34392,"thumbUrl":34393,"material":127,"size":127,"collection":127,"collections":34394,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},228269,"shi-ren-ce-ye-fang-cong-yi-228269","十人册页","此作以淡墨晕染平湖烟霭，汀渚远山含晕隐现，尽是秋水长天的空濛寥廓。岸畔水榭依坡临流，霜树轻红点破满目清寂，三两渔舟泛于波上，掠水飞鸟更盘活了静穆湖面。\n\n作者以干淡笔墨轻勾缓皴，舍繁复皴法，以晕染代勾勒，将江南秋浦的闲淡疏旷收于尺幅。通篇不着浓彩，只以水墨氤氲出林泉幽致，把寄怀山水的文人意趣藏在浅淡岚烟里，静中含动，淡而愈远，尽显山水小景中尚意抒情的雅韵，恍若将观者带入秋日水畔，共赴一场林泉闲居之约。",[23,100,24,25,164,59,7,62,63,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1968189c7a593c26b6ed83fc24cfd804.jpg",[],{"id":34396,"slug":34397,"title":34398,"dynasty":80,"author":178,"museum":119,"description":34399,"tags":34400,"thumbUrl":34401,"material":127,"size":127,"collection":127,"collections":34402,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},228190,"jin-bi-shan-shui-ye-yi-ming-228190","金碧山水页","此作以青绿晕染崖壁，石面肌理苍然古朴，崖巅古木虬曲横斜，丹红叶色点破秋日山岑的清寂。左侧林木扶苏，深浅墨色糅合淡青，尽显层叠苍润之意。\n\n溪山之间，策蹇行者徐行山道，林畔立者似在问询，山野幽居的闲适意趣随画面铺展。构图疏密有致，空阔留白予人遐想余地，设色古雅沉静，将秋日山林的萧散淡远晕染尽致，以小景见丘壑深致，尽显寄情林泉的元人山水意韵。",[24,25,164,28,27,7,34,335,103,239,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cb32e3f645aa67e7806a281a54bc9d.jpg",[],{"id":34404,"slug":34405,"title":33675,"dynasty":80,"author":1962,"museum":119,"description":34406,"tags":34407,"thumbUrl":34408,"material":127,"size":127,"collection":127,"collections":34409,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},228047,"guan-chao-tu-sheng-mao-228047","咫尺尺幅铺展江天寥廓，右下方白衣高士踞坐石矶，抬眸望江，神思随浪涛远走，静穆出尘。右侧老树枝叶垂覆如翠幄，掩映出幽寂观潮之地。远景山峦以澹墨轻晕，烟霭空濛，将天地晕染成一片浑茫。\n\n笔墨简括柔润，浅设色温婉清和，以大片留白暗喻江潮浩渺，以静写动，未着潮声却似能耳闻浪拍长岸，把文人耽游林泉、寄情山水的雅怀藏在留白间。简淡画面中晕开悠远诗意，将凝神观潮的忘我意态，融在烟水山色里，尽显山水以景寄兴的悠然意境。",[23,24,59,28,65,7,103,165,319,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a29a6ce0c5bedcec8cc9a7d7960888.jpg",[],{"id":34411,"slug":34412,"title":34413,"dynasty":80,"author":7964,"museum":119,"description":34414,"tags":34415,"thumbUrl":34416,"material":127,"size":127,"collection":127,"collections":34417,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,25,164,59,28,7,60,61,62,34,35,37,167,66,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":34419,"slug":34420,"title":34421,"dynasty":18,"author":178,"museum":119,"description":34422,"tags":34423,"thumbUrl":34425,"material":127,"size":127,"collection":127,"collections":34426,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[23,24,25,7,304,28,29,34424,166,2845,167,104,520,63,34],"长桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],{"id":34428,"slug":34429,"title":34430,"dynasty":18,"author":178,"museum":119,"description":34431,"tags":34432,"thumbUrl":34433,"material":127,"size":127,"collection":127,"collections":34434,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},227864,"chun-shan-yu-ting-ye-yi-ming-227864","春山渔艇页","这幅团扇以平远之法铺陈春景，淡晕的山峦柔缓舒展，烟霭轻笼水岸，晕开朦胧的春日清氛。陂陀石岸旁，林木枯荣交错，带着早春初醒的疏懒意态，青绿与赭石轻扫山石水岸，晕染出江南春山的温润水汽。\n\n一叶渔艇静浮水面，独钓的渔翁将幽寂闲散的隐逸意趣揉入空阔水色中。整作无繁复刻画，以简淡笔触晕开春日水滨的清寂淡然，将宋人娴静雅致的山水心境藏在尺幅之间，淡而弥远，静中生境，把江南早春的疏朗与幽隐心绪融成一缕绵长余韵。",[23,24,25,2484,28,7,62,125,61,373,65,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce57e3ac98b56a84f84c690afbf0f9b.jpg",[],{"id":34436,"slug":34437,"title":34438,"dynasty":18,"author":34439,"museum":119,"description":34440,"tags":34441,"thumbUrl":34442,"material":127,"size":127,"collection":127,"collections":34443,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,100,24,25,26,59,123,103,7,34,3004,3988,9199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":34445,"slug":34446,"title":7,"dynasty":177,"author":11730,"museum":119,"description":11731,"tags":34447,"thumbUrl":34448,"material":127,"size":127,"collection":127,"collections":34449,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},226637,"shan-shui-pu-ru-226637",[23,100,24,25,149,28,65,7,60,61,103,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":34451,"slug":34452,"title":34453,"dynasty":177,"author":11730,"museum":119,"description":21203,"tags":34454,"thumbUrl":34455,"material":127,"size":127,"collection":127,"collections":34456,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},226635,"si-shi-shan-shui-08-pu-ru-226635","四时山水08",[23,24,25,164,59,65,7,62,63,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eea02cc99e83b92777a52ae8be0545e.jpg",[],{"id":34458,"slug":34459,"title":34460,"dynasty":8332,"author":178,"museum":119,"description":34461,"tags":34462,"thumbUrl":34463,"material":127,"size":127,"collection":127,"collections":34464,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},225305,"fu-shi-hui-32-yi-ming-225305","浮世绘32","这幅山水绘以平远视角铺展幽寂景致，澄澈湖水切割出错落洲渚，岩崖间白练飞瀑垂落，晕开一汪幽潭清涟。苍劲虬曲的古松或孤植洲头，或茂生崖畔，隐在云霭间的山居添了悠然野趣。\n\n远景淡青山峦托着朱色浅丘，与靛蓝湖水相映，留白如轻烟岚雾层层推开空间，糅合装饰性与写意感。明快柔和的石青、草绿晕染出温润生机，凝练利落的线条勾勒林泉肌理，将幽寂禅意融于湖光山色，尽显日式山水绘的空灵悠远，复刻出侘寂闲静的自然之趣。",[21213,21214,28,7,61,583,199,37,35,32,239,4415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc601009e26987e67a465c679f8627.jpg",[],{"id":34466,"slug":34467,"title":34468,"dynasty":177,"author":395,"museum":119,"description":34469,"tags":34470,"thumbUrl":34471,"material":127,"size":127,"collection":127,"collections":34472,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},224514,"shan-shui-tu-ce-8-kai-3-zhang-da-qian-jiu-cang-shi-tao-224514","山水图册8开-3-张大千旧藏","淡墨晕开平湖烟波，水汽裹着远山晕成一片黛色，皴擦写意的峰峦带着朴拙苍劲的质感，晕染出清旷的天地底色。近岸林木错落，干湿浓墨交织出深浅层次，三两渔舟横斜泊岸，静卧于烟水间。江畔幽坐的旅人凝望远山，留白铺就的水面将万般归思揉进空濛雾色。题画小字清雅错落，朱红闲章点缀素净画面，盘活了满卷静气。整幅笔意纵恣随性，以极简笔墨勾勒出山川清旷之美，将羁旅幽怀融于烟水林峦，藏着静穆淡远的禅意，尽显写意山水的空濛悠远。",[23,24,59,65,164,25,101,7,62,34,238,103,347],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546454255510cf28a6ced2790a597e6c.jpg",[],{"id":34474,"slug":34475,"title":34476,"dynasty":177,"author":4747,"museum":119,"description":34477,"tags":34478,"thumbUrl":34479,"material":127,"size":127,"collection":127,"collections":34480,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,100,24,59,65,149,7,583,1738,372,347,1642,64,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":34482,"slug":34483,"title":3375,"dynasty":177,"author":3760,"museum":119,"description":34484,"tags":34485,"thumbUrl":34486,"material":127,"size":127,"collection":127,"collections":34487,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[23,24,25,149,28,65,7,34,239,201,167,37,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":34489,"slug":34490,"title":23295,"dynasty":177,"author":683,"museum":119,"description":34491,"tags":34492,"thumbUrl":34493,"material":127,"size":127,"collection":127,"collections":34494,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[23,24,26,28,7,65,63,104,60,61,106,34,2845,5146,2264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],{"id":34496,"slug":34497,"title":34498,"dynasty":177,"author":5740,"museum":119,"description":20157,"tags":34499,"thumbUrl":34500,"material":349,"size":127,"collection":71,"collections":34501,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":49},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图",[23,24,25,28,7,65,318,165,63,60,61,826,64,201,722,34,9727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[71],{"id":34503,"slug":34504,"title":34505,"dynasty":177,"author":5740,"museum":119,"description":34506,"tags":34507,"thumbUrl":34508,"material":127,"size":127,"collection":127,"collections":34509,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},224257,"xi-ting-du-tiao-tu-cha-shi-biao-224257","溪亭独眺图","《新安画派·查士标-中国古代画派大图范本-二》是212年 出版的图书，作者是査士标。\n中国古代画派大图范本·新安画派二：溪亭独眺图，ISBN：97875481188，作者：杨东胜",[23,24,59,149,7,63,165,60,61,264,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e830b7b27daf04d27a64ae0f32cc68.jpg",[],{"id":34511,"slug":34512,"title":193,"dynasty":18,"author":178,"museum":135,"description":34513,"tags":34514,"thumbUrl":34515,"material":4566,"size":34516,"collection":127,"collections":34517,"showCount":247,"zanCount":48,"manualWeight":48,"mainColor":75},223569,"xi-shan-xing-lv-tu-yi-ming-223569","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[23,24,25,2484,59,65,66,67,101,7,264,34,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 x 44.1 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ui-tu-jing-xin-ren-yi-290512","仿梅道人笔意山水图镜心","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,100,24,25,59,7,65,64,61,34,103,122,66,101,34928],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b242dc98ba13ddac83e86adb8a5c7d6.jpg",[],{"id":34932,"slug":34933,"title":30427,"dynasty":177,"author":10191,"museum":119,"description":30428,"tags":34934,"thumbUrl":34936,"material":337,"size":937,"collection":127,"collections":34937,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},290475,"za-hua-ce-luo-pin-290475",[24,164,59,7,2845,4781,34935,8615],"塔楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce5e3fdebc1112a48f4c4011f611388.jpg",[],{"id":34939,"slug":34940,"title":34941,"dynasty":80,"author":7964,"museum":135,"description":34942,"tags":34943,"thumbUrl":34944,"material":169,"size":34945,"collection":127,"collections":34946,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},290345,"yu-shan-tu-zhou-gao-ke-gong-290345","雨山图轴","此幅远山近石上，皆以米家点为之，画树叶亦不勾勒，率以浓淡不等之墨直接画出，水份用得特别饱满，加以所用纸张为不吸水性，犹觉水份流动於纸上。自题此图完成时云雨正来，空气湿润，更加倍促使本图能表现雨之濛濛情调。",[24,100,149,59,7,65,20425,238,37,34,35,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ebd812cba6a2a20d43eb8516e168d.jpg","122.1x81.1",[],{"id":34948,"slug":34949,"title":34950,"dynasty":177,"author":8812,"museum":119,"description":34926,"tags":34951,"thumbUrl":34952,"material":337,"size":937,"collection":127,"collections":34953,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},290208,"fu-gui-tu-bai-mei-cheng-shan-ren-yi-290208","富贵图白梅成扇",[23,2484,24,25,28,2127,1249,66,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be5a61d924c866ae44f4671bd945a59.jpg",[],{"id":34955,"slug":34956,"title":34957,"dynasty":80,"author":34958,"museum":119,"description":34959,"tags":34960,"thumbUrl":34961,"material":337,"size":937,"collection":127,"collections":34962,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":379},290169,"xiu-huang-shu-wu-tu-tan-zhi-rui-290169","修篁书屋图","檀芝瑞","檀芝瑞，明代画家，生卒年不详。只见于《中国美术人名大辞典》，寥寥数语。介绍为元代人，擅长梅兰墨竹。",[24,25,59,7,630,2446,103,64,62,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee366b6c5842f7eb17aa6b5cc7c9e35.jpg",[],{"id":34964,"slug":34965,"title":34966,"dynasty":80,"author":34967,"museum":119,"description":34968,"tags":34969,"thumbUrl":34972,"material":337,"size":937,"collection":127,"collections":34973,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},289551,"lu-tai-guan-yue-tu-zhang-ke-guan-289551","露台观月图","张可观","张可观的作品流传下来的极少，此幅作品几乎是现在唯一能够找到的张可观的传世画作\n从这幅画里，可以很明显地感受到源自马远的边角风格，楼台的界画画法，奇崛的松树以及苍润的远山，都显示出宋代院体画的高古气韵。",[24,100,28,103,7,34970,583,60,104,1643,6501,34971],"露台","观月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3efc946a9f551f581db180b0222eef.jpg",[],{"id":34975,"slug":34976,"title":34977,"dynasty":18,"author":8730,"museum":119,"description":8731,"tags":34978,"thumbUrl":34979,"material":337,"size":937,"collection":127,"collections":34980,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},289372,"song-he-yin-qi-tu-yan-ci-yu-289372","松壑隐栖图",[100,24,2484,7,583,64,1815,28,65,9755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0414c3620247737896d380a1d7d29d.jpg",[],{"id":34982,"slug":34983,"title":34984,"dynasty":18,"author":3342,"museum":119,"description":19036,"tags":34985,"thumbUrl":34986,"material":337,"size":937,"collection":127,"collections":34987,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},289325,"shen-pin-tu-li-song-289325","神品图",[23,2484,24,100,304,28,104,7,103,166,106,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346f24e0be478ee51db9592a4044b1f7.jpg",[],{"id":34989,"slug":34990,"title":34991,"dynasty":177,"author":12146,"museum":119,"description":34992,"tags":34993,"thumbUrl":34994,"material":337,"size":937,"collection":127,"collections":34995,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},288214,"ming-xian-quan-tu-mei-qing-288214","鸣弦泉图","梅清（1623---1697），字渊公，号瞿山，安徽宣城人。生于明熹宗天启三年（1623年），卒于清圣祖康熙三十六年（1697年）。",[23,100,24,25,149,59,7,583,64,7987,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78782d685d7c355c35aa459672f57e31.jpg",[],{"id":34997,"slug":34998,"title":34999,"dynasty":54,"author":6335,"museum":119,"description":35000,"tags":35001,"thumbUrl":35002,"material":337,"size":937,"collection":127,"collections":35003,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},288087,"song-yin-zui-weng-tu-du-qiong-288087","松荫醉翁图","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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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑熟画派创始人。幼而好学，笃志绘画、寒暑不废。明崇祯十一年(1638)与弟云倩加入复社，次年为副贡生。入清不仕，闭门读书赋诗作画，或遨游名山大川。善画山水格疏秀，兼工人物，与孙逸齐名。",[24,25,164,28,7,104,62,34,64,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ddfa414b9c09b1f8ec44e4094725db.jpg",[71,45,927],{"id":35213,"slug":35214,"title":159,"dynasty":54,"author":9184,"museum":20,"description":9185,"tags":35215,"thumbUrl":35216,"material":9188,"size":9189,"collection":127,"collections":35217,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},236328,"shan-shui-ce-song-xu-236328",[24,59,65,164,7,61,264,125,103,239,167,3658,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e79ad6a3590e82867bbf6b58c0e8bd1.jpg",[],{"id":35219,"slug":35220,"title":35221,"dynasty":177,"author":178,"museum":119,"description":35222,"tags":35223,"thumbUrl":35224,"material":127,"size":127,"collection":127,"collections":35225,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},235914,"yang-jin-qiu-shan-lou-ge-ye-yi-ming-235914","杨晋秋山楼阁页","此作以秋郊水乡为境，左侧危崖陡立，层叠山寺凌踞山巅，古木虬枝掩映山道，商旅车马缓行其间，野趣揉着人间烟火暖意。右侧平湖横陈，渔舟轻泛波心，远岸汀渚朦胧如烟，水榭村居错落相依。\n\n笔墨兼用工写，浅淡设色晕开清秋疏朗之气，咫尺画幅铺展出千里悠远，将山野清寂与水乡恬柔相融，既绘出秋山空濛的淡远意境，又捕捉了俗世闲居的鲜活日常，是兼具写景意趣与抒情韵致的小品佳构。",[24,25,164,28,7,104,24752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3c1e551391334dadbbd7069f546dc0.jpg",[],{"id":35227,"slug":35228,"title":4032,"dynasty":177,"author":395,"museum":119,"description":35229,"tags":35230,"thumbUrl":35231,"material":127,"size":127,"collection":127,"collections":35232,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},235892,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235892","此作以奇崛危崖撑起画面骨架，焦墨勾勒崖壁嶙峋肌理，淡墨晕染出云气在峰谷间漫漶，明暗虚实铺就山谷的空寂幽深。谷内林麓掩映茅舍，三两旅人或策杖徐行，或围坐晤谈，将山水静穆与林下雅集的悠然意趣相融，动静相生。\n\n笔墨兼具苍润，湿笔晕染出山间空蒙水汽，枯笔皴擦刻画出岩石坚实质感，尽显黄山的清灵出尘。边角题诗与山水呼应，将探幽问道的雅趣藏于丘壑，尽显文人林泉栖隐之思。",[24,25,164,59,65,101,66,67,7,9067,103,335,64,34,2216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96f0d743602994e646e67e90a61dcf4.jpg",[],{"id":35234,"slug":35235,"title":35236,"dynasty":177,"author":5740,"museum":119,"description":35237,"tags":35238,"thumbUrl":35239,"material":127,"size":127,"collection":127,"collections":35240,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},235861,"fang-wu-zhen-shan-shui-ye-cha-shi-biao-235861","仿吴镇山水页","此作用笔极简，以淡墨晕染远山，留白尽显空濛幽远。近渚枯木虬曲，坡岸人家隐于林樾，寥寥数笔便勾勒出江乡春日清寂之景，尽显简淡萧散的逸趣。\n左侧行书与画境相映，笔意清劲疏朗，诗画合璧，文气悠然。整幅以新安画派特有的冷寂清空之韵，追摹吴镇山水苍浑意趣，却自出灵秀澹泊之姿，将江南春景的幽寂淡远尽数铺陈，尽显文人画以笔遣兴、以墨抒情的雅致品格。",[24,59,7,164,67,66,65,318,165,278,2527,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f52947587da7f3f6d7872bc1adb71b.jpg",[],{"id":35242,"slug":35243,"title":8592,"dynasty":177,"author":672,"museum":119,"description":35244,"tags":35245,"thumbUrl":35246,"material":127,"size":127,"collection":127,"collections":35247,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},235693,"shan-shui-tu-zhou-hua-yan-235693","此作为小青绿山水，以高远、深远法构景，主峰清隽挺秀，浅绛与青绿交融晕染，褪去浓艳尽显清和格调。留白铺陈云雾，将山谷晕染为空濛仙境，虚实相生间拉开山林纵深感。\n\n山脚林木繁秀，杂花点染枝头，流泉蜿蜒穿石而过，林麓间隐现山居人家，灵动雅致，暗合文人幽居雅趣。笔墨兼工带写，既有院体山水的精工细致，又具文人写意的秀逸灵韵，将丘壑幽寂、林泉清润的出尘意境娓娓铺展，尽显山水间的恬淡诗意。",[24,149,28,7,64,61,199,34,37,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff675f012ce8c073d8eabc9f62ada51e3.jpg",[],{"id":35249,"slug":35250,"title":7678,"dynasty":177,"author":6184,"museum":119,"description":7679,"tags":35251,"thumbUrl":35252,"material":337,"size":937,"collection":127,"collections":35253,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},235665,"shan-shui-ping-yuan-jiang-235665",[24,149,28,304,29,65,7,1262,34,60,35,826,61,37,64,766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefca7b2dcd8a712e35fd50b73241e017.jpg",[],{"id":35255,"slug":35256,"title":7678,"dynasty":177,"author":6184,"museum":119,"description":7679,"tags":35257,"thumbUrl":35258,"material":337,"size":937,"collection":127,"collections":35259,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},235662,"shan-shui-ping-yuan-jiang-235662",[24,304,28,29,7,104,60,61,34,103,62,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238122f674eb97d8704f7c20926c2a83.jpg",[],{"id":35261,"slug":35262,"title":7678,"dynasty":177,"author":6184,"museum":119,"description":7679,"tags":35263,"thumbUrl":35264,"material":337,"size":937,"collection":127,"collections":35265,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},235660,"shan-shui-ping-yuan-jiang-235660",[24,100,25,304,29,28,65,7,104,60,106,125,264,12232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905a085c5f592f1e8d1d52a233bbe9f6.jpg",[],{"id":35267,"slug":35268,"title":35269,"dynasty":54,"author":10318,"museum":119,"description":24480,"tags":35270,"thumbUrl":35271,"material":337,"size":937,"collection":127,"collections":35272,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},235531,"fang-ni-shan-shui-tu-shan-ye-lu-zhi-235531","仿倪山水图扇页",[17460,24,25,2484,122,59,28,65,7,165,63,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03a1d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创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[24,25,149,59,65,7,64,34,35,61,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":35324,"slug":35325,"title":35326,"dynasty":177,"author":23367,"museum":119,"description":35327,"tags":35328,"thumbUrl":35329,"material":337,"size":937,"collection":127,"collections":35330,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},235008,"shan-shui-tu-shan-ye-zou-zhe-235008","山水图扇页","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一。",[24,25,2484,7,28,65,64,34,520,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912897ef9d1a3fe8291eca786da8f4b5.jpg",[],{"id":35332,"slug":35333,"title":5022,"dynasty":177,"author":395,"museum":20,"description":5750,"tags":35334,"thumbUrl":35335,"material":9188,"size":2777,"collection":127,"collections":35336,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},235002,"yuan-ji-shan-shui-tu-ce-shi-tao-235002",[24,59,164,65,7,125,35,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88700a465848b4bfef96013a08e833f.jpg",[],{"id":35338,"slug":35339,"title":11929,"dynasty":177,"author":4707,"museum":20,"description":35340,"tags":35341,"thumbUrl":35342,"material":11046,"size":11932,"collection":127,"collections":35343,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[24,59,65,164,66,67,7,64,34,60,63,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg",[],{"id":35345,"slug":35346,"title":35347,"dynasty":54,"author":4301,"museum":119,"description":32651,"tags":35348,"thumbUrl":35349,"material":337,"size":937,"collection":127,"collections":35350,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},234842,"she-se-shan-shui-shan-ye-zhao-zuo-234842","设色山水扇页",[24,2484,28,7,65,125,64,103,167,5068,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40447eb24194def73a273649f11f6185.jpg",[],{"id":35352,"slug":35353,"title":11729,"dynasty":54,"author":35354,"museum":119,"description":35355,"tags":35356,"thumbUrl":35357,"material":337,"size":937,"collection":127,"collections":35358,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},234839,"shan-shui-shan-mian-wei-zhi-huang-234839","魏之璜","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,2484,59,7,34,35,60,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff739d6ab5a66ed9fd5bc38b5f836358.jpg",[],{"id":35360,"slug":35361,"title":35362,"dynasty":54,"author":35363,"museum":119,"description":35364,"tags":35365,"thumbUrl":35366,"material":127,"size":127,"collection":127,"collections":35367,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},234784,"song-xia-lao-ren-tu-zhou-shi-wen-234784","松下老人图轴","史文","在古代社会，绘画都有着一定的社会功能性，比如《耄耋图》这样的题材就有着“成教化，助人伦”的作用。自古以来，耄为八十岁，耋为九十岁。故八、九十岁老人，称“耄耋之年”。画家往往借“猫”与“耄”、“蝶”与“耋”同音，是中国绘画当中常见的祝寿题材，喻富贵长寿的祥瑞之意。",[24,25,149,28,103,413,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29bd933c55534ddcd8484587faa3450.jpg",[],{"id":35369,"slug":35370,"title":35371,"dynasty":54,"author":178,"museum":119,"description":29090,"tags":35372,"thumbUrl":35373,"material":127,"size":127,"collection":127,"collections":35374,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},234691,"ming-ren-xue-jing-shan-shui-ce-ye-yi-ming-234691","明人雪景山水册页",[24,28,7,878,62,372,64,101,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5051c35d93cc31f1ab80646be71c8.jpg",[],{"id":35376,"slug":35377,"title":27931,"dynasty":54,"author":3451,"museum":119,"description":35378,"tags":35379,"thumbUrl":35380,"material":127,"size":127,"collection":127,"collections":35381,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},234567,"shan-shui-ren-wu-shan-qian-gong-234567","钱贡（公元16－17世纪初）明代著名画家，字禹方，号沧洲，吴县（今江苏苏州）人。\n山水不甚高雅，而位置可观。善人 物，间仿文、唐两家，却能逼真。万历十四年（一五八六）作山水图，四十年（一六一二）作渔翁乐图，继承南宋刘、李一派及唐寅画法，有仿唐寅人物大幅几能乱真。从艺活动在万历间。\n钱贡画山水“往往出入文征仲太史。”后人曾把他作为文征明门人之高弟。人物则“尤其所长”，“仿唐伯虎大幅，咄咄逼真”，继承了唐寅的人物大幅之风格，所画几可乱真。（《明画录》）\n其作品多旧藏于清宫内，其中录于《石渠宝笈》者甚多。绘画风格颇得清帝青睐，其作乾隆御题者众。\n《明画录》、《无声诗史》、《书史会要》、《中国版画研究重要书目》",[24,2484,28,7,103,62,34,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cf9fc6383b90fab6279bc982778d65.jpg",[],{"id":35383,"slug":35384,"title":35385,"dynasty":177,"author":22872,"museum":20,"description":35386,"tags":35387,"thumbUrl":35388,"material":375,"size":35389,"collection":127,"collections":35390,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},234501,"bai-ying-lou-tu-ce-ye-fan-qi-234501","拜影楼图册页","《拜影楼图》共十二开，是清初多位画家以扬州拜影楼为主题创作的作品合册。册中或远山耸峙，或水波澹荡，或江烟寥廓，是文人雅士借画怀古、以画咏志之作。拜影楼位于明代扬州名园影园之中，是园主之子郑掌和清初于几近荒废的影园中所建。时过境迁，昔日名园与名楼今皆已不存，观赏此作，可一睹其当日风采。",[164,59,28,7,125,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158a279126b10b356fa6e901a87f1410.jpg","纵19.5厘米 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39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,26,59,7,65,66,67,101,318,319,34,63,60,61,62,239,35,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":35443,"slug":35444,"title":35445,"dynasty":54,"author":35446,"museum":119,"description":35447,"tags":35448,"thumbUrl":35449,"material":127,"size":127,"collection":127,"collections":35450,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[23,24,25,26,59,29,7,60,61,104,63,125,334,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":35452,"slug":35453,"title":35454,"dynasty":54,"author":1652,"museum":20,"description":35455,"tags":35456,"thumbUrl":35458,"material":14562,"size":35459,"collection":127,"collections":35460,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,24,25,26,59,123,67,101,7,1249,103,413,630,734,2527,35457,2127,19943,61],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","每段 纵32.6厘米 横50.8厘米",[],{"id":35462,"slug":35463,"title":35464,"dynasty":54,"author":5538,"museum":20,"description":35465,"tags":35466,"thumbUrl":35467,"material":349,"size":127,"collection":127,"collections":35468,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,25,26,59,7,65,66,101,67,34,60,61,63,106,347,167,707,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":35470,"slug":35471,"title":35472,"dynasty":177,"author":10574,"museum":20,"description":15742,"tags":35473,"thumbUrl":35474,"material":87,"size":127,"collection":127,"collections":35475,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},234110,"hua-hong-li-ping-shan-tang-shi-yi-juan-zhang-zong-cang-234110","画弘历平山堂诗意卷",[24,25,26,28,7,104,63,34,101,66,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c98fe5c42d9369522f0ec973ba1a1.jpg",[],{"id":35477,"slug":35478,"title":35479,"dynasty":177,"author":10574,"museum":20,"description":15742,"tags":35480,"thumbUrl":35481,"material":87,"size":127,"collection":127,"collections":35482,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷",[100,24,25,26,59,28,7,583,104,60,61,62,63,101,34,35,2845,167,3796,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":35484,"slug":35485,"title":35486,"dynasty":177,"author":395,"museum":20,"description":35487,"tags":35488,"thumbUrl":35489,"material":632,"size":35490,"collection":127,"collections":35491,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},234047,"yuan-ji-qi-feng-tu-shan-ye-shi-tao-234047","原济奇峰图扇页","此幅应是原济晚年之作。图绘黄山两处重要景观莲花峰和文殊院。构图新颖大胆，极尽含蓄隐现之妙。画幅中部的莲花峰以“截取法”表现，重点刻画了交叠错落的山顶，其山腰以下的部分利用“无中生有”的艺术手法，通过虚无飘渺的白云将它隐去，从而反衬出此峰的高深与雄伟，令整个画面也由此成为一个烟云流动、气势壮丽而又深邃空灵的小世界。",[24,2484,59,65,7,2325,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7869dbee107a474422c0cb53686895.jpg","纵17.5厘米，横49厘米",[],{"id":35493,"slug":35494,"title":35495,"dynasty":54,"author":4764,"museum":20,"description":35496,"tags":35497,"thumbUrl":35498,"material":19606,"size":35499,"collection":127,"collections":35500,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},234045,"qiu-xi-fan-ting-tu-shan-ye-chen-hong-shou-234045","秋溪泛艇图扇页","此图通过木叶丹黄的秋天景色和人物悠闲划艇的活动，展现出一种宁静清逸的意境，给人远离尘俗之感。清初期，陈洪绶面对明为清所灭、友人相继殉国的情境，深感亡国离乱之痛，产生了隐遁避世的情致。此图绘成后的第二年六月，他就在云门寺剃发为僧，改号“悔迟”、“悔僧”、“秃翁”，亦号“云门僧”、“迟和尚”等。图中山石、树木法自蓝瑛，多以中锋行笔，笔致粗犷，点染生动，于雄浑中见朴拙蕴藉，加强了画面的视觉效果。",[2484,24,25,59,65,7,62,372,64,61,103,101,66,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca0bc4fcdb1b635c63e0a0c2219a288.jpg","纵16.3厘米，横51.8厘米",[],{"id":35502,"slug":35503,"title":35504,"dynasty":18,"author":178,"museum":20,"description":35505,"tags":35506,"thumbUrl":35507,"material":87,"size":35508,"collection":127,"collections":35509,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},234003,"feng-yu-gui-zhou-ye-yi-ming-234003","风雨归舟页","此图描绘风雨中江边的景象。 风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 全天的浓烈和浓重都恰到好处，水墨是典型的南宋风格。",[24,25,164,59,28,65,7,62,34,64,61,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090650b9f7490bc6479d959f1e649073.jpg","25.6×25.3cm",[],{"id":35511,"slug":35512,"title":2773,"dynasty":177,"author":395,"museum":20,"description":7604,"tags":35513,"thumbUrl":35514,"material":20547,"size":20548,"collection":127,"collections":35515,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},233417,"yuan-ji-shan-shui-ce-shi-tao-233417",[24,59,164,65,7,264,125,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbc7f6586f3953ae969d45c5a8d59a6.jpg",[],{"id":35517,"slug":35518,"title":16899,"dynasty":177,"author":34167,"museum":20,"description":34168,"tags":35519,"thumbUrl":35520,"material":20566,"size":34171,"collection":127,"collections":35521,"showCount":327,"zanCount":961,"manualWeight":48,"mainColor":75},233397,"shan-shui-ren-wu-ce-jin-nong-233397",[24,25,164,28,59,123,65,7,103,264,165,1120,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9affef318a27a3eff09070d1263ab9ff.jpg",[],{"id":35523,"slug":35524,"title":35525,"dynasty":18,"author":178,"museum":20,"description":35526,"tags":35527,"thumbUrl":35529,"material":35530,"size":35531,"collection":127,"collections":35532,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},233207,"liu-xi-chun-se-tu-ye-yi-ming-233207","柳溪春色图页","此画又名《柳溪春色图》，无名款，从其风格判断应属南宋时期作品。图绘一处屋宇依山傍水，四周柳树环绕，此时正值春天，微风吹拂柳叶飞动，整幅画面洋溢着春日气息。庭院中一群仕女似乎在排演着歌舞，屋前有一大片空地可能类似如今的广场。此画构图十分特别，不似传统「三远法」中任何一种，画面的组织皆围绕着建筑展开平铺直叙。其画法属工细一路，用笔精致，设色淡雅。画中前景用斧劈皴画一巨石，茂林密柳以「胡椒点」为之，有别于常见的人、个、介字的排列画法；屋宇平直处用界画成，曲折处稍用笔有放逸；远山勾画简略，几乎是平涂而成，意在衬托出前面繁密的景物。作者在马夏风格一统画坛的南宋时期，仍可另辟蹊径创出一种新面貌，故此画当属难得的宋人佳作。",[24,2484,2145,29,28,59,65,7,1478,8804,979,165,61,35528],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa316a638cfd655a3d2997055ce7f48.jpg","绢本淡设色","纵23.4厘米，横24厘米",[],{"id":35534,"slug":35535,"title":2773,"dynasty":177,"author":395,"museum":20,"description":2774,"tags":35536,"thumbUrl":35537,"material":349,"size":2777,"collection":127,"collections":35538,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},233127,"yuan-ji-shan-shui-ce-shi-tao-233127",[24,25,164,59,28,65,7,62,238,34,35,37,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20cb7a6d40f44117b887d4717d35798b.jpg",[],{"id":35540,"slug":35541,"title":35542,"dynasty":54,"author":945,"museum":20,"description":35543,"tags":35544,"thumbUrl":35545,"material":9532,"size":14362,"collection":127,"collections":35546,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,25,164,59,28,7,34,104,239,559,60,66,67,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg",[],{"id":35548,"slug":35549,"title":35550,"dynasty":177,"author":5984,"museum":119,"description":35551,"tags":35552,"thumbUrl":35553,"material":11572,"size":35554,"collection":127,"collections":35555,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},232895,"shui-mo-tu-ce-hua-ce-zheng-min-232895","水墨图册画册","郑旼（1632-1683），号墓倩、穆倩、墓道人、神经证史、雪痕后人，安徽歙县人，擅长山水画。明亡之后，黄宾虹《黄山丹青志》中记载郑旼的行迹为：“……隐于狂疾，服如野僧，或有言触往事者，辄哭不休，或望空下拜，拜凡以三。簮绂中人，有愿近昵者，哭以拒之，或先避之，虽坚请不出也。”他在康熙十三年除夕日记云，“饥寒迫身……实愿甘之”，但他决不依附权贵，实在难饥，则以诗画易米，倘若以金帛予之，则必不予，即或成幅，亦毁之。郑旼人品高洁，不同流俗，刚正不阿，憎爱分明，具有坚贞民族气节的遗民。在篆刻方面，郑旼以先秦两汉为宗，每刻必有新意。曾自刻闲章：“闲来写幅青山卖，不使人间造孽钱”，盖于自己的画作上，表现出一个正直文人的清高与不俗。",[24,59,164,67,66,101,65,7,318,165,1674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da6b0639be05e6bfd10cc0a42e975a6.jpg","172.5×46.8cm",[],{"id":35557,"slug":35558,"title":35559,"dynasty":80,"author":616,"museum":119,"description":35560,"tags":35561,"thumbUrl":35562,"material":349,"size":35563,"collection":127,"collections":35564,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,25,26,59,65,67,66,100,7,264,34,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":35566,"slug":35567,"title":35568,"dynasty":177,"author":5740,"museum":161,"description":14247,"tags":35569,"thumbUrl":35570,"material":349,"size":35571,"collection":127,"collections":35572,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},232687,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-232687","仿倪云林古木图",[23,24,59,122,7,607,125,264,65],"https:\u002F\u0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这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[100,24,25,149,28,65,7,64,199,34,201,61,6093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":35583,"slug":35584,"title":35585,"dynasty":177,"author":3760,"museum":161,"description":35586,"tags":35587,"thumbUrl":35588,"material":349,"size":35589,"collection":127,"collections":35590,"showCount":327,"zanCount":961,"manualWeight":48,"mainColor":75},232267,"geng-yan-shan-shui-tu-ce-wang-hui-232267","耕烟山水图册","王翚在王时敏等人的指导下进行学习和创作的生涯达二十年。他广泛学习宋元以来的各种流浓和山水画名迹。为他最终达到“集大成”打下了深厚的基础。相对于其它三王来说。王翚的家境是较贫寒的。在青年时代就做到“仿临宋元人无微不肖”因此当时有人便“倩其作装璜作伪，以愚好古者，虽老于鉴别亦不知为近人笔”〔清·周亮工《读画全录》。今天我们偶尔还能见到王翚的“作伪”的一些假，宋元古画。〕后人广泛称道王翚的画为集古之“大成”，此语原为石谷自道：“以元人笔墨。运宋人丘壑，而泽以唐人气韵，乃为大成”〔《清晖画跋》〕。而他说的另一段话中道得更为透彻：“翚自龉时搦管，仡仡穷年，为俗流派拘牵，无繇自拔……临颖茫然，识微难洞，已从师得指法，复于东南收藏好事家纵览右丞，思训，荆，董，胜国诸贤，上下千余年，名迹数二万种，然后知事理之精微，画学之博大如此，而非区区一家一派之所能尽也，由是潜神苦志，静心救之，每下笔落墨，辄思故人用心处……于是涵泳于心，练之于手，自喜不复为流派所感，而稍稍可以自信矣”（《清晖画跋》）。可见，王翚早年曾经“为世俗流派拘毫，无繇自拔”一味地广泛临摹，学习古人各种不同的的画法之然“然后知画理之精……非区区一家一派之所能尽也”。夜间他从世俗流派的不同门户偏见的羁伴中解脱出来，当然包括所谓“南北宗”山水画的区分。清盛大士说得好“耕烟贡性超俊，学习深邃，能含南北宗为一手”（《溪山卧游录》卷一），清张庚也指出：“画有南北宗，至石谷而合焉”（《国朝画征全录》）。中国的傅统山水画，其中最主要的一种审美要素便是和式化的”皴法；而所谓“南北宗”之别亦在“披麻皴”和“斧劈皴”的不同。但二者长期的对立状态却被王翚加以解化了。正如恽寿平所说“古来之笔至龃龉不能相入者，石谷则罗而置之笔端，融洽以出，神哉技手”（《瓯香馆画跋》） 。",[24,25,164,59,65,7,125,264,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bb574f4feb8802ab4baafc960bf456.jpg","29×29cm×10",[],{"id":35592,"slug":35593,"title":35594,"dynasty":54,"author":10318,"museum":424,"description":35595,"tags":35596,"thumbUrl":35597,"material":349,"size":35598,"collection":127,"collections":35599,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},231943,"fang-ni-yun-lin-qiu-xia-tu-lu-zhi-231943","仿倪云林秋霞图","秋色画阔，长堤深幽，幽幽幽幽，寂静无声。 晚年山水杰作。",[23,24,197,149,65,7,238,201,372,239,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a4c833b694c49f7fa5fbf3c4a1a23d.jpg","109.1x45.8厘米",[],{"id":35601,"slug":35602,"title":35603,"dynasty":8332,"author":35604,"museum":119,"description":35605,"tags":35606,"thumbUrl":35607,"material":337,"size":937,"collection":127,"collections":35608,"showCount":327,"zanCount":961,"manualWeight":48,"mainColor":49},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,24,25,59,28,7,104,62,61,64,34,60,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":35610,"slug":35611,"title":35612,"dynasty":8332,"author":35613,"museum":119,"description":35614,"tags":35615,"thumbUrl":35616,"material":127,"size":127,"collection":127,"collections":35617,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},231662,"da-zheng-yuan-nian-xiao-xiang-ba-jing-heng-shan-da-guan-231662","大正元年 潇湘八景","横山大观","素白雪色晕染铺陈，将天地晕作一色，几处青绿山棱划破苍茫冷寂，带着残冬将息的生机。画面以大量留白拉扯开江野暮雪的辽远空茫。\n\n下方渔翁戴笠披蓑，垂竿静立，身侧小童默然相伴，暖棕衣料在一片素白里晕开澹澹烟火气。将东方禅意的空寂与隐逸闲情揉为一处，水墨晕染与浮世绘质感相融，于荒寒天地间刻画出悠然静穆的一隅，把清冷悠然藏在留白与淡彩之间，唤起心底对辽远天地间闲逸之趣的共鸣。",[23,24,28,7,878,103,65,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9640f36885bbe464aa57c33c0f8baee.jpg",[],{"id":35619,"slug":35620,"title":35621,"dynasty":18,"author":178,"museum":135,"description":35622,"tags":35623,"thumbUrl":35625,"material":127,"size":34899,"collection":42,"collections":35626,"showCount":327,"zanCount":961,"manualWeight":48,"mainColor":75},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[100,24,25,1555,28,29,59,1586,14445,106,61,34,890,64,105,35624,7,10143],"牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg",[42],{"id":35628,"slug":35629,"title":35630,"dynasty":177,"author":4747,"museum":119,"description":35631,"tags":35632,"thumbUrl":35634,"material":127,"size":127,"collection":127,"collections":35635,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},230948,"qing-yun-dong-he-tu-wu-li-230948","晴云洞壑图","此作以高远、平远交织的构图铺陈画面，层叠山石逐层递深，拉开幽邃山水空间。以苍劲厚重的皴法勾勒岩壑，尽显山石嶙峋质感，林木疏密错落，枝梢意态宛然，细节处见细腻功力。右下角独行旅人衬出山峦雄浑辽廓，以人之渺小衬出天地空阔，更显山居清寂。右上角题字与画面融为一体，晕染雅致文气，整体气韵沉静萧疏，将林壑间幽远静谧的山居意境尽显无遗，尽显古典山水的文人意趣。",[23,24,25,59,28,65,7,35633,979,34,64,533],"洞壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd15f0936b3087b09b345f32de9721dc1.jpg",[],{"id":35637,"slug":35638,"title":35639,"dynasty":177,"author":35640,"museum":119,"description":35641,"tags":35642,"thumbUrl":35643,"material":127,"size":127,"collection":127,"collections":35644,"showCount":327,"zanCount":961,"manualWeight":48,"mainColor":49},230919,"shu-feng-zhan-dao-tu-ye-liu-long-230919","蜀峰栈道图","叶六隆","整作以水墨铺陈层叠山川，奇崛危崖间栈道盘绕，飞瀑穿林而下，古松虬曲扎根绝壁，尽绘山川雄荒之态。\n行旅之人或驱驴缓行于险道，或驻足观瀑稍作休憩，寸尺人物却神态宛然，将蜀道行路的艰涩与山川壮景相融，把奇险之境具象于笔底，又暗蕴羁旅行人的幽远意趣。笔墨苍劲古朴，皴擦勾勒间尽显山石肌理，山水之雄与行旅之幽浑然一体，尽显传统山水叙事的悠远意境。",[23,24,25,149,59,65,7,208,103,335,318,734,165,199,334,104,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adb14969e212e22fafe642e5a5551c7.jpg",[],{"id":35646,"slug":35647,"title":35648,"dynasty":8332,"author":35649,"museum":119,"description":35650,"tags":35651,"thumbUrl":35655,"material":337,"size":937,"collection":127,"collections":35656,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},230646,"you-hua-titian-landscape-with-st-theodore-overcoming-the-dragon-google-art-project-ti-xiang-230646","油画-Titian---Landscape-with-St.-Theodore-Overcoming-the-Dragon---Google-Art-Project","提香","提香·韦切利奥，又译提齐安诺·维伽略（ Tiziano Vecelli或Tiziano Vecellio，约 1488\u002F1490年 – 1576年8月27日 ），英语系国家常称呼为提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。\n提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。\n在提香所处的时代，他被称为“群星中的太阳”，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响",[24007,35652,1042,103,181,3988,7,35653,34,35654,239,28301],"素描","城堡","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cb8dcd1c64b95edbfe31e5fad71dc4.jpg",[],{"id":35658,"slug":35659,"title":35660,"dynasty":8332,"author":178,"museum":119,"description":35661,"tags":35662,"thumbUrl":35664,"material":337,"size":937,"collection":127,"collections":35665,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},230543,"shi-ting-shi-dai-ri-yue-shan-shui-tu-ping-feng-yue-ping-yi-ming-230543","室町时代 日月山水图屏风-月屏","浅金晕染出朦胧夜气，以青绿为主调铺展山野幽境。挺秀松林错落坡巅，笔墨清简勾勒出苍古意态。浅滩茅庐半隐于草色间，坡岸随色块开合错落，墨笔轻绘竹叶、草叶，疏朗雅致。\n\n整体以平远构图铺陈，删繁就简，用色块晕染出月夜山野的清寂淡远，将东方禅意融于侘寂风物中，于简淡空灵里，尽显静穆古雅的山水幽趣，藏着独属于山野夜色的宁谧安然。",[23,28,27,7,8336,583,318,450,35663,347,1738],"月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4805b1904a7c472e2a9775631e4451df.jpg",[],{"id":35667,"slug":35668,"title":35669,"dynasty":8332,"author":178,"museum":119,"description":35670,"tags":35671,"thumbUrl":35672,"material":127,"size":127,"collection":127,"collections":35673,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,25,26,28,29,304,7,103,104,62,495,335,165,979,2277,61,373,60,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":35675,"slug":35676,"title":4175,"dynasty":177,"author":2075,"museum":119,"description":35677,"tags":35678,"thumbUrl":35679,"material":127,"size":127,"collection":127,"collections":35680,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},230178,"fang-gu-shan-shui-ce-wang-shi-min-230178","水雾轻笼远岫，淡墨晕开江乡初夏的朦胧底色。柳丝垂曳拂过浅溪，田埂蜿蜒牵起篱舍人家，浓荫将村居温柔包裹。水渚间汀草错落，小巧板桥横卧溪上，连起幽僻乡路。\n\n浅绛设色调清润柔和，笔触松秀温婉，远山以虚笔淡墨晕染，留白铺就空濛水汽，将溽热化作悠悠闲意。近林点染疏密相宜，把江南村居的日常烟火，晕成了悠然冲淡的诗意，藏着文人归田园居的清梦，尽显江乡夏日的静穆安闲。",[24,25,1099,28,7,65,35,34,61,64,571],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b30a7edaa0aac1a21f11cf6e484343d.jpg",[],{"id":35682,"slug":35683,"title":35684,"dynasty":177,"author":683,"museum":135,"description":20563,"tags":35685,"thumbUrl":35686,"material":292,"size":35687,"collection":127,"collections":35688,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},229029,"lu-hong-cao-tang-shi-zhi-tu-ce-wang-yuan-qi-229029","卢鸿草堂十志图册",[24,25,164,28,7,65,238,34,61,199,64,37,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b855412011780d4faf10c5428332274.jpg","约纵：29cm，横：29.5cm",[],{"id":35690,"slug":35691,"title":4175,"dynasty":177,"author":3760,"museum":119,"description":35692,"tags":35693,"thumbUrl":35694,"material":127,"size":127,"collection":127,"collections":35695,"showCount":327,"zanCount":961,"manualWeight":48,"mainColor":75},229015,"fang-gu-shan-shui-ce-wang-hui-229015","此作用浅绛糅合青绿设色，层层铺展山水意趣。近汀杂木错落，渔舟泛于清波，野意悠然；中景山峦叠翠，飞瀑自岩间垂落，山巅古寺隐于葱郁间，藏露得宜；远景江天浩渺，淡墨晕染远山，虚实相生。\n\n笔墨师法元人，皴擦细腻勾勒出山峦肌理，设色雅致柔和，既带着宋画山川的浑厚静穆，又晕染出江南水乡的温润灵秀，师古而不泥古，将仿古意趣与自然生机相融，尽显清丽雅逸的山水意境。",[24,25,164,7,28,65,318,319,63,62,34,239,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0e0cce94c65cffbabf3b95f530cab5.jpg",[],{"id":35697,"slug":35698,"title":35699,"dynasty":54,"author":1652,"museum":119,"description":35700,"tags":35701,"thumbUrl":35702,"material":127,"size":127,"collection":127,"collections":35703,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,25,26,28,7,29,65,66,67,101,318,319,165,583,372,347,12676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":35705,"slug":35706,"title":35707,"dynasty":54,"author":7355,"museum":119,"description":35044,"tags":35708,"thumbUrl":35709,"material":337,"size":937,"collection":127,"collections":35710,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},228854,"xun-yang-song-ke-tu-juan-wen-bo-ren-228854","浔阳送客图卷",[23,24,25,26,59,28,7,62,106,34,64,65,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5504d48b2948047af35986cb9bd270c8.jpg",[],{"id":35712,"slug":35713,"title":35714,"dynasty":54,"author":178,"museum":119,"description":35715,"tags":35716,"thumbUrl":35717,"material":127,"size":127,"collection":127,"collections":35718,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},228781,"fang-li-tang-bai-niu-tu-juan-yi-ming-228781","仿李唐百牛图卷","此作取景平远雅致，水岸林皋间意趣悠然。左侧群牛或立或卧，于浅滩闲散憩息，肌理厚重朴拙，憨态尽显。右侧童子策杖徐行，与近旁食草的牛只相映成趣，野逸生机扑面而来。\n\n林木皴染兼具苍劲与秀润，枯木虬枝疏密错落，新发柔条轻拂水岸，尽显春日郊野的清润之气。设色淡雅沉稳，赭石与墨色晕染出古绢沉静质感，追摹院体笔意又融入牧歌式恬淡，铺陈出物我相忘的山野闲趣，尽显旧朝牧放题材的风雅余韵。",[23,24,25,26,28,103,1586,3988,34,7,122,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e62a1ad2b0378e674fd4cb6fc02c2d3.jpg",[],{"id":35720,"slug":35721,"title":35722,"dynasty":54,"author":96,"museum":119,"description":35723,"tags":35724,"thumbUrl":35725,"material":337,"size":937,"collection":127,"collections":35726,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},228446,"mo-li-tang-zhong-jiang-die-zhang-tu-chou-ying-228446","摹李唐重江叠嶂图","绘大江高岭，长松红枫，游人往来于山中茅舍，一派江村深秋美景，览之忘世外之情。设色雅静，用笔精诣，是仇英传世摹古浅绛山水精品。",[23,24,25,26,29,28,122,7,2855,30,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5a57fdde2240683083bcc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在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 溪流的一角，两位高手俯视着飞泉，神采飞扬，神情陶醉。",[23,100,24,25,28,65,7,103,630,199,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9400dc5e0fc602c5191a698fc5fa38.jpg",[],{"id":35822,"slug":35823,"title":35824,"dynasty":18,"author":178,"museum":119,"description":35825,"tags":35826,"thumbUrl":35827,"material":127,"size":127,"collection":127,"collections":35828,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,100,24,25,2145,28,7,65,103,199,34,239,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":35830,"slug":35831,"title":35832,"dynasty":18,"author":178,"museum":119,"description":35833,"tags":35834,"thumbUrl":35836,"material":127,"size":127,"collection":127,"collections":35837,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},227361,"lou-guan-sha-ting-chui-diao-tu-yi-ming-227361","楼观沙汀垂钓图","在文人画里，一切都在情不自禁地轻轻飘动着。宋画是广阔的，岂止在视觉感受上，从题材、内容到形式都在自由组合中与审美达成了会心一笑似的默契和经典。宋画是现实的，就像刚刚从老庄的思想里走出，又误入了风景或花鸟的旋律。",[23,24,25,149,28,7,103,29,65,62,495,106,64,35835,61,373],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437e8c42c3072d6bf3d4366c3df1f44c.jpg",[],{"id":35839,"slug":35840,"title":14795,"dynasty":1051,"author":178,"museum":119,"description":35841,"tags":35842,"thumbUrl":35843,"material":127,"size":127,"collection":127,"collections":35844,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},227129,"gong-yuan-tu-juan-yi-ming-227129","《宫苑图》绘青山碧水之间，殿宇壮丽巍峨、行人络绎不绝的繁华盛景。画面以潺潺流水串联起星罗棋布的亭台楼阁，营造出一座精致华美的山水之城。该图“青绿为质，金碧为文”的笔法特色，以及在处理景物关系时的娴熟技巧，都是了解中国古代宫苑画如何走向成熟的重要参考。",[23,24,25,26,28,304,29,7,104,60,61,103,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb131de98f8b7428d587a3235aa38356b.jpg",[],{"id":35846,"slug":35847,"title":35848,"dynasty":177,"author":395,"museum":119,"description":35849,"tags":35850,"thumbUrl":35851,"material":127,"size":127,"collection":127,"collections":35852,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},224516,"shan-shui-tu-ce-8-kai-4-zhang-da-qian-jiu-cang-shi-tao-224516","山水图册8开-4-张大千旧藏","此作笔墨纵逸灵秀，近景矶石层叠错落，古松浓荫如盖，半山楼阁隐现其间，扁舟系于石畔，漾出静雅思致。水面留白悠远，远景以淡墨晕染平峦，淡青轻覆山尖，虚实相生间晕开江南水畔的清寂底色。\n\n笔意枯湿浓淡随性自然，将山林幽居的萧散野趣尽显无余，题书朴拙苍劲，与画境浑然相融，藏着寄情林泉的隐逸襟怀，寥寥数笔便勾勒出静穆淡远的诗意山水。",[23,24,59,28,164,65,7,62,63,165,64,167,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcb11f13f60708864df487319738a70.jpg",[],{"id":35854,"slug":35855,"title":35856,"dynasty":177,"author":395,"museum":119,"description":35857,"tags":35858,"thumbUrl":35859,"material":127,"size":127,"collection":127,"collections":35860,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},224503,"shan-shui-ce-kai-ba-shi-tao-224503","山水冊开(八)","此作用笔清润秀雅，以淡墨晕染远山，将春山笼在烟岚薄雾之中。江岸村落隐于林莽间，江渚渔舟系泊静卧，近岸茅舍错落，柔柳轻拂堤岸，浅赭淡绿敷色晕染，晕开春日融融暖意。\n\n右上题诗与画面相生，将江畔春景揉进诗意之中，简淡空灵间尽显田园意趣。笔墨简而意足，淡而弥厚，把江南春日的缱绻春深藏在浅淡晕染里，将乡野间恬然闲静的春日氛围铺陈开来，让观者仿若踏入这烟柳春江，沉醉在这份闲寂又充满生机的乡野春光中。",[23,24,25,164,59,28,65,66,101,7,62,61,35,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7cb140b5bf9176162a92b4b69e5d7.jpg",[],{"id":35862,"slug":35863,"title":35864,"dynasty":177,"author":3760,"museum":119,"description":35865,"tags":35866,"thumbUrl":35867,"material":127,"size":127,"collection":127,"collections":35868,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},224465,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-zhou-wang-hui-224465","倣李营丘江干七树图轴","此作用笔苍秀兼具，以枯淡之墨绘就寒林古木，虬枝如蟹爪舒张，苍松挺拔卓立，近景瀑流涓涓，旅人策蹇徐行，野意悠然。远景江水浩渺，远山以淡墨晕染，轻岚笼山，平远之境清旷空灵。\n画作师法前贤，糅合北派山水的雄浑与南宗温润雅致，将冬日江干的荒寒萧疏铺陈开来，萧寒之气与空阔江天相融，摹古却自出机杼，尽显平远山水的幽渺意境。",[23,24,25,7,149,122,65,59,64,125,583,61,62,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2b6e269a01d7966da987a19da3ed77.jpg",[],{"id":35870,"slug":35871,"title":35872,"dynasty":177,"author":15412,"museum":119,"description":35873,"tags":35874,"thumbUrl":35875,"material":127,"size":127,"collection":127,"collections":35876,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},224240,"tan-xue-tu-juan-li-zong-wan-224240","探雪图卷","此作用平远视角铺展林泉雅境，以披麻皴绘层峦，石骨温润，淡赭晕染出浅淡暖意，衬出山峦清和质感。长溪蜿蜒穿谷，汀渚错落板桥连缀村居，黛瓦茅庐或临水依崖，或藏于花林松荫。\n\n山径、板桥之上，雅士策杖寻幽、携琴晤谈，暗合林泉高致。桃林初绽、松枝苍劲，红白点缀浅绛山水之间，冷润雅致。全卷以精工细笔写尽山居闲旷，将文人心中的世外烟霞融于尺幅，尽显静谧悠然的林下意趣，淡远清和的气息漫卷整幅画卷。",[23,24,25,26,29,65,28,7,878,60,61,103,104,34,64,347,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff435c1018f07729175bd8cc1346e76e1.jpg",[],{"id":35878,"slug":35879,"title":35880,"dynasty":177,"author":28794,"museum":119,"description":35881,"tags":35882,"thumbUrl":35883,"material":127,"size":127,"collection":127,"collections":35884,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},224196,"yan-zi-ji-mo-chou-hu-er-jing-tu-quan-juan-wu-hong-224196","燕子矶莫愁湖二景图全卷","此作以全景长卷铺展金陵山水，分绘两处胜景：一侧是燕子矶危崖耸峙，江涛浩渺，帆樯往来，山坞村居错落于林木间，笔墨苍劲，尽显丘壑雄奇；一侧是莫愁湖烟水空濛，汀洲软碧，人家隐于柳岸，笔意清润尽揽湖山温婉。\n\n浅绛设色调和雅致，皴擦勾勒松秀苍逸，远近层次井然，将实景山水晕染出文人意趣。长题诗跋与书画相映，把凭吊幽怀寄于烟岚水色，书卷气漫溢全卷，尽显实景入画又抒情写意的绝妙风韵。",[23,24,25,26,59,7,65,318,319,32,64,34,2845,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F367d279b39c6d14e9d989d272bc2f3b3.jpg",[],{"id":35886,"slug":35887,"title":35888,"dynasty":80,"author":178,"museum":119,"description":35889,"tags":35890,"thumbUrl":35891,"material":127,"size":127,"collection":127,"collections":35892,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},223676,"qing-shan-bai-yun-juan-yi-ming-223676","青山白云卷","此作用淡墨轻岚绘就江南平远之景，山峦以披麻皴写就，淡赭晕染出温润秀雅的体态，层层铺展间尽显苍润空濛。近渚汀洲错落，林木萧疏简净，村舍隐于林下，渔翁孤棹泛波，寥寥数笔便将山居闲寂之意铺陈开来。\n\n朱红鉴藏印错落排布，与绢本水墨的淡逸形成鲜明冷暖对照，暗合古画递藏的悠悠往昔。全作用笔松秀空灵，以简驭繁摒去雕琢，尽显文人山水的清逸意趣，将春日烟岚轻笼的世外丘壑定格，可卧游其中，于疏淡静穆里细品江南山水的淡远生机。",[24,25,26,28,7,65,318,34,1815,103,305,1674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6951f9724f236be0a1928cf7f43983d.jpg",[],{"id":35894,"slug":35895,"title":35896,"dynasty":18,"author":178,"museum":20,"description":35897,"tags":35898,"thumbUrl":35899,"material":87,"size":35900,"collection":127,"collections":35901,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},223567,"xi-shan-shui-ge-tu-ye-yi-ming-223567","溪山水阁图页","此幅绘溪水寒林，峭壁危岩，远山空濛，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[23,24,59,28,7,104,60,61,372,64,101,304,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d0e302f06c57c4580f073851fafef4.jpg","24.2x24.7厘米",[],{"id":35903,"slug":35904,"title":35905,"dynasty":177,"author":2620,"museum":20,"description":9519,"tags":35906,"thumbUrl":35907,"material":40,"size":9522,"collection":127,"collections":35908,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},223287,"shan-shui-si-tiao-ping-yang-zhou-si-jing-ping-liu-yong-pu-yuan-yao-223287","山水四条屏-扬州四景-平流涌瀑",[23,24,304,29,28,65,7,104,61,199,63,34,62,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3290d1cf44a39db7be0b227db2e1c5.jpg",[],{"id":35910,"slug":35911,"title":35912,"dynasty":177,"author":5768,"museum":20,"description":12800,"tags":35913,"thumbUrl":35914,"material":12803,"size":12804,"collection":127,"collections":35915,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},223139,"shi-wan-tu-ce-3-ren-xiong-223139","十万图册3",[23,100,24,25,164,27,28,7,37,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aeb50154d506f2c841a50d34007f7fa.jpg",[],{"id":35917,"slug":35918,"title":35919,"dynasty":177,"author":5768,"museum":20,"description":12800,"tags":35920,"thumbUrl":35921,"material":12803,"size":12804,"collection":127,"collections":35922,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":10894},223138,"shi-wan-tu-ce-2-ren-xiong-223138","十万图册2",[23,24,28,27,164,7,60,61,64,34,16652,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa311e26ff691a0434dbe5bba9651f404.jpg",[],{"id":35924,"slug":35925,"title":35926,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":35927,"thumbUrl":35928,"material":87,"size":15463,"collection":127,"collections":35929,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},222998,"hong-lou-meng-123-sun-wen-222998","红楼梦123",[23,24,29,28,304,8207,103,104,60,61,7,34,6300,64,559,3695,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3d2b2bd82d67d2ccc6c16c249509af.jpg",[],{"id":35931,"slug":35932,"title":35933,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":35934,"thumbUrl":35939,"material":87,"size":15463,"collection":127,"collections":35940,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},222949,"hong-lou-meng-74-sun-wen-222949","红楼梦74",[23,24,29,28,304,103,104,559,7,34,64,3695,19595,278,15459,35935,35936,35937,35938],"远景山水","近景树木","庭院栏杆","假山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1b1748c99a26d06efa29fd5321b683.jpg",[],{"id":35942,"slug":35943,"title":35944,"dynasty":177,"author":10955,"museum":20,"description":27529,"tags":35945,"thumbUrl":35946,"material":40,"size":27532,"collection":127,"collections":35947,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},222866,"shi-gong-ci-tu-ce-05-leng-mei-222866","十宫词图册05",[23,29,28,103,104,7,583,3695,5034,559,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd02b3914629137d173dd81a062ecfd.jpg",[],{"id":35949,"slug":35950,"title":394,"dynasty":177,"author":29345,"museum":119,"description":35951,"tags":35952,"thumbUrl":35953,"material":349,"size":35954,"collection":308,"collections":35955,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},222828,"shan-shui-tu-ce-zhang-feng-222828","张风：（？─公元一六六二年），风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理，他曾说：“画要近看好，远看又好，盖近看看小节目，远看看大片段。画多有近看佳，而远看不佳者，是大片段难也”。传世作品有《诸葛亮像》轴，辑入《故宫名画三百种》﹔《观瀑图》轴，现藏上海博物馆﹔《赏枫图》轴，藏日本奈良大和文华馆﹔《为北觐写山水册》，《嗅菊图》轴，均辑入《中国绘画史图录》下册。能诗词，创作有《双镜庵诗钞》、《上药亭诗余》。还有《论画简四通辑》入周亮工《尺牍新钞》",[23,24,59,7,607,125,103,164,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f9aa7a8475d5b551675e8164c13572c.jpg","15.4x22.9厘米",[308],{"id":35957,"slug":35958,"title":35959,"dynasty":54,"author":35960,"museum":1542,"description":35961,"tags":35962,"thumbUrl":35963,"material":87,"size":35964,"collection":71,"collections":35965,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":49},222575,"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[23,24,25,2484,28,7,2127,62,583,347,167,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[71],{"id":35967,"slug":35968,"title":1651,"dynasty":54,"author":12357,"museum":20,"description":35969,"tags":35970,"thumbUrl":35971,"material":35972,"size":35973,"collection":127,"collections":35974,"showCount":327,"zanCount":48,"manualWeight":48,"mainColor":75},222429,"shan-shui-tu-li-zhou-li-yong-chang-222429","李永昌（生卒年不详），主要活动于明崇祯元年戊辰(公元1628年)至清顺治元年甲申(公元1644年)之司。字周生，号黄海。休宁皂荚树下村人。家境殷实，多藏古物；游历甚广，善于书画。诗亦超迈，著有《画响姜绍书》、《无声诗史》赞其音调清越，阐扬画理与董其昌齐名，是新安四家汪之瑞的老师。画近宗黄子久，远追董巨、二米等南宋诸家，善用董巨山势结构结合米点铺染，并能将沈周的雄浑劲厚和倪瓒的逸笔草草演绎为墨法沉重、生气勃勃的特质。",[23,24,59,65,149,7,318,319,165,63,239,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714cf7213aa4d3425ff5eb21e577c96b.jpg","纸本设色画","101x 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周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,24,103,28,125,7,11310,2394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9ce9b5b5499701d91ac08f9b00b615.jpg",[],{"id":36285,"slug":36286,"title":11249,"dynasty":80,"author":1410,"museum":119,"description":36287,"tags":36288,"thumbUrl":36290,"material":337,"size":937,"collection":127,"collections":36291,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},289012,"jia-he-ba-jing-tu-wu-zhen-289012","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。",[23,100,24,26,25,59,7,167,104,60,61,63,106,35,34,66,101,67,19975,36289],"水乡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fc8353ae0102fb4a9641a461d079bf.jpg",[],{"id":36293,"slug":36294,"title":36295,"dynasty":177,"author":15454,"museum":119,"description":17511,"tags":36296,"thumbUrl":36297,"material":337,"size":937,"collection":127,"collections":36298,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},288376,"jia-zheng-you-da-guan-yuan-tu-jing-qi-sun-wen-288376","贾政游大观园图景七",[23,24,100,29,28,27,103,7,104,61,102,6300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e804dbcfcaa26e9341270ec2c4ac608.jpg",[],{"id":36300,"slug":36301,"title":36302,"dynasty":177,"author":15454,"museum":119,"description":17511,"tags":36303,"thumbUrl":36306,"material":337,"size":937,"collection":127,"collections":36307,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},288374,"qing-geng-feng-seng-dao-tan-wan-shi-sun-wen-288374","青埂峰僧道谈顽石",[23,24,28,27,103,7,61,583,64,36304,36305,29],"僧道","顽石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444c567ccb78cbe1acb63286caa254ff.jpg",[],{"id":36309,"slug":36310,"title":36311,"dynasty":811,"author":20969,"museum":119,"description":31522,"tags":36312,"thumbUrl":36314,"material":337,"size":937,"collection":127,"collections":36315,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},288267,"yan-ai-qiu-she-tu-zhou-zhao-gan-288267","烟霭秋涉图轴",[23,100,24,149,59,7,65,372,64,103,4998,36313],"涉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f41603a217be642ab6b5d58c51d57e2.jpg",[],{"id":36317,"slug":36318,"title":16562,"dynasty":177,"author":16563,"museum":119,"description":36319,"tags":36320,"thumbUrl":36321,"material":337,"size":937,"collection":127,"collections":36322,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},288213,"shan-yin-cao-tang-tu-xu-gu-288213","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[23,24,25,26,59,7,1458,34,37,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f7f94852af7e7a30ef59206740d623.jpg",[],{"id":36324,"slug":36325,"title":36326,"dynasty":54,"author":178,"museum":119,"description":36327,"tags":36328,"thumbUrl":36329,"material":337,"size":937,"collection":127,"collections":36330,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},288157,"fang-song-ren-xue-shan-xing-lv-tu-li-zhou-yi-ming-288157","仿宋人雪山行旅图立轴","此作用笔苍劲老辣，以层层积墨晕染出冰封雪裹的寒山，嶙峋怪石棱角分明，积雪似凝脂覆于崖巅，留白与墨色相生，晕出山坳间的濛濛寒雾。古松虬曲苍劲，枝干擎着薄雪，于冷寂中透出倔强生机。\n\n山径间踽踽独行的旅人，为这片阒寂雪境添上一缕烟火气，反衬出天地空阔荒寒。整幅画将冬山的凛冽清旷铺陈开来，静穆中藏着深幽的山水意趣，尽显萧寒孤远的冬日山野之美。",[23,24,100,149,7,122,59,878,583,64,334,200,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2231d82e879c9de295b72e33f2816647.jpg",[],{"id":36332,"slug":36333,"title":36334,"dynasty":54,"author":368,"museum":119,"description":34102,"tags":36335,"thumbUrl":36336,"material":337,"size":937,"collection":127,"collections":36337,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},288041,"bei-yuan-shan-shui-song-shan-wen-dao-tu-li-zhou-lan-ying-288041","北苑山水松山问道图立轴",[23,24,149,7,28,103,125,61,239,413,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3fa328298498dc290bc922f3fbf306.jpg",[],{"id":36339,"slug":36340,"title":36341,"dynasty":177,"author":25644,"museum":119,"description":25645,"tags":36342,"thumbUrl":36343,"material":337,"size":937,"collection":127,"collections":36344,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},288030,"tian-ping-shan-jing-tu-wang-bing-288030","天平山景图",[24,100,25,149,59,7,60,61,104,125,64,101,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab36ff244ad3ea89c6dfff1f443d59e.jpg",[],{"id":36346,"slug":36347,"title":36348,"dynasty":177,"author":219,"museum":119,"description":36349,"tags":36350,"thumbUrl":36351,"material":337,"size":937,"collection":127,"collections":36352,"showCount":214,"zanCount":48,"manualWeight":48,"mai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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[23,24,149,59,103,7,125,264,61,1522,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68e29611b387c6a662fb3dbadc9ec9a.jpg",[],{"id":36354,"slug":36355,"title":6157,"dynasty":54,"author":2842,"museum":119,"description":12412,"tags":36356,"thumbUrl":36357,"material":337,"size":937,"collection":127,"collections":36358,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},287861,"shan-shui-tu-ye-zhang-hong-287861",[23,100,24,7,61,238,34,65,28,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda5fe75184c121f92c524d109737692.jpg",[],{"id":36360,"slug":36361,"title":36362,"dynasty":54,"author":4986,"museum":119,"description":24998,"tags":36363,"thumbUrl":36364,"material":337,"size":937,"collection":127,"collections":36365,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},287778,"si-shi-shan-shui-zhi-dong-jing-wu-wei-287778","四时山水之冬景",[23,24,59,7,149,9410,372,64,103,335,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f9a530c4bb5dddcfe3b8cffba615fb.jpg",[],{"id":36367,"slug":36368,"title":36369,"dynasty":177,"author":5740,"museum":119,"description":14772,"tags":36370,"thumbUrl":36371,"material":337,"size":937,"collection":127,"collections":36372,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},287763,"fang-yun-lin-shan-shui-cha-shi-biao-287763","仿云林山水",[24,59,7,149,122,66,101,372,63,7043],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad3e85835ca1b452c5ebd01bb0bc60c.jpg",[],{"id":36374,"slug":36375,"title":36376,"dynasty":177,"author":36377,"museum":119,"description":36378,"tags":36379,"thumbUrl":36380,"material":337,"size":937,"collection":127,"collections":36381,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},287744,"hu-zong-xin-wu-yun-zhao-xiang-zhou-ceng-jing-287744","胡宗信吴允兆像轴","曾鲸","字波臣，福建莆田人，中国明代画家。一生往来江浙一带，为人写真。擅画肖像，在继承粉彩渲染传统技法的同时，汲取西洋画的某些手法，形成注重墨骨，层层烘染，立体感强的独特画法。所画人物肖像强调观察体会，抓住最动人处，精心描绘，尤注重点睛，形象逼真，栩栩如生，有“如镜取影，俨然如生”之誉，从学者甚众，遂形成“波臣派”。",[100,24,149,103,28,7,583,64,5387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0779e0b3b649faf73945c53612e4312.jpg",[],{"id":36383,"slug":36384,"title":36385,"dynasty":80,"author":36386,"museum":135,"description":36387,"tags":36388,"thumbUrl":36389,"material":169,"size":36390,"collection":127,"collections":36391,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},287534,"qiu-lin-xiao-yin-zhou-tao-fu-chu-287534","秋林小隐轴","陶复初","陶复初，字明本，号介轩，元中叶石曲人。",[24,100,25,149,59,65,7,1389,64,34,32653,61,26229,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048eda2176d397062069842db746f8cb.jpg","70x28.7",[],{"id":36393,"slug":36394,"title":36395,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":36396,"thumbUrl":36397,"material":337,"size":937,"collection":127,"collections":36398,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},283707,"zeng-xin-yu-shan-shui-tu-shan-ye-dong-qi-chang-283707","赠新宇山水图扇页",[100,24,25,2484,59,7,64,34,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5d0753015bd0727248f3ec76ad1bae.jpg",[],{"id":36400,"slug":36401,"title":36402,"dynasty":177,"author":178,"museum":119,"description":36403,"tags":36404,"thumbUrl":36406,"material":337,"size":937,"collection":127,"collections":36407,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},272844,"mu-zuo-qing-yu-shen-zhou-shan-cun-tu-cha-ping-yi-ming-272844","木座青玉沈周山村图插屏","此插屏取青玉分幅拼接成图，巧借玉料天然水色纹理晕染出江南山村林居之景，淡浅石色如濛濛烟岚漫过山丘林樾，将文人山水的悠远意境复刻于玉上，天然肌理与笔墨意趣相融无间。\n\n深褐木座浮雕缠卷草纹，层层环绕古雅沉静，与清润玉色相衬，沉穆木质中和玉石的清透，让画中山居烟霭愈发悠远宁和。以玉为纸，将文人画意凝于温润玉质间，尽显案头清赏的雅致格调。",[27156,11989,7,27155,36405],"插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d31ea04b482d0ab697166df7f8e7f7.jpg",[],{"id":36409,"slug":36410,"title":36411,"dynasty":177,"author":21804,"museum":119,"description":22683,"tags":36412,"thumbUrl":36413,"material":127,"size":127,"collection":45,"collections":36414,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":379},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-tu-juan-hong-wu-239381","弘旿廓尔喀进象马图卷",[23,24,25,26,28,7,29,103,335,9197,34,64,37,35,201,101,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[45],{"id":36416,"slug":36417,"title":29674,"dynasty":54,"author":27326,"museum":119,"description":36418,"tags":36419,"thumbUrl":36420,"material":127,"size":127,"collection":71,"collections":36421,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},239225,"ju-jie-shan-shui-zhou-ju-jie-239225","居节(约1524-1585后)〔明〕字士贞，一作贞士，号商谷、西昌逸士，吴县(今江苏苏州)人。少时从文嘉学画，文徵明见其运笔，惊喜之余，遂授以法，为文徵明高足弟子。所作山水意象简远，有来人韵致，字与诗亦自师门来。尚气节，虽贫困只以丹青自娱，不屑仰事侯门。晚年因触犯织造太监孙隆，家破，在苏州虎丘南村僦屋数间，仍萧然自适。或绝粮，则旦起写《疏松远岫》一轴，令童子易米以炊，后竟以穷死。后人珍视其画，认为可与朱朗、侯懋功相颉颃。传世作品有隆庆二年(1568)作《品泉诗意图》，图录于《中国名画》；万历二年(1574)作《松荫观瀑图》轴、十一年(1583)作《云岚松色图》卷现藏故宫博物院；《万松小筑图》轴藏上海博物馆；嘉靖四十年(1561)作《潮满春江图》轴藏镇江市博物馆；万历九年(1581)作《松壑高闲图》轴藏香港虚白斋。能诗，著有《牧豕集》。《明画录》卷四谓其：“年六十，竞以穷死。”",[100,24,25,149,59,65,7,64,34,372,35,533,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9bf572940e82f9e72b15c28a474de.jpg",[71],{"id":36423,"slug":36424,"title":36425,"dynasty":177,"author":19508,"museum":119,"description":36426,"tags":36427,"thumbUrl":36428,"material":127,"size":127,"collection":71,"collections":36429,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},239194,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239194","三大名山十二图册","此帧以渴笔焦墨写就山林丘壑，奇崛峰峦以短皴勾勒，尽显山石嶙峋质感，溪岸林木错落生姿，幽谷间屋舍隐现，铺陈出荒寒清寂的山居雅境。左侧行书题跋笔意萧散灵动，书画合璧，以文释意。笔墨间寄寓着画家疏离尘俗、安贫守节的隐逸襟怀，将遗民文人静守林泉的淡泊心境融于尺幅之间，是文人山水画中以意驭笔、以画明志的佳作，尽显乱世之中文人的精神归处。",[24,25,164,59,7,34,64,583,278,65,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3c923c0a1173967369105dfabce1a.jpg",[71,45],{"id":36431,"slug":36432,"title":159,"dynasty":177,"author":36433,"museum":119,"description":36434,"tags":36435,"thumbUrl":36436,"material":127,"size":127,"collection":71,"collections":36437,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},239005,"shan-shui-ce-li-dong-239005","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,25,164,28,59,65,7,60,61,63,34,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa001791b78be3d3dbb1d84c29775c.jpg",[71,45],{"id":36439,"slug":36440,"title":36441,"dynasty":18,"author":2213,"museum":119,"description":36442,"tags":36443,"thumbUrl":36444,"material":127,"size":127,"collection":127,"collections":36445,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},238957,"guan-shan-ji-xue-tu-ye-yan-su-238957","关山积雪图页","层峦素雪覆裹，棱脉以淡墨皴擦晕染，将隆冬山巅的萧寒厚重尽显。枯木虬枝错落山间，褪去芳华尽显遒劲风骨，山坳茅舍隐现板桥通途，车马徐行于雪径，为冷寂天地晕开些许烟火暖意。\n\n右上林峦间佛塔藏幽，左上危崖栈道飞桥凌虚，为山水添出世清寂。整作设色古雅简澹，以赭石托出积雪留白，融全景山势的辽远与边角意趣于一体，在荒寒冬景里暗渡生息，尽显于萧寒中暗藏温柔生机的山水意韵。",[24,28,65,2145,7,318,6850,372,60,61,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f78e16e9053b9cf2cbd0db2de712553.jpg",[],{"id":36447,"slug":36448,"title":24055,"dynasty":177,"author":3760,"museum":119,"description":36449,"tags":36450,"thumbUrl":36451,"material":127,"size":127,"collection":71,"collections":36452,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},238947,"shan-shui-ye-wang-hui-238947","图绘万壑千岩、草木葱茏、瀑布高悬直泻的江南风光。王翚约16岁师从同邑张珂学画时，就以元黄公望（号井西道人）的笔墨为宗，刻苦摹学始终不怠。此图是他早年学黄氏画法的代表作。图中山石以赭色和绿色交替晕染，学黄氏用纵线的披麻皴皴擦石面，笔势潇洒而秀润。其石边缘上的苔点要比黄氏的更为繁密，排列整齐的苔点，给高崖峻壑增添了青绿之美，同时，它与以卧笔横点表现的树叶，形成点与点的呼应，全图在“点”的统一下，具有湿润华滋的艺术效果。",[24,25,59,28,65,164,7,34,60,61,106,64,12666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8241595b412879fd3462585f1b6fb1.jpg",[71,45],{"id":36454,"slug":36455,"title":15402,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":36456,"thumbUrl":36457,"material":127,"size":127,"collection":127,"collections":36458,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},238828,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238828",[24,100,25,28,65,164,7,61,102,34,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffddea088478d06d513f1a02eba3dd2.jpg",[],{"id":36460,"slug":36461,"title":36462,"dynasty":54,"author":178,"museum":119,"description":36463,"tags":36464,"thumbUrl":36465,"material":337,"size":937,"collection":127,"collections":36466,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},238578,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238578","明人升平翊赞图并书赞册","此作以工笔重彩绘就，设色浓妍饱满。青绿浪涛间晕染粉黄祥云，层次绵密铺展出神幻水境。右侧水府门庭威严矗立，赤甲神人持械守立；左侧仙官乘骑率众列队，仪仗整肃齐整，衣甲纹饰刻画入微，旌旗猎猎尽显仪典庄重。\n画作以叙事构图铺陈海神受贺的吉庆盛景，神人形象刚劲饱满，将神异世界的肃穆祥瑞融于一体，尽显道释绘画的精工富丽，勾勒出天界水府的恢弘气象。",[24,164,29,28,103,335,181,7,37,104,6756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3fa2435db481017698d178d3cf926d.jpg",[],{"id":36468,"slug":36469,"title":36470,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":36471,"thumbUrl":36472,"material":127,"size":127,"collection":71,"collections":36473,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},238414,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238414","董诰蓬壶荟胜图册",[24,28,7,164,65,238,34,35,62,37,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b57bd7c4262f4b634c1cac62844ecf.jpg",[71,45],{"id":36475,"slug":36476,"title":36477,"dynasty":54,"author":178,"museum":119,"description":36478,"tags":36479,"thumbUrl":36480,"material":337,"size":937,"collection":127,"collections":36481,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},237926,"yuan-shang-tong-sui-chao-tu-zhou-yi-ming-237926","袁尚统岁朝图轴","烟霭笼着远山如浅黛晕开，古松虬劲拔起，撑开一片冬日清寂。枯木错落在庭院之间，屋舍内宾主围坐叙谈暖意融融，院外孩童嬉闹穿梭，将年节的鲜活烟火揉进冬景里。石桥横卧水畔，把远岫寒水和热闹院舍牵作一处。\n\n笔墨轻淡晕染山水空濛，枯枝干皴细致苍劲，人物衣色清雅鲜亮，将冬日萧寒与岁朝团圆的温情相融。静穆淡远的山水意趣，揉进俗世年关的鲜活意态，冷色调的冬景晕开融融年味，雅致文气与人间烟火相映成趣。",[24,25,149,28,29,65,7,103,104,34,559,167,37,35,2833,4828,372,583,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],{"id":36483,"slug":36484,"title":159,"dynasty":177,"author":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横50厘米",[],{"id":36880,"slug":36881,"title":36882,"dynasty":18,"author":3909,"museum":119,"description":36883,"tags":36884,"thumbUrl":36885,"material":87,"size":36886,"collection":127,"collections":36887,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[23,24,25,26,29,28,103,335,3988,7,34,6756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":36889,"slug":36890,"title":36891,"dynasty":54,"author":36892,"museum":135,"description":36893,"tags":36894,"thumbUrl":36895,"material":69,"size":36896,"collection":71,"collections":36897,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[23,24,25,149,59,7,65,64,199,34,35,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[71],{"id":36899,"slug":36900,"title":36901,"dynasty":54,"author":4764,"museum":424,"description":36902,"tags":36903,"thumbUrl":36904,"material":87,"size":36905,"collection":127,"collections":36906,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[100,24,25,149,59,65,7,34,372,64,199,201,532,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":36908,"slug":36909,"title":36910,"dynasty":54,"author":36911,"museum":424,"description":36912,"tags":36913,"thumbUrl":36916,"material":349,"size":36917,"collection":127,"collections":36918,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},231936,"fang-gao-ke-gong-shan-shui-tu-tao-hong-231936","仿高克恭山水图","陶泓","图绘云山峻岭，大气磅礴，山林滃郁，流泉潺湲。一高士过桥而回首观水，喻”智者乐水“之意。全幅用高尚书笔意而润密过之。 陶泓，字士泉，号砚山，生平无考。",[23,24,25,100,149,59,7,5099,36914,6923,61,60,103,122,65,36915],"峻岭","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":36920,"slug":36921,"title":36922,"dynasty":54,"author":12464,"museum":135,"description":36923,"tags":36924,"thumbUrl":36925,"material":349,"size":36926,"collection":127,"collections":36927,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,26,59,7,65,66,67,101,64,34,61,60,63,103,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":36929,"slug":36930,"title":36931,"dynasty":54,"author":1652,"museum":119,"description":15923,"tags":36932,"thumbUrl":36933,"material":127,"size":127,"collection":127,"collections":36934,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,24,25,26,59,65,67,101,7,199,34,64,63,62,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":36936,"slug":36937,"title":36938,"dynasty":54,"author":36939,"museum":424,"description":36940,"tags":36941,"thumbUrl":36942,"material":349,"size":36943,"collection":127,"collections":36944,"showCount":214,"zanCount":961,"manualWeight":48,"mainColor":49},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[23,24,28,65,149,7,199,63,34,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 x 38.1cm",[],{"id":36946,"slug":36947,"title":36948,"dynasty":54,"author":178,"museum":20,"description":36949,"tags":36950,"thumbUrl":36951,"material":40,"size":36952,"collection":127,"collections":36953,"showCount":214,"zanCount":961,"manualWeight":48,"mainColor":49},231357,"xuan-de-xing-le-tu-yi-ming-231357","宣德行乐图","明代宫廷绘画中有一类表现帝王生活和重大历史事件的作品。此幅描绘明宣宗朱瞻基便服檐帽在御园观赏各种体育竞技表演的场面。画面上从右至左依次为射箭、蹴踘、马球、捶丸、投壶，场面宏大繁复而又具体入微，生动地表现出当时宫中的文体娱乐活动。由于要反映特定的地点和环境，所以描绘了大量的建筑。此卷以工整细腻的写实手法按照历史原貌对明代皇宫的楼台殿阁作了荚绘实又概括的描绘，是研究明代宫廷历史以及皇家建筑的重要资料。",[24,100,28,29,103,335,106,5474,34,7,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd15889dcb5d2ea930aa35fbfdc5d7e.jpg","纵36.7cm，横690cm",[],{"id":36955,"slug":36956,"title":36957,"dynasty":177,"author":36958,"museum":556,"description":36959,"tags":36960,"thumbUrl":36961,"material":11572,"size":36962,"collection":127,"collections":36963,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[23,24,59,149,7,65,122,60,61,63,125,30,199,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","110cmx55cm",[],{"id":36965,"slug":36966,"title":8218,"dynasty":18,"author":744,"museum":135,"description":36967,"tags":36968,"thumbUrl":36969,"material":243,"size":8223,"collection":127,"collections":36970,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},230965,"yao-chi-xian-shou-tu-liu-song-nian-230965","人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,100,24,25,29,28,7,103,104,583,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcf0da55e5064051ab60329ab404823.jpg",[],{"id":36972,"slug":36973,"title":36974,"dynasty":80,"author":178,"museum":119,"description":36975,"tags":36976,"thumbUrl":36978,"material":127,"size":127,"collection":127,"collections":36979,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},230922,"jiang-cheng-ye-po-tu-yi-ming-230922","江城夜泊图","此作用淡墨晕染出夜色江天，远山隐在朦胧烟霭之中，虚渺苍茫，将夜的空寂晕染开来。江面舟船错落排布，屋舍、桅杆细节宛然，朴拙写实又不失写意松弛。淡墨轻扫江面，微波暗藏，静中藏动。\n\n没有星月铺陈，却处处浸着夜的宁谧，泊舟暂歇的安然藏在错落舟楫之间，带着元画特有的简淡萧散气质。寥寥笔墨便将羁旅的淡寂揉入江南夜色，仿佛能听见细浪拍舷，触到晚风裹着的水汽凉意，以简驭繁，把江城夜色的柔静与行旅安闲融成清寂悠远的诗画意境。",[24,2484,59,65,7,2845,36977,278,2855],"桅杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79119bd59edd2dd5c8ff285ff75b5330.jpg",[],{"id":36981,"slug":36982,"title":36983,"dynasty":8332,"author":23448,"museum":119,"description":23449,"tags":36984,"thumbUrl":36985,"material":337,"size":937,"collection":127,"collections":36986,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},230588,"jiang-hu-shi-dai-xi-hu-chun-jing-tu-ping-feng-chi-da-ya-230588","江户时代 西湖春景图屏风",[24,25,149,59,65,7,63,34,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3125c5c3370cc69ab3b9f3786836eea.jpg",[],{"id":36988,"slug":36989,"title":36990,"dynasty":8332,"author":178,"museum":119,"description":36991,"tags":36992,"thumbUrl":36993,"material":337,"size":937,"collection":127,"collections":36994,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},230530,"gu-hua-mo-ben-xia-gui-deng-tu-juan-yi-ming-230530","古画模本（夏圭等图卷）","此卷分两处景致，左端冷月悬于寒空，孤梅瘦枝横斜水岸，江石清寂，恍见幽人凭立，萧寒淡远，尽得隐逸清疏之致。右端以没骨法绘白花柔枝，晕染轻透，花瓣莹润如凝霜雪，浅蓝枝叶衬出雅致隽秀。旁题行书小诗，诗画相融，笔意简淡却藏雅人幽情，将爱花赏梅的闲逸心境织入笔墨，清寂空濛与柔婉清雅相映，尽显古典雅致的文人情致。",[23,24,25,26,28,29,1249,7,103,165,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea6b17bd705e743fcc1bac8c1e8fa4d.jpg",[],{"id":36996,"slug":36997,"title":36998,"dynasty":8332,"author":36999,"museum":119,"description":37000,"tags":37001,"thumbUrl":37002,"material":337,"size":937,"collection":127,"collections":37003,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},230490,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-er-ping-yun-gu-deng-yan-230490","安土桃山 山水图屏风-第二屏","云谷等颜","云谷等颜（1547～1618）画家。初学狩野派，后学雪舟水墨画。",[23,24,25,59,7,62,65,8336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2406d05eb8ab3e40711e141a4a8b0f6.jpg",[],{"id":37005,"slug":37006,"title":37007,"dynasty":8332,"author":787,"museum":119,"description":37008,"tags":37009,"thumbUrl":37010,"material":127,"size":127,"collection":127,"collections":37011,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},230485,"chang-hen-ge-tu-juan-shi-qi-shi-ji-xia-juan-shou-ye-shan-xue-230485","长恨歌图卷十七世纪（下卷）","此作用青绿浅绛敷色，复刻出盛唐帝妃苑囿盛景。亭台层叠错落，斗拱飞檐尽现古建规制，朱红、石青与黛瓦相映，尽显皇家苑囿的恢宏华贵。\n\n山峦云雾环伺宫宇，侍从仪仗整肃排布，帝妃衣袂翩然，或凭栏观览，或游赏宴饮，细碎笔触将《长恨歌》里骊宫盛景具象化，处处可见诗中缱绻日常与雍容气象。全卷笔墨工细雅致，布景疏密得宜，将盛世风华融于长卷，古韵悠然，尽显摹写中国古画的精妙造诣。",[23,26,29,28,304,103,104,7,60,61,63,34,978,438,37,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a21bc527443be8d54d48f5ae87ae103.jpg",[],{"id":37013,"slug":37014,"title":37015,"dynasty":177,"author":1825,"museum":119,"description":9266,"tags":37016,"thumbUrl":37017,"material":337,"size":937,"collection":127,"collections":37018,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},230196,"shan-shui-qing-yin-tu-ce-wang-jian-230196","山水清音图册",[24,25,164,7,65,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb2f0ceb447a93b509790441983584e.jpg",[],{"id":37020,"slug":37021,"title":37022,"dynasty":177,"author":1825,"museum":119,"description":37023,"tags":37024,"thumbUrl":37025,"material":127,"size":127,"collection":127,"collections":37026,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},230195,"fang-gu-shan-shui-ce-yi-wang-jian-230195","仿古山水册一","此作用色清雅柔润，以披麻皴绘出山峦起伏肌理，敷色温润秀雅，淡染出层叠山势的虚实层次。\n\n近岸屋舍隐于苍林之下，古木森秀，枝叶苍润；中景板桥横跨水渚，渔人泛于清波，谷壑间雾气轻漫，晕开远近景深，远景峰岫含翠，淡远空灵。\n\n整体恬静安谧，将文人幽居理想融于尺幅，笔致沉稳工细，明丽设色却无艳俗之感，尽显仿古山水的雅致格调，观之如临幽林静渚，尘虑尽消。",[24,25,164,28,7,65,122,101,60,61,34,238,35,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371b62bc0f3bc1935cd4ac5a11e90071.jpg",[],{"id":37028,"slug":37029,"title":37030,"dynasty":177,"author":3760,"museum":119,"description":37031,"tags":37032,"thumbUrl":37033,"material":127,"size":127,"collection":127,"collections":37034,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},229021,"mei-xi-gao-yin-tu-zhou-wang-hui-229021","梅溪高隐图轴","此作分上下两境，上段以高远之法绘危崖层叠，飞瀑穿谷而出，淡墨晕开岚气，写尽空山岑寂萧寒之态。下段平溪绕舍，古松虬曲、疏柳映水，茅庐临水而建，尽显林泉幽居的恬然意趣。\n画作以诗入画，呼应高隐主题，笔墨糅合南北画派之所长，干笔皴擦勾勒山石苍劲肌理，湿墨晕染铺就空蒙烟霭，简淡秀雅的笔触间，将文人寄迹林泉、避世高隐的悠然襟怀尽藏其中，尽显清逸出尘的山水画意境。",[23,24,25,149,59,65,7,199,583,35,34,64,201,238,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca3a61d052a38131a79f29061e44005.jpg",[],{"id":37036,"slug":37037,"title":37038,"dynasty":54,"author":178,"museum":119,"description":37039,"tags":37040,"thumbUrl":37041,"material":127,"size":127,"collection":127,"collections":37042,"showCount":214,"zanCount":961,"manualWeight":48,"mainColor":33283},228790,"yan-he-qing-hui-ce-yi-ming-228790","岩壑清晖册","此作用笔秀润淡逸，以柔缓皴染晕出山峦烟岚，将远山融在朦胧霭气之中，虚实相生，铺展出幽远空寂的天地。近景苍树虬劲蓊郁，旁侧修竹亭亭，与山居茅檐相映成趣。\n\n廊下士人斜卧凭栏，似在静听竹风，阶侧童子敛声侍立，寥寥数笔便勾勒出林下幽居的松弛意态。淡赭绢底晕出古雅暖意，整幅画将林泉高致的文人心境藏在笔墨之间，以清简构图传递出萧散闲雅的山居意趣，尽显幽栖丘壑、寄情烟霞的林下风流。",[24,100,25,164,28,29,65,7,63,630,165,104,103,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d18bef70057de2123fbe18762c9072.jpg",[],{"id":37044,"slug":37045,"title":37046,"dynasty":54,"author":27396,"museum":119,"description":37047,"tags":37048,"thumbUrl":37049,"material":127,"size":127,"collection":127,"collections":37050,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[23,24,25,26,59,67,101,66,7,103,413,630,264,63,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":37052,"slug":37053,"title":909,"dynasty":54,"author":2453,"museum":119,"description":37054,"tags":37055,"thumbUrl":37056,"material":127,"size":127,"collection":127,"collections":37057,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},228383,"shan-shui-tu-liu-jue-228383","此作用披麻皴晕染江南丘壑，山峦平缓温润，苍松杂木错落于坡石之间，笔墨苍厚松灵，带着吴门画派特有的萧散意趣。淡墨轻烘出烟雨空蒙的氛围，溪谷蜿蜒隐现于林木山石间，尽显吴中山水的温润雅致。\n画作带着文人画的清幽品格，将林泉高致的隐逸心境藏于笔墨间，师法前贤又自出清澹之格，把江南山野的沉静雅致铺陈开来，是兼具笔墨意趣与人文情志的佳构。",[23,24,25,26,59,65,66,67,101,7,34,64,238,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea50e787329b0ad288fa2056b6b465b.jpg",[],{"id":37059,"slug":37060,"title":37061,"dynasty":54,"author":9184,"museum":119,"description":37062,"tags":37063,"thumbUrl":37064,"material":127,"size":127,"collection":127,"collections":37065,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},228351,"shi-ba-jing-tu-ce-22-zhen-song-xu-228351","十八景图册22帧","此作以半边崖岸半边水泽铺展画面，左侧危崖层叠，苍松山居错落，曲径蜿蜒伴行旅人，山石皴笔朴拙苍劲，带着沉厚古意。右侧水网交织，田畴铺陈，远岸村舍隐现，江帆点点悠游烟波间，浅淡设色晕染出江南水泽的温润空濛。笔墨简淡清逸，将林泉野趣与水乡旷远融于一帧，淡远空寂里晕开江南村居的闲静诗意，尽显寄情丘壑的文人意趣，勾勒出独属于晚明的清雅山居图景。",[23,24,25,164,28,65,7,34,31,33,722,10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作品的结构追仿倪云林画风，但形似倪云林画，内涵却不同。图中远山的笔墨好像师法米芾，但又不同于米芾，是查士标“风神懒散，气韵荒寒”（《国朝画征录》）的典型风格。\n画中景物疏密有致、层次分明。作品用笔干净利索：树木用笔以直勾为主，线条方折；舟船、人物刻画细微、用笔轻松，毫无刻板之意；河岸用阔笔、以赭褐色写出；树叶稍有皴染，但颜色较浅，几近于无。整幅画以暖色调为主，点缀以数片绿色。\n该作品笔墨疏简，风神闲散，意境荒寒。书法作品布白稀疏，线条粗细对比明显。运笔变化笔锋，粗笔凝重，细笔灵活。诗联色彩灿烂，氤氲虚幻，仿佛看到一幅幅画面。画家笔下的诗句视觉形象和线条造形尤其简朴闲散，不同米颠的八面书锋，风樯阵马，而是一种看到老树昏鸦的幽隐期约，使人浮想联翩，大隐于市、超然尘外的闲情逸致表现得淋漓尽致。",[23,24,7,59,28,571,166,103,1586,167,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8532cafb37db10142222cf2f0d4da91.jpg",[71],{"id":37186,"slug":37187,"title":37188,"dynasty":54,"author":178,"museum":119,"description":37189,"tags":37190,"thumbUrl":37191,"material":127,"size":127,"collection":44,"collections":37192,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},223678,"gu-xiu-shi-liu-ying-zhen-ce-1-yi-ming-223678","顾绣十六应真册1","此作为白描佛画佳构，以清劲匀净的线条写就。罗汉安踞危崖，垂目敛神，仪容清寂和穆，尽出世安然之态。嶙峋山石勾勒出苍硬肌理，古木虬曲盘绕于崖壁，野趣自生。涧水波纹流畅宛转，潺潺动意跃然纸上，静穆坐禅的罗汉与幽鸣涧水形成动静相生之趣，烘托出绝尘空寂的林下禅意。未施浓彩，全以墨线营造意境，笔底苍古高逸，将禅者清修的沉静心境融绘于山水林崖间，尽显幽绝尘嚣的禅林雅韵。",[23,24,164,123,1042,103,7,64,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1801312a3130644d3f79d2693f2d8c58.jpg",[44],{"id":37194,"slug":37195,"title":37196,"dynasty":18,"author":178,"museum":119,"description":37197,"tags":37198,"thumbUrl":37199,"material":127,"size":127,"collection":127,"collections":37200,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},223671,"xue-xi-fang-mu-tu-ye-yi-ming-223671","雪溪放牧图页","萧寒冬日的溪岸，淡墨晕染出铺陈的积雪，留白尽显空寂清寒。几株古木依偎而生，虬枝带着残叶，苍劲古朴的身姿在素净雪色间愈显沉郁，将冬日荒郊的萧索尽数铺展。\n\n溪滩处，小童策杖引牛踏水而行，憨态的水牛缓涉浅流，细碎的动态打破了天地的岑寂，为这片清冷雪景晕开一缕烟火暖意。\n\n整幅小品以极简的笔墨勾勒意境，淡墨扫雪、枯笔写树，于留白中烘托出深静的冬日氛围，萧寒里带着鲜活的生趣，尽显以小见大的雅致意趣，将冬日郊野的清寂与悠然牧歌融为一卷，淡远悠长。",[23,24,28,2484,7,765,1586,165,201,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a98cdb3acb6a785bb5f2a05d96d3bfe.jpg",[],{"id":37202,"slug":37203,"title":1356,"dynasty":18,"author":178,"museum":20,"description":37204,"tags":37205,"thumbUrl":37206,"material":127,"size":37207,"collection":42,"collections":37208,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},223606,"qiu-lin-guan-quan-tu-yi-ming-223606","此作用苍劲皴笔写危崖怪石，虬木盘绕崖侧，繁密秋叶如织，晕染出萧疏秋意。中景秋水蜿蜒，激流穿石，波痕细劲灵动，带着幽涧清泠之气。右侧平岸林阴如盖，两位幽人相对闲坐，于泉石间清谈对晤，似在静听流泉松风。整幅以淡墨铺陈山野清旷，将林泉幽寂与雅集闲恬融为一体，尽显林下高逸的隐逸意趣，笔墨间藏着沉静的文人风骨，把山居雅兴的诗意，晕染在这一卷秋林烟水之中。",[23,24,100,26,59,65,7,34,61,239,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f83250b26eab6c95e8b76a94f3eeaf.jpg","纵24.7厘米,横112.3厘米",[42],{"id":37210,"slug":37211,"title":37212,"dynasty":177,"author":14484,"museum":20,"description":37213,"tags":37214,"thumbUrl":37219,"material":28,"size":37220,"collection":127,"collections":37221,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},223558,"yu-qiao-geng-du-tu-zhou-gu-xiu-223558","渔樵耕读图轴","此图轴具有文人画的情趣，表现文人对清雅闲适、自得其乐的理想生活的追求。绣家以绣绘结合的技法追摹原作风格，远山近坡均以笔墨描绘点染。人物、木桥、茅屋、树木等则以针代笔，以丝代墨，精细地绣制。针法除平针、套针、滚针、正抢针等常用针法外，草鞋、渔篓用网针，茅屋的窗棂、房顶用编针，芦苇、小草用斜缠针，而衣纹除用滚针勾勒外，还用笔墨渲染，使之富有立体感。此幅诗塘题跋“采樵过野逢田父，理钓临溪听读书”为青色丝绣，“青碧斋”、“露香园”、“静顾”三印为红色丝绣。",[23,24,28,149,14485,29,7,103,60,61,165,64,37215,37216,37217,37218],"渔","樵","耕","读","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908abde2414ca0b61d48ac75cdcc295a.jpg","112＊45cm",[],{"id":37223,"slug":37224,"title":37225,"dynasty":177,"author":178,"museum":119,"description":32133,"tags":37226,"thumbUrl":37227,"material":127,"size":127,"collection":127,"collections":37228,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},223527,"wu-yi-shan-shi-ba-jing-tu-2-yi-ming-223527","武夷山十八景图2",[23,24,25,59,7,65,62,64,34,31,164,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0a6154bc08a6564afd5a91ee205e4b.jpg",[],{"id":37230,"slug":37231,"title":37232,"dynasty":18,"author":178,"museum":20,"description":37233,"tags":37234,"thumbUrl":37235,"material":454,"size":37236,"collection":127,"collections":37237,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},223504,"song-jian-shan-qin-tu-yi-ming-223504","松涧山禽图","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。",[23,24,25,29,28,59,65,101,7,1249,125,61,106,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358748c7ccf2b7905f2e1c8e5ca0f3c9.jpg","25.3x25.3厘米",[],{"id":37239,"slug":37240,"title":7,"dynasty":177,"author":672,"museum":704,"description":37241,"tags":37242,"thumbUrl":37243,"material":127,"size":127,"collection":127,"collections":37244,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},223243,"shan-shui-hua-yan-223243","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\n华岩一生贫困，金农在《画竹题记》提到：“汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。”乾隆十七年（1752），回到杭州旧居“解弢馆”。乾隆二十一年卒，有《离垢集》5卷。",[23,24,28,59,65,149,7,63,413,630,35,64,103,34,167,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8812e9c83f76f654f907938a5ca82940.jpg",[],{"id":37246,"slug":37247,"title":37248,"dynasty":177,"author":5768,"museum":20,"description":12800,"tags":37249,"thumbUrl":37250,"material":12803,"size":12804,"collection":127,"collections":37251,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":10894},223144,"shi-wan-tu-ce-8-ren-xiong-223144","十万图册8",[23,24,100,25,164,28,29,65,7,34,64,61,1120,413,29706,1695,15794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40f212f1e649c2a2efad0ff50bb4879.jpg",[],{"id":37253,"slug":37254,"title":37255,"dynasty":177,"author":3973,"museum":135,"description":15830,"tags":37256,"thumbUrl":37257,"material":349,"size":37258,"collection":71,"collections":37259,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},223115,"shan-shui-ce-shu-guan-kai-xuan-dong-bang-da-223115","山水册-墅馆开轩",[23,24,59,65,164,7,60,61,64,34,199,103,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb15efb3959b20cf3fcc3197891f89009.jpg","16.4x23.1",[71,212],{"id":37261,"slug":37262,"title":37263,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":37264,"thumbUrl":37265,"material":87,"size":15463,"collection":127,"collections":37266,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},222922,"hong-lou-meng-47-sun-wen-222922","红楼梦47",[23,100,24,25,29,28,27,65,7,103,583,61,239,450,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe50334dece69d0f491084550a4d5b.jpg",[],{"id":37268,"slug":37269,"title":37270,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":37271,"thumbUrl":37273,"material":87,"size":15463,"collection":127,"collections":37274,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},222909,"hong-lou-meng-34-sun-wen-222909","红楼梦34",[23,24,29,28,7,103,104,60,61,571,102,559,35,34,37272],"屋内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfd000d6a1bc745b23ae2a969f25366d.jpg",[],{"id":37276,"slug":37277,"title":37278,"dynasty":177,"author":10955,"museum":20,"description":27529,"tags":37279,"thumbUrl":37281,"material":40,"size":27532,"collection":127,"collections":37282,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":49},222868,"shi-gong-ci-tu-ce-07-leng-mei-222868","十宫词图册07",[23,24,25,164,29,28,304,103,12167,104,7,559,4828,28041,8207,37280,20247],"清代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c56859c3524c0625a8927ab32b68f3.jpg",[],{"id":37284,"slug":37285,"title":37286,"dynasty":54,"author":9184,"museum":135,"description":37287,"tags":37288,"thumbUrl":37289,"material":127,"size":127,"collection":127,"collections":37290,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},222859,"shan-shui-he-ji-juan-song-xu-222859","山水合迹卷","宋旭(1525-1606年后)，字初旸，号石门、石门山人，后为僧，法名祖玄，又号天池发僧、景西居士。浙江嘉兴人，清代《图绘宝鉴续纂》一作湖州(今浙江吴兴)人，居松江。工山水，兼长人物。师法“吴门四家”之一的沈周，画风似沈氏而又独具个性，亦宗法巨然、王蒙。其山水高华苍蔚，笔墨苍劲古朴，意境幽深，所作巨幅大幛，气势磅礴，开“苏松画派”之先声，万历年间名重海内。宋旭曾与“华亭派”画家莫廷韩(1537-1587年)入芟山社绘白雀寺壁，时称妙绝。宋旭遁入佛门以后，隐居佛寺，潜通禅理，一生画笔不辍，八十一岁时尚绘《平沙落雁图》轴，清逸传神，传为美谈。",[23,24,26,59,7,65,62,106,64,167,166,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4617bfcb74ed5bc94d043330825ed7e6.jpg",[],{"id":37292,"slug":37293,"title":19884,"dynasty":177,"author":10191,"museum":776,"description":37294,"tags":37295,"thumbUrl":37296,"material":5071,"size":37297,"collection":44,"collections":37298,"showCount":214,"zanCount":961,"manualWeight":48,"mainColor":75},222831,"han-shan-shi-de-tu-luo-pin-222831","用笔大胆粗犷，线条流畅爽利。图中寒山右手指地，谈笔风生；拾得袒胸露腹，欢愉静听。两人披头散发，憨态可掬。借鉴了宋代画家梁楷的简笔画法，把唐代两位不愿拜见官吏的诗僧“笑傲而去”的形象勾勒得活灵活现。",[24,25,59,123,103,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4ed0751f7720e2eb15fbb3005ef49c4.jpg","78.3×51.4cm",[44],{"id":37300,"slug":37301,"title":15931,"dynasty":177,"author":219,"museum":20,"description":30633,"tags":37302,"thumbUrl":37303,"material":375,"size":30636,"collection":71,"collections":37304,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},222668,"shang-shan-si-hao-tu-huang-shen-222668",[23,24,59,28,65,7,103,583,182,199,239,533,34,532,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2950074f1e7dcfc0fcd64cd290cf3c9f.jpg",[71,212],{"id":37306,"slug":37307,"title":37308,"dynasty":54,"author":24139,"museum":56,"description":37309,"tags":37310,"thumbUrl":37311,"material":127,"size":127,"collection":127,"collections":37312,"showCount":214,"zanCount":961,"manualWeight":48,"mainColor":75},222511,"shen-xian-tu-ce-17-zhang-lu-222511","神仙图册17","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,25,100,164,59,65,7,318,165,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4155c124771e5c6b11017748e7f7dd8e.jpg",[],{"id":37314,"slug":37315,"title":37316,"dynasty":54,"author":2842,"museum":135,"description":37317,"tags":37318,"thumbUrl":37320,"material":292,"size":37321,"collection":71,"collections":37322,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},222409,"shi-xie-shan-tu-zhou-zhang-hong-222409","石屑山图轴","冈峦挺立，层层起伏；溪涧湍急，林阴茂密。山径蜿蜒而上，将峻峰林木连成一气。点画竹林，笔墨浓淡乾湿相间，产生光影浮动的效果，表现出炎炎夏日的气氛。全图用笔工细，构景繁复。竹林的笔墨浓淡乾湿相间，产生光影浮动的效果，将炎炎夏日的气氛尽表无遗。画成于1613年（万历四十一年），时作者三十七岁。青壮之年，笔墨即甚为纯熟，其成就为时人所推崇。\n此图是画位在浙江省长兴县境的石屑山，出于实景观照，画家心领意会，取山川精华，以灵动的笔墨描绘图成。该幅画赠君俞先生，君俞姓唐，晋陵人（江苏武进），与董其昌也有交往，在1623年（天启三年）时，将自己珍藏的王蒙《谷口春耕》图（此图现藏本院），赠与董其昌。",[23,24,149,7,29,28,37319,7089,535,12342,60,61,104,1616,28587],"冈峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2366fe87404a34b33bfe3b976ed33aeb.jpg","201.3x55.2公分；全幅 79.8公",[71,45],{"id":37324,"slug":37325,"title":37326,"dynasty":54,"author":7355,"museum":135,"description":37327,"tags":37328,"thumbUrl":37329,"material":349,"size":37330,"collection":127,"collections":37331,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},222228,"hua-tou-tao-tu-ce-ye-wen-bo-ren-222228","画偷桃图册页","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[2484,164,28,103,7,5439,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15aadde44aa532d93cb51d48b1bcb53d.jpg","68x68",[],{"id":37333,"slug":37334,"title":37335,"dynasty":18,"author":1085,"museum":704,"description":37336,"tags":37337,"thumbUrl":37338,"material":40,"size":37339,"collection":127,"collections":37340,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},221672,"lian-zhou-xin-yue-tu-quan-juan-zhao-bo-ju-221672","莲舟新月图全卷","此卷整体画面以色彩渲染，着色清丽,内容描写的北宋著名理学家周敦颐爱莲的故事。画面人物精神清润，能别状貌。柳树旁的两棵对称式的野花，以及坡石上的点苔都极富装饰趣味。",[23,100,24,25,26,27,28,29,67,66,101,7,4192,62,1643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b08ce584a2b3aee32d00009daf8bd9.jpg","24.2x591.8cm",[],{"id":37342,"slug":37343,"title":37344,"dynasty":18,"author":8392,"museum":135,"description":37345,"tags":37346,"thumbUrl":37347,"material":454,"size":37348,"collection":127,"collections":37349,"showCount":214,"zanCount":48,"manualWeight":48,"mainColor":75},221663,"guan-shan-xing-lv-xiao-zhao-221663","关山行旅","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，虚处乃为江上为气所迷，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。近山浓重，远山清淡，又形成虚实对比。名款“萧照”二字楷书于幅中央之树石间，则与《西湖志余》所载相同。",[23,100,24,25,28,65,7,64,34,37,334,200,238,532,4998,826,10921,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fe06d072d80ba657a4399c5a76700d.jpg","24.2 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网上引用清史稿只言片语，说侯方域为做清朝官而献计于清军直隶山东河南三省总督张存仁，镇压榆园军起义。但并非如此，侯方域在清顺治七年春，因张存仁访其父，不得已上泛泛而谈的《上三省督府剿抚议》，且张存仁在顺治八年才水淹榆园军。在35岁时，回想起自己遭遇坎坷，除诗文一无所成，悔恨不已，又因违心参与顺治八年乡试，认为自己失节于明，便将其书房更名为“壮悔堂”，表示其壮年后悔之意。在这里，完成了他的两部文集《壮悔堂文集》10卷、《四忆堂诗集》6卷明志。\n清朝顺治十一年十二月十三日（1655年1月30日），37岁的侯方域因国破家亡，复明无望，壮志难酬，郁闷在怀和思念香君，染病身亡。\n侯方域与冒襄、陈贞慧、方以智，合称明末“四公子”，有代表作《李姬传》。清初作家孔尚任撰《桃花扇》剧本，描写的就是侯方域与秦淮名姬李香君的爱情故事，侧面反映了明亡清兴的历史背景。",[24,25,2484,7,59,65,372,64,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2c3bb17af8e5f52cc5fb44cd14d8c9.jpg",[],{"id":38096,"slug":38097,"title":38098,"dynasty":54,"author":368,"museum":119,"description":28876,"tags":38099,"thumbUrl":38100,"material":127,"size":127,"collection":127,"collections":38101,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},234632,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234632","仿北苑山水扇页",[2484,59,65,7,104,34,62,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2468ed648fd299f606049d48ceee37.jpg",[],{"id":38103,"slug":38104,"title":38105,"dynasty":177,"author":5740,"museum":119,"description":38106,"tags":38107,"thumbUrl":38108,"material":127,"size":127,"collection":127,"collections":38109,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[24,25,149,59,65,7,165,1738,64,1815,167,1897,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":38111,"slug":38112,"title":159,"dynasty":177,"author":9047,"museum":20,"description":38113,"tags":38114,"thumbUrl":38115,"material":375,"size":127,"collection":127,"collections":38116,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},234292,"shan-shui-ce-jin-ting-biao-234292","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,28,59,65,2145,101,7,583,16652,64,61,63,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":38118,"slug":38119,"title":29863,"dynasty":177,"author":1704,"museum":20,"description":38120,"tags":38121,"thumbUrl":38122,"material":454,"size":29867,"collection":127,"collections":38123,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},234286,"tang-dai-xiao-yuan-xian-yong-tu-ce-tang-dai-234286","唐岱小园闲咏图册，绢本设色，25.7×33厘米，共十五开，绘宝亲王弘历《御制小园闲咏》十五首诗意，故宫博物院藏。\n唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。",[24,28,164,66,101,7,64,34,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49860ee591171309ea73ae89226743e.jpg",[],{"id":38125,"slug":38126,"title":159,"dynasty":177,"author":5740,"museum":119,"description":38106,"tags":38127,"thumbUrl":38128,"material":127,"size":127,"collection":127,"collections":38129,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},234275,"shan-shui-ce-cha-shi-biao-234275",[24,25,164,59,7,165,318,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3081eba6012e76f1db4406bd622364d3.jpg",[],{"id":38131,"slug":38132,"title":38133,"dynasty":54,"author":38134,"museum":20,"description":38135,"tags":38136,"thumbUrl":38137,"material":40,"size":38138,"collection":127,"collections":38139,"showCount":283,"zanCount":961,"manualWeight":48,"mainColor":75},234251,"gui-fen-tu-deng-fu-234251","归汾图","邓韨","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,24,25,26,28,65,66,7,60,61,63,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":38141,"slug":38142,"title":38143,"dynasty":177,"author":3760,"museum":20,"description":16305,"tags":38144,"thumbUrl":38145,"material":40,"size":38146,"collection":127,"collections":38147,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,24,25,100,26,28,7,65,1643,60,61,756,34,104,63,583,571,35,4781],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":38149,"slug":38150,"title":38151,"dynasty":177,"author":3760,"museum":20,"description":16305,"tags":38152,"thumbUrl":38153,"material":225,"size":38154,"collection":127,"collections":38155,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷",[23,24,26,59,29,7,878,31,2845,34,278,106,60,3764,4203,4781,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 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厘米",[],{"id":38308,"slug":38309,"title":34709,"dynasty":177,"author":38310,"museum":119,"description":38311,"tags":38312,"thumbUrl":38313,"material":127,"size":38314,"collection":127,"collections":38315,"showCount":283,"zanCount":961,"manualWeight":48,"mainColor":75},232608,"fang-gu-shan-shui-tu-ce-jiao-xun-232608","焦循","近处坡岸垂柳疏朗，柔细枝条苍劲兼具，淡墨勾勒出清寂之态。一江春水横陈，扁舟载着披蓑隐士随波泛游，独览两岸烟光。远山以淡墨晕染平缓延绵，留白铺就江面云气，空濛悠远。\n\n左上角题诗点缀，诗书与画境相融，悠悠禅意漫开。全作用白描淡墨写就，舍弃浓艳敷色，尽显文人画简澹萧散之趣，将春日江野的清旷与幽居散人的隐逸襟怀合而为一，笔底尽是静穆淡远的林下之风，观之如临江凭眺，涤尽尘嚣。",[24,25,164,59,123,122,7,62,372,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d849c4bec9c9da923566ecd5c0af13.jpg","23.2 x 30cm",[],{"id":38317,"slug":38318,"title":11696,"dynasty":177,"author":18602,"museum":369,"description":38319,"tags":38320,"thumbUrl":38321,"material":38322,"size":38323,"collection":127,"collections":38324,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},232580,"shan-shui-hua-hui-ce-fu-shan-232580","傅山傅眉《山水花卉冊》，该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开，绢本纸本均有，设色水墨俱全。纵25.7厘米，横25.2厘米，现藏于天津博物馆。\n傅山（1607-1684），明末清初思想家、书画家。善诗、书、画、其画山林，气概浩荡，骨格奇峭，丘壑磊落，有奇逸气势；间写竹石，不落恒蹊，超然出尘。因常披朱衣，故号朱衣道人。晚年喜欢苦酒，自称“老蘖禅”。\n傅眉（1628—1683）,傅山之子，字寿髦，一作寿毛，一字竹岭，自号小蘖禅，山西阳曲人。工诗书画，亦能篆刻，山水学父法古朴而有真趣。",[100,24,59,164,65,7,264,372,167,979,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F673a2f02dd0a60f1669bc67d8546001d.jpg","绢本纸本","纵25.7厘米，横25.2厘米",[],{"id":38326,"slug":38327,"title":38328,"dynasty":54,"author":1652,"museum":119,"description":38329,"tags":38330,"thumbUrl":38331,"material":127,"size":127,"collection":127,"collections":38332,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},231565,"fei-quan-gu-shu-tu-wen-zheng-ming-231565","飞泉古树图","文征明（1470--1559），初名壁(或璧)，字徵明，一字征仲，号衡山。江苏长洲（苏州）人。明代中期著名的画家、书法家。他与沈周、唐寅、仇英并列，合称明四家(吴门四家或“吴门四杰”）。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。书法上与祝允明、王宠并誉为“吴中三家”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。\n文征明的书画造诣极为全面，其诗、文、书、画无一不精，人称四绝全才。诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。\n文征明的绘画兼善山水、花鸟、人物，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。细笔山水画属本色画，具装饰性、抒情味、稚拙感的特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。\n文征明传世画作有《千岩竞秀》、《万壑争流》、《石湖草堂》、《石湖诗画》、《横塘诗意》、《虎丘图》、《天平纪游图》、《灵岩山图》、《洞庭西山图》、《拙政园图》等。",[23,24,25,7,28,65,333,6084,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449fe9e3fac0372a5e26f2d03ddcc88.jpg",[],{"id":38334,"slug":38335,"title":38336,"dynasty":177,"author":3760,"museum":161,"description":38337,"tags":38338,"thumbUrl":38339,"material":349,"size":38340,"collection":127,"collections":38341,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[23,24,59,65,7,413,34,64,199,61,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":38343,"slug":38344,"title":38345,"dynasty":54,"author":23998,"museum":135,"description":38346,"tags":38347,"thumbUrl":38348,"material":349,"size":38349,"collection":71,"collections":38350,"showCount":283,"zanCount":961,"manualWeight":48,"mainColor":75},231414,"bai-yue-tu-leng-qian-231414","白岳图","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[24,25,149,59,7,65,64,34,60,61,278,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[71],{"id":38352,"slug":38353,"title":38354,"dynasty":177,"author":16220,"museum":369,"description":38355,"tags":38356,"thumbUrl":38357,"material":225,"size":38358,"collection":127,"collections":38359,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},231391,"liu-ye-shan-shui-shi-hua-tu-ce-zou-yi-gui-231391","六页山水诗画图册","此册页花卉或重粉点瓣、敷色浓丽；或没骨轻染、淡雅隽逸。此花卉用功颇深，为深入了解绘画对象，邹一桂亲自培植百余种花卉，仔细观察形态特征，获得真切感性认识，使其花卉在他笔下形神兼备、超凡脱俗。",[24,25,164,59,65,7,104,63,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e4b6ea57f63d4747420caa89bdae6.jpg","29×23cm×8",[],{"id":38361,"slug":38362,"title":38363,"dynasty":54,"author":27546,"museum":135,"description":38364,"tags":38365,"thumbUrl":38366,"material":4566,"size":38367,"collection":127,"collections":38368,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},231380,"xue-ye-fang-dai-tu-zhou-wen-jing-231380","雪夜访戴图","此图画东晋王徽之雪夜乘舟访问朋友戴达的故事。王徽之，东晋琅玡临沂(今属山东)人，字子猷，王羲之之子。曾任桓温的参军，性格浪漫，联拘小节。居山阴（今浙江绍兴）时，夜大雪，眠觉开室命酌酒。四望皎然，因乐彷徨，咏左思《招隐诗》，忽忆戴安道（戴达）。时戴在剡（今浙江嵊州），便夜乘小船就之。经宿方至，造门不前而返。人问其故，王曰：[吾本乘兴而行，兴尽而返，何必见戴？]该幅即画此故事分情节。用笔老辣，烘染精到，设色雅淡。\n该画表现的是晋朝王徽之的故事。故事为某夜徽之于梦中醒来，见雪后初霁，月色皎洁，突然萌发拜访好友戴逵的念头。于是，不顾路遥夜深，雇船前往。但到了目的地，徽之又放弃了与戴逵见面的打算，沿江返回。别人不解地问他为何这么做，他说：“乘兴而来，兴尽而返，岂必见安道耶?”正因为他与戴逵都是性情中人，卓荦不羁，故两人的友谊好像也升华为形而上的境界。在徽之看来，友谊重在心中而非形式，见面与否了无差别。这种带有禅意的观点被传为佳话，并且成为后世画家笔下喜欢表现的题材。\n《雪夜访戴》图中，一只小船行驶在江面，站在船头、船尾的梢公奋力地划着；船上蓬中透着微弱的灯光，显见夜色已深；蓬外有一童仆，蓬内的人大概就是王徽之了。全画构图简约旷远，用笔虚多实少，着力于对“夜访”主题的渲染，营造了画面的气氛：近处墨色较深，远处墨色朦胧，坡岸上及被夜色遮掩的茅屋顶上覆盖着白雪，虚灵空潆的笔调，显示出雪夜的寂静和寒冷，真是一幅令人心旷神怡的雪夜行舟图。画中山、石、树木的处理，有马远的笔法，而积雪则有元人韵味。",[24,7,149,59,65,62,103,372,766,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a3c7b82a51466d66d727a37a78efe2.jpg","纵：161.5，横：93.9厘米",[],{"id":38370,"slug":38371,"title":38372,"dynasty":54,"author":1652,"museum":135,"description":38373,"tags":38374,"thumbUrl":38375,"material":349,"size":38376,"collection":127,"collections":38377,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},231374,"song-xia-guan-quan-tu-wen-zheng-ming-231374","松下观泉图","本幅画高士二人，隔溪闲话，一童携琴，自松间来。近景松林，笔墨细淡，结顶一山，却粗重如奔云，命意堪称奇绝。文征明个性谨饬，工画精细小幅，此帧属高头巨制，于文画中极为罕见。\n白云盤滞山腰，飞泉来自重巖深处。溪谷一人临流，坐听松风，眼观飞泉。款题「文壁」，旧传文氏四十岁前名「壁」，四十岁后改「徵明」。据此名款与其画风，约为四十岁左右之作。",[24,59,65,29,149,413,61,103,7,64,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c15d5fad3064f8f1718c21a27d80b1a.jpg","纵348.2cm，横104.6cm",[],{"id":38379,"slug":38380,"title":12004,"dynasty":177,"author":30873,"museum":119,"description":38381,"tags":38382,"thumbUrl":38383,"material":337,"size":937,"collection":127,"collections":38384,"showCount":283,"zanCount":961,"manualWeight":48,"mainColor":75},230353,"fang-gu-shan-shui-zhou-kun-230353","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[24,25,100,7,1099,28,64,37,167,63,165,164,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb26cb02769aeda20dba4113895ea76f.jpg",[],{"id":38386,"slug":38387,"title":38388,"dynasty":177,"author":10191,"museum":119,"description":38389,"tags":38390,"thumbUrl":38391,"material":127,"size":127,"collection":127,"collections":38392,"showCount":283,"zanCount":961,"manualWeight":48,"mainColor":49},230143,"he-he-er-xian-tu-luo-pin-230143","和合二仙图","画面里二人憨态尽显，袒胸露腹，衣衫松垂，相偎对视，笑意漫溢眉眼间，亲昵松弛的模样满是人间烟火的融融暖意。作者以写意淡墨晕染人物神态，简括的衣纹线条随性洒脱，寥寥数笔便勾勒出二仙随性自在的模样。\n\n题诗与画作相映成趣，以质朴诗文点出合和圆满的意涵，笔墨古雅朴拙，诗画相融无间。整作摒弃繁复设色，以水墨清简之韵消弭仙俗边界，将和合二仙承载的圆满喜乐，以最生动质朴的方式铺陈开来，尽显写意功力，也传递出对人间温情圆满的脉脉期许。",[23,24,25,59,223,123,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8112e91dbc56cac7f9b59025a7b714ff.jpg",[],{"id":38394,"slug":38395,"title":38396,"dynasty":177,"author":38397,"museum":119,"description":38398,"tags":38399,"thumbUrl":38400,"material":127,"size":127,"collection":127,"collections":38401,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},228935,"mo-gu-shan-shui-ce-lu-yuan-228935","摹古山水册","陆远","此作用淡墨干笔写就水岸幽居之景，近岸古木虬曲垂丝，与旁侧细竹相映，茅舍临水孑立，透着世外幽居的闲静。水面留白铺展出空阔淡远之意，远山以枯笔皴擦勾勒石体质感，苍朴的山石晕染出烟水朦胧之态。\n\n整体画风简淡萧疏，将水岸清旷冷逸之境藏于尺幅间，笔意简净却意蕴悠长，把林泉幽隐之思融在每一处点染之中，观之便如踏入无人烟水，浸享静穆淡远的文人雅趣。",[24,59,122,65,164,7,64,34,347,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ecd5879745033f91d86956e7bd1aae2.jpg",[],{"id":38403,"slug":38404,"title":38405,"dynasty":54,"author":178,"museum":119,"description":38406,"tags":38407,"thumbUrl":38408,"material":127,"size":127,"collection":127,"collections":38409,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},228800,"jiang-shang-du-diao-tu-yi-ming-228800","江上独钓图","烟波江上，渔翁卧于苇席，持杯把盏，斜置钓竿，将垂钓沽酒的闲逸写尽。手边酒坛缀着青芽，野趣横生。汀洲苇草轻摇，仙鹤掠空，水纹层层晕染，晕开一江清寂。\n\n题画诗点出幽居江湖、寄意烟波的襟怀，不求鱼获，只守自在本心。设色古雅温润，线条简淡松弛，将文人遁世忘机的隐逸意趣铺陈开来，无半点尘俗喧嚣，只剩江风裹着酒意漫开，把东方文人的闲旷之思融在尺幅间，淡而有味，静里生情，尽显出世忘机的林下之风。",[23,24,25,28,103,7,61,106,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c530002aa4f2cfc6f7ca3789b17bf70.jpg",[],{"id":38411,"slug":38412,"title":38413,"dynasty":54,"author":178,"museum":119,"description":38414,"tags":38415,"thumbUrl":38416,"material":127,"size":127,"collection":127,"collections":38417,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,24,25,26,28,122,1586,7,34,103,60,61,264,65,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":38419,"slug":38420,"title":38421,"dynasty":54,"author":945,"museum":119,"description":38422,"tags":38423,"thumbUrl":38424,"material":337,"size":937,"collection":127,"collections":38425,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},228479,"cao-wu-pu-tuan-tang-yin-228479","草屋蒲团","《草屋蒲团图》又名《虚亭听竹图》，是唐伯虎  中晚期创作最为丰富和成熟时期的作品，图绘江南初秋士人蒲团之上晨读之情景。画面环境幽雅清静，给人以深厚、凝重之感，呈现出大自然的生动景象。属于唐氏作品中少见的浑厚、凝重的作品。",[23,24,25,149,59,65,67,66,103,7,630,10422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3366fd1cdf4d4aac38338b2afddae630.jpg",[],{"id":38427,"slug":38428,"title":4332,"dynasty":54,"author":14675,"museum":119,"description":38429,"tags":38430,"thumbUrl":38431,"material":127,"size":127,"collection":127,"collections":38432,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},228461,"fang-huang-zi-jiu-shan-shui-tu-sheng-mao-ye-228461","此作用笔追摹黄公望苍厚朴茂的披麻皴，山峦层叠盘桓，以高远之势铺陈丘壑，兼具深远之致。林麓间山居屋舍错落，溪泉萦回，苍松挺立点缀幽壑，暗含元人山水萧散淡远的意趣。\n\n画家师法前贤却不囿于摹写，以温润秀雅的笔调，将富春山居的平淡天真复刻传神，把晚明文人寄情林泉的雅趣融在笔墨间，既恪守元画的空灵气韵，又自含清隽的个人意韵，尽显林泉高致的悠远意境。",[23,24,25,149,7,59,65,64,34,201,35,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6db1427bc5215e0f3e4bb071162d0a8.jpg",[],{"id":38434,"slug":38435,"title":38436,"dynasty":54,"author":35354,"museum":119,"description":38437,"tags":38438,"thumbUrl":38439,"material":127,"size":127,"collection":127,"collections":38440,"showCount":283,"zanCount":961,"manualWeight":48,"mainColor":940},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,24,25,149,59,7,65,64,34,61,722,103,583,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":38442,"slug":38443,"title":38444,"dynasty":54,"author":9184,"museum":119,"description":38445,"tags":38446,"thumbUrl":38447,"material":127,"size":127,"collection":127,"collections":38448,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[23,100,24,25,28,65,101,7,30,125,583,103,533,1815,167,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":38450,"slug":38451,"title":38452,"dynasty":54,"author":10318,"museum":119,"description":24480,"tags":38453,"thumbUrl":38454,"material":337,"size":937,"collection":127,"collections":38455,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},228311,"tian-chi-wan-tiao-tu-lu-zhi-228311","天池晚眺图",[23,24,25,26,7,28,65,238,34,278,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed16a02709d4880a243cf9b576eb41.jpg",[],{"id":38457,"slug":38458,"title":38459,"dynasty":80,"author":178,"museum":119,"description":38460,"tags":38461,"thumbUrl":38463,"material":127,"size":127,"collection":127,"collections":38464,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},228249,"lao-shu-wu-ya-tu-yi-ming-228249","老树乌鸦图","这幅山水以淡墨晕染出空阔秋水，汀渚横陈，水汽如薄纱漫过江天。滩头老树枯槎盘虬，枝桠无叶，孑然伫立在寒渚之上，将深秋江野的荒寂尽数铺展。\n\n画师以简驭繁，不用繁复皴擦，以水墨晕染造境，留白衬出江天寥廓，将元代文人萧索幽微的心境寄寓其间，淡墨里藏着清寂，枯枝中凝着怅惘，把寒江晚景的萧寒逸趣写尽，淡而愈远，枯而弥长。",[23,24,25,26,59,65,7,125,38462,62],"乌鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302366aef14e011720d4f3e96ae9223f.jpg",[],{"id":38466,"slug":38467,"title":909,"dynasty":80,"author":38468,"museum":119,"description":38469,"tags":38470,"thumbUrl":38471,"material":127,"size":127,"collection":127,"collections":38472,"showCount":283,"zanCount":961,"manualWeight":48,"mainColor":49},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,25,2484,59,28,7,65,60,61,34,64,37,278,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":38474,"slug":38475,"title":38476,"dynasty":80,"author":12536,"museum":119,"description":38477,"tags":38478,"thumbUrl":38479,"material":127,"size":127,"collection":127,"collections":38480,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":940},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[23,24,25,149,1042,103,7,59,28,199,264,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":38482,"slug":38483,"title":38484,"dynasty":18,"author":592,"museum":119,"description":38485,"tags":38486,"thumbUrl":38487,"material":127,"size":127,"collection":127,"collections":38488,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},227968,"niu-tu-li-tang-227968","牛图","此作用边角构图铺展意境，淡墨晕染出山峦烟岚空蒙的朦胧质感，远山隐于虚淡暮色之中，将山野荒陂的清寂悠远铺陈开来。\n\n坡岸间三头水牛成为画面生机所在，两头抵角嬉闹，憨态尽显，另一头闲步缓行，悠然自得，将乡野牧歌的松弛意趣揉入淡远山水间。笔墨苍简疏朗，舍去繁复勾勒，以极简笔意烘托出空灵静谧的氛围感，尽显宋人简淡野逸之美，平朴画面藏着悠然禅意，将山野闲趣融于山水烟岚之中。",[23,24,28,7,1586,3988,65,238,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74b8ed2232c30132e78af099212babd.jpg",[],{"id":38490,"slug":38491,"title":38492,"dynasty":18,"author":27785,"museum":119,"description":38493,"tags":38494,"thumbUrl":38495,"material":127,"size":127,"collection":127,"collections":38496,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,24,25,164,59,7,765,1777,372,1674,62,373,65,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":38498,"slug":38499,"title":18697,"dynasty":18,"author":178,"museum":119,"description":38500,"tags":38501,"thumbUrl":38502,"material":337,"size":937,"collection":127,"collections":38503,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,100,24,25,26,59,28,7,64,34,60,61,65,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":38505,"slug":38506,"title":38507,"dynasty":177,"author":4747,"museum":119,"description":38508,"tags":38509,"thumbUrl":38510,"material":127,"size":127,"collection":127,"collections":38511,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},224490,"xing-fu-an-gan-jiu-tu-juan-wu-li-224490","兴福庵感旧图卷","《吴历兴福庵感旧图卷》是清代吴历创作的一幅画。\n本幅自题：“吾友笔墨中，惟默公交最深。\n予常作客，不为话别，恐伤折柳。\n庚戌清和，游于燕蓟，往往南传方外书信，意甚殷殷。\n辛亥秋冬，将欲赋归，意谓同此岁寒冰雪，而未及渡淮，闻默公已挂履峰头，痛可言哉。\n自惭浪迹，有负同心，招魂作诔，未足抒写生平，形于绢素，訾笔陨涕而已。\n却到昙摩地，泪盈难解空。\n雪庭松影在，草诏墨痕融。\n几树春残碧，一灯门掩红。\n平生诗画癖，多被误吟风。\n鱼雁几曾隔，赋归迟悔深。\n自怜南北客，未尽死生心。\n痴蝶还疑梦，饥鸟独守林。\n云看无限意，何事即浮沉。\n甲寅年登高前二日雨霁并书。\n桃溪居士吴子历。\n”钤“吴历”印一方。\n卷尾有许之渐、纪萌、张景蔚三家题记。\n甲寅为清康熙十三年（1674年），吴历时年4岁。\n此图是作者为怀念故友默容而作，一段长题简述了二人的交往，情深意切。\n画中描绘兴福庵的景物，寺外杂树丛竹，墙内孤松白鹤，本是一处清幽之所，然人去室空，满目凄清，透露出作者以笔墨寄托哀思的心境。\n树木勾点结合，层次分明，穿插自然，蜿蜒曲折的围墙加强了画面的纵深感，山石有皴有染，大面积的青绿敷色表现了真实自然的景致，是画家兼取宋、元画法而别具一格的代表作。",[23,24,25,26,28,7,67,101,34,35,61,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f571ff10a4082ce3d8b946f44feff0.jpg",[],{"id":38513,"slug":38514,"title":38515,"dynasty":177,"author":683,"museum":119,"description":38516,"tags":38517,"thumbUrl":38518,"material":127,"size":127,"collection":127,"collections":38519,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},224392,"tao-yuan-chun-zhou-tu-wang-yuan-qi-224392","桃源春昼图","此作用元人笔法绘就世外幽境，干笔积墨皴擦山峦，层层叠叠尽显苍浑厚重。近岸林木疏朗，粉桃绽枝，村居隐于水畔林间，溪桥连通幽处，晕染出春日清和柔缓的氛围。\n\n诗画相映，鉴藏朱印错落点缀，将武陵桃源的隐逸意趣融于尺幅之中。整体章法疏密有致，笔意内敛沉静，以苍润笔墨铺展出出世忘尘的澹然意境，尽显文人山水的清雅格调，藏着山居春日的闲逸悠然。",[23,24,25,7,28,65,102,318,319,34,347,60,61,101,67,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":38521,"slug":38522,"title":7,"dynasty":177,"author":38523,"museum":119,"description":38524,"tags":38525,"thumbUrl":38526,"material":127,"size":127,"collection":127,"collections":38527,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},224290,"shan-shui-fan-song-224290","范松","此作以全景铺展丘壑，层峦叠嶂间烟岚轻笼，将高远、平远之景相融。崖岫间红墙古寺半隐，晕染出点睛亮色，打破黛山翠林的沉静。\n\n林麓间村居错落，板桥跨溪通幽，浅滩漱石、流泉回环，把山居烟火与林泉野趣织为一体。笔墨苍秀老辣，以短皴写山石嶙峋肌理，林木枝桠攒簇尽显苍劲葱茏，淡赭轻敷衬出秋意清寂，整体气息静穆澹远，将文人心中栖隐林泉的意趣藏入层叠丘壑之中，观之如身临幽寂山境，揽尽林泉雅致。",[23,24,28,65,149,7,60,61,63,34,64,104,35,533,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c5de365c8e65858e3c9cf20b1c1d5.jpg",[],{"id":38529,"slug":38530,"title":38531,"dynasty":18,"author":178,"museum":119,"description":38532,"tags":38533,"thumbUrl":38534,"material":127,"size":127,"collection":127,"collections":38535,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},223634,"lian-zhou-xian-du-tu-yi-ming-223634","莲舟仙渡图","烟波浩渺间，仙人卧于莲舟，悠然展卷观览，似将云水清光尽数揽入卷中。右下角巉岩隐现，灵蛇蜿蜒而出，衬得水面愈发幽寂空灵。\n\n整幅以淡墨轻敷，留白晕染出氤氲水雾，将虚无仙境融于简淡笔意，摒弃浓艳设色，全凭清润色调烘托世外幽居的静穆氛围。仙人姿态萧散自在，不见凡尘烟火气，莲舟如扁槎一叶，载着出尘之思浮游烟涛，把道家归返自然、寄迹云山的隐逸意趣藏在水色晕染里，淡而弥远，清而有味，尽显小品画的雅致空灵。",[23,100,24,25,28,29,65,103,62,7,653,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885e41a3f8ad783f659bb4ddce07b10f.jpg",[],{"id":38537,"slug":38538,"title":38539,"dynasty":18,"author":178,"museum":20,"description":38540,"tags":38541,"thumbUrl":38543,"material":87,"size":38544,"collection":127,"collections":38545,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,100,24,25,26,59,28,7,65,29,67,19975,4768,66,101,38542,61,34,722,60,106,264],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":38547,"slug":38548,"title":38549,"dynasty":177,"author":5768,"museum":20,"description":12800,"tags":38550,"thumbUrl":38551,"material":12803,"size":12804,"collection":127,"collections":38552,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},223145,"shi-wan-tu-ce-9-ren-xiong-223145","十万图册9",[23,24,28,27,29,65,164,7,64,34,199,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d728f0cbb935384c6ccb8053cd6f93.jpg",[],{"id":38554,"slug":38555,"title":38556,"dynasty":177,"author":5768,"museum":119,"description":38557,"tags":38558,"thumbUrl":38559,"material":349,"size":127,"collection":127,"collections":38560,"showCount":283,"zanCount":961,"manualWeight":48,"mainColor":75},223135,"shi-wan-tu-ce-shan-mian-2-ren-xiong-223135","十万图册-扇面2","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,2484,59,65,7,318,734,630,60,278,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff813e453a30df81524c4b73358b23be.jpg",[],{"id":38562,"slug":38563,"title":1420,"dynasty":177,"author":22804,"museum":119,"description":38564,"tags":38565,"thumbUrl":38566,"material":349,"size":38567,"collection":127,"collections":38568,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},223129,"shan-shui-zhou-qian-wei-qiao-223129","钱维乔（1739-1806）清文学家、戏曲家。字树参，季木，小字阿逾，号曙川，又号竹初，半园、半竺道人、半园逸叟、林栖居士等。江苏武进人。乾隆十年状元钱维城之弟。乾隆二十七年（一七六二）举人。曾讲学于如皋露香草堂，门前种竹，自号竹初居士。\n钱维乔早岁即工翰墨，得其兄钱维城之传，为兄代作，已咄咄逼真，而文秀之气过之。后笔尤苍厚，山水茂密不繁，峭秀不塞，作家士气兼备。晚岁笔墨尤精，随意所作，疏老苍浑。因作品风格酷似其兄，当时有“常州二钱”之誉。",[23,24,59,65,149,7,318,319,165,583,199,35,201,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5830d888db626572c39148425b0144.jpg","68x35",[],{"id":38570,"slug":38571,"title":38572,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":38573,"thumbUrl":38574,"material":87,"size":15463,"collection":127,"collections":38575,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},222959,"hong-lou-meng-84-sun-wen-222959","红楼梦84",[23,24,29,28,26,17269,103,12167,104,2559,7,2911,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4dcee8d1028a3fdc8e07e5b4417573.jpg",[],{"id":38577,"slug":38578,"title":38579,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":38580,"thumbUrl":38581,"material":87,"size":15463,"collection":127,"collections":38582,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},222911,"hong-lou-meng-36-sun-wen-222911","红楼梦36",[23,24,29,28,17269,12167,103,104,559,7,3696,722,17270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff63de5f5f8ace7b918c931c621ae807f.jpg",[],{"id":38584,"slug":38585,"title":38586,"dynasty":177,"author":15454,"museum":556,"description":15455,"tags":38587,"thumbUrl":38588,"material":87,"size":15463,"collection":127,"collections":38589,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},222899,"hong-lou-meng-24-sun-wen-222899","红楼梦24",[23,24,28,29,25,103,7,60,61,34,102,278,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26aecca502b1ecebd2dad0237257b786.jpg",[],{"id":38591,"slug":38592,"title":38593,"dynasty":177,"author":1872,"museum":56,"description":7754,"tags":38594,"thumbUrl":38595,"material":7118,"size":7757,"collection":127,"collections":38596,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},222614,"shan-shui-ba-jing-4-gong-xian-222614","山水八景-4",[23,24,59,65,7,165,347,62,2527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c657c37d420a6e6b5f70b56085e2c.jpg",[],{"id":38598,"slug":38599,"title":38600,"dynasty":54,"author":368,"museum":82,"description":17937,"tags":38601,"thumbUrl":38602,"material":28,"size":127,"collection":127,"collections":38603,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},222588,"shan-shui-tu-shan-mian-2-lan-ying-222588","山水图扇面2",[23,2484,24,7,583,64,18580,6084,372,65,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8fd29104ad247fbd9575e0f584ac299.jpg",[],{"id":38605,"slug":38606,"title":38607,"dynasty":54,"author":38608,"museum":135,"description":38609,"tags":38610,"thumbUrl":38611,"material":349,"size":38612,"collection":127,"collections":38613,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":8544},222403,"hua-song-shan-tu-dong-qi-chang-shu-qi-yan-jue-ju-cheng-shan-wu-ling-222403","画松山图董其昌书七言绝句成扇","吴令","泥金扇面衬得墨色愈见苍润清雅。近岸林木攒簇，山石以干笔淡墨勾勒皴擦，朴拙苍厚，带着沉静古雅的质感。远景坡岸孤树茅舍疏淡简远，留白空灵透气，将松山幽居的静穆清远收拢在方寸之间。\n笔墨简淡松秀，以少胜多，尽显萧散幽寂的林下意趣，与另一面的书法相映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74.2公分",[44,45],{"id":38639,"slug":38640,"title":27413,"dynasty":18,"author":604,"museum":20,"description":38641,"tags":38642,"thumbUrl":38643,"material":454,"size":38644,"collection":127,"collections":38645,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},221532,"xi-qiao-ce-zhang-tu-ma-yuan-221532","此图原载《四朝选藻册》。图绘苍松老树，平溪房舍，二人坐室内客话。房右小桥流水，一长者在携琴侍者陪同下策杖寻幽，点出主题。图中山石用小斧劈皴，画树勾点结合，房舍等界画用笔严谨，但工而不板，艳而不俗。",[23,100,24,25,59,28,65,7,103,60,165,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03267ed9459486b307127df5fb46464.jpg","24.8×26cm",[],{"id":38647,"slug":38648,"title":26038,"dynasty":2272,"author":24805,"museum":26039,"description":38649,"tags":38650,"thumbUrl":26042,"material":6805,"size":127,"collection":127,"collections":38651,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},220512,"jing-guan-pu-xin-she-220512","这幅山水以高远之法布景，峭拔崖壁斜出画面，留白铺就空濛意境。淡青绿轻染山石，细笔皴擦出嶙峋肌理，兼以枯笔点苔，苍润兼具。坡岸虬松古木，枝桠舒展，细笔写叶，尽显葱茏生机，林下藏幽壑，隐见深林意趣。\n题诗与画境呼应，将空山泉响的松风禅意融于笔墨间。以书入画，笔致隽秀萧散，淡墨轻岚里铺陈出林泉高致的隐逸心境，简淡中见苍厚，清和中藏浑朴，尽显传统文人山水的文心雅韵，将中式山水的静穆诗意藏于尺素之间。",[23,24,25,149,59,28,65,7,239,34,182],[],{"id":38653,"slug":38654,"title":38655,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":38656,"thumbUrl":38657,"material":349,"size":1805,"collection":127,"collections":38658,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},220310,"huang-shan-tu-ce-17-hong-ren-220310","黄山图册-17",[23,100,24,25,164,59,65,7,9067,583,372,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff649b35ce22bc63f5fdd792060a6e.jpg",[],{"id":38660,"slug":38661,"title":38662,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":38663,"thumbUrl":38664,"material":349,"size":1805,"collection":127,"collections":38665,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},220296,"huang-shan-tu-ce-30-hong-ren-220296","黄山图册-30",[23,24,25,100,164,59,28,65,7,413,30,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c09aaaaede0cee18cd178663a3a981b.jpg",[],{"id":38667,"slug":38668,"title":38669,"dynasty":54,"author":38670,"museum":5539,"description":38671,"tags":38672,"thumbUrl":38673,"material":169,"size":38674,"collection":71,"collections":38675,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},219937,"xia-shan-qing-liu-tu-gao-yan-219937","夏山清流图","高俨","高俨（1616年-1687年），清代画家，字望公，广东新会人，博学多艺，工诗书画，被称为三绝，有名于岭南。 与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 颜事贼”，是一个具有民族气节的文人。",[100,24,25,149,59,7,199,61,34,372,63,103,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[71],{"id":38677,"slug":38678,"title":38679,"dynasty":18,"author":38680,"museum":135,"description":38681,"tags":38682,"thumbUrl":38683,"material":139,"size":38684,"collection":71,"collections":38685,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},218871,"cang-ji-qing-yue-tu-zhu-ci-zhong-218871","苍矶清樾图","祝次仲","这幅画描绘了从河面上凸出的河岛，清波荡漾，岛上绿草如茵，而学者则盘膝而坐，眺望着广阔的河面。这幅画的笔触与李唐相似，岩石是用草书的笔触凿出来的，松散而不夸张。",[23,24,2484,59,28,7,264,34,106,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f4386ca16a392d3045300e4db4d45d.jpg","26.4x19.8",[71],{"id":38687,"slug":38688,"title":38689,"dynasty":54,"author":38690,"museum":135,"description":38691,"tags":38692,"thumbUrl":38693,"material":169,"size":38694,"collection":308,"collections":38695,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},218782,"lu-zhou-ju-yan-tu-zhu-fei-218782","芦洲聚雁图","朱芾","朱芾（活动于西元十四世纪后期），江苏华亭人，字孟辨，号沧洲生，洪武初，以翰林编修改中书舍人。其人才思飘逸，善画芦雁，集潇湘水云之致，兼善山水及白描人物。工词章翰墨之学，真、草、隶、篆清润遒劲，风度不凡。尝以所书篆瘗之细林山中，题曰篆冢。朱芾为当时名士杨维祯之门生，甚受杨氏器重，曾赞芾能以仁义为修，为其门之幸。本幅画芦洲聚雁，楷书画题，隶书识其作画经过，并赋七绝一首写其心境，笔法多变，结字错落，甚有奇趣。",[24,59,7,65,106,890,34,264,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84fd87c7fb0b2f499c2bd78515980998.jpg","117.4x30.7cm",[308,71],{"id":38697,"slug":38698,"title":38699,"dynasty":18,"author":178,"museum":135,"description":38700,"tags":38701,"thumbUrl":38702,"material":139,"size":127,"collection":71,"collections":38703,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},218711,"wu-kuan-ce-jian-tu-yi-ming-218711","无款策蹇图","纨扇小景里，寒林疏枝以墨线轻勒，淡赭暮色晕染古绢，似浸着时光的沉香。驴背文人衣袂微拂，随林间风意缓行，身后僮仆持杖相随，步履从容。笔触细腻处，枝桠虬曲、草叶疏斜皆见匠心，却无雕琢之痕。小径蜿蜒向林深处，隐现的屋舍若有若无，藏着宋时文人的隐逸意趣。不追喧嚣，只向林泉寻一份悠然——驴蹄轻踏的是岁月缓调，目光所及是心之所向的清宁。古绢斑驳如记忆纹理，将千年前的从容心境凝在这方圆镜里，引观者沉湎于淡远诗意，仿佛听见林间风过枝叶的轻响，触到宋代特有的雅寂与温厚。",[23,24,25,59,28,65,7,165,103,5044,334,106,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac997e7b74e20f2dc71b1bc5a8a80c3a.jpg",[71],{"id":38705,"slug":38706,"title":38707,"dynasty":18,"author":8087,"museum":135,"description":38708,"tags":38709,"thumbUrl":38710,"material":139,"size":127,"collection":127,"collections":38711,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},218676,"xi-hu-shi-jing-tu-liu-lang-wen-ying-ye-xiao-yan-218676","西湖十景图-柳浪闻莺","烟峦淡远，柳丝拂岸，亭台楼阁隐于葱茏间。墨色温润如宋时烟雨，将柳浪的柔曼与闻莺的清越融于一纸。远山含黛，近树扶疏，建筑错落有致，似有流莺啼鸣穿林而过，惹得柳丝轻摇。题字笔意洒脱，与画作相映成趣，尽显文人雅趣。整幅画以淡墨晕染出西湖春日的清幽，不著艳色却意境悠远。观者仿佛立于湖畔，听柳浪翻涌，闻莺声婉转，沉醉在那抹宋时湖光的温柔里。",[23,24,25,164,28,59,7,1478,106,63,104,34,1643,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de438d4c2cddd2b29b345f3825a0337.jpg",[],{"id":38713,"slug":38714,"title":38715,"dynasty":18,"author":8087,"museum":135,"description":38716,"tags":38717,"thumbUrl":38718,"material":87,"size":127,"collection":127,"collections":38719,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},218672,"xi-hu-shi-jing-tu-nan-ping-wan-zhong-ye-xiao-yan-218672","西湖十景图-南屏晚钟","画面山峦层叠，淡墨晕染出朦胧烟霭，似将暮色轻笼南屏。近处松枝苍劲，针叶细劲如丝，间或矮松错落，添几分野趣。山腰楼阁隐现，飞檐翘角藏于林麓，若古寺禅院静候晚钟。左侧题字笔墨流畅，行楷雅致，诗韵与墨色山水相映，更添文人意趣。\n\n作品以简淡之笔勾勒景致，虚实间传递悠远禅意——仿佛能闻钟声穿林渡水，涤荡尘嚣。西湖暮色里的宁静与空灵，凝于尺幅，让观者于笔墨间触摸到那份跨越时空的悠然与澄澈。",[23,24,25,7,59,28,65,238,34,104,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5b702e55d3128a1523bbd2c2120fdc.jpg",[],{"id":38721,"slug":38722,"title":38723,"dynasty":18,"author":8087,"museum":135,"description":38724,"tags":38725,"thumbUrl":38726,"material":87,"size":127,"collection":127,"collections":38727,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},218671,"xi-hu-shi-jing-tu-liang-feng-cha-yun-ye-xiao-yan-218671","西湖十景图-两峰插云","画面以淡墨晕染湖山底色，双峰对峙如黛，破云而出，尽显“插云”之姿。云雾以留白与淡墨交织，虚虚实实间，峰峦似隐似现，缥缈若仙境。近处亭台依水而立，屋宇线条简练精巧，与远山朦胧影相映成趣。左侧书法笔意流畅，墨色浓淡相宜，诗画相融，更添文人雅致。整幅作品以简驭繁，用清逸之笔勾勒西湖山水的空灵悠远，将两峰插云的朦胧意境凝于尺幅。观之如临西子湖畔，见双峰在云间若隐若现，心随景远，顿生悠然之思，尽显宋画清雅秀逸之态。",[23,24,25,164,59,28,7,30,37,104,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621724a098a46f28b1031499dc6f3bd9.jpg",[],{"id":38729,"slug":38730,"title":38731,"dynasty":18,"author":8087,"museum":135,"description":38732,"tags":38733,"thumbUrl":38734,"material":139,"size":38735,"collection":127,"collections":38736,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":75},218669,"xi-hu-shi-jing-tu-san-tan-yin-yue-ye-xiao-yan-218669","西湖十景图-三潭印月","烟水空濛间，远山如黛，轻烟似纱，将峰峦轮廓晕染得朦胧温柔。湖面敛着淡月清辉，几处汀洲疏树错落，墨色浓淡间淌着江南温润气息。三潭倩影隐在水云深处，似与月影低语，惹得笔墨也浸了几分禅意。旁侧题跋笔墨流转，与山水淡远相映，字里行间皆是对湖山胜景的眷恋。整幅画如一首婉约小令，把西湖月夜的静谧空灵凝于尺幅，每一笔都带着水墨氤氲，每一处都藏着江南诗意，叫人一眼便坠入这清宁的湖山梦境里。",[23,24,25,164,28,7,65,1643,238,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0268e1d23cc4cbce336dac9b0a7abd11.jpg","23.9x20.2",[],{"id":38738,"slug":38739,"title":38740,"dynasty":54,"author":178,"museum":396,"description":38741,"tags":38742,"thumbUrl":38743,"material":139,"size":38744,"collection":71,"collections":38745,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":49},21837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山峦层叠间蕴古法之韵。山石以干笔积墨皴擦，纹理厚重朴拙；草木葱茏处见生机流动。构图疏密有致，远近景层次分明，追摹传统山水之余，亦融个人笔墨意趣，尽显“熟不甜、生不涩”的格调。山间林木错落，小径隐现，似藏隐逸之趣，整体气息古雅沉静，耐人寻味。",[7,1099,65,11368,64,1616,164,28,101,13651,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffaabb898bcdc12c3897121b31434473.jpg",[71],"c7c0b5",{"id":38854,"slug":38855,"title":38856,"dynasty":18990,"author":38857,"museum":56,"description":38858,"tags":38859,"thumbUrl":38860,"material":127,"size":127,"collection":71,"collections":38861,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":38862},203124,"zhou-po-ya-shan-tu-zhou-he-xiang-ning-203124","舟泊崖山图轴","何香凝","近岸嶙峋石矶上，老树虬枝与垂柳相映，苍劲中含柔态。崖畔孤舟静泊，似承天地之寂。远山巍峨，云雾轻笼如纱，水墨晕染出空濛悠远之境。写意笔法简练传神，山石皴擦见肌理，树木线条灵动，融山水静谧与文人意趣于一纸，尽显自然清韵与心境之宁。",[24,59,7,62,125,65,149,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e386975d81e8f789975e7eecaf1f87a.jpg",[71],"cfc6b7",{"id":38864,"slug":38865,"title":38866,"dynasty":177,"author":27470,"museum":56,"description":38867,"tags":38868,"thumbUrl":38869,"material":127,"size":127,"collection":71,"collections":38870,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":38871},203099,"gui-mao-shan-shui-tu-ce-ye-xin-203099","癸卯山水图册","画面以淡墨轻彩晕染，左侧嶙峋山石用简洁皴法勾勒，肌理毕现；中部建筑屋顶覆淡红，灰白墙体衬出雅致，内中陈设隐约可辨；旁侧枯树枝桠疏朗，添几分清寂。远景山峦朦胧，水汽氤氲，层次悠远。笔墨清润雅致，构图虚实相生，简淡中藏深远意境，尽显文人山水的清幽之趣。",[24,7,164,28,65,64,278,372,4563,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b27a33f38cb838cb2c4c77e8e51efb0.jpg",[71],"d0bb97",{"id":38873,"slug":38874,"title":8592,"dynasty":18990,"author":38857,"museum":56,"description":38875,"tags":38876,"thumbUrl":38877,"material":127,"size":127,"collection":71,"collections":38878,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":38879},203008,"shan-shui-tu-zhou-he-xiang-ning-203008","画面山峦层叠，皴笔皴染山石肌理，墨色浓淡相间，显丘壑之幽深。近景林木葱郁，竹影摇曳，流水绕石潺潺，小桥卧波连岸；中景山居隐于青霭间，似藏林泉逸趣；远景峰峦渐隐，云雾氤氲，添悠远之韵。笔墨苍劲秀润，融自然清幽与文人意趣，尽显山水静谧雅致之态。",[24,149,59,65,7,60,61,630,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417419313b5ce415991668ffe076c511.jpg",[71],"cac6b8",{"id":38881,"slug":38882,"title":38883,"dynasty":18990,"author":38884,"museum":56,"description":38885,"tags":38886,"thumbUrl":38887,"material":127,"size":127,"collection":71,"collections":38888,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":38889},202935,"dong-ting-qiu-ji-tu-zhou-zheng-wu-chang-202935","洞庭秋霁图轴","郑午昌","画面铺展洞庭秋晴之境，近景苍松虬劲，红叶点染秋意，枯木疏朗有致；中景湖面开阔，孤舟泛波，飞鸟列阵掠过水面，添灵动之趣；远景层岩叠嶂，云雾轻笼，山势悠远。笔墨兼具传统意趣与现代气息，皴擦点染间尽显山石林木质感，设色雅致，红树与墨松相映，冷暖交融。整体意境清旷淡远，既有自然之静谧，又含文人之雅怀，传递出秋日洞庭雨后初霁的澄澈与疏朗。",[24,7,28,62,106,583,65,1120,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80d78fc5407a6f5d622026d07fdb070.jpg",[71],"cfc4b3",{"id":38891,"slug":38892,"title":38893,"dynasty":18990,"author":17343,"museum":56,"description":38894,"tags":38895,"thumbUrl":38896,"material":127,"size":127,"collection":71,"collections":38897,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":38898},202867,"you-tian-ping-shan-tu-zhou-xu-bei-hong-202867","游天平山图轴","此图绘天平山景致，峰岩陡峭，林木错落间，雅士数人或立或行，意态悠然。笔墨融合传统皴法与写实笔触，山石以刚劲线条勾勒，墨色浓淡相宜，兼具光影层次；人物刻画简练传神，尽显雅集游赏的闲适氛围。画面气韵贯通，既承继中国画的写意韵致，又融入西画的写实技巧，生动再现登临山水的文人意趣，是兼具传统底蕴与现代视野的山水佳作。",[24,7,103,59,28,65,100,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6827d311f1d9bc4886d02d7faf6b31fe.jpg",[71],"b9b6a8",{"id":38900,"slug":38901,"title":30548,"dynasty":54,"author":1096,"museum":56,"description":38902,"tags":38903,"thumbUrl":38904,"material":127,"size":127,"collection":71,"collections":38905,"showCount":283,"zanCount":961,"manualWeight":48,"mainColor":38906},202191,"bei-shan-he-chu-tu-zhou-dong-qi-chang-202191","淡墨皴擦的山峦间，清逸线条勾勒出文人画的空灵。近景虬枝枯树倚着嶙峋山石，小亭隐于树后；远景主峰挺秀，烟云轻笼，夕阳余晖漫洒，意境清寂悠远。笔墨疏朗却含厚重，以书入画的笔意融于山水神韵，师法自然又寄寓主观情致，简淡中见天真，尽显文人山水的雅致气韵。",[24,7,65,4563,372,64,63,1642,1019,149,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607cbdadd7c4984a5c2f9c3d479735ad.jpg",[71],"b1a080",{"id":38908,"slug":38909,"title":38910,"dynasty":177,"author":31429,"museum":56,"description":38911,"tags":38912,"thumbUrl":38914,"material":127,"size":127,"collection":71,"collections":38915,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":38916},202186,"dong-ting-qiu-yue-tu-zhou-wang-su-202186","洞庭秋月图轴","这幅画作以淡雅笔墨铺陈洞庭秋夜之境。陡峭山崖以细腻皴法勾勒纹理，枯树虬枝点缀其间，尽显秋意萧瑟。开阔水面波光隐现，远处飞鸟掠空，添灵动之韵。右下角小屋傍树而立，与自然相融，透出隐逸闲趣。整体色调清寒，虽未直绘秋月，却以空濛清旷的氛围烘托出月色皎洁，意境悠远宁静。笔墨层次丰富，山石用墨浓淡相宜，草木勾勒简练传神，尽显画家功底。构图疏密有致，左密右疏、虚实相生，将洞庭湖畔的秋夜寂寥与月色清辉完美融合，引人沉醉。",[59,65,7,62,106,1674,372,166,38913,5134,23],"清旷意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8ff5c3d6aa85680f47b2d34af0767a.jpg",[71],"b2a58f",{"id":38918,"slug":38919,"title":38920,"dynasty":54,"author":38921,"museum":56,"description":38922,"tags":38923,"thumbUrl":38924,"material":127,"size":127,"collection":71,"collections":38925,"showCount":283,"zanCount":48,"manualWeight":48,"mainColor":38926},202167,"shang-qiu-tu-zhou-chen-guan-202167","赏秋图轴","陈祼","画面开篇巨岩巍峨，皴法勾勒出苍劲肌理。中部林木交织，红叶点染秋韵，枯树与松竹相映，层次鲜活。坡岸巨石卧波，亭榭隐于竹丛，小径蜿蜒。左侧江面开阔，孤舟泛流，远树烟蒙，尽显秋江闲逸。笔墨细腻，设色淡雅，文人赏秋的悠然心境与山水交融，意境清寂诗意盎然。",[24,7,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释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[100,24,25,149,59,7,1389,62,61,12666,10513,3865,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":39040,"slug":39041,"title":39042,"dynasty":54,"author":9301,"museum":119,"description":39043,"tags":39044,"thumbUrl":39045,"material":337,"size":937,"collection":127,"collections":39046,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},290927,"liang-xin-tang-shen-shi-chong-290927","凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之。",[24,59,28,7,164,104,583,60,37,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8e28dccfca39f0fd78b4380f31662a.jpg",[],{"id":39048,"slug":39049,"title":39050,"dynasty":54,"author":5538,"museum":119,"description":30401,"tags":39051,"thumbUrl":39052,"material":337,"size":937,"collection":127,"collections":39053,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},290924,"ming-yun-shan-tu-wen-jia-290924","明云山图",[2484,24,100,59,630,63,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d5bdbb29c66f8463b99d923ac8bee3.jpg",[],{"id":39055,"slug":39056,"title":39057,"dynasty":80,"author":39058,"museum":135,"description":39059,"tags":39060,"thumbUrl":39061,"material":169,"size":39062,"collection":127,"collections":39063,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},290733,"xi-ting-shan-se-tu-zhou-ke-jiu-si-290733","溪亭山色图轴","柯九思","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[100,24,59,149,7,63,125,61,101,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5599533abc3f93415e3489adb2d0e751.jpg","63x34",[],{"id":39065,"slug":39066,"title":39067,"dynasty":177,"author":8024,"museum":119,"description":32530,"tags":39068,"thumbUrl":39069,"material":337,"size":937,"collection":127,"collections":39070,"showCount":172,"zanCount":961,"manualWeight":48,"mainColor":75},290559,"yu-jing-zhou-xu-yang-290559","雨景轴",[24,25,100,149,59,28,7,103,60,61,104,34,64,20425,101,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":39072,"slug":39073,"title":1420,"dynasty":54,"author":39074,"museum":119,"description":39075,"tags":39076,"thumbUrl":39077,"material":337,"size":937,"collection":127,"collections":39078,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},290356,"shan-shui-zhou-gu-zheng-yi-290356","顾正谊","顾正谊 ， 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David Friedrich 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钤印：朱文“重光”、“江上外史”印。\n王翚（162-1717年）字石谷，号耕烟散人、剑门樵客、乌目山人等。\n江苏常熟人。\n工山水，为清初四王之一。\n有清初画圣之称。\n其宗学者形成“虞山派”。",[24,25,149,59,67,101,7,165,60,35,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b500ccd1e7724fc2219bd60bdb65f9.jpg",[],{"id":39381,"slug":39382,"title":39383,"dynasty":177,"author":2620,"museum":119,"description":39384,"tags":39385,"thumbUrl":39386,"material":127,"size":127,"collection":127,"collections":39387,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},235668,"shan-shui-ping-ping-wei-yan-xue-yuan-yao-235668","山水屏-平囗艳雪","此作画境清灵雅致，雪意未消的春山间，胭红梅花生于嶙峋崖石之上，冷艳交融。画面以高远构局，层崖叠嶂间坐落两座亭台，临渊而立，将山居雅趣藏于空濛云雾中。下方板桥横跨浅溪，三两行人缓行，为幽寂山景添入烟火暖意。\n设色轻和柔润，山石以淡青晕染出积雪清寒，红梅胭红点染，冷暖相映愈显雅致。亭台勾勒工整流丽，山石皴擦兼具苍劲质感，留白的云雾拓展出山水空阔意境，将残雪初融、春信悄临的清隽诗意尽显，仿若可闻山风轻拂梅枝，静享林泉幽居的恬淡意趣。",[100,24,25,28,304,7,63,60,103,2127,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bb8508f0aa0b2c49b34293c6b24f3e.jpg",[],{"id":39389,"slug":39390,"title":7678,"dynasty":177,"author":6184,"museum":119,"description":7679,"tags":39391,"thumbUrl":39393,"material":337,"size":937,"collection":127,"collections":39394,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},235664,"shan-shui-ping-yuan-jiang-235664",[24,28,29,304,7,62,1263,238,166,39392,149,1642,34,3865,65],"舟人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b4a4034a49030300ed4a23692b7679.jpg",[],{"id":39396,"slug":39397,"title":7594,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":39398,"thumbUrl":39399,"material":337,"size":937,"collection":127,"collections":39400,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},235615,"hong-ren-shan-shui-ce-hong-ren-235615",[100,24,25,2145,7558,4563,65,7,62,571,63,508,103,15552,167,707,721,496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3182d660d161fc9f0b2b958a356bc8.jpg",[],{"id":39402,"slug":39403,"title":7594,"dynasty":177,"author":1801,"museum":119,"description":4367,"tags":39404,"thumbUrl":39405,"material":337,"size":937,"collection":127,"collections":39406,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},235612,"hong-ren-shan-shui-ce-hong-ren-235612",[24,25,59,65,7,67,66,30,34,35,85,64,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b314950d8ff3a520a30e7311eeaa3f.jpg",[],{"id":39408,"slug":39409,"title":5022,"dynasty":177,"author":395,"museum":119,"description":39410,"tags":39411,"thumbUrl":39412,"material":127,"size":127,"collection":127,"collections":39413,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},235520,"yuan-ji-shan-shui-tu-ce-shi-tao-235520","淡墨皴擦出层叠山峦，带着苍莽野逸之气，蜿蜒山道串起深谷山居，晕开雨后初霁的湿润空濛。前景林木错落，虬曲枝干间点叶疏密有致，将江南山野的幽寂鲜活铺展。\n\n右上角题诗与画面呼应，诗画交融，暗合山乡行路的澹然况味。笔意纵恣却不失秀润，干湿墨色互用，让山石肌理灵动自然，全无刻硬之感，尽显山水清灵雅致。将天地间静穆生机凝于尺幅，随性旷达的文人意趣藏在每一处笔墨里，是意韵悠长的山水佳构。",[24,25,59,65,164,223,7,318,165,334,64,4342,238,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5c6622bc1fcd2c25c587e7049d8fce.jpg",[],{"id":39415,"slug":39416,"title":5022,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":39417,"thumbUrl":39418,"material":337,"size":937,"collection":127,"collections":39419,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},235517,"yuan-ji-shan-shui-tu-ce-shi-tao-235517",[24,25,164,59,65,7,64,34,60,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539be3c07015b163b46cd40a7d09dfe6.jpg",[],{"id":39421,"slug":39422,"title":159,"dynasty":177,"author":12508,"museum":119,"description":39423,"tags":39424,"thumbUrl":39425,"material":337,"size":937,"collection":71,"collections":39426,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},235493,"shan-shui-ce-liu-yu-235493","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,25,164,59,67,65,7,64,34,167,1897,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[71],{"id":39428,"slug":39429,"title":159,"dynasty":177,"author":1925,"museum":119,"description":39430,"tags":39431,"thumbUrl":39432,"material":127,"size":127,"collection":127,"collections":39433,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},235167,"shan-shui-ce-zhu-da-235167","这幅画以大片留白铺就江天寥廓，将寒烟秋水的空茫意蕴藏于素纸之上。右侧淡墨勾勒丘坡枯木，笔意清瘦简逸，虬曲枯枝孤傲孑立，枯笔皴擦山石，不着浓墨晕染，尽显萧疏冷寂。\n\n空荡纸面恰如无人的寒江荒野，把天地荒寒的澹远之境铺陈开来。朱红钤印错落点缀，冷素笔墨与古雅印色相映，为清寂画面添了沉静厚重的余味。\n\n寥寥数笔便将幽独襟怀融于山水之间，极简意象里藏着沉郁孤高的心境，于空寂之中见深远意趣，淡远里尽显清冷孤绝的品格。",[24,59,164,7,34,35,64,264,65,11714,20238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c165116dd7770d6cc8dde0fdfaf4df9.jpg",[],{"id":39435,"slug":39436,"title":11929,"dynasty":177,"author":4707,"museum":20,"description":35340,"tags":39437,"thumbUrl":39438,"material":11046,"size":11932,"collection":127,"collections":39439,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},234965,"wu-wai-tian-yuan-tu-ce-kun-can-234965",[24,25,100,164,59,65,66,101,7,264,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab7e989e6b953554dabccfa86cb3c35.jpg",[],{"id":39441,"slug":39442,"title":6073,"dynasty":54,"author":178,"museum":119,"description":39443,"tags":39444,"thumbUrl":39445,"material":337,"size":937,"collection":127,"collections":39446,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},234927,"dong-qi-chang-shan-shui-ce-yi-ming-234927","此作用笔清润松灵，近景古木虬曲苍劲，枝桠舒展自带古拙意趣，坡岸留白晕开浅淡水汽，衬得林下村居愈发幽寂安闲。中远景山峦层叠，以淡墨轻勾慢皴，山石轮廓秀逸温润，将江南丘壑的清润质感藏于简淡笔墨之中。画面留白与钤印错落相映，晕开雅致沉静的书卷气，以尺幅之地铺陈出萧散淡远的林下闲居之境，尽显平淡天真的文人意趣，观之如临幽寂山林，静享山居清宁。",[100,24,25,164,59,65,7,318,165,35,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ff81a6d88494802fde213820a8874.jpg",[],{"id":39448,"slug":39449,"title":36703,"dynasty":54,"author":368,"museum":119,"description":34102,"tags":39450,"thumbUrl":39451,"material":337,"size":937,"collection":127,"collections":39452,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831",[24,25,2484,7,122,65,59,64,34,35,60,826,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":39454,"slug":39455,"title":39456,"dynasty":54,"author":9549,"museum":119,"description":39457,"tags":39458,"thumbUrl":39459,"material":127,"size":127,"collection":127,"collections":39460,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},234804,"qian-gu-shan-shui-dan-ye-qian-gu-234804","钱穀山水单页","钱穀（1508—1578），字叔宝，号罄室、句吴逸民，自号罄室子，长洲（今江苏苏州）人，吴越国王族钱氏的后人。少孤贫，迨壮始知读书，游文太史徵明门下，研习画法。画名甚著，且书、诗、文俱精妙。\n现藏于苏州博物馆的钱穀《摹吴镇、倪云林山水》卷为纸本水墨，纵31.5厘米、横148.5厘米，题款“钱穀”，钤“叔宝”白文方印。此作为我们观察、研究钱穀的仿古绘画面貌提供了资料。\n钱穀所处时代的吴中，形成了一个以文徵明为核心的精英文化圈。而成为文徵明的弟子，即意味着他进入了这个核心圈，共享圈内的资源。与诸多文徵明的弟子一样，他长期为老师代笔。这表明，钱穀的画风在很长时间内与文徵明的画风相当接近。除了替师捉刀之外，他也十分注重自己的个人创作。清代徐沁在《明画录》中评价钱穀“作山水不名其师学，而自腾踔于梅花、一峰、石田间，爽朗可爱”。从中可以看出，钱穀已意识到创作不应拘泥于文氏风格。他后期的绘画转师沈周及“元四家”，即是一种应变的策略。《摹吴镇、倪云林山水》卷便是他求变的产物。\n摹写前人的作品，注重从前人的画法中吸取营养，是画家自我提升的一个重要法门。吴门绘画特别推崇元人的笔墨。因此，钱穀追摹吴镇、倪瓒作品的举动也是不难理解的事情。在吴中的文化圈中，“元四家”的作品备受青睐、流传颇多，钱穀想要观赏这些作品自然也不是难事。因此在临仿元人绘画时，可供他选择的画作应是比较丰富的。在《摹吴镇、倪云林山水》卷中，他采用的并不是常见的不与原作相似、带有强烈个人印记的“神会”模仿，而是较为忠实地学习元代画家的风格特征，隐去了自己的笔法痕迹。不过，他的摹写并不是对某一画作的如实临摹，而是将不同画作的绘画元素转摹组合到同一个画面之中。",[24,25,59,65,164,7,63,34,64,35,201,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":39462,"slug":39463,"title":4175,"dynasty":177,"author":3760,"museum":119,"description":23965,"tags":39464,"thumbUrl":39465,"material":537,"size":23968,"collection":127,"collections":39466,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},234717,"fang-gu-shan-shui-ce-wang-hui-234717",[24,25,164,59,65,122,7,125,63,630,167,7727,64,166,11163,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg",[],{"id":39468,"slug":39469,"title":39470,"dynasty":54,"author":368,"museum":119,"description":28876,"tags":39471,"thumbUrl":39472,"material":127,"size":127,"collection":127,"collections":39473,"showCount":172,"zanCount":961,"manualWeight":48,"mainColor":75},234634,"fang-zhao-song-xue-shan-shui-shan-ye-lan-ying-234634","仿赵松雪山水扇页",[24,2484,28,7,62,583,64,34,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39567596c4b94d544a1394f90e146675.jpg",[],{"id":39475,"slug":39476,"title":24479,"dynasty":54,"author":35354,"museum":119,"description":39477,"tags":39478,"thumbUrl":39479,"material":127,"size":127,"collection":127,"collections":39480,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},234486,"shan-shui-shan-wei-zhi-huang-234486","魏之璜（1568～1647），明代画家。字叔考，上元（今南京）人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风格。亦擅花卉及佛像。",[2484,24,25,59,28,65,7,34,64,104,35,533,452,239,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689fbbc66d94f15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作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。其山羊走兽等亦富有情趣。有《文姬归汉图》、《四羊图》等传世作品。",[23,24,25,26,29,28,103,335,3988,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f998cad5ff4a67c13137dc8f8c858a.jpg","30.4cm×549.6cm",[],{"id":39608,"slug":39609,"title":39610,"dynasty":54,"author":39611,"museum":119,"description":39612,"tags":39613,"thumbUrl":39614,"material":349,"size":39615,"collection":127,"collections":39616,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,24,25,26,59,123,65,101,66,67,7,264,34,372,35,33,167,239,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":39618,"slug":39619,"title":39620,"dynasty":8332,"author":39621,"museum":119,"description":39622,"tags":39623,"thumbUrl":39624,"material":337,"size":937,"collection":127,"collections":39625,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},231790,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-juan-he-guo-xiao-zhai-231790","明清日本古画粉本-山水卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,26,59,28,7,30,37,34,3171,878,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d12f5d72d96918e6b40bcf86252f60d.jpg",[],{"id":39627,"slug":39628,"title":39629,"dynasty":8332,"author":39630,"museum":119,"description":39631,"tags":39632,"thumbUrl":39633,"material":337,"size":937,"collection":127,"collections":39634,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},231740,"an-tu-tao-shan-shi-dai-qin-qi-shu-hua-tu-ping-feng-di-er-ping-hai-bei-you-song-231740","安土桃山时代 琴棋书画图屏风第二屏","海北友松","海北 友松（かいほう ゆうしょう、天文2年（1533年） - 慶長20年6月2日（1615年6月27日））は、安土桃山時代から江戸時代初期にかけての絵師。海北派の始祖。",[23,24,149,59,28,7,264,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86678861db0d7126fe8de6b1c0631142.jpg",[],{"id":39636,"slug":39637,"title":39638,"dynasty":8332,"author":178,"museum":119,"description":39639,"tags":39640,"thumbUrl":39641,"material":337,"size":937,"collection":127,"collections":39642,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,25,26,28,29,304,103,104,335,7,34,35,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":39644,"slug":39645,"title":39646,"dynasty":8332,"author":178,"museum":119,"description":39647,"tags":39648,"thumbUrl":39649,"material":127,"size":127,"collection":127,"collections":39650,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},231650,"mu-gui-tu-li-zhou-yi-ming-231650","牧归图立轴","这幅《归牧图》刻画细致生动，人、牛形神毕具",[23,24,25,100,149,28,29,65,1586,103,571,7,264,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":39652,"slug":39653,"title":21534,"dynasty":177,"author":3973,"museum":119,"description":39654,"tags":39655,"thumbUrl":39656,"material":127,"size":127,"collection":127,"collections":39657,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,24,25,26,59,7,318,979,165,199,106,201,167,720,64,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":39659,"slug":39660,"title":1084,"dynasty":177,"author":3760,"museum":119,"description":39661,"tags":39662,"thumbUrl":39663,"material":127,"size":127,"collection":127,"collections":39664,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":379},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[24,59,65,28,7,60,61,64,34,199,63,101,5134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":39666,"slug":39667,"title":39668,"dynasty":177,"author":9539,"museum":119,"description":39669,"tags":39670,"thumbUrl":39671,"material":127,"size":127,"collection":127,"collections":39672,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,24,25,149,59,65,7,64,372,61,35,167,533,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":39674,"slug":39675,"title":39676,"dynasty":177,"author":39677,"museum":119,"description":39678,"tags":39679,"thumbUrl":39680,"material":127,"size":127,"collection":127,"collections":39681,"showCount":172,"zanCount":961,"manualWeight":48,"mainColor":49},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,25,149,59,28,29,65,7,1389,35,34,64,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":39683,"slug":39684,"title":39685,"dynasty":177,"author":3760,"museum":119,"description":39686,"tags":39687,"thumbUrl":39688,"material":127,"size":127,"collection":127,"collections":39689,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[23,24,28,7,103,1738,6300,2505,34,61,64,177,26,29,59,1249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":39691,"slug":39692,"title":39693,"dynasty":8332,"author":178,"museum":119,"description":39694,"tags":39695,"thumbUrl":39698,"material":337,"size":937,"collection":127,"collections":39699,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[23,28,29972,29,7,1249,583,125,10577,61,62,103,347,106,39696,39697,64,15794],"红花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":39701,"slug":39702,"title":15488,"dynasty":177,"author":15133,"museum":119,"description":39703,"tags":39704,"thumbUrl":39705,"material":337,"size":937,"collection":127,"collections":39706,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},230362,"shan-shui-ce-ye-wang-zhi-rui-230362","汪之瑞（？—约1660年），字无瑞，号乘槎，清朝安徽休宁人，清初画家。生卒年不可具考，约和查士标同时，为明末新安画家李永昌高足。“新安四家”之一。",[24,25,164,59,65,7,264,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f78b8ecd3718efd6c5667138c15a033.jpg",[],{"id":39708,"slug":39709,"title":39710,"dynasty":177,"author":395,"museum":119,"description":22277,"tags":39711,"thumbUrl":39712,"material":127,"size":127,"collection":127,"collections":39713,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图",[24,25,164,28,7,67,66,101,65,2813,347,34,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg",[],{"id":39715,"slug":39716,"title":39717,"dynasty":177,"author":12255,"museum":119,"description":39718,"tags":39719,"thumbUrl":39720,"material":127,"size":127,"collection":127,"collections":39721,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[23,24,25,164,59,65,7,34,60,35,37,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":39723,"slug":39724,"title":14442,"dynasty":177,"author":39725,"museum":119,"description":39726,"tags":39727,"thumbUrl":39728,"material":127,"size":127,"collection":127,"collections":39729,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},228484,"mu-niu-tu-zhang-mu-228484","张穆","此作以水墨铺就郊野溪谷之景，虬曲老木扎根荒滩，崖间飞瀑漱石，溪水蜿蜒漫过浅渚。群水牛或缓步就溪啜饮，或抵角相嬉，或蜷卧青草地休憩，神态憨然自在，将耕牛卸轭后的松弛尽显。笔墨朴拙写实，勾勒皴擦间，林石苍古荒率的野趣、水牛肌理的厚重质感一一浮现，似能闻得水草清腥，听哞哞牛鸣回荡溪山，将郊野牧歌式的闲逸悠然融于尺幅间，把山野生趣与静谧氛围揉合，于平淡笔墨中尽显自然真意。",[23,24,59,26,65,1586,7,125,61,199,239,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0eca3394d51ce6da7ee2a9c0b498ddd.jpg",[],{"id":39731,"slug":39732,"title":39733,"dynasty":54,"author":23998,"museum":119,"description":39734,"tags":39735,"thumbUrl":39736,"material":127,"size":127,"collection":127,"collections":39737,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},228387,"peng-lai-xian-yi-tu-juan-1-leng-qian-228387","蓬莱仙奕图卷-1","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[24,25,26,28,27,7,34,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f83116d1482be85f63c5b6bf0eda143.jpg",[],{"id":39739,"slug":39740,"title":39741,"dynasty":54,"author":9184,"museum":119,"description":39742,"tags":39743,"thumbUrl":39744,"material":127,"size":127,"collection":127,"collections":39745,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[23,24,59,28,7,104,62,106,239,34,65,304,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":39747,"slug":39748,"title":39749,"dynasty":54,"author":9549,"museum":119,"description":39750,"tags":39751,"thumbUrl":39752,"material":127,"size":127,"collection":127,"collections":39753,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,25,164,28,59,7,65,238,37,61,60,104,34,106,63,64,533,103,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":39755,"slug":39756,"title":39757,"dynasty":54,"author":12464,"museum":119,"description":39758,"tags":39759,"thumbUrl":39760,"material":127,"size":127,"collection":127,"collections":39761,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,25,26,59,7,65,101,66,67,64,34,31,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":39763,"slug":39764,"title":4412,"dynasty":80,"author":997,"museum":119,"description":39765,"tags":39766,"thumbUrl":39767,"material":127,"size":127,"collection":127,"collections":39768,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[23,100,24,25,26,59,65,7,31,34,1707,35,60,167,707,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":39770,"slug":39771,"title":16446,"dynasty":80,"author":7127,"museum":119,"description":39772,"tags":39773,"thumbUrl":39774,"material":127,"size":127,"collection":127,"collections":39775,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":940},228029,"fang-you-tu-zhao-yong-228029","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,24,28,7,65,103,63,34,60,61,334,607,125,106,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":39777,"slug":39778,"title":39779,"dynasty":18,"author":23215,"museum":119,"description":39780,"tags":39781,"thumbUrl":39782,"material":127,"size":127,"collection":127,"collections":39783,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},227975,"yan-cun-qiu-ai-tu-li-an-zhong-227975","烟村秋霭图","这幅画以淡墨轻晕铺就烟霭秋郊，虚实相生间尽显幽远意境。左侧茂林攒聚，细密点染出秋叶苍润的质感，林梢掩映隐约村舍，藏着乡野的静谧烟火。右侧枯木斜倚水岸，孤清萧疏，与左侧的苍林形成疏密对照。\n\n画师以留白晕染烟水空濛，墨色浓淡自然过渡，将暮秋薄霭浮动的氛围感烘托得恰到好处，把秋日郊野的冷寂清旷尽数铺展。带着独有的平和疏淡意趣，将乡野秋日的萧散之美藏在朦胧烟色中，尽显淡远幽微的山水诗意。",[23,100,24,25,7,59,28,65,34,3764,204,61,372,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756c4f10a3cf56a3d7eba886bd268cd.jpg",[],{"id":39785,"slug":39786,"title":39098,"dynasty":18,"author":39787,"museum":119,"description":39788,"tags":39789,"thumbUrl":39790,"material":127,"size":127,"collection":127,"collections":39791,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[23,24,25,2484,28,7,67,2855,167,583,1707,33,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":39793,"slug":39794,"title":39795,"dynasty":18,"author":178,"museum":119,"description":39796,"tags":39797,"thumbUrl":39798,"material":127,"size":127,"collection":127,"collections":39799,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},227863,"chun-shan-xun-mu-tu-yi-ming-227863","春山曛暮图","此作以边角构图造境，右侧苍松虬曲老硬，松针攒簇尽显苍古之姿，将山野幽意凝于枝桠间。远山以淡墨晕染，朦胧迤逦，晕开曛暮时分的空濛柔润。林麓茅亭隐现，枯木初萌新绿，幽人策杖徐行，将山居闲逸藏于尺幅。\n\n全作用笔精微写实，以虚衬实，淡墨轻烟里晕开春日薄暮的柔和暖意，把山野暮色的清旷悠然融于方寸之间，尽显简淡空灵的山水意趣，将文人心中萧散闲雅的山居图景晕染尽致，于小品之中见天地悠然，淡远静谧的氛围感扑面而来。",[100,24,25,28,7,63,583,167,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bea0e87d5e65d183601f2308bcf0312.jpg",[],{"id":39801,"slug":39802,"title":39803,"dynasty":18,"author":178,"museum":119,"description":39804,"tags":39805,"thumbUrl":39806,"material":127,"size":127,"collection":127,"collections":39807,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[23,100,24,25,304,29,28,7,104,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d62944f11.jpg",[],{"id":39809,"slug":39810,"title":23438,"dynasty":18,"author":178,"museum":119,"description":39811,"tags":39812,"thumbUrl":39813,"material":127,"size":127,"collection":127,"collections":39814,"showCount":172,"zanCount":961,"manualWeight":48,"mainColor":49},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,100,24,25,2484,28,29,304,103,335,34,104,334,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":39816,"slug":39817,"title":39818,"dynasty":8332,"author":178,"museum":119,"description":39819,"tags":39820,"thumbUrl":39821,"material":127,"size":127,"collection":127,"collections":39822,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},225306,"fu-shi-hui-34-yi-ming-225306","浮世绘34","澄澈海面轻漾柔波，两艘渔舟缓行其上，晕开悠悠渔隐意趣。苍崖叠翠而起，深浅绿意晕染出繁茂植被的层次，暖黄石径蜿蜒穿梭林间，崖顶山居凭险而建，将山居与山海融为一体。\n\n右下角朱红岸滩衬着古朴鸟居与屋舍，冷暖色调交织柔化了山海边界，把南国的静谧悠然铺陈开来。整体兼具装饰意趣与东方山水意境，以雅致抒情的笔调定格幽远山海之美，带着和风特有的恬淡诗意，引人身临其境踏入这处避世的南国栖居地。",[21213,28,7,62,33,34,64,1815,1779,35,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0bb9f4ca064dd87b79f48836bf455a.jpg",[],{"id":39824,"slug":39825,"title":39826,"dynasty":177,"author":1825,"museum":119,"description":39827,"tags":39828,"thumbUrl":39829,"material":337,"size":937,"collection":127,"collections":39830,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,100,24,25,149,59,7,65,583,30,64,1674,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":39832,"slug":39833,"title":39834,"dynasty":177,"author":3760,"museum":119,"description":39835,"tags":39836,"thumbUrl":39837,"material":127,"size":127,"collection":127,"collections":39838,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},224462,"liu-an-jiang-zhou-tu-wang-hui-224462","柳岸江洲图","《柳岸江洲图》 是清代王翚作品，尺寸为95.5cm×41cm。\n现藏于天津市艺术博物馆藏。\n近景以浓重墨色画稀疏柳林。\n枝干参差，富于变化，远处群山，波状起伏，湖上轻舟，张帆而行。\n笔墨简练，干脆利落。",[23,100,24,59,7,62,571,7043,20209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc47787a2a429be37b4a2e87319051f3.jpg",[],{"id":39840,"slug":39841,"title":39842,"dynasty":177,"author":2075,"museum":119,"description":39843,"tags":39844,"thumbUrl":39845,"material":127,"size":127,"collection":127,"collections":39846,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},224426,"fang-huang-zi-jiu-bi-yi-wang-shi-min-224426","仿黄子久笔意","此作用笔苍润松秀，以干笔皴擦勾勒山峦肌理，墨色层染清和淡雅，复刻出元人山水的萧散意趣。画面取高远平远结合之景，主峰巍峨矗立，山间留白以烟岚晕染，将重山包裹得灵动悠然。溪渚蜿蜒穿林而过，村居错落藏于茂林幽谷，坡岸林木扶疏，点染出江南山水温润清和之态。整体气息淡逸空灵，既追摹原作的简远苍浑，又融入自身温厚娴静的笔致，将文人寄情林泉、追慕古意的襟怀，尽藏在这尺幅江山之中。",[23,24,25,149,7,122,65,815,34,61,35,318,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":39848,"slug":39849,"title":39850,"dynasty":177,"author":2075,"museum":119,"description":15811,"tags":39851,"thumbUrl":39852,"material":15814,"size":15815,"collection":127,"collections":39853,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8",[23,24,59,28,65,164,7,64,61,63,35,34,60,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg",[],{"id":39855,"slug":39856,"title":39857,"dynasty":177,"author":9429,"museum":119,"description":39858,"tags":39859,"thumbUrl":39860,"material":127,"size":127,"collection":127,"collections":39861,"showCount":172,"zanCount":961,"manualWeight":48,"mainColor":75},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,24,25,149,28,7,65,318,165,31,450,1120,38,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":39863,"slug":39864,"title":39865,"dynasty":177,"author":28794,"museum":119,"description":39866,"tags":39867,"thumbUrl":39868,"material":127,"size":127,"collection":127,"collections":39869,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,100,24,25,149,28,65,7,35,34,60,61,62,125,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":39871,"slug":39872,"title":909,"dynasty":177,"author":28794,"museum":119,"description":39873,"tags":39874,"thumbUrl":39875,"material":337,"size":937,"collection":127,"collections":39876,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},224194,"shan-shui-tu-wu-hong-224194","吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。",[23,2484,24,59,65,7,125,64,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d02ac75ef5b73d4c0984f4926cabcc.jpg",[],{"id":39878,"slug":39879,"title":39880,"dynasty":177,"author":672,"museum":119,"description":39881,"tags":39882,"thumbUrl":39883,"material":127,"size":127,"collection":127,"collections":39884,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,25,149,28,29,7,34,35,60,61,62,37,30,583,1738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":39886,"slug":39887,"title":39888,"dynasty":177,"author":672,"museum":119,"description":39889,"tags":39890,"thumbUrl":39891,"material":127,"size":127,"collection":127,"collections":39892,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,25,149,28,29,65,7,103,60,61,63,35,583,64,399,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":39894,"slug":39895,"title":39896,"dynasty":18,"author":178,"museum":4678,"description":39897,"tags":39898,"thumbUrl":39899,"material":127,"size":127,"collection":127,"collections":39900,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},223571,"xi-pan-gui-mu-tu-yi-ming-223571","溪畔归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。\n牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。",[23,24,25,28,29,65,7,61,1586,103,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5951ff9e84033a61bc0d4c305cb17153.jpg",[],{"id":39902,"slug":39903,"title":39904,"dynasty":18,"author":178,"museum":119,"description":39905,"tags":39906,"thumbUrl":39907,"material":349,"size":39908,"collection":127,"collections":39909,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,100,149,28,65,7,318,765,199,34,60,61,104,103,335,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":39911,"slug":39912,"title":16771,"dynasty":80,"author":178,"museum":135,"description":39913,"tags":39914,"thumbUrl":39915,"material":6855,"size":39916,"collection":127,"collections":39917,"showCount":172,"zanCount":961,"manualWeight":48,"mainColor":49},223508,"lin-ting-qiu-se-tu-yi-ming-223508","沿江冈陵起伏，霜气已深，岁将暮矣。满山寒林卓立，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收网，朝起江村，各有所事。\n本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空阔，气象萧疏，使人凛然而有寒意。无款印。",[23,24,100,25,59,65,7,63,607,125,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","27.5x50.7厘米",[],{"id":39919,"slug":39920,"title":39921,"dynasty":80,"author":178,"museum":3157,"description":39922,"tags":39923,"thumbUrl":39925,"material":537,"size":39926,"collection":127,"collections":39927,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},223445,"han-lin-gui-qiao-tu-zhou-yi-ming-223445","寒林归樵图轴","远处孤山耸立，近处寒林对峙，画面空旷深远，尽显寒意料峭。图画上端有刘长卿所作诗《寻盛禅师兰若》，净慈寺平山处林禅师所书诗：“秋草黄花覆古阡，隔林何处起人烟，山僧独在山中老，唯有寒松见少年”",[23,24,59,149,7,766,372,64,65,39924],"樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab559074d70afec98a2c35cecf05614.jpg","92.6＊48.9cm",[],{"id":39929,"slug":39930,"title":39931,"dynasty":177,"author":18635,"museum":3363,"description":39932,"tags":39933,"thumbUrl":39937,"material":375,"size":39938,"collection":127,"collections":39939,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},223309,"fa-jie-yuan-liu-tu-juan-3-ding-guan-peng-223309","法界源流图卷-3","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,29,28,26,1042,103,14486,39934,12382,8532,4459,3986,9197,3988,39935,25179,7,104,39936],"天王","法器","神佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be0fc022f890817bbffb782f3979ec.jpg","纵33厘米、横1635厘米",[],{"id":39941,"slug":39942,"title":39943,"dynasty":177,"author":5768,"museum":20,"description":12800,"tags":39944,"thumbUrl":39945,"material":12803,"size":12804,"collection":127,"collections":39946,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":10894},223143,"shi-wan-tu-ce-7-ren-xiong-223143","十万图册7",[23,24,100,25,164,29,28,7,104,165,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a1b10828519dc13f4704bee941031.jpg",[],{"id":39948,"slug":39949,"title":39950,"dynasty":177,"author":5768,"museum":20,"description":12800,"tags":39951,"thumbUrl":39952,"material":12803,"size":12804,"collection":127,"collections":39953,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":10894},223141,"shi-wan-tu-ce-5-ren-xiong-223141","十万图册5",[23,24,28,27,29,164,7,264,10577,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189bbf05898f4a844375d2898e2f33d.jpg",[],{"id":39955,"slug":39956,"title":39957,"dynasty":177,"author":39958,"museum":119,"description":39959,"tags":39960,"thumbUrl":39961,"material":28,"size":127,"collection":127,"collections":39962,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},223131,"qun-xian-tu-ren-xun-223131","群仙图","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,24,25,28,29,103,7,104,34,3988,979,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":39964,"slug":39965,"title":23158,"dynasty":177,"author":3973,"museum":135,"description":39966,"tags":39967,"thumbUrl":39968,"material":15447,"size":39969,"collection":71,"collections":39970,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},223113,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[23,24,149,59,65,7,571,722,62,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","290x58厘米",[71,212],{"id":39972,"slug":39973,"title":39974,"dynasty":54,"author":945,"museum":704,"description":39975,"tags":39976,"thumbUrl":39977,"material":537,"size":39978,"collection":127,"collections":39979,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},222340,"wu-yang-zi-yang-xing-tu-quan-juan-tang-yin-222340","悟阳子养性图全卷","图绘溪水流淌、绿树成荫的幽静之处，有草厅一间，一老者坐于蒲团之上，双手握于膝上，仰望的姿势似观赏远处的大好山水，身旁一桌上置诗书几本，表达出修身养性的意境；卷后有文徵明题《悟阳子诗叙》，二大才子书画合璧，精彩绝伦！",[23,24,25,26,59,67,66,7,103,347,34,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458bac5765bb1775c9eeabee74ee5f5.jpg","29.5x103.5cm",[],{"id":39981,"slug":39982,"title":39983,"dynasty":54,"author":10318,"museum":369,"description":24149,"tags":39984,"thumbUrl":39985,"material":349,"size":39986,"collection":127,"collections":39987,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴",[23,24,25,100,149,59,65,7,765,2127,104,62,64,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":39989,"slug":39990,"title":33229,"dynasty":54,"author":178,"museum":4522,"description":33230,"tags":39991,"thumbUrl":39992,"material":3985,"size":127,"collection":127,"collections":39993,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},222149,"fu-hui-dong-yi-ming-222149",[23,3985,28,29,103,4459,7,4192,181,34,31,2911,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969e04e58a9a76dbc8e73e19f7ef5a5b.jpg",[],{"id":39995,"slug":39996,"title":39997,"dynasty":54,"author":55,"museum":56,"description":39998,"tags":39999,"thumbUrl":40000,"material":454,"size":40001,"collection":127,"collections":40002,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},222096,"liang-jiang-ming-sheng-tu-ce-8-shen-zhou-222096","两江名胜图册8","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,24,25,164,28,7,66,62,583,104,167,166,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d2195e006435fbb0a25480c8b44d74.jpg","42.2×23.8厘米",[],{"id":40004,"slug":40005,"title":40006,"dynasty":54,"author":55,"museum":56,"description":39998,"tags":40007,"thumbUrl":40008,"material":454,"size":40001,"collection":127,"collections":40009,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":75},222093,"liang-jiang-ming-sheng-tu-ce-5-shen-zhou-222093","两江名胜图册5",[23,24,25,164,28,7,65,104,34,64,826,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ed3b156ab6352fef75398d40a0743.jpg",[],{"id":40011,"slug":40012,"title":39574,"dynasty":80,"author":7127,"museum":119,"description":40013,"tags":40014,"thumbUrl":40015,"material":40016,"size":40017,"collection":127,"collections":40018,"showCount":172,"zanCount":48,"manualWeight":48,"mainColor":49},221867,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-221867","赵雍 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，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[23,24,100,149,59,65,7,63,165,630,305,319,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","水墨,纸本,立轴","画心：58×31.7厘米 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[31565,28147,7,60,34,106,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b833f69cc1ddd420721b935c05f16.jpg",[],{"id":40510,"slug":40511,"title":40512,"dynasty":177,"author":40513,"museum":119,"description":40514,"tags":40515,"thumbUrl":40516,"material":337,"size":937,"collection":127,"collections":40517,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},241455,"zhi-huang-yi-shu-zha-juan-weng-fang-gang-241455","致黄易书札卷","翁方纲","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[23,100,24,25,26,67,59,7,35,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2046f6985be116f7a0839c7580a05488.jpg",[],{"id":40519,"slug":40520,"title":40521,"dynasty":177,"author":40522,"museum":119,"description":40523,"tags":40524,"thumbUrl":40525,"material":127,"size":127,"collection":127,"collections":40526,"showCount":512,"zanCount":1080,"manualWeight":48,"mainColor":75},239550,"fang-bei-yuan-shan-shui-tu-zhou-zhang-xue-ceng-239550","仿北苑山水图轴","张学曾","张学曾仿北苑山水图轴是清顺治十二年的图轴。\n《仿北苑山水图》轴，张学曾绘，纸本，墨笔。\n此画远景为巨大的山石，以披麻皴绘出，山体及近处丛树、苔草施以墨点，一小桥延伸而去。\n构图简远，韵味无穷。\n“北苑”指五代时南唐著名山水画家董源，由于他曾任北苑使之职，故名。\n画幅中笔势苍茫，吐纳北苑；笔墨干湿浓淡、画风平淡天真处又受董其昌影响。\n款署：“乙未仲冬画仿北苑似子木词坛张学曾。\n”钤“张学曾印”白文印、“张尔唯氏”朱文印。\n“乙未”为清顺治十二年（1655年）。\n鉴藏印有孙煜烽、庞莱臣诸印：“孙煜烽珍藏印”朱文印、“希逸”白文印、“虚斋审定”白文印、“庞莱臣珍藏印”朱文印。",[24,25,149,59,7,60,64,34,103,101,122,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3154627689548e75d9c6124eddbd477e.jpg",[],{"id":40528,"slug":40529,"title":159,"dynasty":54,"author":19566,"museum":119,"description":40530,"tags":40531,"thumbUrl":40532,"material":127,"size":127,"collection":127,"collections":40533,"showCount":512,"zanCount":961,"manualWeight":48,"mainColor":75},239546,"shan-shui-ce-shen-hao-239546","此作以淡墨轻皴绘就雪后清晓之景，浅赭晕染远山，留白处隐见残雪覆于峦岫，起伏连绵间尽显空蒙萧寒。枯林错落萧疏，淡写枝干无叶之态，暗合冬日荒寂。山径间旅人策蹇缓行，为冷寂山水晕开一缕烟火暖意。\n\n画面与题诗清雅相融，以极简笔墨铺陈悠远画境，将冬日郊野的静谧诗意缓缓晕开，尽显文人画空灵淡远之致，于简淡疏朗间藏着清旷余韵，淡而不薄，枯而不涩，尽显幽远的林下诗意。",[24,25,164,59,65,7,318,165,533,103,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5f5f8405bde5b52b15b6edd3558efa.jpg",[],{"id":40535,"slug":40536,"title":40537,"dynasty":177,"author":40538,"museum":119,"description":40539,"tags":40540,"thumbUrl":40541,"material":337,"size":937,"collection":127,"collections":40542,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},239422,"fang-nan-tian-shan-shui-zhou-bi-han-239422","仿南田山水轴","毕涵","毕涵，[清]（1732—1807）字有涵，号焦麓，又号止庵道人，晚称篆竹居士，阳湖（今江苏常州）人。",[24,25,149,59,65,122,7,64,34,35,31,167,720,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b1631bfd1fe0fb06f0c5ed8d3eddc.jpg",[],{"id":40544,"slug":40545,"title":19583,"dynasty":177,"author":1704,"museum":119,"description":40546,"tags":40547,"thumbUrl":40548,"material":127,"size":127,"collection":127,"collections":40549,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},239337,"xue-jing-shan-shui-zhou-tang-dai-239337","整幅画作以淡墨晕染铺就天地寒寂，细劲线条勾勒出山石苍硬肌理。积雪覆裹峰峦，以留白晕染出雪色蓬松清冽，将隆冬山野的素净空濛尽显。枯木虬曲错落，萧瑟枝桠衬出山境荒寒，山坳隐见山居，为冷寂添了一缕烟火暖意。\n\n作画兼具苍劲与秀润，勾勒皴擦间刻画出山石的嶙峋质感，以空白代雪，虚实相生间烘托出冬日山林的静谧萧寒，借景抒怀，尽显文人山水的澹远雅逸意境。",[24,25,149,59,28,65,7,318,319,765,372,35,239,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57adb7a240be0b5f75cfe5857e8c0fde.jpg",[],{"id":40551,"slug":40552,"title":40553,"dynasty":54,"author":40554,"museum":119,"description":40555,"tags":40556,"thumbUrl":40557,"material":127,"size":127,"collection":127,"collections":40558,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},239221,"song-xi-gao-shi-shan-mian-zhao-yi-239221","松溪高士扇面","赵伊","此作以细笔轻皴写山石肌理，敷色清润雅致。古松虬曲苍劲，荫蔽松溪之畔，两位高士凭栏对语，衣袂飘然，尽得林下晤谈的悠然意趣。峡谷环溪，栈道萦回，咫尺扇面铺展出山林丘壑的深幽，构图疏密相宜，将江南山水的温润灵秀与文人隐逸襟怀相融。笔墨兼具元人山水的简淡萧散，暗合文人画崇尚的林泉雅韵，于尺幅之间，写尽林泉高致的悠悠况味。",[24,25,2484,59,28,7,103,413,61,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb73d6c753cea02e3db1f54368f02b0d.jpg",[],{"id":40560,"slug":40561,"title":23304,"dynasty":54,"author":40562,"museum":119,"description":40563,"tags":40564,"thumbUrl":40565,"material":127,"size":127,"collection":127,"collections":40566,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},239212,"bai-ma-tu-juan-xu-bao-239212","许宝","《百马图卷》作者明代 许宝。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n【名称】明许宝百马图卷 【年代】明 【简介】绢本，设色，纵：26cm，横：728.cm。\n现藏故宫博物院。\n是图卷首部分残破严重，卷尾署款“许宝”，钤印“ ”、“烟霞散人”。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n马匹以 勾勒，重彩填色，工细之处远胜南宋院体，与 的树石画风既形成鲜明的对比，又相融相汇形成一体。\n马群多处于静态，其微妙之处在于同为静态的马匹竟有着百种不同的姿态，可见作者有着很强的把握马匹细微活动的能力，同时画家也兼具了 和 的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,26,28,29,65,335,3988,34,64,450,201,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":40568,"slug":40569,"title":159,"dynasty":177,"author":36433,"museum":119,"description":36434,"tags":40570,"thumbUrl":40571,"material":127,"size":127,"collection":127,"collections":40572,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},239011,"shan-shui-ce-li-dong-239011",[24,25,164,304,28,7,104,34,264,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deb277063c436f61bd78e3b9d51ccb4.jpg",[],{"id":40574,"slug":40575,"title":40576,"dynasty":177,"author":37558,"museum":119,"description":40577,"tags":40578,"thumbUrl":40579,"material":127,"size":127,"collection":308,"collections":40580,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[24,25,149,59,123,65,67,7,347,6300,34,64,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[308,212],{"id":40582,"slug":40583,"title":40584,"dynasty":177,"author":29683,"museum":20,"description":39275,"tags":40585,"thumbUrl":40586,"material":349,"size":39278,"collection":71,"collections":40587,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},238983,"shan-shui-ce-zhong-lin-gao-xia-wang-chen-238983","山水册－重林高下",[24,25,164,59,28,65,7,34,64,104,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b50a0c85ac70858bbdf6267b4a59f.jpg",[71],{"id":40589,"slug":40590,"title":40591,"dynasty":177,"author":40592,"museum":119,"description":40593,"tags":40594,"thumbUrl":40595,"material":337,"size":937,"collection":44,"collections":40596,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[24,25,164,28,29,103,335,583,64,334,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[44,45],{"id":40598,"slug":40599,"title":15402,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":40600,"thumbUrl":40601,"material":127,"size":127,"collection":127,"collections":40602,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},238830,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238830",[24,25,164,28,7,34,61,1674,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5706309f6fd33bb74c27c1cde65221ba.jpg",[],{"id":40604,"slug":40605,"title":15402,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":40606,"thumbUrl":40607,"material":127,"size":127,"collection":127,"collections":40608,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825",[24,25,164,28,27,59,7,64,34,372,63,61,101,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":40610,"slug":40611,"title":19629,"dynasty":177,"author":178,"museum":119,"description":40612,"tags":40613,"thumbUrl":40614,"material":127,"size":127,"collection":44,"collections":40615,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},238638,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238638","全景式铺展西南崇山战事，左侧隘楼雄峙，苗民凭险据守，河谷中短兵相接，刀戈交错间硝烟翻涌，清军列阵衔枚疾突，将平乱鏖战的肃杀张力尽数铺陈。\n刀工笔触细致入微，山石褶皱、将士甲胄纹理皆清晰可辨，既还原了山地地貌的奇崛险峻，也将攻防拉锯的实景如实复刻。右上角御题诗文与战事图景相映，融纪实叙事与帝王题咏于一体，以铜版镂刻定格边疆平乱的宏大场面，兼具纪实史料价值与清代版画工艺之美。",[5254,123,29,65,164,7,103,335,104,64,34,19632,1110,16720,32977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a5ad1038662987587c2d95a68d04a4.jpg",[44],{"id":40617,"slug":40618,"title":36470,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":40619,"thumbUrl":40620,"material":127,"size":127,"collection":127,"collections":40621,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},238415,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238415",[24,25,164,28,65,7,34,61,199,103,239,7318,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58ceac15855ab05632228fe81ee6374.jpg",[],{"id":40623,"slug":40624,"title":40625,"dynasty":177,"author":24941,"museum":119,"description":40626,"tags":40627,"thumbUrl":40628,"material":127,"size":127,"collection":127,"collections":40629,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},238273,"song-he-ming-quan-tu-zhou-lu-zun-shu-238273","松鹤鸣泉图轴","此作用全景式布局铺展山林胜境，山峦层叠延绵，以细密温婉的皴笔写尽岩壑肌理，苍松林立挺拔，松针刻画劲挺细致，尽显古松郁然深秀之姿。\n山居茅舍错落隐于林麓溪畔，飞泉流于山谷之间，似能闻声。淡墨晕染出清润空蒙的山林气韵，将幽寂清旷的林下雅境铺陈眼前。整画笔法秀雅工致，以静穆的笔调写就林泉幽居之趣，尽显文人山水萧散淡远的隐逸意致，藏着画者寄情林泉的山居雅怀。",[24,149,59,65,7,413,318,61,278,34,37],"https:\u002F\u002Foss.chuangqi.store\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著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,25,149,59,28,65,7,34,583,64,37,347,103,533,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[71,45],{"id":40659,"slug":40660,"title":29849,"dynasty":54,"author":7355,"museum":119,"description":35044,"tags":40661,"thumbUrl":40662,"material":337,"size":937,"collection":127,"collections":40663,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":379},237964,"shan-shui-shan-ye-wen-bo-ren-237964",[2484,59,65,7,34,64,31,103,63,14849,5068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d74be524d3c7e5a4ee1128812e7204.jpg",[],{"id":40665,"slug":40666,"title":394,"dynasty":177,"author":12508,"museum":119,"description":40667,"tags":40668,"thumbUrl":40669,"material":127,"size":127,"collection":71,"collections":40670,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},237946,"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[24,25,164,59,65,66,101,7,34,64,61,37,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[71,308],{"id":40672,"slug":40673,"title":40674,"dynasty":54,"author":14675,"museum":119,"description":9657,"tags":40675,"thumbUrl":40676,"material":337,"size":937,"collection":127,"collections":40677,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},237845,"shi-hu-yan-yu-shan-sheng-mao-ye-237845","石湖烟雨扇",[24,25,2484,59,28,7,9031,34,65,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34da1d8c00124d4b0cf45f9a7503e11.jpg",[],{"id":40679,"slug":40680,"title":22714,"dynasty":54,"author":40681,"museum":119,"description":40682,"tags":40683,"thumbUrl":40684,"material":127,"size":127,"collection":71,"collections":40685,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},237784,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-jing-237784","王允京","字谦文，号秋岩，江宁（今南京）人。为和阳教谕。工写竹枝。《金陵琐事》",[24,25,164,59,65,7,60,103,264,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16133cce0fa9f391194a7d8bb3d8e77.jpg",[71,45],{"id":40687,"slug":40688,"title":394,"dynasty":177,"author":27470,"museum":119,"description":40689,"tags":40690,"thumbUrl":40691,"material":127,"size":127,"collection":71,"collections":40692,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},237773,"shan-shui-tu-ce-ye-xin-237773","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[24,25,164,28,7,62,63,34,64,61,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[71],{"id":40694,"slug":40695,"title":159,"dynasty":54,"author":19566,"museum":119,"description":40696,"tags":40697,"thumbUrl":40698,"material":632,"size":127,"collection":71,"collections":40699,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},237628,"shan-shui-ce-shen-hao-237628","沈颢（1586—1680后），字朗倩，号石天、朗道人，吴（今江苏苏州）人。补博士弟子员。沈颢风仪轩举，博雅多闻。\n早年薙发为僧，中年还俗。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著“画尘”，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[24,59,164,65,7,125,264,334,167,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20073fbc7840edd200c6a8edfaff6335.jpg",[71],{"id":40701,"slug":40702,"title":159,"dynasty":177,"author":6003,"museum":20,"description":6004,"tags":40703,"thumbUrl":40704,"material":375,"size":127,"collection":127,"collections":40705,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},237197,"shan-shui-ce-sun-yi-237197",[100,24,25,164,28,59,65,7,104,34,64,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c9ae6b32d3066b4d617082b16f677c.jpg",[],{"id":40707,"slug":40708,"title":159,"dynasty":177,"author":6003,"museum":20,"description":6004,"tags":40709,"thumbUrl":40710,"material":375,"size":127,"collection":127,"collections":40711,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},237194,"shan-shui-ce-sun-yi-237194",[100,24,25,59,65,164,7,34,64,35,61],"https:\u002F\u002F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"description":40993,"tags":40994,"thumbUrl":40995,"material":127,"size":127,"collection":127,"collections":40996,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},234614,"lan-cui-du-shu-wan-shan-yuan-xu-234614","览翠读书纨扇","袁煦","袁煦（约为1764年前后生人），乾隆五十九年（1794年）举人，清代济南府长山县人，礼部尚书、协办大学士纪昀女婿。清朝中期画家，工山水，官至内阁中书、军机章京。注：出生时间参照其中举时间（1794年）与纪昀三子纪汝似（1766年生人）的出生时间。",[24,25,2484,28,7,64,61,34,35,167,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98a43fe28f1dab8cfc0a33bfb1cc98a4.jpg",[],{"id":40998,"slug":40999,"title":15488,"dynasty":177,"author":41000,"museum":20,"description":41001,"tags":41002,"thumbUrl":41003,"material":127,"size":127,"collection":127,"collections":41004,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},234516,"shan-shui-ce-ye-liu-yu-234516","柳遇","柳遇，字仙期，清朝吴县（今江苏苏州）人。\n工人物，精密生动，布置树石栏廊，点缀幽花细草，以及玩物器皿色色佳妙，不亚于仇英。宋荦抚吴时曾延其摹南唐顾闳中所画韩熙载夜宴图，及所画东坡与佛印谈禅像均为艺林称赏。《国[清]朝画徵录、在亭丛稿、读画辑略、画传编韵》。",[24,28,164,7,125,60,61,103,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d1afa33742324cc1ab319f7c56e75e.jpg",[],{"id":41006,"slug":41007,"title":41008,"dynasty":177,"author":41009,"museum":119,"description":41010,"tags":41011,"thumbUrl":41012,"material":127,"size":127,"collection":127,"collections":41013,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},234489,"fan-zhou-gui-cun-shan-ye-gu-sheng-234489","泛舟归村扇页","顾升","顾升,原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。\n顾升，原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。国子生，以子贵封承德郎翰林院庶吉士。书、画、篆、隶俱工，又善画大人物，松石大幅尤佳。康熙四十四年(1705)南巡，进诗画册。著写山楼并题画诗",[24,2484,59,7,62,34,60,61,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c18aedc0239552953e824f8f99ceb25.jpg",[],{"id":41015,"slug":41016,"title":29849,"dynasty":54,"author":5529,"museum":20,"description":38055,"tags":41017,"thumbUrl":41018,"material":127,"size":127,"collection":127,"collections":41019,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},234478,"shan-shui-shan-ye-guan-si-234478",[2484,24,7,59,65,165,64,35,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b19b47dd17306afbd33ff18f0c8dd7.jpg",[],{"id":41021,"slug":41022,"title":41023,"dynasty":54,"author":368,"museum":20,"description":28876,"tags":41024,"thumbUrl":41025,"material":127,"size":127,"collection":127,"collections":41026,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":940},234476,"fang-mi-fei-shan-shui-shan-ye-lan-ying-234476","仿米芾山水扇页",[24,2484,59,7,122,63,106,64,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a5a4290051bbe9bdc2e265db525275.jpg",[],{"id":41028,"slug":41029,"title":8900,"dynasty":177,"author":3760,"museum":20,"description":41030,"tags":41031,"thumbUrl":41032,"material":537,"size":127,"collection":127,"collections":41033,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},234305,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234305","王翚（1632－1717），字石谷，号象文，一号臞樵、乌目山人、耕烟散人、耕烟外史、清晖主人、清晖老人、剑门樵客、耕烟野老、耕烟老人、天放闲人、雪笠道人、海虞山樵等。江苏常熟人。一代山水大家，开创“虞山画派”，有“画圣”之誉。与王时敏、王鉴、王原祁并称“四王”；合吴历、恽寿平，世称“清六家”。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，为“虞山派”之首。",[24,25,164,28,65,1099,7,318,319,34,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246786c908a5af84ff097e5edaba0cbb.jpg",[],{"id":41035,"slug":41036,"title":41037,"dynasty":177,"author":2017,"museum":20,"description":41038,"tags":41039,"thumbUrl":41040,"material":537,"size":127,"collection":127,"collections":41041,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[23,24,25,26,59,123,67,4768,101,630,7,165,63,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":41043,"slug":41044,"title":41045,"dynasty":54,"author":9356,"museum":20,"description":41046,"tags":41047,"thumbUrl":41048,"material":537,"size":127,"collection":127,"collections":41049,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,25,26,59,67,19975,103,165,1738,106,7,166,8249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":41051,"slug":41052,"title":38492,"dynasty":18,"author":27785,"museum":20,"description":41053,"tags":41054,"thumbUrl":41055,"material":1576,"size":41056,"collection":127,"collections":41057,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},234010,"xue-jiang-mai-yu-ye-li-dong-234010","李东，南宋画家。生卒年和籍贯均不详。南宋理宗时（公园1225-1264年）经常京师御街上出售他所画村田乐、常酣圆绘作品，为民间风俗画家。",[24,25,2145,59,28,65,7,61,62,373,125,607,765,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","纵23.6厘米,横25.2厘米",[],{"id":41059,"slug":41060,"title":159,"dynasty":54,"author":1096,"museum":20,"description":6074,"tags":41061,"thumbUrl":41062,"material":375,"size":2597,"collection":127,"collections":41063,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},233804,"shan-shui-ce-dong-qi-chang-233804",[24,25,164,59,65,7,583,64,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe94f3d6287aa626435c6611767a6320.jpg",[],{"id":41065,"slug":41066,"title":8347,"dynasty":177,"author":395,"museum":20,"description":8348,"tags":41067,"thumbUrl":41068,"material":375,"size":8352,"collection":127,"collections":41069,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},233777,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233777",[24,25,164,59,28,67,65,7,103,35,34,167,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa129f1fd9aee99203d27679dcaa08816.jpg",[],{"id":41071,"slug":41072,"title":8347,"dynasty":177,"author":395,"museum":20,"description":8348,"tags":41073,"thumbUrl":41074,"material":375,"size":8352,"collection":127,"collections":41075,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774",[24,25,164,59,28,7,571,1707,13963,103,1642,979,3171,67,223,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg",[],{"id":41077,"slug":41078,"title":8347,"dynasty":177,"author":395,"museum":20,"description":8348,"tags":41079,"thumbUrl":41080,"material":375,"size":8352,"collection":127,"collections":41081,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},233772,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233772",[24,25,164,59,28,67,65,7,583,347,103,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b13f182bff57b8fc3868382c434e29.jpg",[],{"id":41083,"slug":41084,"title":33048,"dynasty":18,"author":178,"museum":119,"description":41085,"tags":41086,"thumbUrl":41087,"material":127,"size":127,"collection":127,"collections":41088,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},233699,"yu-le-tu-ye-yi-ming-233699","绘三只渔船捕鱼归来,泊于古松幽篁掩映下的岸边.舟上人物或正在用餐,或忙于其他事情,充满生活的气息",[24,100,25,2484,28,59,65,7,103,62,34,61,373,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389669d69d09b3873a5a16e2df01015f.jpg",[],{"id":41090,"slug":41091,"title":41092,"dynasty":54,"author":41093,"museum":119,"description":41094,"tags":41095,"thumbUrl":41096,"material":127,"size":127,"collection":71,"collections":41097,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},233479,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233479","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,164,123,59,7,34,64,60,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3ee77b6e06a944cb23362a403e4847.jpg",[71],{"id":41099,"slug":41100,"title":41101,"dynasty":54,"author":96,"museum":20,"description":38135,"tags":41102,"thumbUrl":41103,"material":40,"size":38138,"collection":127,"collections":41104,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷",[24,25,26,28,29,65,67,66,101,7,103,104,60,61,63,106,34,347,167,3796,85,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg",[],{"id":41106,"slug":41107,"title":159,"dynasty":80,"author":997,"museum":20,"description":18265,"tags":41108,"thumbUrl":41109,"material":375,"size":18268,"collection":127,"collections":41110,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},233176,"shan-shui-ce-cao-zhi-bai-233176",[24,25,59,67,65,164,7,34,31,167,37,60,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17ecbbd4b4d239fdd07a6646c24e93.jpg",[],{"id":41112,"slug":41113,"title":41114,"dynasty":54,"author":945,"museum":20,"description":22220,"tags":41115,"thumbUrl":41116,"material":9188,"size":22223,"collection":127,"collections":41117,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},233139,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xing-chun-qiao-tu-ye-tang-yin-233139","明人西山胜景合壁册-行春桥图页",[24,25,164,59,67,65,7,60,61,264,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9513286f80bd3fb6fa61c9ad4e095.jpg",[],{"id":41119,"slug":41120,"title":41121,"dynasty":177,"author":178,"museum":20,"description":41122,"tags":41123,"thumbUrl":41124,"material":375,"size":41125,"collection":127,"collections":41126,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[100,24,25,164,28,29,103,7,22236,6756,1110,278,34,239,13180,19632,32977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be05ec6ab04eff3cb82e85ab4fc6c0.jpg","长55.6厘米，宽91.1厘米",[],{"id":41128,"slug":41129,"title":25226,"dynasty":54,"author":1652,"museum":20,"description":25227,"tags":41130,"thumbUrl":41131,"material":349,"size":25230,"collection":127,"collections":41132,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},232964,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232964",[24,25,164,59,65,66,101,7,630,165,64,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe151099e591c78c5ae8b3d97b15ade62.jpg",[],{"id":41134,"slug":41135,"title":41136,"dynasty":54,"author":1096,"museum":220,"description":41137,"tags":41138,"thumbUrl":41139,"material":87,"size":41140,"collection":127,"collections":41141,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[23,24,25,149,59,65,7,64,34,103,583,167,1897,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],{"id":41143,"slug":41144,"title":41145,"dynasty":8332,"author":178,"museum":119,"description":41146,"tags":41147,"thumbUrl":41150,"material":337,"size":937,"collection":127,"collections":41151,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},231677,"qing-feng-pu-bu-tu-yi-ming-231677","青楓瀑布図","整幅作品以飞瀑为骨，素白留白晕出水幕如银河垂落，撞向滩间黑石，激出层叠浪涛，笔绘水纹精细入微，将奔涌之势跃然纸上。\n\n斜出的青枫缀着翠色，柔化了瀑流的雄劲深峻，暗墨晕染的山壁衬得银练似的水瀑愈发通透。刚柔相衬间，将幽林飞泉的清寂禅意铺展开来，题字落款清雅融于画面，把山野间奔雷般的水势与枝桠垂立的安然相融，尽显东方山水写意的灵韵，藏着对山野幽居之趣的描摹。",[23,24,59,28,149,7,199,41148,41149,264],"青枫","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353240fc86d9ff3f2e1d951b0fe099c.jpg",[],{"id":41153,"slug":41154,"title":41155,"dynasty":8332,"author":178,"museum":3157,"description":41156,"tags":41157,"thumbUrl":41159,"material":349,"size":41160,"collection":127,"collections":41161,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,24,26,28,29,103,34,7,61,104,60,64,3171,12167,41158,40026,106],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":41163,"slug":41164,"title":41165,"dynasty":177,"author":1825,"museum":161,"description":41166,"tags":41167,"thumbUrl":41168,"material":349,"size":41169,"collection":127,"collections":41170,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,24,25,149,7,28,65,122,318,165,31,239,826,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":41172,"slug":41173,"title":41174,"dynasty":54,"author":14964,"museum":135,"description":41175,"tags":41176,"thumbUrl":41177,"material":1865,"size":41178,"collection":127,"collections":41179,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},231407,"xiao-xiang-ba-jing-ba-kai-zhang-fu-231407","潇湘八景八开","张復（1546—约1631），字元春，号苓石，江苏太仓人。少年时从钱榖学画，山水摹荆浩、关仝、马远、夏珪、黄公望、沈周，博采众长，晚年自成一家，为吴门画派名家。",[23,24,25,164,59,65,304,7,104,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d47fbd7178128b198163f92967b60e.jpg","40x36cm",[],{"id":41181,"slug":41182,"title":41183,"dynasty":80,"author":41184,"museum":135,"description":41185,"tags":41186,"thumbUrl":41187,"material":87,"size":41188,"collection":127,"collections":41189,"showCount":512,"zanCount":961,"manualWeight":48,"mainColor":49},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[24,25,149,304,29,28,104,438,7,34,278,64,559,27513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":41191,"slug":41192,"title":41193,"dynasty":177,"author":41194,"museum":556,"description":41195,"tags":41196,"thumbUrl":41197,"material":388,"size":41198,"collection":127,"collections":41199,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},231354,"huan-hua-li-yin-tu-zhang-qia-231354","浣花吏隐图","张洽","此图绘写江南明媚春光。从题跋可知，此图是嘉善盐生王启焜赴四川监茶道时，张洽为其作的送行图，七位题跋者均为同时送行之人。",[23,24,59,65,7,318,319,60,34,35,37,4828,583,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ca2fc160f4ec5491402f8bad41d44.jpg","32cmx99cm",[],{"id":41201,"slug":41202,"title":27487,"dynasty":177,"author":27246,"museum":119,"description":41203,"tags":41204,"thumbUrl":41205,"material":337,"size":937,"collection":127,"collections":41206,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[24,59,65,25,149,7,60,61,62,35,34,238,630,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":41208,"slug":41209,"title":29232,"dynasty":177,"author":16497,"museum":119,"description":41210,"tags":41211,"thumbUrl":41212,"material":337,"size":937,"collection":127,"collections":41213,"showCount":512,"zanCount":961,"manualWeight":48,"mainColor":75},230923,"shan-shui-tu-shan-mian-shang-rui-230923","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[24,2484,59,28,7,34,63,103,1643,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5310bef9780ef758a53339e81bc9fb1c.jpg",[],{"id":41215,"slug":41216,"title":41217,"dynasty":8332,"author":178,"museum":119,"description":41218,"tags":41219,"thumbUrl":41220,"material":337,"size":937,"collection":127,"collections":41221,"showCount":512,"zanCount":961,"manualWeight":48,"mainColor":75},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,25,26,28,1099,101,7,103,61,34,37,64,63,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":41223,"slug":41224,"title":41225,"dynasty":8332,"author":19195,"museum":119,"description":19196,"tags":41226,"thumbUrl":41227,"material":337,"size":937,"collection":127,"collections":41228,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）",[23,24,25,149,59,65,7,64,583,63,61,1586,6299,125,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":41230,"slug":41231,"title":41232,"dynasty":54,"author":41233,"museum":119,"description":41234,"tags":41235,"thumbUrl":41236,"material":127,"size":127,"collection":127,"collections":41237,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},228891,"san-you-tu-juan-1-chen-gua-228891","三友图卷-1","陈栝","此作用笔老辣苍劲，枯木虬枝以铁线勾勒，皴擦间尽显嶙峋古拙，淡墨晕染与留白相衬，晕出清寂萧疏的幽远意境。\n以极简水墨托物言志，寥寥数笔写尽岁寒君子的坚贞品格，将物象风骨与文人逸趣融为一体。鉴藏古玺朱红点缀，为画面添上古雅厚重的传世质感，是以意驭笔的写意典范，于简淡间藏雄浑气度，枯涩中暗蕴生机，尽显水墨写意的淋漓意趣。",[24,25,26,59,7,413,630,2127,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d64f497889ad0f9607453a6af8ab34.jpg",[],{"id":41239,"slug":41240,"title":41241,"dynasty":54,"author":178,"museum":119,"description":41242,"tags":41243,"thumbUrl":41244,"material":127,"size":127,"collection":127,"collections":41245,"showCount":512,"zanCount":961,"manualWeight":48,"mainColor":49},228783,"ru-bi-tu-yi-ming-228783","入跸图","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,25,100,26,29,28,103,104,60,61,63,335,7,34,64,4496,6756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":41247,"slug":41248,"title":41249,"dynasty":54,"author":945,"museum":119,"description":41250,"tags":41251,"thumbUrl":41252,"material":127,"size":127,"collection":127,"collections":41253,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},228483,"wen-dao-tu-ye-tang-yin-228483","问道图页","此作为绢本设色团扇小品，取边角式构图，右侧古木虬曲苍劲，疏枝带叶，晕染出清寂秋意。江岸石径之上，策鹿老翁宽袍缓行，神态悠然自得，侍童负杖紧随其后，主仆二人身影闲逸萧散。远景江波澹澹，远山隐现于烟霭间，留白烘托出悠远空寂的林下氛围。\n\n笔墨清简写意，人物线条简练传神，老者的安闲与灵鹿的轻跃相互映衬，将文人幽游林泉的隐逸雅趣，融于咫尺团扇之中，尽显萧散淡远的林下高致。",[23,24,25,164,28,103,7,165,3987,3988,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ec7fe90818314ddf0126d45643bc90.jpg",[],{"id":41255,"slug":41256,"title":41257,"dynasty":54,"author":368,"museum":119,"description":41258,"tags":41259,"thumbUrl":41260,"material":127,"size":127,"collection":127,"collections":41261,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,24,25,149,28,59,65,7,165,583,60,103,104,305,37,3865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":41263,"slug":41264,"title":41265,"dynasty":54,"author":7127,"museum":119,"description":41266,"tags":41267,"thumbUrl":41269,"material":127,"size":127,"collection":127,"collections":41270,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},228401,"yu-dong-qun-xian-tu-zhao-yong-228401","玉洞群仙图","青绿晕染出层叠仙山，苍松虬枝斜曳，桃林漫山绽花，幽谷间烟云轻漾。群仙散游林泉：或围坐松下清谈，或策杖寻幽揽胜，或凭崖临流遐观，情态自在萧散，尽得世外雅逸之趣。\n\n全卷气息清灵古雅，山水与人物相融无间，青绿妍丽厚重，人物笔致简逸传神，烘托出洞天幽寂出尘的氛围。卷后题咏呼应画境，诗画合璧，将文人梦寐中的栖隐仙乡藏于尺幅之间，尽显世外仙乡的出尘之致。",[23,24,25,26,17460,28,29,7,103,41268,34,64,67],"群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85733ce0975ae279b032bedb227bdbd2.jpg",[],{"id":41272,"slug":41273,"title":41274,"dynasty":54,"author":3239,"museum":119,"description":41275,"tags":41276,"thumbUrl":41277,"material":127,"size":127,"collection":127,"collections":41278,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[23,24,25,164,28,59,7,1643,63,34,166,67,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":41280,"slug":41281,"title":41282,"dynasty":54,"author":178,"museum":119,"description":41283,"tags":41284,"thumbUrl":41285,"material":127,"size":127,"collection":127,"collections":41286,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},228350,"chun-jiang-xing-zhou-tu-ye-yi-ming-228350","春江行舟图页","近景峭峰被苍林簇拥，山石皴染细腻，草木氤氲温润生机。江面烟波澹澹，远岸晕作朦胧黛色，留白晕出濛濛水汽，晕染出暮春江天的辽远空寂。几叶扁舟缓行江上，帆影悠悠，将水居行旅的松弛闲散揉入开阔江境。\n\n此作用色雅致淡逸，以小青绿晕染山峦，无浓艳堆砌，尽显清隽澹泊。尺幅之间藏千里之势，静山与动舟相映，把春江暮景的悠然意境铺展尽致，揽入江南水天的温柔清寂，观之如沐江上春风，得小品山水的澹远意趣。",[23,24,25,20842,28,7,5678,34,238,2855,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ea2a72ac10508a352aa6f165a194fc.jpg",[],{"id":41288,"slug":41289,"title":41290,"dynasty":54,"author":3451,"museum":119,"description":41291,"tags":41292,"thumbUrl":41293,"material":127,"size":127,"collection":127,"collections":41294,"showCount":512,"zanCount":961,"manualWeight":48,"mainColor":75},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,25,26,59,29,67,7,103,63,60,61,34,239,535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":41296,"slug":41297,"title":41298,"dynasty":80,"author":997,"museum":119,"description":41299,"tags":41300,"thumbUrl":41301,"material":127,"size":127,"collection":127,"collections":41302,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},228254,"jiang-shu-qiu-sheng-tu-ye-cao-zhi-bai-228254","江树秋声图页","平远取景铺展江天浩渺，远山以淡墨轻笼，晕染出空濛悠远的秋意。近岸枯木萧疏遒劲，枝桠清瘦如篆，茅庐隐于林下，悄然静立在清寒暮色里。\n\n笔墨简淡秀润，以干笔皴擦写山峦肌理，线条松灵虚和，墨色层层晕染，淡而不薄。题画小诗与山水相映，将江乡秋夜的孤清乡思揉进尺幅之中。整幅画以简驭繁，褪去浓丽，尽显尚意之趣，把深秋江渚的寂寥、幽居林泉的隐逸澹然融为一体，淡墨里藏着清寂的心境，寥寥数笔便绘就了江乡秋声里的悠远闲情。",[100,24,25,164,59,65,7,372,64,166,3865,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbf747142db1b200e064b2ce56cf2e.jpg",[],{"id":41304,"slug":41305,"title":41306,"dynasty":80,"author":17441,"museum":119,"description":41307,"tags":41308,"thumbUrl":41309,"material":127,"size":127,"collection":127,"collections":41310,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,24,25,149,59,65,7,64,199,34,201,167,1897,38,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":41312,"slug":41313,"title":41314,"dynasty":80,"author":178,"museum":119,"description":41315,"tags":41316,"thumbUrl":41317,"material":127,"size":127,"collection":127,"collections":41318,"showCount":512,"zanCount":961,"manualWeight":48,"mainColor":940},228207,"han-lin-mu-yang-tu-yi-ming-228207","寒林牧羊图","此作用枯淡笔墨铺就冬日荒林野趣，老木虬枝盘曲苍劲，枯槎交错伸展，枝桠间漫着清寂萧寒之气。寒林以浓淡墨色层叠排布，晕染出悠远静谧的林野纵深，将冬日郊野的空旷萧索尽数铺开。下方缓坡错落起伏，羊群或垂首啮草，或缓步闲游，为冷寂林野晕开细碎生机。整体笔墨简劲苍润，以留白衬出郊野清阔空寂的氛围，于萧寒之中暗蕴悠然意趣，尽显简远萧散的林下幽情。",[24,7,59,65,149,372,13568,64,452,34,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef393f39116b943b3c6158679749db8.jpg",[],{"id":41320,"slug":41321,"title":28113,"dynasty":18,"author":3217,"museum":119,"description":41322,"tags":41323,"thumbUrl":41324,"material":127,"size":127,"collection":127,"collections":41325,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},227985,"yin-yan-fei-pu-tu-jiang-can-227985","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[23,24,25,100,149,7,65,2813,5408,34,64,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":41327,"slug":41328,"title":41329,"dynasty":18,"author":178,"museum":119,"description":41330,"tags":41331,"thumbUrl":41332,"material":127,"size":127,"collection":127,"collections":41333,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},227911,"zhu-jian-yuan-yang-tu-yi-ming-227911","竹涧鸳鸯图","这幅小品以边角取景，将幽寂山涧铺陈于尺幅之间。右侧崖壁古木斜出，新篁附石抽梢，苔痕历历；崖下茅舍半隐，野径蜿蜒，慢慢没入淡远平芜。\n\n画面左侧清空之上，禽鸟振翅穿空，将山涧的静气轻轻划破。淡墨晕染烟岚，远景虚渺朦胧，近景的竹、木、石以细劲勾勒间施皴擦，质感宛然。全作以简驭繁，不着浓艳，仅以水墨层次区分远近虚实，把江南山隅无人惊扰的闲逸尽数凝住，似可听闻涧水轻响、林风穿叶，将宋人寄情林泉的幽淡襟怀融在尺幅之中，余韵悠悠。",[23,24,2484,29,28,7,630,61,32006,1249,106,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68574cd4486c08d626211cf6dab797a.jpg",[],{"id":41335,"slug":41336,"title":14442,"dynasty":80,"author":178,"museum":119,"description":41337,"tags":41338,"thumbUrl":41339,"material":127,"size":127,"collection":127,"collections":41340,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},227897,"mu-niu-tu-yi-ming-227897","此作用色古雅沉静，青绿晕染山峦坡岸，暖黄绢底晕开春日郊野的温润柔意。垂柳为画面主角，柔婉笔意写出枝条，柳丝如烟似雾，随风轻曳，将江南春野的柔媚尽数晕开。\n坡岸浅滩间，牛群闲散啃食，寥寥数笔便勾勒出憨态，野趣横生。整体简淡疏朗，无繁复皴染，以写意笔调铺展田园意韵，将郊原恬适安宁的春日氛围缓缓晕开，带着萧散淡远的悠然意趣，观之如临春日郊野，身心皆浸在松弛静谧之中。",[23,24,28,7,103,1586,571,238,125,450,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9473190e7c32d42ef3f7cf7f0e2429ac.jpg",[],{"id":41342,"slug":41343,"title":41344,"dynasty":18,"author":178,"museum":119,"description":41345,"tags":41346,"thumbUrl":41348,"material":127,"size":127,"collection":127,"collections":41349,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},227887,"jiang-shang-qing-feng-tu-yi-ming-227887","江上青峰图","采用边角式取景，右下隅青峰峭立，青绿敷色晕染石身，深墨点簇林木，尽显山石挺秀之姿。空阔江面铺陈开淡远烟波，几叶扁舟悠然泛于粼粼水波之上，将江南水色的清旷柔婉与峰石苍劲相融。\n\n咫尺扇面间以小见大，铺展出江天寥廓的无尽余韵，把烟波江上的空寂悠然藏于方寸，尽显对山水诗意的精微捕捉，带着宋代院体山水雅致清隽的意趣。",[23,100,24,25,2484,28,27,7,65,62,41347,2855],"青峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ce79053f855d19971de523413bbc8.jpg",[],{"id":41351,"slug":41352,"title":41353,"dynasty":18,"author":178,"museum":119,"description":41354,"tags":41355,"thumbUrl":41356,"material":127,"size":127,"collection":127,"collections":41357,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[23,24,25,59,28,7,304,164,65,104,34,61,85,167,37,2942],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":41359,"slug":41360,"title":41361,"dynasty":18,"author":178,"museum":119,"description":41362,"tags":41363,"thumbUrl":41364,"material":127,"size":127,"collection":127,"collections":41365,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},227878,"liu-ge-feng-fan-tu-yi-ming-227878","柳阁风帆图","水岸垂柳如烟似雾，柔条轻拂水面，将满幅晕开融融绿意。右侧高阁临水而立，凭栏之人悠然远眺，将闲逸心绪融浸在湖光里。湖面轻舟扬帆趁风缓行，波光漾开静穆氛围，把远水近岸织作一卷清和夏景。\n\n画家以没骨晕染柳色，晕出江南水泽的湿润氤氲，人物虽形微却神态宛然，留白处暗写烟波浩渺。将寻常水乡日常定格在团扇之上，尽显宋人观照日常、寄情山水的审美意趣，淡墨轻岚里，尽是江南水乡的温柔况味，简淡悠长，余韵悠悠。",[23,24,2484,28,7,1478,104,60,61,1673,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392a3f08216ede90bf6be33b7dbee93e.jpg",[],{"id":41367,"slug":41368,"title":41369,"dynasty":8332,"author":178,"museum":119,"description":41370,"tags":41371,"thumbUrl":41373,"material":127,"size":127,"collection":127,"collections":41374,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},225338,"fu-shi-hui-91-yi-ming-225338","浮世绘91","这幅作品以百尺飞瀑为视觉核心，垂直奔涌的水流如银练垂空，蓝白渐变晕染出碎玉崩溅的磅礴水汽，与四周苍翠绿意的层峦形成强烈视觉张力。\n\n前景处负笠赶路的旅人、水雾裹挟下的山居茅舍，将宏大山水与市井烟火相融。利落的线条勾勒出山岳纹理与行人动态，柔和敷色晕开湿润空濛的幽谷氛围，仿佛能听见瀑声轰鸣、水花扑簌。画作将自然的雄浑浩渺与人间日常的暖意交织，尽显雅致意境，把幽谷飞瀑的清旷生机定格于尺幅之间。",[21213,21214,28,7,199,34,64,37,103,347,41372],"水花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c29268bc35bbb814405c3712ecfca34.jpg",[],{"id":41376,"slug":41377,"title":41378,"dynasty":177,"author":2075,"museum":119,"description":41379,"tags":41380,"thumbUrl":41381,"material":337,"size":937,"collection":127,"collections":41382,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,24,25,149,28,27,65,7,122,318,979,165,413,734,61,278,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":41384,"slug":41385,"title":41386,"dynasty":177,"author":2075,"museum":119,"description":41387,"tags":41388,"thumbUrl":41389,"material":127,"size":127,"collection":127,"collections":41390,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},224417,"shu-hua-shi-liu-kai-3-wang-shi-min-224417","书画十六开-3","此作以青绿设色晕染山峦，层峰叠嶂间烟云流荡，虚实相生将山林晕染得空灵缥缈，仿若世外幽境。苍松虬枝盘错、蓊郁葱茏，山隅水榭临波而建，一叶扁舟载着幽人泛于湖上，晕开山居雅趣。\n画作追仿赵千里笔意，师法北宋青绿山水的精工古雅，设色妍丽厚重却不俗艳，又糅合文人画的萧散淡远气韵，仿古而不泥古，在青绿华彩间铺陈出静穆悠远的山林意致，将江南丘壑的清润雅致与古典青绿的美学意蕴相融，尽显笔墨才情。",[23,24,25,164,27,28,65,7,34,1707,64,37,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be366e0ee1a3e750582496bd677f229.jpg",[],{"id":41392,"slug":41393,"title":41394,"dynasty":177,"author":6995,"museum":119,"description":41395,"tags":41396,"thumbUrl":41397,"material":127,"size":127,"collection":127,"collections":41398,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[23,24,26,28,123,103,7,978,1586,5624,125,607,104,61,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":41400,"slug":41401,"title":41402,"dynasty":177,"author":672,"museum":119,"description":41403,"tags":41404,"thumbUrl":41405,"material":127,"size":127,"collection":127,"collections":41406,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},224180,"qiu-lin-guan-quan-tu-juan-hua-yan-224180","秋林观泉图卷","古木虬枝盘绕，繁叶如幄将溪岸轻笼，清寂秋意漫开。右侧石台之上，逸士围坐晤言，襟怀散朗，似伴淙淙泉声叙尽雅怀。\n\n浅墨勾出水波萦回，溪石错落排布，撞出幽远潺潺之意。山石以斧劈兼披麻皴写就，朴拙老辣，林木细笔点染、疏密相生，清雅古淡的设色晕开沉静古雅的氛围，将林泉清旷与文人情致相融，把秋日观泉的萧散林下之趣，藏进尺幅间的静穆诗意里。",[23,24,25,26,28,65,7,1389,201,239,103,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fbf31cff307ebed96fcbb978417b13.jpg",[],{"id":41408,"slug":41409,"title":41410,"dynasty":18,"author":178,"museum":119,"description":41411,"tags":41412,"thumbUrl":41413,"material":127,"size":127,"collection":127,"collections":41414,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,25,26,100,28,29,65,765,373,7,62,495,60,61,125,103,106,264,1779,2832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":41416,"slug":41417,"title":29089,"dynasty":54,"author":178,"museum":119,"description":41418,"tags":41419,"thumbUrl":41420,"material":127,"size":127,"collection":127,"collections":41421,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},223669,"xue-jing-shan-shui-tu-ye-yi-ming-223669","此作铺展寒山素裹之境，层峦覆雪，山石棱线硬朗留白缀霜，似凝住凛冬清寒。虬曲枯木错落林间，枝桠积雪斑驳，萧疏间尽显苍劲古拙。山坳里山居隐现，木构廊轩错落排布，窗畔似含淡淡暖意，于冰寒天地晕开一隅烟火温情，静穆底色里暗蕴生机。\n\n画师以干笔皴擦勾勒山石肌理，淡墨晕染铺就雪地留白，虚实相生间尽显冬山空蒙清寂。将荒寒丘壑与幽居雅趣相融，绘就冬日山居的静惬之美，仿若可踏雪穿林，坐看林峦雪色，于冷寂山景中体味悠然避世的澹泊意韵。",[23,24,25,2484,59,28,65,7,878,104,372,64,199,6850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0d320b8b831560b39f3f2cf7b4c401.jpg",[],{"id":41423,"slug":41424,"title":41425,"dynasty":18,"author":178,"museum":119,"description":41426,"tags":41427,"thumbUrl":41428,"material":127,"size":127,"collection":127,"collections":41429,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},223642,"peng-ying-xian-guan-tu-yi-ming-223642","蓬瀛仙馆图","此作以界画笔法层叠绘出仙山楼阁，殿宇廊庑排布严整精巧，错落掩映于深林茂树之间，汀岸临水铺展，烟波轻笼，晕染出缥缈出尘的世外氛围。\n\n整幅设色古雅沉静，线条工致秀挺，将想象中的仙乡胜境具象呈现，带着宋画特有的含蓄清远。搭配题诗呼应画境，把环山临水的清隽意趣与可望不可即的幽邃雅致相融，观之恍若踏入蓬阆，暂别俗世喧嚣，神游这片清幽仙境。",[23,24,25,2484,304,28,104,63,7,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9ee517b14027e7e9f1d81a16ef3f7f.jpg",[],{"id":41431,"slug":41432,"title":41433,"dynasty":177,"author":178,"museum":119,"description":32133,"tags":41434,"thumbUrl":41435,"material":127,"size":127,"collection":127,"collections":41436,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},223530,"wu-yi-shan-shi-ba-jing-tu-5-yi-ming-223530","武夷山十八景图5",[23,24,25,59,28,7,62,61,64,34,63,373,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c84bfbc9bf9a7a54e09f8f17c57e1.jpg",[],{"id":41438,"slug":41439,"title":41440,"dynasty":18,"author":178,"museum":20,"description":41441,"tags":41442,"thumbUrl":41443,"material":40,"size":41444,"collection":42,"collections":41445,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},223453,"ceng-lou-chun-tiao-tu-ye-yi-ming-223453","层楼春眺图页","此图崇楼纯以细笔勾勒，玲珑空透，远山春意烂漫，却在明丽中带有淡淡的清寂。层楼上一妇人携侍女凭栏远眺碧波中的归帆，虽然描绘的主体是没有生命的建筑物，但整幅画面却分明透露出一丝“春怨”的气息，表现出南宋楼阁画家在借物言情方面的高超技艺。",[23,24,25,2484,304,28,7,104,34,278,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf1d7841e69e6edab7521ad57407fbd3.jpg","纵23.7cm，横26.4",[42],{"id":41447,"slug":41448,"title":41449,"dynasty":177,"author":5768,"museum":20,"description":12800,"tags":41450,"thumbUrl":41451,"material":12803,"size":12804,"collection":127,"collections":41452,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":33283},223137,"shi-wan-tu-ce-10-ren-xiong-223137","十万图册10",[23,24,100,164,28,7,64,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3446c9252ed6e73c476ca72d3612cd1.jpg",[],{"id":41454,"slug":41455,"title":41456,"dynasty":177,"author":41457,"museum":20,"description":41458,"tags":41459,"thumbUrl":41460,"material":375,"size":33569,"collection":127,"collections":41461,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},222842,"fang-niao-tu-juan-wang-shi-zhen-222842","放鸟图卷","王士祯","该画卷肖像刻画的逼真生动，画法融墨骨法与江南法为一体，表现出禹之鼎绘画艺术成熟期的典型风格，代表了禹氏中晚年肖像画的艺术水平。张伯龙，清太医院御医，善书画。",[23,100,24,25,26,29,28,66,101,103,106,1643,34,7,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f94dd9300cfae4fe43a6c4fdbf70e5.jpg",[],{"id":41463,"slug":41464,"title":41465,"dynasty":177,"author":1872,"museum":56,"description":7754,"tags":41466,"thumbUrl":41467,"material":7118,"size":7757,"collection":127,"collections":41468,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},222618,"shan-shui-ba-jing-8-gong-xian-222618","山水八景-8",[23,24,25,164,59,65,7,318,165,125,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767dc9c30cf5c0bb08d7677bfa84cf4e.jpg",[],{"id":41470,"slug":41471,"title":41472,"dynasty":54,"author":41473,"museum":20,"description":41474,"tags":41475,"thumbUrl":41476,"material":87,"size":41477,"collection":127,"collections":41478,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},222428,"pan-che-tu-ce-li-xi-yan-222428","盘车图册","李希颜","李希颜，字愚庵，河南郏县人，生平不详，明代儒学家，他性格严峻，品行修养高，博览群书。朱元璋当了皇帝以后，因人推荐，亲自书写了诏书，把李希颜召进宫殿，选定他做王子们的教师。这些王子就是后来被皇帝分封的十位藩王。\n李希颜向十位小王子讲授尧舜禹商汤，行大仁、仗大义的道理与事迹，这些小王子，难免有不听教导、顽皮的时候。李希颜执教严厉，虽然是王子，有不服教育或不认真学习的，他照样用笔管打他们的脑门。打得多了，脑门上便留下了痕迹。有一天，朱元璋抚摸着小王子被打的伤痕，十分生气。马皇后知道原因后，大声的反问说：“哪里有用尧、舜的标准，来教训你儿子，反使你发脾气的?” 朱元璋听了这话，立刻止了气语，平静了下来。以后一直很尊敬他、善待他。",[23,24,7,28,65,104,64,34,5624,334,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9345d506d0d1b7e6d586a3fc76f70f47.jpg","12.7×17.1cm",[],{"id":41480,"slug":41481,"title":41482,"dynasty":54,"author":14078,"museum":135,"description":41483,"tags":41484,"thumbUrl":41485,"material":127,"size":41486,"collection":127,"collections":41487,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},222419,"zhu-xia-bao-qin-shan-mian-jiang-song-222419","竹下抱琴扇面","蒋嵩 ，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。\n传世作品有《芦洲泛艇图》轴，现藏天津市艺术博物馆；《秋溪曳杖图》轴、《无尽溪山图》轴藏上海博物馆；《携琴看山图》轴、《渔舟读书图》轴藏故宫博物院；《秋林读书图》轴藏山东省博物馆；《松下著履图》轴藏南京博物院。\n善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，小巧流水却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为“狂态邪学”。",[23,24,25,2484,59,65,103,630,2414,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0f6a5a8ea215f87b0f758dfe800581.jpg","纵18.5厘米横53厘米",[],{"id":41489,"slug":41490,"title":41491,"dynasty":54,"author":55,"museum":56,"description":39998,"tags":41492,"thumbUrl":41493,"material":454,"size":40001,"collection":127,"collections":41494,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},222095,"liang-jiang-ming-sheng-tu-ce-7-shen-zhou-222095","两江名胜图册7",[23,24,25,164,28,65,66,7,104,63,34,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c5733a504a3bb180575dd9ea581efd.jpg",[],{"id":41496,"slug":41497,"title":41498,"dynasty":54,"author":4764,"museum":20,"description":9820,"tags":41499,"thumbUrl":41500,"material":9823,"size":41501,"collection":127,"collections":41502,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},221891,"za-hua-tu-ce-xi-shi-tu-ye-chen-hong-shou-221891","杂画图册-溪石图页",[23,24,25,100,164,28,65,7,60,61,64,103,34,199,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1898512a53945eaeb81e5c56068af5f9.jpg","纵30.2＊横25.1ＣＭ",[],{"id":41504,"slug":41505,"title":41506,"dynasty":80,"author":7974,"museum":20,"description":41507,"tags":41508,"thumbUrl":41509,"material":1066,"size":41510,"collection":127,"collections":41511,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},221821,"ying-shui-lou-tai-tu-ye-xia-yong-221821","映水楼台图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。\n《石渠宝笈续编·乾清宫》著录。",[23,24,25,100,164,304,123,59,104,61,60,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9ebc71fe2e34aada53e92454ae807c.jpg","纵23.9厘米，横25.3厘米",[],{"id":41513,"slug":41514,"title":909,"dynasty":80,"author":41515,"museum":3157,"description":41516,"tags":41517,"thumbUrl":41518,"material":40,"size":41519,"collection":127,"collections":41520,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},221798,"shan-shui-tu-ren-kang-min-221798","任康民","［宋］汴（今河南开封）人。工界画。宣和（一一一九至一一二五）时入画院，每与贺真合作山水图轴。一日安先作横披，当中界楼阁，分布亭榭满中以困真，真止作坡岸于下，上则层峦叠嶂出于屋妙，更觉壮观，遂成名作。《画继》",[24,25,59,65,7,165,734,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12f6cee56717d7d6e8377aa930422af.jpg","23.8X21",[],{"id":41522,"slug":41523,"title":41524,"dynasty":18,"author":4311,"museum":135,"description":4312,"tags":41525,"thumbUrl":41531,"material":292,"size":41532,"collection":127,"collections":41533,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},221245,"xi-hu-shi-jing-ti-zi-ye-xiao-yan-221245","西湖十景题字",[23,24,66,2145,67,41526,41527,7,19432,41528,62,41529,1642,29,65,28,41530],"西湖十景","诗画合一","柳林","游鱼","寺宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d350abc6068e9d7e71f196f4dbe3dde.jpg","单页纵23.9厘米，横20.2厘米",[],{"id":41535,"slug":41536,"title":41537,"dynasty":177,"author":41538,"museum":3323,"description":41539,"tags":41540,"thumbUrl":41544,"material":41545,"size":41546,"collection":127,"collections":41547,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":127},220708,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220708","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,25,100,164,7,238,41541,4376,150,60,61,41542,59,41543],"高树","策杖行人","苍润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf36ccfeba247023e50d74a3a3b0b2d.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":41549,"slug":41550,"title":41551,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":41552,"thumbUrl":41553,"material":349,"size":1805,"collection":127,"collections":41554,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},220313,"huang-shan-tu-ce-15-hong-ren-220313","黄山图册-15",[23,24,59,164,65,7,64,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed03933e854c7b1102879a0db7235d8b.jpg",[],{"id":41556,"slug":41557,"title":41558,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":41559,"thumbUrl":41560,"material":349,"size":1805,"collection":127,"collections":41561,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},220298,"huang-shan-tu-ce-28-hong-ren-220298","黄山图册-28",[23,24,59,164,7,65,64,583,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0507c762bfe0f698ed4615fa06459f63.jpg",[],{"id":41563,"slug":41564,"title":41565,"dynasty":177,"author":41566,"museum":396,"description":41567,"tags":41568,"thumbUrl":41569,"material":139,"size":127,"collection":44,"collections":41570,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},219565,"zong-tai-xian-sheng-xiang-weng-pu-219565","宗台先生像","翁溥","这幅作品将肖像与山水相融，老者安坐岩边，宽袍素简，神态恬然萧散，尽显林下风雅。\n\n远景以淡赭晕染层叠远山，留白晕出空濛烟岚，山泉淙淙汇为浅滩，笔墨简淡清润，铺展出幽寂的林泉之境。近处枯梅虬枝缀着新花，冷艳古拙，以花衬人，暗合隐士品格。\n\n题跋错落排布于留白间，书画交融，文气盎然。整体设色浅雅，既有写实的仪态刻画，又具文人山水的写意空寂，将人物品格与山水雅境相融，尽显幽居烟霞、寄情林泉的雅趣。",[24,28,29,103,7,64,167,607,125,2127,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787190354729f802d662daa810046371.jpg",[44],{"id":41572,"slug":41573,"title":41574,"dynasty":177,"author":178,"museum":161,"description":41575,"tags":41576,"thumbUrl":41577,"material":139,"size":127,"collection":127,"collections":41578,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[24,25,149,59,29,65,7,9199,61,199,239,583,3988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":41580,"slug":41581,"title":41582,"dynasty":177,"author":2620,"museum":20,"description":15606,"tags":41583,"thumbUrl":41584,"material":139,"size":15609,"collection":127,"collections":41585,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":49},219141,"yang-zhou-si-jing-tu-ping-gang-yan-xue-yuan-yao-219141","扬州四景图-平岗艳雪",[100,24,7,304,28,104,63,60,103,64,34,878,2127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39289767d24a1f12e61192f187a0e686.jpg",[],{"id":41587,"slug":41588,"title":41589,"dynasty":18,"author":178,"museum":135,"description":41590,"tags":41591,"thumbUrl":41593,"material":139,"size":127,"collection":71,"collections":41594,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},218993,"jiang-ji-fan-ying-tu-yi-ming-218993","江矶帆影图","这个构图可能取自李唐《江山小景图》的开篇，其中山和树的笔触比较粗糙，水面没有画出波纹。",[23,24,25,100,59,28,65,7,41592,15996,62,34],"江矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d811081870c628ebc7c26ba55f12af7.jpg",[71],{"id":41596,"slug":41597,"title":41598,"dynasty":18,"author":32325,"museum":135,"description":41599,"tags":41600,"thumbUrl":41601,"material":139,"size":41602,"collection":71,"collections":41603,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},218875,"shui-cun-qing-xia-tu-ma-kui-218875","水村清夏图","这幅画描绘了一个水边的渔村，田间的荷叶和丰富的芦苇，人们生活在宁静中，给人一种世外桃源的感觉。",[23,24,59,28,2484,7,85,34,35,167,1815,19073,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2a199f17dc4e03d73f2a0ef2d0a8c1.jpg","24.5x26.2",[71],{"id":41605,"slug":41606,"title":6138,"dynasty":18,"author":178,"museum":135,"description":41607,"tags":41608,"thumbUrl":41609,"material":139,"size":41610,"collection":71,"collections":41611,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},218721,"xue-shan-xing-lv-tu-yi-ming-218721","这幅画描绘了雪山上的一条小溪，两辆满载货物的牛车涉水而过，车夫以各种方式进行伪装，黄牛的形象也被真实地描绘出来。朱瑞在宋代喜欢画这类题材，这幅山水画比较轻快，类似于太古遗书《江山行旅图》的笔法，可能是金代的作品。",[23,24,25,2484,7,103,200,1262,64,826,34,35,59,65,7189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bc5c1e8786c6f2560217f0c8669471.jpg","24.4x25.7",[71],{"id":41613,"slug":41614,"title":41615,"dynasty":18,"author":8087,"museum":135,"description":41616,"tags":41617,"thumbUrl":41618,"material":139,"size":127,"collection":127,"collections":41619,"showCount":512,"zanCount":48,"manualWeight":48,"mainColor":75},218675,"xi-hu-shi-jing-tu-qu-yuan-feng-he-ye-xiao-yan-218675","西湖十景图-曲院风荷","淡墨晕染的远山如黛，近岸树影婆娑，隐约可见荷叶田田的清姿，风过处似有暗香浮动。左侧行书笔意流转，与画中墨韵相映成趣，笔墨间尽是西湖夏日的清幽雅致。整幅作品以书画合璧之姿，将曲院风荷的静谧之美悄然铺展，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赫奕-山水图册现藏于旅顺博物馆。",[24,59,65,164,7,64,34,61,62,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec31a4d716636ef879ba0054929c3de.jpg","34.6cmx25cm",[],{"id":42495,"slug":42496,"title":159,"dynasty":54,"author":42497,"museum":119,"description":42498,"tags":42499,"thumbUrl":42500,"material":127,"size":127,"collection":71,"collections":42501,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},234269,"shan-shui-ce-sun-ri-shao-234269","孙日绍","此册页诗画合璧，右幅以淡墨晕染山水：近岸木桥横卧浅波，汀渚寂然，层叠远山如黛，烟岚轻笼间隐见楼阁，笔墨简淡空灵，晕染出烟雨江天的空濛悠远。左侧书法笔意纵逸跌宕，题诗意境呼应画中丘壑。二者相映成趣，将幽居林泉的闲雅疏旷铺陈开来，以极简笔墨勾勒出悠远山水，寄寓着文人澄怀观道的隐逸襟怀，诗书画相融相生，晕开恬淡雅致的古典意趣，尽显萧散出尘的文人山水情怀。",[23,24,25,164,59,65,67,7,318,319,60,63,34,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fde4ab358a106b7645441ca1c163a4b.jpg",[71],{"id":42503,"slug":42504,"title":42505,"dynasty":177,"author":30686,"museum":20,"description":42506,"tags":42507,"thumbUrl":42508,"material":537,"size":127,"collection":127,"collections":42509,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,24,26,59,7,65,64,34,199,201,63,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":42511,"slug":42512,"title":26595,"dynasty":54,"author":5538,"museum":20,"description":42513,"tags":42514,"thumbUrl":42515,"material":349,"size":42516,"collection":127,"collections":42517,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},234155,"yun-shan-tu-juan-wen-jia-234155","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,25,26,59,65,67,66,7,5099,37,238,34,3764,35,60,61,62,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":42519,"slug":42520,"title":3739,"dynasty":54,"author":1652,"museum":20,"description":42521,"tags":42522,"thumbUrl":42523,"material":10902,"size":8297,"collection":127,"collections":42524,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,25,26,28,29,67,7,63,103,61,60,34,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg",[],{"id":42526,"slug":42527,"title":35326,"dynasty":54,"author":14078,"museum":20,"description":42528,"tags":42529,"thumbUrl":42530,"material":16509,"size":42531,"collection":127,"collections":42532,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},234048,"shan-shui-tu-shan-ye-jiang-song-234048","此图是一幅绘其意不绘其形的画作。远景的峰峦岭岫没有被具体地刻画，仅用淡墨晕染山头，勾勒出大体的形貌。中景的平湖静水则不着一笔，完全靠远景的山与近景河岸的夹衬暗示出来。近景枯荣相伴的杂木，以浓淡墨直接点染叶片，运笔洒脱，墨气淋漓。平坡处相向交谈的高士不见眉目的刻画，仅略具形态。简约的构图和概括的表现技法，没有令画作失去画意，蒋嵩巧妙地运用虚实映照、黑白相衬和以简胜繁的艺术手法，吟唱出一曲烟云浩渺、葱郁深秀、意境空旷而不荒凉的山水清音。",[17460,24,2484,59,223,65,7,34,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36eab1f04615a6a9540d6367e46439cf.jpg","纵17厘米，横51.2厘米",[],{"id":42534,"slug":42535,"title":34521,"dynasty":18,"author":178,"museum":20,"description":42536,"tags":42537,"thumbUrl":42538,"material":454,"size":42539,"collection":127,"collections":42540,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},234000,"shan-po-lun-dao-tu-ye-yi-ming-234000","这幅画描绘了山中一块平坦的地方，有几根竹枝。 左侧形似桃花，隐隐现出屋脊； 一个僧人和一个人坐在石头上，坐着说话，画的右边，一个男孩站着，拿着棍子听着，身后岩石上的树枝细细弯曲。 这幅画的风格与夏圭相似。",[24,25,164,59,28,103,7,630,125,101,65,14207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f4197b57f0834d525f742c53aa0b38e.jpg","20X20cm",[],{"id":42542,"slug":42543,"title":1800,"dynasty":177,"author":12146,"museum":20,"description":12176,"tags":42544,"thumbUrl":42545,"material":375,"size":12179,"collection":127,"collections":42546,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},233891,"huang-shan-tu-ce-mei-qing-233891",[24,25,164,59,28,7,65,66,101,30,165,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291696afa7319434a5c86ab9e6c655f8.jpg",[],{"id":42548,"slug":42549,"title":8347,"dynasty":177,"author":395,"museum":20,"description":8348,"tags":42550,"thumbUrl":42551,"material":375,"size":8352,"collection":127,"collections":42552,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},233776,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233776",[24,25,164,28,7,103,35,34,64,979,66,67,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4915b7fd405c9234966f025821e03ed9.jpg",[],{"id":42554,"slug":42555,"title":10190,"dynasty":177,"author":10191,"museum":20,"description":10192,"tags":42556,"thumbUrl":42557,"material":375,"size":10195,"collection":127,"collections":42558,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},233452,"ren-wu-shan-shui-ce-luo-pin-233452",[24,28,59,164,103,630,2505,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ea9bf26a6d208d3f2bff266e605ad3.jpg",[],{"id":42560,"slug":42561,"title":16899,"dynasty":177,"author":34167,"museum":20,"description":34168,"tags":42562,"thumbUrl":42563,"material":20566,"size":34171,"collection":127,"collections":42564,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},233396,"shan-shui-ren-wu-ce-jin-nong-233396",[24,25,164,28,7,103,60,125,102,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54429029827b441643489512e15b13be.jpg",[],{"id":42566,"slug":42567,"title":16899,"dynasty":177,"author":34167,"museum":20,"description":34168,"tags":42568,"thumbUrl":42569,"material":20566,"size":34171,"collection":127,"collections":42570,"showCount":269,"zanCount":961,"manualWeight":48,"mainColor":75},233395,"shan-shui-ren-wu-ce-jin-nong-233395",[24,25,164,28,123,59,7,103,125,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb161be310fe9e34df6500fcd1d828736.jpg",[],{"id":42572,"slug":42573,"title":16899,"dynasty":177,"author":34167,"museum":20,"description":34168,"tags":42574,"thumbUrl":42575,"material":20566,"size":34171,"collection":127,"collections":42576,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},233393,"shan-shui-ren-wu-ce-jin-nong-233393",[24,25,164,59,28,7,37,34,67,101,264,61,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b508b39647df860015e33b12d744377.jpg",[],{"id":42578,"slug":42579,"title":5471,"dynasty":177,"author":395,"museum":119,"description":5472,"tags":42580,"thumbUrl":42581,"material":349,"size":5476,"collection":127,"collections":42582,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},233381,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233381",[24,25,164,59,65,67,101,7,583,64,16379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555274dea7bbe31768bc088686b31c1.jpg",[],{"id":42584,"slug":42585,"title":21669,"dynasty":177,"author":12255,"museum":20,"description":21670,"tags":42586,"thumbUrl":42587,"material":127,"size":127,"collection":127,"collections":42588,"showCount":269,"zanCount":961,"manualWeight":48,"mainColor":75},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226",[24,59,65,164,7,64,34,583,199,35,32,167,372,60,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":42590,"slug":42591,"title":23312,"dynasty":177,"author":23313,"museum":20,"description":42592,"tags":42593,"thumbUrl":42594,"material":349,"size":42595,"collection":127,"collections":42596,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},233181,"fang-gu-ji-you-tu-ce-huang-yi-233181","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[24,25,164,59,65,101,66,67,7,264,63,34,239,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde56bbb5dd5f5082bb9e8e48065c69cc.jpg","纵17.8cm，横50.8cm",[],{"id":42598,"slug":42599,"title":159,"dynasty":80,"author":997,"museum":20,"description":18265,"tags":42600,"thumbUrl":42601,"material":375,"size":18268,"collection":127,"collections":42602,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},233174,"shan-shui-ce-cao-zhi-bai-233174",[24,59,65,164,66,67,7,318,319,34,60,35,239,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36164595fe8368b20261ba6fa14b9e1.jpg",[],{"id":42604,"slug":42605,"title":19629,"dynasty":177,"author":178,"museum":20,"description":42606,"tags":42607,"thumbUrl":42608,"material":349,"size":19635,"collection":127,"collections":42609,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[100,24,25,164,28,29,65,103,335,7,104,34,6756,1110,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg",[],{"id":42611,"slug":42612,"title":42613,"dynasty":18,"author":178,"museum":20,"description":42614,"tags":42615,"thumbUrl":42616,"material":9823,"size":42617,"collection":127,"collections":42618,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},233014,"shen-tang-qin-qu-tu-ye-yi-ming-233014","深堂琴趣图页","远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。这在宋诗、宋词和宋画中留有许多经典的范例。如从刘松年的《四景山水图》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。音乐，求其意境，要有共鸣、幽远方妙。《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。庭石上又有青松一株，遥承琴声，而成风如松。环境与音乐布局协和生发，绝无滞碍。主人弹琴，恰好面东，而门对南，空间方位甚为有序。如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。这些看似细微之处，正可见宋人对画中空间风水的深刻认知。画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。",[2538,24,164,28,304,29,7,104,34,559,31214,3695,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be54f010dc1e0bed94db829cee44280.jpg","纵23.6厘米，横24.9厘米",[],{"id":42620,"slug":42621,"title":25226,"dynasty":54,"author":1652,"museum":20,"description":25227,"tags":42622,"thumbUrl":42623,"material":349,"size":25230,"collection":127,"collections":42624,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},232960,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232960",[24,25,164,67,101,123,59,7,125,1738,64,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee28d2c156fc7135d314b5111aca8d44.jpg",[],{"id":42626,"slug":42627,"title":42628,"dynasty":80,"author":887,"museum":135,"description":42629,"tags":42630,"thumbUrl":42631,"material":292,"size":42632,"collection":127,"collections":42633,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[23,24,25,26,59,65,67,66,101,7,62,60,61,63,106,125,264,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":42635,"slug":42636,"title":42637,"dynasty":18,"author":274,"museum":1542,"description":42638,"tags":42639,"thumbUrl":42640,"material":42641,"size":42642,"collection":127,"collections":42643,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[23,100,24,25,26,123,103,7,278,104,63,101,66,4768,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 x 475.6 cm",[],{"id":42645,"slug":42646,"title":42647,"dynasty":8332,"author":42648,"museum":119,"description":42649,"tags":42650,"thumbUrl":42651,"material":127,"size":127,"collection":127,"collections":42652,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,25,164,59,28,65,7,103,104,62,61,64,34,167,707,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":42654,"slug":42655,"title":42656,"dynasty":8332,"author":42657,"museum":119,"description":42658,"tags":42659,"thumbUrl":42660,"material":337,"size":937,"collection":127,"collections":42661,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},231586,"shi-ting-shi-dai-han-jiang-du-diao-shan-shui-tu-shou-ye-zheng-xin-231586","室町时代 寒江独钓山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,28,7,62,495,373,149,65,1738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac31b21b8cc2a0b86321841e63b6c93.jpg",[],{"id":42663,"slug":42664,"title":42665,"dynasty":177,"author":38987,"museum":556,"description":42666,"tags":42667,"thumbUrl":42668,"material":14562,"size":42669,"collection":127,"collections":42670,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[23,24,25,26,59,65,7,34,64,31,37,167,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":42672,"slug":42673,"title":42674,"dynasty":54,"author":3451,"museum":119,"description":42675,"tags":42676,"thumbUrl":42678,"material":127,"size":127,"collection":127,"collections":42679,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[24,25,149,29,28,103,104,60,125,64,24240,559,42677,2394,7,1738],"墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":42681,"slug":42682,"title":9382,"dynasty":177,"author":36555,"museum":119,"description":42683,"tags":42684,"thumbUrl":42685,"material":127,"size":127,"collection":127,"collections":42686,"showCount":269,"zanCount":961,"manualWeight":48,"mainColor":49},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,25,149,28,65,7,583,64,199,61,104,150,103,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":42688,"slug":42689,"title":42690,"dynasty":8332,"author":19195,"museum":119,"description":19196,"tags":42691,"thumbUrl":42692,"material":337,"size":937,"collection":127,"collections":42693,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},230503,"shi-ting-shi-dai-si-ji-shan-shui-tu-qiu-xue-zhou-230503","室町时代 四季山水图（秋）",[23,100,24,149,28,7,104,34,3865,2216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc400973487eafe8b6a86e5eafe93c0.jpg",[],{"id":42695,"slug":42696,"title":42697,"dynasty":8332,"author":10341,"museum":119,"description":42698,"tags":42699,"thumbUrl":42700,"material":127,"size":127,"collection":127,"collections":42701,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},230487,"tai-gong-wang-wen-wang-tu-shou-ye-yuan-xin-230487","太公望文王图","此作用大片留白铺展空茫水色，寥寥柳丝牵起河畔清寂早春意趣。枯木旁细竹点景，极简笔触勾勒老叟踞石垂纶，身形松弛淡然，将静候的怅惘化入澹泊闲情。\n\n水墨晕染浅淡写意，舍去繁丽描摹，只以劲简线条刻绘人物风神，把隐逸襟怀与入世期许藏在空茫留白间，以东方水墨独有的留白哲思，将悠长等待的时光，铺陈在这无言空阔的画幅之中，尽显淡远幽寂的禅味。",[23,24,25,149,28,65,103,264,630,125,373,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2576cf375d2475dcb407cb2fc50632af.jpg",[],{"id":42703,"slug":42704,"title":15488,"dynasty":177,"author":42705,"museum":119,"description":42706,"tags":42707,"thumbUrl":42708,"material":127,"size":127,"collection":127,"collections":42709,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},230296,"shan-shui-ce-ye-du-xiang-230296","杜湘","此作以幽寂山居为意趣，虚实掩映间铺陈出尘之境。苍松虬干以赭石晕染，石绿点簇松针，苍劲中带着清润生机；山石以淡墨勾勒皴擦，浓墨醒苔，厚重又不失空灵意韵。蜿蜒石径隐于谷底，将视线引向林间茅舍，屋中幽人凭窗静憩，愈发衬出林谷阒寂清冷。整幅画笔致秀雅沉静，疏密错落间尽显山林幽居的超然闲逸，把文人寄情林泉的隐逸襟怀藏在简淡笔墨之中，尽显传统山水画的写意风骨。",[24,25,164,28,7,64,583,63,202,101,65,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c24bd19e45d360dbc671486ec53196.jpg",[],{"id":42711,"slug":42712,"title":42713,"dynasty":177,"author":3760,"museum":119,"description":42714,"tags":42715,"thumbUrl":42716,"material":127,"size":127,"collection":127,"collections":42717,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,24,25,26,122,7,34,62,106,373,65,28,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":42719,"slug":42720,"title":42721,"dynasty":177,"author":42722,"museum":119,"description":42723,"tags":42724,"thumbUrl":42725,"material":127,"size":127,"collection":127,"collections":42726,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","艾启蒙","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[24,25,164,29,28,3988,7,125,630,239,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":42728,"slug":42729,"title":42730,"dynasty":177,"author":38397,"museum":119,"description":42731,"tags":42732,"thumbUrl":42735,"material":127,"size":127,"collection":127,"collections":42736,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},228936,"jin-jian-shan-shui-si-ping-lu-yuan-228936","金笺山水四屏","平远构图层层铺陈，淡墨晕染的远山衔着隐约山居，渐次拉近，中景茅舍里士人对坐晤谈，小童负物行于林畔，野居意趣悠然尽显。近岸怪石嶙峋，古木虬曲苍劲，红叶枝桠点染出清秋意韵，秋水蜿蜒迂回，澄澈空明。\n笔墨利落，山石以小斧劈皴写就，苍劲硬朗；林木点染兼工带写，意态生动。金笺底色衬得画面古雅温润，整体意境萧疏淡远，将文人寄情林泉、安享幽居的雅怀尽数铺展。",[23,24,25,42733,42734,7,28,65,64,34,35,61],"金笺","四屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee574fd14a42eb307f4d37ff819902cb.jpg",[],{"id":42738,"slug":42739,"title":42740,"dynasty":54,"author":14148,"museum":119,"description":42741,"tags":42742,"thumbUrl":42743,"material":127,"size":127,"collection":127,"collections":42744,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,24,149,7,28,29,65,318,199,979,583,201,103,34,37,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":42746,"slug":42747,"title":29232,"dynasty":54,"author":13522,"museum":119,"description":22622,"tags":42748,"thumbUrl":42749,"material":337,"size":937,"collection":127,"collections":42750,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},228899,"shan-shui-tu-shan-mian-qian-gu-228899",[100,24,25,2484,59,28,65,7,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fe0f246adff8469cb479bfc8b1f0cf.jpg",[],{"id":42752,"slug":42753,"title":42754,"dynasty":54,"author":1652,"museum":119,"description":42755,"tags":42756,"thumbUrl":42757,"material":127,"size":127,"collection":127,"collections":42758,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},228876,"shan-shui-shi-hua-ce-wen-zheng-ming-228876","山水诗画册","此作为行书题跋，笔墨温润秀劲，法度谨严却意态灵动，既得赵孟頫的娟秀雅致，又暗含晋唐书法的古朴意韵。行笔舒展从容，点画精到凝练，笔势连贯自然，将帖学的文雅之气尽显无余。\n\n题文评点衡山诗书，字里行间尽显题者不俗的赏鉴功底，自带冲淡平和的书卷意趣，与山水诗画的意境融为一体，尽显文人闲适雅致的赏玩心境，是一件兼具书法美感与品鉴意趣的文人题跋佳作。",[23,164,67,66,7,65,28,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe11878f87a44f54aae2ee00d3191a9b.jpg",[],{"id":42760,"slug":42761,"title":42762,"dynasty":54,"author":178,"museum":119,"description":42763,"tags":42764,"thumbUrl":42765,"material":127,"size":127,"collection":127,"collections":42766,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","仿董源夏山图","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,24,25,26,7,122,28,65,238,34,31,891,60,61,722,106,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":42768,"slug":42769,"title":42770,"dynasty":18,"author":42771,"museum":119,"description":42772,"tags":42773,"thumbUrl":42774,"material":127,"size":127,"collection":127,"collections":42775,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,24,100,25,28,29,1042,103,7,64,199,2315,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":42777,"slug":42778,"title":42779,"dynasty":18,"author":178,"museum":119,"description":42780,"tags":42781,"thumbUrl":42782,"material":127,"size":127,"collection":127,"collections":42783,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,100,24,25,2484,304,29,28,7,63,34,103,104,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":42785,"slug":42786,"title":42787,"dynasty":18,"author":178,"museum":119,"description":42788,"tags":42789,"thumbUrl":42791,"material":127,"size":127,"collection":127,"collections":42792,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},227892,"qing-xi-feng-fan-tu-ye-yi-ming-227892","清溪风帆图页","此作用平远之法铺陈烟水湖山，近岸苍松劲拔，带着清森之气破开画角。淡墨晕染出层叠远岫，像被晨雾揉碎的黛色剪影，晕在空濛天际间。洲渚上林木成簇，在水面投下浅淡的墨色倒影。\n\n扬帆的扁舟缓行于清溪之上，船舷破开如镜的水面，为这片岑寂的山水漾开灵动涟漪。全作以水墨轻施淡染，设色清浅雅致，笔法简净秀润，将江南水乡暮霭初升时的清旷萧远尽数铺展。静穆山色与行舟动势相映，于简淡留白中晕开含蓄悠远的意韵，把烟水空蒙的湖山诗意凝在尺幅之间，引人坠入这片安谧清和的烟岚水色中。",[23,24,25,2145,59,28,7,62,42790,34,201,167,101],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a87e6aea99e632e951e926931693c8.jpg",[],{"id":42794,"slug":42795,"title":42796,"dynasty":18,"author":178,"museum":119,"description":42797,"tags":42798,"thumbUrl":42800,"material":127,"size":127,"collection":127,"collections":42801,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},227862,"zao-qiu-ye-po-tu-yi-ming-227862","早秋夜泊图","此作用细腻铁线描勾勒两艘泊船，舱室回廊、高耸桅杆皆刻画入微，淡赭轻敷点缀舱间细节，古拙雅致。远景水榭楼台隐在朦胧夜色间，烟水空濛晕染开早秋清寒。\n画面以小景写幽情，将旅人行舟暂歇的安然揉进静谧江色里，写实中带着诗意澹远，尽显宋人体察日常的雅致笔力，把初秋江上夜泊的清寂况味铺陈开来，淡而不寡，静中藏着羁旅安然的意趣。",[23,24,25,304,28,29,4496,104,319,7,42799],"早秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9709ec5d8d3f68db6c128de0f7e73a9.jpg",[],{"id":42803,"slug":42804,"title":42805,"dynasty":18,"author":178,"museum":119,"description":42806,"tags":42807,"thumbUrl":42808,"material":127,"size":127,"collection":127,"collections":42809,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},227851,"shan-ju-dui-yi-tu-yi-ming-227851","山居对奕图","此作以边角取景，尽显空灵淡远的韵致。右侧山居隐于苍松荫翳之下，屋舍素朴雅致，藏着林泉高隐的闲趣。古松虬曲苍劲，墨色苍润勾勒出老干新枝的清劲姿态，左侧松枝斜出，与右侧景致遥相呼应。\n\n大片留白晕染出烟岚空濛的远山，虚渺朦胧如幻似真。设色淡雅清润，水墨晕染出江南山霭的柔婉，尺幅之间铺陈出世外幽居的恬然意境，将林泉高致藏于简淡取景之中，于方寸间见天地悠远，尽显山水小品以小见大的隽永之美。",[23,100,24,25,2484,28,65,7,165,63,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe44c22249e2b9611ed2dc25841e8fab.jpg",[],{"id":42811,"slug":42812,"title":34984,"dynasty":18,"author":3342,"museum":119,"description":42813,"tags":42814,"thumbUrl":42815,"material":127,"size":127,"collection":127,"collections":42816,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},227738,"shen-pin-tu-li-song-227738","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\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。传至今日的《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\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。",[23,24,100,25,2484,304,28,29,7,104,103,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4d68682181dca7241b159da51e2ccc.jpg",[],{"id":42818,"slug":42819,"title":12673,"dynasty":18,"author":274,"museum":119,"description":29073,"tags":42820,"thumbUrl":42821,"material":127,"size":127,"collection":127,"collections":42822,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},227612,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227612",[23,24,25,26,123,59,103,7,62,63,106,61,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada9312dd485017bc4fab757eba67b6c.jpg",[],{"id":42824,"slug":42825,"title":42826,"dynasty":18,"author":274,"museum":119,"description":42827,"tags":42828,"thumbUrl":42829,"material":127,"size":127,"collection":127,"collections":42830,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},227603,"wo-long-shan-tu-san-li-gong-lin-227603","卧龙山图三","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\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。",[23,100,24,25,123,28,65,7,199,103,239,34,201,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86cf7dfa3ac26e73c0d8e4ff415bef90.jpg",[],{"id":42832,"slug":42833,"title":28025,"dynasty":18,"author":274,"museum":119,"description":42834,"tags":42835,"thumbUrl":42836,"material":127,"size":127,"collection":127,"collections":42837,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},227583,"qun-xian-gao-hui-tu-juan-li-gong-lin-227583","李公麟（1049年－1106年），北宋画家。字伯时，号龙眠居士，舒州（今安徽桐城）人。\n\n进士出身，历南康、长垣尉、泗州录事参军，官至朝奉郎。擅画人物、佛道像，吸取历代流派之长，自创一格，多用线描，笔法如行云流水，而不设色，生动地表现了人物的神情意态，人称“白描”；尤精擅画鞍马，常观察群马生活，求其变化，下笔形神兼备。注重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,24,25,26,123,7,103,104,106,264,63,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":42839,"slug":42840,"title":42841,"dynasty":18,"author":3684,"museum":119,"description":42842,"tags":42843,"thumbUrl":42844,"material":127,"size":127,"collection":127,"collections":42845,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[23,24,25,2484,59,65,7,62,63,125,264,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":42847,"slug":42848,"title":26665,"dynasty":1051,"author":178,"museum":8528,"description":8529,"tags":42849,"thumbUrl":42850,"material":337,"size":937,"collection":127,"collections":42851,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},226493,"ku-zhu-shi-bei-pi-yi-ming-226493",[3985,8528,15124,1042,103,278,7,22358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10719d10eae3525aced2fd54cdc7c866.jpg",[],{"id":42853,"slug":42854,"title":159,"dynasty":177,"author":21589,"museum":119,"description":42855,"tags":42856,"thumbUrl":42857,"material":127,"size":127,"collection":127,"collections":42858,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},224597,"shan-shui-ce-yuan-ying-224597","此作铺陈出一卷悠然水乡山居图。远景山峦以淡墨晕染，轻烟笼岫，漾着空濛悠远的澹宕诗意。中景青绿重峦上，丹枫翠柏蓊郁成荫，山居院落沿溪错落排布，黛瓦飞檐掩映在枝叶间，将雅致烟火揉进山野清趣里。\n浅滩碎石漱着清流，近水扁舟随波徐行，渔翁垂竿独钓，把闲逸静穆揉进涟漪里。设色妍雅柔和，皴笔细腻勾勒山石肌理，淡墨晕染出烟岚轻笼的朦胧质感，将江南水乡温润灵秀的意趣尽数铺展，把幽居闲隐的雅韵凝在尺幅之中，观之如踏入这静美悠然的世外山居。",[23,24,28,65,164,7,60,61,62,104,34,64,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde5044ef41523288de68520c6e9bca9.jpg",[],{"id":42860,"slug":42861,"title":42862,"dynasty":177,"author":19711,"museum":119,"description":42863,"tags":42864,"thumbUrl":42865,"material":337,"size":937,"collection":127,"collections":42866,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},224576,"song-he-bo-tao-cheng-shan-qing-ren-224576","松鹤波涛成扇","苍松虬枝蟠曲，墨色沉凝勾勒出古木苍劲，针毫细密如攒聚霜雪。两只仙鹤姿态隽秀，一鹤引颈唳空，似欲振翅穿云，一鹤垂首理羽，悠然栖于松畔。侧边细笔晕出水波层叠，柔浪轻漾将松间清旷揉入烟波浩渺之中。\n\n旧纸泛黄晕开岁月痕迹，木骨凝住旧时光阴，整幅小品将祥瑞意趣藏在简净笔墨里，把林泉野趣收于盈尺扇面。落笔克制却意韵悠长，雅致笔墨与吉庆意涵相融，是耐人品味的小品佳构。",[24,25,2484,28,59,29,413,2505,1249,7,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bc17a44121d5340a0e044499da1455.jpg",[],{"id":42868,"slug":42869,"title":42870,"dynasty":177,"author":2075,"museum":119,"description":42871,"tags":42872,"thumbUrl":42873,"material":127,"size":127,"collection":127,"collections":42874,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},224418,"shu-hua-shi-liu-kai-4-wang-shi-min-224418","书画十六开-4","此作用笔苍浑秀润，追摹元人萧散意趣。层岩叠岫间古松虬曲，苔点皴染遍覆崖身，青绿敷色沉静古雅，恍若旧时光晕晕染纸面。飞泉漱石，流云出岫，将山巅晕出空濛仙气。澄江如练，渔翁独棹扁舟欸乃行于江心，静澜载闲，把江湖幽寂融于笔底。林麓间隐见山居茅亭，石径通幽暗合林下隐逸之思。整幅画将山林深秀与江湖闲逸织为一体，于青绿妍秀中藏文人淡远襟怀，尽显寄情林泉的雅逸意趣。",[23,24,25,28,27,65,7,62,61,60,34,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc562462de56224602031cb4887c257ca.jpg",[],{"id":42876,"slug":42877,"title":42878,"dynasty":177,"author":28757,"museum":119,"description":42879,"tags":42880,"thumbUrl":42881,"material":127,"size":127,"collection":127,"collections":42882,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},224268,"fang-fan-zhong-li-fei-quan-zhan-dao-tu-zhao-cheng-224268","仿范中立飞泉栈道图","画作以雄奇主峰撑起画面骨架，山石皴刻硬朗厚重，遍覆蓊郁林木，尽显苍浑朴拙之气。山谷间云气氤氲，将上下景致晕出空濛层次，飞泉隐于林间，栈道盘绕崖壁，楼阁依险而建，既衬出山势的崔嵬险峻，也勾勒出山居的幽邃雅趣。笔墨追摹北派山水的雄浑风骨，沉雅的设色晕染开古厚氛围，把山野间的浩荡大气与林泉间的静谧隐逸相融，让观者仿佛踏入烟岚深处，尽览崖间飞泉与盘道山居的世外之景。",[23,24,25,28,65,304,7,6084,208,64,34,37,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a3ff265b1f216bdf8767877e88f38.jpg",[],{"id":42884,"slug":42885,"title":42886,"dynasty":177,"author":10574,"museum":119,"description":42887,"tags":42888,"thumbUrl":42889,"material":127,"size":127,"collection":127,"collections":42890,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},224264,"hua-wan-hu-chao-tian-zhou-zhang-zong-cang-224264","画万笏朝天轴","群峰如笏攒立，拔地参天，以干笔皴擦勾勒山石肌理，苍浑厚重，尽显雄奇壮阔之势。山坳溪畔，林舍错落，浅滩回溪萦绕村居，杂木疏密有致，枯荣相映，晕染出江南山野的温润清宁。\n\n整幅笔墨兼具精整法度与文人雅致，皴擦点染层次分明，将峰岳的沉雄高旷与乡居的悠然意趣相融，左上题诗呼应画境，把自然山川的形神与林泉雅怀合为一体，勾勒点染间尽显山水清旷高华之态。",[24,25,149,59,65,7,64,34,722,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66bff8c39fbab376a96a62831c8d9ff4.jpg",[],{"id":42892,"slug":42893,"title":42894,"dynasty":18,"author":178,"museum":119,"description":42895,"tags":42896,"thumbUrl":42899,"material":337,"size":937,"collection":127,"collections":42900,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":940},223807,"mo-yu-bi-shan-yi-ming-223807","墨玉笔山","笔架又称笔格、笔搁，是一种传统的文房用具，用于书写或作画间隙暂时搁置湿笔。笔架形制多样，其中别名“笔山”的山形笔架更是别具一格，以其峰峦起伏的山势促成了实用性与观赏性的和谐统一。\n山形笔架在宋代开始流行于文人墨客的案头，其产生有着特定的时代背景。宋代，随着文人阶层的兴起，文房用具在日常生活器具中的地位也不断提升，成为文人审美雅趣与精神追求的重要载体。问道升仙的梦想、隐逸山林的志向与仁者乐山的胸怀，凝聚成山形笔架所承载的精神内核，文房用具的专门化发展和传统造山艺术的渊源则为山形笔架的产生提供了物质与技术条件。因此，对山形笔架源流进行梳理，能够透物而见人，剖析宋代以降文人群体的精神世界。",[1555,27156,27155,7,42897,2394,223,32427,42898],"文房","简约造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae86dab3fa4e3e42a79cbb4e1de9910b.jpg",[],{"id":42902,"slug":42903,"title":5621,"dynasty":18,"author":178,"museum":119,"description":42904,"tags":42905,"thumbUrl":42906,"material":127,"size":127,"collection":127,"collections":42907,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},223595,"pan-che-tu-yi-ming-223595","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[23,100,24,25,149,29,65,59,28,7,104,64,34,103,30719,334,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":42909,"slug":42910,"title":42911,"dynasty":80,"author":178,"museum":119,"description":42912,"tags":42913,"thumbUrl":42914,"material":337,"size":937,"collection":127,"collections":42915,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},223554,"shen-shan-ta-yuan-tu-ye-yi-ming-223554","深山塔院图页","原为团扇,试变其章法,略师其笔意。未知能得董巨幽淡天真之境否。",[23,24,100,25,164,28,65,7,104,520,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89109ce6e6723a87ee1887eb4a597da7.jpg",[],{"id":42917,"slug":42918,"title":42919,"dynasty":18,"author":178,"museum":1542,"description":42920,"tags":42921,"thumbUrl":42922,"material":454,"size":42923,"collection":127,"collections":42924,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},223535,"jiang-cun-tu-yi-ming-223535","江村图","图绘江水平缓，江上一叶扁舟，舟子撑杆而行。两岸绿树成林，屋舍隐隐。",[23,100,24,25,7,28,65,61,62,125,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb83e60ab9c09c2a0483f69fb55353f.jpg","24.1x25.4",[],{"id":42926,"slug":42927,"title":42928,"dynasty":18,"author":178,"museum":20,"description":42929,"tags":42930,"thumbUrl":42931,"material":454,"size":42932,"collection":127,"collections":42933,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},223518,"mei-xi-fang-ting-tu-yi-ming-223518","梅溪放艇图","绘一雅士放艇溪中，回首遥视远方，渔夫于 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横25.4cm.",[],{"id":42960,"slug":42961,"title":42962,"dynasty":80,"author":178,"museum":776,"description":42963,"tags":42964,"thumbUrl":42965,"material":349,"size":42966,"collection":127,"collections":42967,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},223448,"han-jiang-dai-du-tu-yi-ming-223448","寒江待渡图","这是一幅典型的、表达入仕愿望的待渡图，幅中烟岚中的台阁象征仕途，待渡人仿佛严阵以待般静立江岸，等待一只前来接引的小舟。另一种说法是：山中俨然而立的是寺观，待渡者相反是要表达出世的愿望。结合它所创作的元代，两种解释似乎都能成立。",[23,24,59,65,28,7,62,61,372,2952,24049,34,167,37,2942,20819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e77f66f7f33d72e246016b5833f6c12.jpg","30x32厘米",[],{"id":42969,"slug":42970,"title":42971,"dynasty":80,"author":178,"museum":135,"description":33575,"tags":42972,"thumbUrl":42973,"material":596,"size":33578,"collection":127,"collections":42974,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},223407,"tai-xing-xue-ji-tu-zhou-yi-ming-223407","太行雪霁图轴",[23,24,149,28,65,7,878,64,372,199,103,766,61,239,3763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe095a1bc944a9d299c160ca73f1ffd9a.jpg",[],{"id":42976,"slug":42977,"title":42978,"dynasty":177,"author":15403,"museum":135,"description":42979,"tags":42980,"thumbUrl":42982,"material":5071,"size":42983,"collection":127,"collections":42984,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},222854,"wan-tun-chun-mu-dong-gao-222854","万屯春牧","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,28,29,65,7,164,238,34,201,3988,335,450,372,264,61,533,1856,42981,1695,240,5134],"牧畜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","22.9x26厘米",[],{"id":42986,"slug":42987,"title":42988,"dynasty":177,"author":42989,"museum":704,"description":42990,"tags":42991,"thumbUrl":42992,"material":388,"size":42993,"collection":127,"collections":42994,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},222841,"ji-en-tu-zhang-bo-long-222841","纪恩图","张伯龙","图绘清初大将杨捷之孙杨铸接受康熙帝赏赐，在热河避暑山庄御苑中乘舟观荷的情景。图绘山峦锦绣，景色宜人，池中荷花盛开，杨铸将军端坐御船中，眼神专注，神态安祥。",[23,24,28,29,65,7,62,103,4192,571,583,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7238607ddf7a479257963b0034284e.jpg","横103cm，纵166.3cm",[],{"id":42996,"slug":42997,"title":42998,"dynasty":177,"author":1872,"museum":56,"description":7754,"tags":42999,"thumbUrl":43000,"material":7118,"size":7757,"collection":127,"collections":43001,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},222615,"shan-shui-ba-jing-5-gong-xian-222615","山水八景-5",[23,24,25,164,59,65,7,125,63,64,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa329c651f4d05a616990e35cfffa22.jpg",[],{"id":43003,"slug":43004,"title":27736,"dynasty":54,"author":43005,"museum":135,"description":43006,"tags":43007,"thumbUrl":43008,"material":454,"size":43009,"collection":127,"collections":43010,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},222443,"chun-shan-tu-zhou-lin-guang-222443","林广","溪山深邃处。临水筑榭。青松卓然高立。山坳处。春花怒放。士人于此静坐。享受着无限的春光。此图用笔方劲。以刚硬之气。画妩媚春景。亦别具一格。\n林广（明末清初），广陵人，是久居金陵的职业画家。山水、人物初学宫廷画家李在（？-1431）与蓝瑛，居金陵后，融入了金陵画派地域画风的时潮，发展出典型的金陵面目。作为职业画家，林广的绘画能力很强，金陵各种风格都有涉猎，既有类似吴宏、高岑一路的山水风格，亦有接近武丹的面目（《上元县志》版“金陵八家”即有武丹）。",[100,24,25,149,59,65,7,1856,64,34,199,35,533,103,17460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117261838ffba9ce00a6cadb6ef82d48.jpg","182.8x103.8厘米",[],{"id":43012,"slug":43013,"title":909,"dynasty":54,"author":43014,"museum":135,"description":43015,"tags":43016,"thumbUrl":43017,"material":127,"size":127,"collection":127,"collections":43018,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[23,24,25,2484,7,59,28,65,318,165,60,150,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":43020,"slug":43021,"title":43022,"dynasty":54,"author":27396,"museum":135,"description":43023,"tags":43024,"thumbUrl":43025,"material":28,"size":43026,"collection":127,"collections":43027,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},222431,"hua-song-yin-diao-ting-ce-ye-du-jin-222431","画松阴钓艇册页","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人，占籍燕京（今北京市）。宪宗成化（1465—1487）中试进士不第，绝意进取。工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。弘治二年（1489）为吴原博（宽）作赏菊宴集图。从艺活动约在成化、弘治间。\n明代中期的画坛，除了活跃着以沈周、文徵明等为代表的“吴门画派”和以戴进、吴伟为代表的“浙江画派”之外，在南京还出现了一些独具风格的文入画家。他们个个能诗、能文、擅书、擅画，且r生，隋开朗，豪放不羁。杜堇就是其中的一位。杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。\n传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（1500）由金琮（1449-1501）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《邵雍像》轴等，上述画均藏故宫博物院。从艺活动约在成化、弘治间。",[23,24,2484,59,28,7,65,413,62,373,64,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70da5f12ccbc7b5817be2e5d8f1e38e.jpg","68x68厘米",[],{"id":43029,"slug":43030,"title":43031,"dynasty":54,"author":14368,"museum":135,"description":14369,"tags":43032,"thumbUrl":43033,"material":28,"size":14372,"collection":127,"collections":43034,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1",[100,24,25,26,59,65,7,34,199,64,37,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg",[],{"id":43036,"slug":43037,"title":43038,"dynasty":54,"author":55,"museum":56,"description":39998,"tags":43039,"thumbUrl":43040,"material":454,"size":40001,"collection":127,"collections":43041,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},222097,"liang-jiang-ming-sheng-tu-ce-9-shen-zhou-222097","两江名胜图册9",[23,24,25,164,59,28,304,7,104,60,61,63,2845,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c117a53f6aab2a924fb2e8282cc44.jpg",[],{"id":43043,"slug":43044,"title":43045,"dynasty":54,"author":55,"museum":56,"description":39998,"tags":43046,"thumbUrl":43047,"material":454,"size":40001,"collection":127,"collections":43048,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},222094,"liang-jiang-ming-sheng-tu-ce-6-shen-zhou-222094","两江名胜图册6",[23,24,25,164,28,7,104,6299,4496,167,34,1643,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419cd7d3e9a099cd6e89767a3becac30.jpg",[],{"id":43050,"slug":43051,"title":43052,"dynasty":54,"author":4764,"museum":20,"description":9820,"tags":43053,"thumbUrl":43054,"material":9823,"size":41501,"collection":127,"collections":43055,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":49},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意",[23,24,25,164,28,122,7,1673,61,34,167,890,2845,10669,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg",[],{"id":43057,"slug":43058,"title":43059,"dynasty":18,"author":2213,"museum":135,"description":10909,"tags":43060,"thumbUrl":43061,"material":40016,"size":43062,"collection":127,"collections":43063,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},221427,"sui-gu-xian-chou-yan-su-221427","邃谷仙俦",[23,24,25,164,59,28,7,64,34,201,65,2315,7089,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a40a76ca3da825b71a02dad0c2b328c.jpg","40.2x66.3",[],{"id":43065,"slug":43066,"title":43067,"dynasty":54,"author":1096,"museum":135,"description":43068,"tags":43069,"thumbUrl":43070,"material":349,"size":43071,"collection":71,"collections":43072,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},220943,"wu-yan-lv-shi-cheng-shan-dong-qi-chang-220943","五言律诗成扇","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。",[2484,24,25,59,65,66,101,7,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc028be8c316980beb3080dd770e1f5.jpg","33.2x47.1",[71,212],{"id":43074,"slug":43075,"title":43076,"dynasty":54,"author":1096,"museum":1542,"description":6940,"tags":43077,"thumbUrl":43078,"material":349,"size":5218,"collection":127,"collections":43079,"showCount":269,"zanCount":48,"manualWeight":48,"mainColor":75},220343,"fang-mi-fei-shan-shui-tu-juan-tu-juan-bu-fen-2-dong-qi-chang-220343","仿米芾山水图卷-图卷部分2",[100,24,25,26,1019,59,5089,7,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b72929136a45b72eea08f9e1578616d.jpg",[],{"id":43081,"slug":43082,"title":43083,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":43084,"thumbUrl":43085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将幽居野逸的意趣藏于尺幅间。远景山峦以披麻皴轻扫，淡墨晕染空濛烟岚，与近景萧疏呼应，烘托出清远空寂的秋日氛围。笔墨简淡秀雅，以简驭繁，将文人寄情林泉、逍遥尘外的隐逸心境铺陈开来，于方寸间见丘壑，尽显山水小品以景抒情的雅致格调，余韵悠长。",[24,59,2145,7,62,34,61,103,64,167,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b75686355545bb93c02a07ce8bd9c8.jpg",[71,212],{"id":43820,"slug":43821,"title":159,"dynasty":54,"author":32738,"museum":119,"description":43822,"tags":43823,"thumbUrl":43824,"material":127,"size":20,"collection":71,"collections":43825,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236599,"shan-shui-ce-ye-xiang-rong-236599","近岸处，戴笠旅人策杖徐行，似在溪山寻幽。浅溪如镜，白石小桥横卧水面，桥畔古木虬枝舒展，浓荫覆水。\n\n远山轻晕淡染，随溪湾缓缓隐入烟岚，错落水洲间，村舍隐在林麓深处。全作用色清雅柔和，淡赭晕开坡岸山石，以墨点簇染林木，笔法松秀简淡，未作繁复皴擦，便将山野清寂悠然铺陈开来。\n\n行旅野趣与山居安闲相融，将江南溪山的温润恬淡，凝为可游可居的幽境，尽显萧散简远的文人意趣，观之便如沐山涧清风，恍能踏入林泉，静听溪声与林风私语。",[24,25,164,59,28,65,7,60,61,34,64,167,103,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8531cc2a2e32f49f432b51829dc5a9cb.jpg",[71,212],{"id":43827,"slug":43828,"title":17802,"dynasty":177,"author":5740,"museum":119,"description":17803,"tags":43829,"thumbUrl":43830,"material":127,"size":127,"collection":127,"collections":43831,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236578,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236578",[24,25,164,59,7,318,319,34,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cd3f26706df799876961b0f36ef221.jpg",[],{"id":43833,"slug":43834,"title":43835,"dynasty":177,"author":16563,"museum":119,"description":36319,"tags":43836,"thumbUrl":43837,"material":337,"size":937,"collection":127,"collections":43838,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236551,"xu-gu-qiu-lin-du-tiao-shan-ye-xu-gu-236551","虚谷秋林独眺扇页",[24,25,2484,59,28,7,1389,34,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc42f5a51347d9182c4cf3497e332fb.jpg",[],{"id":43840,"slug":43841,"title":16899,"dynasty":54,"author":16900,"museum":20,"description":16901,"tags":43842,"thumbUrl":43843,"material":349,"size":16904,"collection":127,"collections":43844,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236481,"shan-shui-ren-wu-ce-guo-fen-ya-236481",[24,25,164,59,65,103,7,630,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7889f62e66395d3fd435d616098bca8f.jpg",[],{"id":43846,"slug":43847,"title":14963,"dynasty":54,"author":5538,"museum":119,"description":20512,"tags":43848,"thumbUrl":43849,"material":127,"size":127,"collection":127,"collections":43850,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236410,"xiao-xiang-ba-jing-ce-wen-jia-236410",[24,59,7,164,65,34,31,62,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305dfb6544d16e40cc8dd1deb269c066.jpg",[],{"id":43852,"slug":43853,"title":14963,"dynasty":54,"author":5538,"museum":119,"description":20512,"tags":43854,"thumbUrl":43855,"material":127,"size":127,"collection":127,"collections":43856,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236405,"xiao-xiang-ba-jing-ce-wen-jia-236405",[24,25,164,59,65,7,264,125,106,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3dfffd2ca4075882ee15afe72d4bc6.jpg",[],{"id":43858,"slug":43859,"title":43860,"dynasty":54,"author":178,"museum":119,"description":43861,"tags":43862,"thumbUrl":43863,"material":337,"size":937,"collection":127,"collections":43864,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236396,"huang-wen-li-qiu-shan-ying-yue-shan-yi-ming-236396","黄文立秋山映月扇","此作以淡墨写就秋夜之景，右上虬老树横斜，木叶苍润，墨色浓淡相衬，尽显霜叶萧疏之态。坡石之上，两人对坐晤谈，衣纹简括写意，神态悠然自适。远景以留白衬淡墨晕染，空濛清寂，似见月色铺洒山际。笔墨简澹空灵，以极简的意象烘托出秋山月夜的幽寂清远，将文人雅集的疏闲散淡与秋夜清景相融，尽显文人画尚意境、重笔墨意趣的特质，寥寥数笔间，便将秋宵闲眺的雅致意韵勾勒得淋漓尽致。",[2484,24,59,65,7,103,34,64,3865,1643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbf6dc93adefae5cfb15088b34fe31e.jpg",[],{"id":43866,"slug":43867,"title":43868,"dynasty":54,"author":43869,"museum":119,"description":43870,"tags":43871,"thumbUrl":43872,"material":337,"size":937,"collection":127,"collections":43873,"showCount":418,"zanCount":961,"manualWeight":48,"mainColor":75},236394,"mao-shan-shang-gong-tu-shan-ye-tang-zhi-qi-236394","茅山上宫图扇页","唐志契","唐志契(xiè)，1579——1651，字敷五，又字玄生、元生，海陵（今江苏泰州）人。精于绘事，著有《绘事微言》。 《书.舜典》：“帝曰：‘契(Xiè)，百姓不亲，五品不逊，汝作司徒，敬敷五教，在宽。’” 《诗.商颂.玄鸟》：“天命玄鸟，降而生商。”《史记.殷本纪》：“殷契(Xiè)，母曰简狄，有娀氏之女，为帝喾次妃。三人行浴，见玄鸟堕其卵，简狄取吞之，因孕生契(Xiè)。”",[2484,24,100,25,59,7,238,150,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db2960a2de25a616e7f1a70b076637a.jpg",[],{"id":43875,"slug":43876,"title":24479,"dynasty":54,"author":43877,"museum":119,"description":43878,"tags":43879,"thumbUrl":43880,"material":337,"size":937,"collection":127,"collections":43881,"showCount":418,"zanCount":961,"manualWeight":48,"mainColor":75},236365,"shan-shui-shan-wang-sui-236365","王璲","王璲（？-1425），字汝正，以字行，号青城山人，明代遂宁（今四川遂宁）人，著名书法家。永乐（1403-1424）初官翰林检讨，直内阁，仁宗时下狱死，赠太子宾客，谥文靖。工时文，小楷、行书法晋人，皆雄秀。亦能画。",[24,2484,59,65,7,64,34,35,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b83b02098d89180142687163acf38e8.jpg",[],{"id":43883,"slug":43884,"title":43885,"dynasty":8332,"author":43886,"museum":119,"description":43887,"tags":43888,"thumbUrl":43889,"material":127,"size":127,"collection":71,"collections":43890,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236333,"ma-shi-ying-shan-shui-chi-du-he-zhuang-zhou-ruan-da-cheng-236333","马士英山水尺牍合装轴","阮大铖","马士英（约1591～1646），字瑶草，贵州贵阳人，明末大臣，官至内阁首辅，相传本姓李，过继马氏，祖籍广西梧州。明万历己未（1619年）成进士，授南京户部主事，后历官严州、河南、大同知府、庐凤总督等职。甲申变后，马士英与南京兵部尚书史可法、南京户部尚书高弘图等拥立福王朱由崧为帝，是为弘光帝。因“拥兵迎福王于江上”有功，升任东阁大学士兼兵部尚书，都察院右副都御史，成为南明明弘光政权首辅，人称“马阁老”。后国事不济，拥立福王朱由崧登基，抵抗清兵入侵，最终殉国而死，但世人对其死因存疑，在清代，被后人所责骂。\n夏允彝、夏完淳父子《幸存录》对其持论公允。有《永城纪略》（含《永牍》）及部分诗文、书画作品传世。",[24,25,149,59,65,7,125,264,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cfd45a1fae363e79f9e55bf504aa31.jpg",[71,212,927],{"id":43892,"slug":43893,"title":29849,"dynasty":54,"author":43894,"museum":119,"description":43895,"tags":43896,"thumbUrl":43897,"material":337,"size":937,"collection":127,"collections":43898,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236299,"shan-shui-shan-ye-shen-zhao-236299","沈昭","沈昭，[明]字秋萼，长洲（今江苏苏州）人，鼎弟。善山水，所作大劈斧著青绿者尤佳。《画史会要、无声诗史、明画录》。",[2484,59,7,583,64,104,65,28,34,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe20f475312efbe08d55fc6ffa4bae3.jpg",[],{"id":43900,"slug":43901,"title":43902,"dynasty":177,"author":43903,"museum":119,"description":43904,"tags":43905,"thumbUrl":43907,"material":337,"size":937,"collection":127,"collections":43908,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236075,"hai-tian-chu-ri-tu-zhou-shen-quan-236075","海天初日图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[100,24,25,149,28,27,7,43906,1673,238,37,104,17261,1433,34],"初日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],{"id":43910,"slug":43911,"title":159,"dynasty":177,"author":683,"museum":119,"description":43912,"tags":43913,"thumbUrl":43914,"material":127,"size":127,"collection":127,"collections":43915,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236052,"shan-shui-ce-wang-yuan-qi-236052","此作用笔苍浑老辣，以干笔积墨皴出山峦肌理，青绿敷色调和雅致，糅合浅绛晕染，尽显温润沉静的气韵。画面取高远构图，主峰巍然雄峙，留白烘出流荡云气，虚实相生，将山林切割出灵动层次。涧水淙淙穿谷而下，苍松虬枝交错，掩映着几处山居茅舍，隐现于林木云岚之间，尽显幽寂林泉之致。画作融萧散简远之趣，于整饬章法中藏生拙意趣，把文人书卷气寄寓丘壑之中，勾勒出尘绝俗的山居清境。",[24,25,164,65,28,7,61,63,165,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4b50550b77b15e35e2bf8463851331.jpg",[],{"id":43917,"slug":43918,"title":159,"dynasty":177,"author":683,"museum":119,"description":43919,"tags":43920,"thumbUrl":43921,"material":127,"size":127,"collection":127,"collections":43922,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236048,"shan-shui-ce-wang-yuan-qi-236048","此作用高远、平远之法铺展全景，危崖壁立，山峦层叠，兼具雄奇与秀润。以干笔积墨皴擦山石，笔力苍劲浑厚，披麻皴带着古拙意趣，草木点染清润雅致，笔墨兼具苍浑与秀灵。溪谷水泽蜿蜒环合，村居错落隐于林木扶苏间，林泉幽寂之趣尽显，将山川的沉厚生机与文人隐逸的林泉高致相融，既有宋元山水的古雅气韵，又自出机杼，把山林丘壑的静穆清远和文人画的淡逸情致揉为一体，尽显正统山水的精雅格调。",[100,24,25,164,28,65,7,318,319,60,34,35,64,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f307ac5b06d1d91c7c226dd735337.jpg",[],{"id":43924,"slug":43925,"title":43926,"dynasty":54,"author":178,"museum":119,"description":43927,"tags":43928,"thumbUrl":43929,"material":127,"size":127,"collection":127,"collections":43930,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},236025,"dong-qi-chang-lin-he-jing-shi-yi-tu-zhou-yi-ming-236025","董其昌林和靖诗意图轴","此作以两段平远式铺展山水，清寂淡远。以干笔淡墨绘就，笔法松秀温润，山峦以披麻皴轻施皴擦，林木萧疏错落，茅舍板桥散缀烟林之间，将幽居孤高的隐逸意趣融在淡远丘壑之中。\n画面留白得当，虚实相生，淡墨轻岚晕染出空濛的林下清光，呼应题中诗意。诗书画印合为一体，尽显文人画的雅逸风神，以简淡之形写清旷之境，寄寓着慕恋林泉的林下襟怀。",[24,25,149,59,65,7,165,60,35,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeafd6d200536b0595a755c13a51b14c.jpg",[],{"id":43932,"slug":43933,"title":20037,"dynasty":177,"author":178,"museum":119,"description":43934,"tags":43935,"thumbUrl":43936,"material":127,"size":127,"collection":127,"collections":43937,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235988,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235988","此作用取景偏于一隅，以留白衬出山居空寂清远之境。淡墨晕染崖坡，线条简括勾勒出山棱起伏，浓墨点染林木，苍枝虬曲苍劲，古意盎然。屋舍依山就势隐于林麓之间，藏露相宜，暗合山林幽居的隐逸意趣。\n\n水墨层次清浅柔润，以简驭繁，寥寥数笔便将山野间静穆淡远的栖居之美铺展开来，笔简而意足，尽显文人画简淡悠远的禅意，将林泉高致的雅趣藏于尺幅之间。",[24,25,59,164,7,104,34,64,65],"https:\u002F\u002Foss.chuangqi.s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[2]\n他是明末清初著名诗人，与钱谦益、龚鼎孳并称“江左三大家”，又为娄东诗派开创者。长于七言歌行，初学“长庆体”，后自成新吟，后人称之为“梅村体”。",[24,2484,7,65,59,318,165,35,61,399,43964],"近林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc92477073469b42ac6c7ee701b34fa5.jpg",[],{"id":43968,"slug":43969,"title":11696,"dynasty":54,"author":12464,"museum":119,"description":43970,"tags":43971,"thumbUrl":43972,"material":127,"size":127,"collection":127,"collections":43973,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235692,"shan-shui-hua-hui-ce-xiang-sheng-mo-235692","此作笔致清隽秀雅，以淡墨取韵。近岸白石棱层，间生细草幽苔，古意盎然。崖顶孤松虬曲斜出，枝叶疏朗尽显风骨。白衣高士席地凭栏，静望远山。远景峰峦以淡墨晕染，朦胧虚和，留白铺陈平沙水色，虚实相映。\n\n整体意境萧散淡远，将幽人林泉寄兴、澄怀观道的雅趣藏于尺幅，笔简而意长，尽显静穆悠然的文人逸韵，禅意漫溢，于极简笔墨中铺展出清远空寂的山水之境。",[24,164,59,65,7,264,125,103,64,167,3901,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281a62a3bf0e75586f28c2598162aca0.jpg",[],{"id":43975,"slug":43976,"title":43977,"dynasty":177,"author":178,"museum":119,"description":43978,"tags":43979,"thumbUrl":43980,"material":127,"size":127,"collection":127,"collections":43981,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235675,"mei-qing-bai-long-tan-tu-zhou-yi-ming-235675","梅清白龙潭图轴","此作以危崖飞瀑为骨，苍松虬枝为魂。高远构图铺展层叠山势，老松古干敷色褐金，松针攒簇如墨团，奇崛苍劲，扎根崖壁间尽显傲岸生机。白龙潭飞瀑破壁而出，从层岩间奔涌倾泻，水雾蒸腾漫上山谷，晕染出氤氲空濛的清幽意境。\n\n右下角崖顶立红衣高士，凭栏观瀑，渺小身影衬出山峦空阔辽远，暗合观照山水、澄怀味道的文人心境。笔墨苍润兼具，以水墨晕染流云雾气，勾勒皴擦写尽山石肌理，题诗佐景，将出世之思融于丘壑之间，尽显山水间的超尘禅趣。",[24,25,149,59,28,7,199,583,103,37,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f8912653273167c09890b0c1d1fcc.jpg",[],{"id":43983,"slug":43984,"title":394,"dynasty":177,"author":4747,"museum":119,"description":43985,"tags":43986,"thumbUrl":43987,"material":127,"size":127,"collection":127,"collections":43988,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235642,"shan-shui-tu-ce-wu-li-235642","此作用笔苍秀，意境淡远。近岸危石兀立，古木虬枝蟠曲，荫蔽下一扁舟泊停，舟中幽人凭舷远眺。湖面开阔空寂，水鸟三两掠波而过，远山以淡墨晕染，层叠晕幻，晕出温润空濛的暮色诗意。\n题诗与画面浑然相融，暗合日暮归樵的幽隐之趣。干湿浓淡间尽显水墨层次，枯笔写木，湿墨晕山，以简淡之笔勾勒出萧散出尘的林下景致，将文人幽居林泉的隐逸心境铺陈纸上，静穆雅致，余韵悠长。",[24,59,65,164,7,264,125,106,167,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815175b8d890959771f6894df9caddb9.jpg",[],{"id":43990,"slug":43991,"title":43992,"dynasty":54,"author":21353,"museum":119,"description":43993,"tags":43994,"thumbUrl":43995,"material":127,"size":127,"collection":127,"collections":43996,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[24,25,149,59,65,7,34,239,1947,1674,167,3796,1738,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],{"id":43998,"slug":43999,"title":159,"dynasty":177,"author":178,"museum":119,"description":44000,"tags":44001,"thumbUrl":44002,"material":127,"size":127,"collection":71,"collections":44003,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235392,"shan-shui-ce-yi-ming-235392","双柏卓立近岸，老干苍劲皴裂如鳞，墨色点簇的枝叶团郁沉凝，古拙生姿。远景山峦以淡墨晕染铺陈，留白托出烟岚轻笼，枯笔勾皴间施淡赭晕染，尽显山石嶙峋肌理。水岸以留白代波，浅晕淡染，漾出空濛澄澈之态，侧畔矶石隐于烟水，虚实相生。\n\n全作用笔松灵秀雅，水墨为主略施淡彩，简淡中见苍润萧疏，将幽寂清旷的林泉野趣收于尺幅，尽显萧散简远的文人意韵，淡写山光静摹古木，绘出山水间悠然澹泊的林下风神。",[24,59,65,164,7,125,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5d5b253f6db3ba986ba5dc69cc24b3.jpg",[71],{"id":44005,"slug":44006,"title":159,"dynasty":54,"author":22787,"museum":119,"description":22788,"tags":44007,"thumbUrl":44008,"material":337,"size":937,"collection":127,"collections":44009,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235352,"shan-shui-ce-zhang-fu-yang-235352",[24,25,164,59,123,67,66,101,7,103,583,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce44968cf045b96d8ac072ab3b27b0b7.jpg",[],{"id":44011,"slug":44012,"title":159,"dynasty":54,"author":22787,"museum":119,"description":22788,"tags":44013,"thumbUrl":44014,"material":337,"size":937,"collection":127,"collections":44015,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235351,"shan-shui-ce-zhang-fu-yang-235351",[24,25,164,59,65,67,66,101,7,165,103,9199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c5698b1319643a835571b882c6b69db.jpg",[],{"id":44017,"slug":44018,"title":11729,"dynasty":177,"author":44019,"museum":119,"description":44020,"tags":44021,"thumbUrl":44022,"material":337,"size":937,"collection":127,"collections":44023,"showCount":418,"zanCount":961,"manualWeight":48,"mainColor":75},235117,"shan-shui-shan-mian-huang-yuan-jie-235117","黄媛介","黄媛介，字皆令，浙江嘉兴人，出身儒士之家，生活于明清鼎革之际，在世俗、女德与生计的多重挤压下，或鬻书画，或师闺塾，在风云幻化的江南大地上为养家糊口而羁旅转徙，与名卿士大夫、与名媛闺秀交往酬唱，用诗、词、赋的文学样式及山水花卉的绘形写神，淋漓尽致地释放着心灵的感悟，入木三分地抒写着人生感慨。有着金闺兔苑才的黄媛介，其创作独特的社会价值与艺术魅力将咏絮才女谢道韫开创的林下风推向高峰，既彰显着承前启后的因素，也催发着女性意识的觉醒，影响绵远。",[100,24,25,2484,42733,59,65,7,165,278,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91474d58e35571bd28c6edbbbb7ef528.jpg",[],{"id":44025,"slug":44026,"title":44027,"dynasty":54,"author":44028,"museum":119,"description":44029,"tags":44030,"thumbUrl":44031,"material":127,"size":127,"collection":127,"collections":44032,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},235091,"xi-shan-tu-yong-juan-chen-yi-235091","西山图咏卷","陈沂","此作以两幅并置铺展双重意趣。左幅层岩叠嶂，以短健皴笔勾勒山石嶙峋肌理，古木虬枝错落崖间，山道蜿蜒向幽，山居隐于林峦间，尽显高旷幽寂的林下栖居之美。\n\n右幅以淡墨晕染烟霭，远山如浅黛浮沉雾中，近岸松林参差列植，虚实相生间铺展秋江平远的清疏空阔。笔墨苍秀并济，将山之沉郁与江之空濛相融，尽显寄情林泉的文人雅逸襟怀。",[24,26,59,65,7,318,734,165,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf3165f1773a184dc5208aeba3af1a9.jpg",[],{"id":44034,"slug":44035,"title":44036,"dynasty":177,"author":22187,"museum":119,"description":44037,"tags":44038,"thumbUrl":44039,"material":375,"size":127,"collection":127,"collections":44040,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235038,"hua-ji-chan-yin-tu-ce-xiao-chen-235038","滑稽禅隐图册","萧晨（生卒年不详），字灵曦，号中素，江苏扬州人。清初画家，李寅弟子，善画山水、人物，画雪景最为有名。虽以卖画为生，但时以诗人自居。",[24,25,164,28,103,7,495,101,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92bc5b6aca3c2e2368efdab2a47ba8b5.jpg",[],{"id":44042,"slug":44043,"title":159,"dynasty":177,"author":4747,"museum":20,"description":21024,"tags":44044,"thumbUrl":44045,"material":632,"size":21027,"collection":127,"collections":44046,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235025,"shan-shui-ce-wu-li-235025",[100,24,25,164,59,28,7,30,34,62,37,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4512c003399075cc8ca9078c54db47a0.jpg",[],{"id":44048,"slug":44049,"title":159,"dynasty":177,"author":4747,"museum":20,"description":21024,"tags":44050,"thumbUrl":44051,"material":632,"size":21027,"collection":127,"collections":44052,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235019,"shan-shui-ce-wu-li-235019",[24,28,65,7,165,64,106,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe2e9b957ab7cd12fa01a25587da41f.jpg",[],{"id":44054,"slug":44055,"title":159,"dynasty":177,"author":4747,"museum":20,"description":21024,"tags":44056,"thumbUrl":44057,"material":632,"size":21027,"collection":127,"collections":44058,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},235018,"shan-shui-ce-wu-li-235018",[24,25,164,59,65,7,60,61,34,64,199,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497d85d651bdc314e42e380565f3109.jpg",[],{"id":44060,"slug":44061,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":10519,"tags":44062,"thumbUrl":44063,"material":337,"size":937,"collection":127,"collec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Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,24,25,26,28,29,7,19442,183,5146,44283,4415,62,103],"棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],{"id":44287,"slug":44288,"title":44289,"dynasty":8332,"author":44290,"museum":119,"description":44291,"tags":44292,"thumbUrl":44293,"material":337,"size":937,"collection":127,"collections":44294,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[23,100,21213,26,28,1388,7,583,35,85,1815,167,5146,34,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":44296,"slug":44297,"title":44298,"dynasty":8332,"author":44299,"museum":119,"description":44300,"tags":44301,"thumbUrl":44302,"material":337,"size":937,"collection":127,"collections":44303,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,26,28,29,304,1042,66,4768,67,103,104,60,61,335,3988,7,63,106,34,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":44305,"slug":44306,"title":44307,"dynasty":177,"author":44308,"museum":556,"description":44309,"tags":44310,"thumbUrl":44311,"material":225,"size":44312,"collection":127,"collections":44313,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},231351,"han-shan-zhao-yin-tu-jin-li-ying-231351","寒山招隐图","金礼嬴","金礼嬴（1772年—1807年）清朝女画家。一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，她幼时小字唤作纤纤，解以“蹴罢秋千，起来慵整纤纤手”固得其娇憨，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。吴门自明尔来便是画家云集之所，金礼嬴定居以后遂始与当地画人往来，礼嬴性喜佳山水，金礼嬴的诗作和她的画作、女红、文论、箫艺类同，均出入天然，不见机心欲望，得林下风。吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。清 金礼嬴-寒山招隐图现藏于旅顺博物馆。",[23,24,28,65,7,63,64,372,103,104,125,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847093c00e64619ff7d721d21094f33.jpg","178cmx57cm",[],{"id":44315,"slug":44316,"title":44317,"dynasty":177,"author":26741,"museum":556,"description":44318,"tags":44319,"thumbUrl":44320,"material":5071,"size":44321,"collection":127,"collections":44322,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},231348,"fang-wu-zhong-gui-shan-shui-tu-pu-hua-231348","仿吴仲圭山水图","峡江峻岭，山林葱茂，渔人垂钓，一派水国风光。用笔粗犷，气势豪放。自识“霜落蒹葭水国寒，浪花云影上渔竿。画成未拟将人去，茶熟香温且自看。写仲圭诗意，蒲华”。",[23,24,25,59,28,65,122,7,62,630,165,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b812ad538091df8d2f313f8cd5e494.jpg","167cmx92cm",[],{"id":44324,"slug":44325,"title":44326,"dynasty":18,"author":178,"museum":135,"description":33173,"tags":44327,"thumbUrl":44328,"material":21266,"size":44329,"collection":127,"collections":44330,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},231345,"xiao-han-lin-tu-yi-ming-231345","小寒林图",[24,25,59,65,7,607,125,264,7727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b96fc4e45788828c7ba9d17162640.jpg","该幅42.2x49.2公分；全幅66.5公分",[],{"id":44332,"slug":44333,"title":5864,"dynasty":177,"author":27839,"museum":119,"description":44334,"tags":44335,"thumbUrl":44336,"material":127,"size":127,"collection":127,"collections":44337,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[23,24,25,100,149,59,65,122,7,583,64,35,34,103,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":44339,"slug":44340,"title":44341,"dynasty":177,"author":5885,"museum":119,"description":44342,"tags":44343,"thumbUrl":44344,"material":127,"size":127,"collection":127,"collections":44345,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},231007,"jing-fu-si-qi-dong-jing-tu-ce-qian-wei-cheng-231007","景敷四气 冬景图册","枯淡笔墨晕开冬江暮色，寒林褪尽翠色，虬枝错斜舒展，寒鸦点点划破空寂长空，将冬日萧索铺陈开来。\n浅滩水渚以留白衬出清寒水色，坡岸孤屋隐在垂柳之后，冷寂里暗揣一丝烟火温意。右上角题诗与画境交融，以书入画，把冬日荒寒中幽宁安然的意趣娓娓道来。\n全作不施重彩，以水墨浓淡分出层次，笔法秀雅松灵，于极简笔触中烘托出清旷淡远的冬日氛围，将寒冬里的静谧深致藏在留白与枯笔之间，尽显文人山水寄情于景的雅致意韵。",[24,100,164,59,65,7,125,106,63,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd21f0527ff8d6f1d7dc494b66317c6.jpg",[],{"id":44347,"slug":44348,"title":44349,"dynasty":177,"author":3760,"museum":119,"description":44350,"tags":44351,"thumbUrl":44352,"material":127,"size":127,"collection":127,"collections":44353,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":379},231000,"fang-dong-bei-yuan-shan-shui-tu-wang-hui-231000","仿董北苑山水图","此作以披麻皴写山峦层叠，淡墨晕染出烟雨空濛的江南氤氲之态，高远与平远景致相融，铺陈出山水的幽深阔远。苍松杂木错落点缀于岩岫间，山脚村居田舍隐现，将烟火气融于林泉丘壑，让幽寂山水多了几分温润生机。\n笔墨苍秀温润，皴擦尽显山石浑厚质感，淡墨轻染晕化出云气浮动的朦胧意境，既保有师法对象的平淡天真，又糅合自身清丽工致的笔意，将江南山水的静穆悠远诠释尽致，氤氲出文人山水独有的雅致闲澹之韵。",[23,24,25,7,59,65,122,30,34,64,37,38,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42c82dcbca07f113bc6bb5f1e5aee9.jpg",[],{"id":44355,"slug":44356,"title":44357,"dynasty":8332,"author":29961,"museum":119,"description":29962,"tags":44358,"thumbUrl":44359,"material":337,"size":937,"collection":127,"collections":44360,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},230584,"si-ji-shan-shui-tu-ping-feng-di-er-ping-zhou-wen-230584","四季山水图屏风第二屏",[23,24,59,7,373,62,61,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d492c0b081ab9c93e3ac5769647104.jpg",[],{"id":44362,"slug":44363,"title":44364,"dynasty":8332,"author":29961,"museum":119,"description":29962,"tags":44365,"thumbUrl":44366,"material":337,"size":937,"collection":127,"collections":44367,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏",[23,24,25,8336,59,65,7,62,495,63,583,199,167,1897,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],{"id":44369,"slug":44370,"title":27380,"dynasty":177,"author":19517,"museum":119,"description":44371,"tags":44372,"thumbUrl":44373,"material":127,"size":127,"collection":127,"collections":44374,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},230266,"shan-shui-shi-kai-fang-cong-230266","此作用笔苍秀浑朴，以平远章法铺展春日村居意趣。板桥驮着晚归牧歌，柳丝轻笼烟岚，粉桃点破溪山春色，村庐隐在林麓间，尽得幽闲野致。平湖如镜，映出两岸茂林远岫，峰峦以干笔皴擦、墨色晕染出苍润质感，氤氲空濛春气。题诗衬合画中逸趣，将田家闲乐融在烟峦水木间，既有元人山水的萧散简远，又不失院体画的精整秀雅，笔底尽是静穆安闲的山居诗意。",[23,24,25,164,59,28,7,60,61,34,35,64,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6404cfc1abce5ce15f489d74346d7ea2.jpg",[],{"id":44376,"slug":44377,"title":44378,"dynasty":177,"author":15403,"museum":119,"description":44379,"tags":44380,"thumbUrl":44381,"material":127,"size":127,"collection":127,"collections":44382,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},230249,"jiu-ru-xian-shou-dong-gao-230249","九如献寿","此作用笔秀雅温润，以淡赭晕染丘坂，浓墨攒簇松针，苍松虬劲盘曲，荫蔽山溪幽径。策杖二人徐行林下，溪石隐现、浅谷逶迤，尽现清秋林壑疏旷之致。\n诗画合璧，借古松岁寒长青喻福寿绵长，将林下雅游闲情与祝寿深意相融。画面无繁饰堆砌，以简淡笔墨铺陈出静穆恬和的意境，在清润的林泉景致里，藏着清和雅致的颂祝之心，是兼具文人情致与吉祥意涵的山水小品。",[24,25,164,28,7,34,103,60,61,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96977665cdd169873e9aa287d401457.jpg",[],{"id":44384,"slug":44385,"title":15488,"dynasty":177,"author":29683,"museum":119,"description":44386,"tags":44387,"thumbUrl":44388,"material":337,"size":937,"collection":127,"collections":44389,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},230193,"shan-shui-ce-ye-wang-chen-230193","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。",[24,25,164,59,65,7,60,264,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b259c956580327d9785be7c1e0b5be.jpg",[],{"id":44391,"slug":44392,"title":44393,"dynasty":177,"author":683,"museum":119,"description":44394,"tags":44395,"thumbUrl":44396,"material":127,"size":127,"collection":127,"collections":44397,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},229027,"fang-yun-lin-she-se-shan-shui-tu-wang-yuan-qi-229027","仿云林设色山水图","此作用两段平远取景，铺陈出清寂萧疏的幽淡之境。近岸枯木清劲错落，疏朗有致，茅庐隐于林麓之间，野意悠然。远山以干笔淡墨反复皴擦，将倪云林的冷逸淡远，糅合进苍厚绵密的自家笔意，浅赭轻敷，晕染出古雅柔和的色调。画面留白开阔，引观者目光悠然游弋，尽显空寂淡远的文人意趣。题跋与画面相得益彰，文气雅致，师法元人又自出机杼，是兼具摹古与新意的山水佳构。",[23,100,24,25,149,28,65,7,34,64,35,1815,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb43d7ec43e94f35dfae7914f109d2a6.jpg",[],{"id":44399,"slug":44400,"title":44401,"dynasty":54,"author":178,"museum":119,"description":44402,"tags":44403,"thumbUrl":44404,"material":337,"size":937,"collection":127,"collections":44405,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},228416,"fu-hui-dong-quan-tu-yi-ming-228416","赴会东全图","位于法海寺大殿内的壁画 距今已有六百多年",[24,28,29,1042,103,7,34,31,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b687fd5235dc9913210ece4e58eb6fc.jpg",[],{"id":44407,"slug":44408,"title":44409,"dynasty":54,"author":44410,"museum":119,"description":44411,"tags":44412,"thumbUrl":44415,"material":337,"size":937,"collection":127,"collections":44416,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},228348,"you-xian-tu-shen-xi-yuan-228348","游仙图","沈希远","山水宗马远，亦善传神。洪武（一三六八-二二九八）中写御容称旨，授中书舍人。",[23,24,25,26,28,29,65,7,103,34,64,60,61,63,533,44413,44414],"树木茂密","山石险峻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68de92a5cd889b76de35179cab49741b.jpg",[],{"id":44418,"slug":44419,"title":44420,"dynasty":54,"author":25259,"museum":119,"description":44421,"tags":44422,"thumbUrl":44423,"material":127,"size":127,"collection":127,"collections":44424,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},228334,"liu-yin-mu-qiao-tu-ye-lu-shi-ren-228334","柳荫暮桥图页","此作用绢本暖褐底色晕染出薄暮柔氛，池面轻笼烟霭，垂柳依依曳于晚风，枝桠停驻寒鸦，将诗意融于画面。坡岸竹树错落，远处板桥隐在淡雾之中，衬得暮色愈发静谧安闲。\n\n设色清淡雅润，线条秀婉细腻，未以繁复勾勒，只凭晕染铺就朦胧暮色，将晚春池畔的慵懒闲寂揉进笔墨里。题画诗与小景相映成趣，把暮夜将临的恬和诗意尽数铺陈，尽显文人抒情小景的淡远意致，将闲淡空寂的晚暮氛围描摹得恰到好处。",[24,28,7,164,496,60,264,106,4203,15663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F988ee63a495d90b8af4ac0a7248c07b4.jpg",[],{"id":44426,"slug":44427,"title":44428,"dynasty":54,"author":12464,"museum":119,"description":32722,"tags":44429,"thumbUrl":44432,"material":337,"size":937,"collection":127,"collections":44433,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},228308,"hong-feng-bai-he-tu-ye-xiang-sheng-mo-228308","红枫白鹤图页",[23,24,25,100,2484,28,7,44430,44431,65],"红枫","白鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c9862a17ee2057107c11e83ef78ddf.jpg",[],{"id":44435,"slug":44436,"title":26595,"dynasty":80,"author":178,"museum":119,"description":44437,"tags":44438,"thumbUrl":44439,"material":127,"size":127,"collection":127,"collections":44440,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},228184,"yun-shan-tu-juan-yi-ming-228184","以水墨晕染铺就江南烟岚，山峦在氤氲雾气中远近层叠，淡墨轻扫出山形轮廓，虚实相生，将天地边界揉作一团朦胧。汀渚林木以浓墨点染，和淡远云山相映成趣，江面一叶江帆轻泛，寥寥数笔便牵起江南秋日的柔婉空濛。\n\n整卷诗画交融，墨色晕开如将秋夜湖山揽入卷中，山岚裹挟水汽漫过纸面，和题跋里的梦中游湖意境呼应，萧散简远的文人意趣尽藏其间。仿佛踏入一场水墨织就的清寂旧梦，伸手便可以触到湿润的山雾，将江南烟水的淡远之美，晕染成挥之不去的朦胧诗意。",[23,100,24,25,26,59,7,37,62,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189cb0b82f453db9f4924ab23b668e3a.jpg",[],{"id":44442,"slug":44443,"title":44444,"dynasty":18,"author":178,"museum":119,"description":44445,"tags":44446,"thumbUrl":44447,"material":127,"size":127,"collection":127,"collections":44448,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},227937,"gao-shi-mi-lu-tu-yi-ming-227937","高士麋鹿图","此作用边角式构图铺展幽境，苍松斜曳出枝，笔墨老辣苍劲，松针细密尽显写生功底。暮色如墨晕染，空濛氤氲间，林下高士凭石闲坐，身侧童子垂手侍立，石上炉烟轻扬，似正煮茶清谈。浅水之畔麋鹿垂首徐行，动静相映。整幅以水墨晕出夜色沉凝，将幽居林泉、物我两忘的雅意融于尺幅。简淡空灵间禅意暗生，尽显宋代文人寄情丘壑、追慕清远的林下风流，是南宋小品山水以景抒怀的精妙之作。",[23,24,25,29,28,103,3988,413,734,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06cd72897f04ff40824e6b0698e83573.jpg",[],{"id":44450,"slug":44451,"title":44452,"dynasty":18,"author":178,"museum":119,"description":44453,"tags":44454,"thumbUrl":44455,"material":127,"size":127,"collection":127,"collections":44456,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},227928,"da-mo-mian-bi-tu-yi-ming-227928","达摩面壁图","此作用笔极简空灵，以淡墨晕染出空濛悠远的禅意天地。枯笔勾勒的崖边瘦松枝桠疏朗，伴着淡墨晕开的空寂山水，烘托出幽阒沉静的氛围。达摩身披宽袍静坐石上，身形简括却尽显静定肃穆，侍立的沙弥神态恭谨，愈发衬得画面寂廖安宁。整幅画以少胜多，舍去繁缛细节，用萧散澹远的笔墨传递出禅家清寂玄远的意趣，将面壁的枯坐修行化为极具氛围感的视觉图景，尽显水墨禅画以形写神的精妙。",[23,100,24,25,149,59,123,1042,103,264,372,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e177f7ca701ef04d64427f39085162b.jpg",[],{"id":44458,"slug":44459,"title":44460,"dynasty":18,"author":604,"museum":119,"description":44461,"tags":44462,"thumbUrl":44466,"material":127,"size":127,"collection":127,"collections":44467,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,24,25,26,67,101,66,59,28,103,105,322,20401,15692,123,7,44463,44464,44465,31167,87,29,223],"农事场景","传统服饰","古文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":44469,"slug":44470,"title":44471,"dynasty":18,"author":178,"museum":119,"description":44472,"tags":44473,"thumbUrl":44474,"material":127,"size":127,"collection":127,"collections":44475,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},227379,"qiu-lin-mu-gui-tu-yi-ming-227379","秋林牧归图","就素材而论,其实所画的不过是历代都有人愿画的生产工具、人们爱好的动物——牛。可是,能够这样确切地活生生地把特殊的状况之下的牛的神态描写出来,构成特殊的境界,在一般画牛的作品中还不是容易碰见的。负荷着牧童的母牛,涉过了浅水,吃力地要爬上岸去,却又似乎要回头照顾那还没有跟上来的小牛。小牛,这一稚气的、生活经验还不丰富的幼小者,伸着脖子站在对岸,望着它的母亲,要前进又不曾前进。它在号叫,似乎是要求援助。这样来描写牛,不是一般的牛的描写。观赏者可以把它当成牛来观赏,又不只是单纯地观赏一般的牛。这种稚气的幼小者的神气和亲子关系的描写,能够唤起人的亲子关系的联想和对于幼小者的爱怜。由于画家对于他所要描写的对象着迷,深切地感到牛的可爱,当他塑造形象的时候,明确地以小牛观望的神态为重点,从而避免了肤浅的物象罗列的画法,生动地表现这一特殊状态之下的牛的神态和情感。正因为这样,这一好像我们从来没有见过又好像曾经在什么地方见过的情景,十分迷人。",[23,24,28,29,125,1586,7,1389,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8bb3723de445fb263be83e42b090db.jpg",[],{"id":44477,"slug":44478,"title":44479,"dynasty":18,"author":178,"museum":119,"description":44480,"tags":44481,"thumbUrl":44482,"material":127,"size":127,"collection":127,"collections":44483,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},227341,"dong-ri-cao-wu-tu-yi-ming-227341","冬日草屋图","相对于百花齐放的春天，五彩缤纷的夏天，硕果累累的秋天，寒风萧瑟的冬天亦有其独特的韵味。\n\n每年的冬天，最盼望的就是一觉醒来，窗外银装素裹，仿佛置身于童话故事之中，整个世界都安静了。虽然冷，但雪景依旧是冬日里人们最期盼的画面。\n\n自古以来，皑皑雪景，在中国古画当中就占有一席之地。\n\n在不同的画境之下，雪，拥有了无尽的生命力，万物孤寂的冬天，被作者表现的淋漓尽致。",[24,25,2484,28,7,372,10422,878,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e5b975f61e54f4018d0c87e8c33dd40.jpg",[],{"id":44485,"slug":44486,"title":44487,"dynasty":8332,"author":178,"museum":119,"description":44488,"tags":44489,"thumbUrl":44490,"material":127,"size":127,"collection":127,"collections":44491,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},225304,"fu-shi-hui-30-yi-ming-225304","浮世绘30","这幅水乡绘卷以平远构图铺展清和景致，浅黄柔晕铺就天光水色，将暮晓时分的朦胧温柔晕染开来。黛色屋舍错落隐在深绿林木间，石砌水湾静泊扁舟，三两行人沿岸徐行，漫溢着松弛的市井闲趣。远景沙洲浅丘层叠延展，把水面切作温润色块，留白悠然悠远。\n整体用色雅致沉静，线条舒展柔和，将水乡村居的日常晕化为清寂温婉的诗意，把寻常烟火里的平和闲淡定格在纸面，尽显独有的恬淡意韵。",[21213,21214,28,7,61,62,35,34,5146,1886,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a933d83a2b6302429975b653fdfa31.jpg",[],{"id":44493,"slug":44494,"title":44495,"dynasty":177,"author":13236,"museum":119,"description":44496,"tags":44497,"thumbUrl":44498,"material":127,"size":127,"collection":127,"collections":44499,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},224535,"fang-ni-qu-lin-shan-shui-zhu-chang-224535","仿倪去林山水","此作用笔简净松灵，取法倪氏平远意趣，绘就萧疏清旷的深秋丘壑。近岸枯木疏槎清瘦劲挺，枝桠寥寥，带着深秋荒寒之气。远山以淡墨轻扫勾勒，轮廓柔和简淡，留白水面悠悠延展，将空寂意境铺陈开来，林麓石畔的隐舍萧然出尘，不见烟火气。全幅笔墨淡逸清润，不作繁复皴染，以极简形制传递静穆萧散的文人雅韵，将倪画天真幽淡的冷寂气质得韵传神，尽写郊野秋意的疏朗空荒，藏着对枯淡美学的精准追摹与悠远体悟。",[23,24,59,65,122,149,7,607,125,264,61,34,238,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b10416c0f2ccf154ddc3b890e53df8.jpg",[],{"id":44501,"slug":44502,"title":44503,"dynasty":177,"author":27839,"museum":119,"description":44504,"tags":44505,"thumbUrl":44506,"material":127,"size":127,"collection":212,"collections":44507,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},224534,"fang-dong-yuan-bi-yi-tu-zhou-qi-zhi-jia-224534","仿董源笔意图轴","此作用笔苍简老辣，以淡墨皴擦写高远山峦，浓墨苔点提点山形，尽显山石苍古厚重。近坡古松虬曲、杂木错落，笔致写意随性。水畔茅舍中二人对坐，将山居雅晤的幽寂之趣藏于林泉间。\n\n画作师法前人却自出机杼，以简淡笔墨晕染出空濛悠远的意境，将文人寄情山水、追慕林泉高致的隐逸襟怀融在尺幅间，萧散清逸的格调尽显文人画的意趣风神，于简淡之中见出深秀雅致。",[23,24,25,149,59,122,65,7,64,34,35,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4cb4ed98632dc4ebd5a427f409fd.jpg",[212],{"id":44509,"slug":44510,"title":44511,"dynasty":177,"author":3760,"museum":119,"description":44512,"tags":44513,"thumbUrl":44514,"material":127,"size":127,"collection":127,"collections":44515,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},224451,"xia-shan-yan-yu-tu-wang-hui-224451","夏山烟雨图","清王翚款夏山烟雨图轴是重庆中国三峡博物馆收藏的绘画。\n质地:纸 藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 具体尺寸(cm):46×29.9",[23,24,25,149,59,28,65,7,318,34,61,63,37,9031],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],{"id":44517,"slug":44518,"title":44519,"dynasty":177,"author":3760,"museum":119,"description":44520,"tags":44521,"thumbUrl":44522,"material":127,"size":127,"collection":127,"collections":44523,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},224450,"xia-wu-yin-mei-wang-hui-224450","夏五吟梅","《王翚夏五吟梅图轴》是清代王翚创作的一幅画。\n此图画成时王翚已是8岁高龄，然而画面丝毫看不出有衰老的迹象，线条细若游丝，劲如屈铁，笔力老练纯熟，画风细润明快，融合了众家笔法之长。\n构图布景显示出画家胸有成竹，景物的配置自然写实，气度不凡。",[23,24,100,25,149,28,7,65,60,61,63,106,165,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794bca20f35e023f5002c7199254ad74.jpg",[],{"id":44525,"slug":44526,"title":44527,"dynasty":177,"author":683,"museum":119,"description":44528,"tags":44529,"thumbUrl":44536,"material":127,"size":127,"collection":127,"collections":44537,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,24,25,7,28,65,66,101,34,64,61,238,63,206,201,44530,16135,44531,44532,44533,44534,44535,8249],"山峦叠嶂","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":44539,"slug":44540,"title":44541,"dynasty":177,"author":30873,"museum":119,"description":38381,"tags":44542,"thumbUrl":44543,"material":337,"size":937,"collection":127,"collections":44544,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁",[23,24,25,164,28,7,373,61,62,106,1642,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd1a0468a1001ba98444776ec3e12d7.jpg",[],{"id":44546,"slug":44547,"title":44548,"dynasty":177,"author":15549,"museum":119,"description":44549,"tags":44550,"thumbUrl":44551,"material":127,"size":127,"collection":127,"collections":44552,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},224126,"ke-si-xian-shan-lou-ge-tu-qian-long-224126","缂丝仙山楼阁图","《缂丝仙山楼阁图》是清乾隆时期的一幅画。\n此图在本色地上缂织仙山楼阁。\n殿宇亭台之间树木葱郁，小桥流水，彼岸远方有群山及山中楼阁。\n画面布局繁密，境界幽静旷远。\n此作品将缂丝与绘画有机地融合为一体，先缂织后添色。\n缂工主要用平缂织物象的轮廓，间用搭缂、长短戗手法，其上再用各种颜色绘出形象。\n画中的楼阁建筑以界尺画出，山石皴法使用了墨、石绿、赭石色，极似仇英的楼阁界画之风格。\n此缂丝画中楼阁工细，山青树茂，敷色古雅。",[23,24,25,4923,28,304,7,104,60,34,520,64,63,61,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b8e0b7007bdd3d7e820ad8283e1056.jpg",[],{"id":44554,"slug":44555,"title":44556,"dynasty":18,"author":178,"museum":119,"description":44557,"tags":44558,"thumbUrl":44559,"material":127,"size":127,"collection":127,"collections":44560,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":379},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,25,26,123,59,65,1042,103,7,1738,583,239,199,722,60,61,335,106,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":44562,"slug":44563,"title":44564,"dynasty":177,"author":178,"museum":119,"description":32133,"tags":44565,"thumbUrl":44566,"material":127,"size":127,"collection":127,"collections":44567,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},223529,"wu-yi-shan-shi-ba-jing-tu-4-yi-ming-223529","武夷山十八景图4",[23,24,25,59,28,65,164,7,64,34,62,31,278,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79a72c1f010c0336116e7055b3e0ee3f.jpg",[],{"id":44569,"slug":44570,"title":44571,"dynasty":177,"author":178,"museum":119,"description":32133,"tags":44572,"thumbUrl":44573,"material":127,"size":127,"collection":127,"collections":44574,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3",[23,24,25,164,59,28,65,7,9140,201,62,34,17123,167,1897,35,61,60,720,320,15504,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":44576,"slug":44577,"title":15283,"dynasty":18,"author":178,"museum":20,"description":44578,"tags":44579,"thumbUrl":44580,"material":40,"size":44581,"collection":127,"collections":44582,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},223509,"liu-xi-diao-ting-tu-yi-ming-223509","绘江南小景，坡岸垂柳杂树，茅舍隐然，河中渔舟横陈，船头一翁垂钓",[23,24,2484,59,7,101,571,62,61,167,5360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40fa66204fb50d3e262d289a18d3643.jpg","23*24.8cm",[],{"id":44584,"slug":44585,"title":44586,"dynasty":18,"author":178,"museum":20,"description":44587,"tags":44588,"thumbUrl":44590,"material":40,"size":44591,"collection":127,"collections":44592,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},223501,"yang-liu-xi-tang-tu-ye-yi-ming-223501","杨柳溪堂图页","此幅又名《柳溪春色图》。绘春日江南之景色，远 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年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[24,28,7,532,61,63,4496,165,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ebef99d6af837be20ccb7bdc022a25.jpg",[],{"id":44708,"slug":44709,"title":44710,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":44711,"thumbUrl":44712,"material":349,"size":1805,"collection":127,"collections":44713,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},220288,"huang-shan-tu-ce-37-hong-ren-220288","黄山图册-37",[23,100,24,25,164,65,28,7,60,61,64,372,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70e277b94dfe9c6eeb04e5a7b98c942.jpg",[],{"id":44715,"slug":44716,"title":44717,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":44718,"thumbUrl":44719,"material":349,"size":1805,"collection":127,"collections":44720,"showCount":418,"zanCount":961,"manualWeight":48,"mainColor":75},220279,"huang-shan-tu-ce-45-hong-ren-220279","黄山图册-45",[23,24,25,7,164,59,65,30,583,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa132847aaeea9e72131397153387266a.jpg",[],{"id":44722,"slug":44723,"title":44724,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":44725,"thumbUrl":44726,"material":349,"size":1805,"collection":127,"collections":44727,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},220277,"huang-shan-tu-ce-47-hong-ren-220277","黄山图册-47",[23,24,59,65,164,7,63,60,61,64,125,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6cda6b166036c2ddff5b9d2083d9e2.jpg",[],{"id":44729,"slug":44730,"title":44731,"dynasty":54,"author":14964,"museum":369,"description":14965,"tags":44732,"thumbUrl":44733,"material":69,"size":14968,"collection":127,"collections":44734,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},219061,"xiao-xiang-ba-jing-ce-8-zhang-fu-219061","潇湘八景册-8",[23,24,25,164,59,7,104,34,64,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1af29f49da804b9cb6fd382b5fbf29.jpg",[],{"id":44736,"slug":44737,"title":44738,"dynasty":18,"author":8087,"museum":135,"description":44739,"tags":44740,"thumbUrl":44741,"material":87,"size":127,"collection":127,"collections":44742,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":49},218674,"xi-hu-shi-jing-tu-duan-qiao-can-xue-ye-xiao-yan-218674","西湖十景图-断桥残雪","雪落断桥，淡墨晕开湖山的朦胧。枯枝疏朗，似凝住冬日清寒；远山如黛，薄雪轮廓在烟霭中隐现。水墨笔触轻缓，将雪的柔、山的静、桥的孤融于一纸。断桥卧于雪色间，像守着时光的老者，静看湖山更迭；岸边松竹墨线简练，道尽寒冬里的坚韧疏朗。淡墨远山与近景残雪相映，铺展“断桥残雪”的清冷诗意，仿佛能嗅到雪中梅香清冽，触到湖面微风微凉。静谧中藏着江南冬日婉约，残雪未消处，似有游人踏雪屐痕轻浅，引人欲赴一场雪中湖山之约。",[23,24,25,164,28,7,65,318,165,60,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2cae48ac35dd4101f07a41be498b1dd.jpg",[],{"id":44744,"slug":44745,"title":44746,"dynasty":177,"author":1825,"museum":56,"description":2755,"tags":44747,"thumbUrl":44748,"material":69,"size":2758,"collection":127,"collections":44749,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},216975,"fang-song-yuan-shan-shui-ce-9-wang-jian-216975","仿宋元山水册-9",[23,100,24,25,59,65,122,164,7,64,201,34,167,5068,372,239,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd859c8b90e8e3f47472da8cbc74.jpg",[],{"id":44751,"slug":44752,"title":44753,"dynasty":177,"author":5885,"museum":15046,"description":15047,"tags":44754,"thumbUrl":44755,"material":139,"size":127,"collection":127,"collections":44756,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},216899,"qian-long-nan-xun-zhu-bi-tu-ye-4-qian-wei-cheng-216899","乾隆南巡驻跸图页-4",[23,24,28,29,7,104,63,34,61,106,304,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2faf8b2694a019248be9c508b319d07b.jpg",[],{"id":44758,"slug":44759,"title":44760,"dynasty":54,"author":44761,"museum":161,"description":44762,"tags":44763,"thumbUrl":44769,"material":69,"size":127,"collection":127,"collections":44770,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},216323,"han-xi-meng-xiu-song-yuan-ming-ji-ce-mi-hua-shan-shui-tu-han-xi-meng-216323","韩希孟绣宋元名迹册·米画山水图","韩希孟","绣线作墨，晕染出米家云山的空濛气韵。远山以淡丝叠缀，烟岚似在丝缕间浮动；近树用细针勾枝，苍劲中藏着秀逸之态。孤舟泊于浩渺水面，针脚疏密交织，水的清寂与山的悠远悄然相融。以绣代笔，将宋元山水的笔墨意趣化为丝缕的韵律，每一针都凝着对古画的深悟——既有绘画的空灵气韵，又有丝线特有的温润质感，尽显明代闺阁绣艺的精妙与雅致，让山水的悠远意境在丝帛上静静流淌。",[14485,25,24,2145,59,1099,122,5089,65,44764,44765,7,62,34,167,707,166,37,238,44766,44767,44768,101,66],"宋元风格","刺绣技法","小岛","孤帆","岸边树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d87539d4a7a2aa7cc22219189d23a0e.jpg",[],{"id":44772,"slug":44773,"title":36128,"dynasty":177,"author":1825,"museum":161,"description":4176,"tags":44774,"thumbUrl":44775,"material":69,"size":127,"collection":127,"collections":44776,"showCount":418,"zanCount":48,"manualWeight":48,"mainColor":75},215020,"fang-gu-shan-shui-ce-10-wang-jian-215020",[100,24,25,59,1099,65,164,7,64,34,372,201,35,167,239,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11919f562afd6a3c89ea0895593cfc50.jpg",[],{"id":44778,"slug":44779,"title":44780,"dynasty":177,"author":1825,"mus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供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,24,100,123,59,103,7,6980,12383,3986,106,34,61,8414,101,2145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],{"id":45195,"slug":45196,"title":45197,"dynasty":54,"author":96,"museum":119,"description":1628,"tags":45198,"thumbUrl":45200,"material":337,"size":937,"collection":127,"collections":45201,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},288014,"wen-ji-gui-han-tu-shan-mian-chou-ying-288014","文姬归汉图扇面",[100,24,2484,29,28,103,335,334,7,1630,45199],"文姬归汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2343b2d7148e59265a1451d9491a22cd.jpg",[],{"id":45203,"slug":45204,"title":45205,"dynasty":80,"author":178,"museum":119,"description":15073,"tags":45206,"thumbUrl":45208,"material":337,"size":937,"collection":127,"collections":45209,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},287760,"dong-ya-tu-mu-tu-yi-ming-287760","冬鸦秃木图",[24,59,9410,733,106,7,45207,2704],"荒郊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bed51ad511447d3f429b3f77844600c.jpg",[],{"id":45211,"slug":45212,"title":45213,"dynasty":80,"author":7238,"museum":119,"description":37626,"tags":45214,"thumbUrl":45215,"material":337,"size":937,"collection":127,"collections":45216,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},287671,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhang-yu-287671","仿郑虔林亭秋爽图",[100,24,59,7,122,63,104,61,64,125,62,103,3865,3454,101,66,6501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9620ea01bc9dcbc4a772c93920f5a2.jpg",[],{"id":45218,"slug":45219,"title":45220,"dynasty":80,"author":178,"museum":119,"description":15073,"tags":45221,"thumbUrl":45222,"material":337,"size":937,"collection":127,"collections":45223,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},287582,"ming-fei-chu-sai-tu-yi-ming-287582","明妃出塞图",[24,100,149,28,29,103,124,335,7,34,334,1630,101,37611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76fb6880298a3f8f31f8ea0956c72786.jpg",[],{"id":45225,"slug":45226,"title":45227,"dynasty":177,"author":3760,"museum":135,"description":10519,"tags":45228,"thumbUrl":45229,"material":69,"size":45230,"collection":127,"collections":45231,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},287446,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-wang-hui-287446","仿李营丘江干七树图",[100,24,25,59,7,122,101,66,125,607,61,62,238,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff309a0ed55d56fb2162e84b4c23405c5.jpg","96.4x54.6",[],{"id":45233,"slug":45234,"title":45235,"dynasty":177,"author":1825,"museum":119,"description":9266,"tags":45236,"thumbUrl":45237,"material":337,"size":937,"collection":127,"collections":45238,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},287438,"fang-zi-jiu-shan-shui-wang-jian-287438","仿子久山水",[23,2484,24,25,7,59,122,65,238,34,35,62,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06055f87cd31c4518322ae50a39d4b51.jpg",[],{"id":45240,"slug":45241,"title":45242,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":45243,"thumbUrl":45244,"material":337,"size":937,"collection":127,"collections":45245,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},283745,"shu-hua-he-bi-juan-dong-qi-chang-283745","书画合壁卷",[23,100,24,25,26,59,66,67,7,238,1616,3111,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9730d590d7dfec6d881d41f1b0e097.jpg",[],{"id":45247,"slug":45248,"title":45249,"dynasty":54,"author":1096,"museum":119,"description":5179,"tags":45250,"thumbUrl":45251,"material":337,"size":937,"collection":127,"collections":45252,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},283708,"pan-gu-xu-shu-hua-he-bi-juan-dong-qi-chang-283708","盘谷序书画合璧卷",[23,100,24,26,38169,28,7,238,34,150,19975,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9014f8bc1998914af824e954e462d91d.jpg",[],{"id":45254,"slug":45255,"title":45256,"dynasty":177,"author":178,"museum":119,"description":40505,"tags":45257,"thumbUrl":45259,"material":337,"size":937,"collection":127,"collections":45260,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},281550,"ri-ben-chun-guang-kuan-hua-niao-shan-shui-tu-tuo-yuan-pan-yi-ming-281550","日本春光款花鸟山水图椭圆盘",[40487,37777,1249,7,8337,2505,28,29,45258],"春光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb81642c473248593635d6c595a10819b.jpg",[],{"id":45262,"slug":45263,"title":45264,"dynasty":177,"author":178,"museum":119,"description":45265,"tags":45266,"thumbUrl":45267,"material":337,"size":937,"collection":127,"collections":45268,"showCount":488,"zanCount":961,"manualWeight":48,"ma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太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[24,25,164,59,28,7,264,106,125,630,1643,101,66,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa865d6cefc0c198737a49c1a24313f98.jpg",[],{"id":45319,"slug":45320,"title":45321,"dynasty":54,"author":178,"museum":119,"description":45322,"tags":45323,"thumbUrl":45324,"material":337,"size":937,"collection":127,"collections":45325,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},239357,"ming-ren-fang-huang-gong-wang-jiu-feng-xue-ji-tu-juan-yi-ming-239357","明人仿黄公望九峰雪霁图卷","此作以水墨晕开雪后丘壑，留白铺陈皑皑雪意，山峦素裹、枯木错落，村居隐于岩畔，萧寒清寂尽现冬日山林的荒寒淡远。长卷书画合璧，题跋行笔苍劲雅致，文辞与山水意趣相融，托寄文人静穆观照的审美本心。\n\n仿作追摹原作的极简萧寒，以淡墨晕染山石肌理，以空为雪，尽显元人山水萧散简远之致，借古抒怀，以笔墨写胸中丘壑，将群峰雪后岑寂空灵的意境复刻淋漓，尽显文人山水的雅逸风神，是一件颇具意韵的仿古佳制。",[23,24,25,26,59,65,122,66,67,101,7,30,765,34,239,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1ba8894fb65bed006c1b198de90cf2.jpg",[],{"id":45327,"slug":45328,"title":45329,"dynasty":177,"author":40983,"museum":119,"description":45330,"tags":45331,"thumbUrl":45332,"material":127,"size":127,"collection":127,"collections":45333,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},239344,"xi-xi-hua-juan-lin-shu-239344","西溪画卷","此作用水墨晕染勾勒全景，层峦叠嶂间林木蓊郁，汀洲水湾蜿蜒萦回，村居茅舍隐于烟霭林麓之间，尽显江南水畔的幽寂野趣。皴擦点染兼具，以苍朴笔墨写尽溪山清旷之致。\n\n卷后长篇行书题跋，笔致沉厚古拙，词句自况寄怀，书画相映成趣，将闲游幽思与林泉归隐的意趣融为一体，尽显文人画诗书画合一的雅致风骨，藏着作者寄情山水的缱绻襟怀。",[23,24,25,26,59,65,29,66,67,101,7,31,34,35,60,2845,64,4203,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4075e15f1cdd0703ca33f467c5e4924e.jpg",[],{"id":45335,"slug":45336,"title":12744,"dynasty":54,"author":9184,"museum":119,"description":45337,"tags":45338,"thumbUrl":45339,"material":127,"size":127,"collection":127,"collections":45340,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},239195,"shan-chuan-ming-sheng-ce-song-xu-239195","这幅小品以淡设色铺展临江胜景，浅赭花青晕染远山，柔润山色裹挟朦胧雾气，黛墨点苔晕出山峦苍润肌理。雄踞矶头的楼阁层叠飞檐，丹楼黛瓦在烟水间格外醒目。江面上扁舟三两悠然泛波，细笔淡描水纹，晕开烟波浩渺之态。近岸村舍旌旗错落，晕开江畔烟火暖意，左侧山巅隐见层林古寺，与主楼遥遥呼应。\n\n画风清润淡雅，以平远构图铺展楚天开阔之境，将楼阁雄姿与烟江叠嶂相融，淡墨轻岚里晕开江汉间的灵动气韵，尽显潇湘烟水的空濛雅致，暗合文人山水的清远意趣。",[24,28,304,164,65,7,104,61,62,34,167,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2c52a1351ba4ccb07944e50bdeb46.jpg",[],{"id":45342,"slug":45343,"title":159,"dynasty":177,"author":10061,"museum":119,"description":10062,"tags":45344,"thumbUrl":45345,"material":127,"size":127,"collection":127,"collections":45346,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},238994,"shan-shui-ce-yang-jin-238994",[24,25,164,59,28,65,7,62,106,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfcfa5914604e653f3fba01cde814e1.jpg",[],{"id":45348,"slug":45349,"title":15402,"dynasty":177,"author":15403,"museum":119,"description":15404,"tags":45350,"thumbUrl":45351,"material":127,"size":127,"collection":127,"collections":45352,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},238832,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238832",[24,28,7,65,164,64,34,35,167,3796,37,559,533,38,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3cb5bba0e6f35eeb191e169400c6aa.jpg",[],{"id":45354,"slug":45355,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":45357,"tags":45358,"thumbUrl":45359,"material":127,"size":127,"collection":127,"collections":45360,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},238738,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238738","画弘历和江文通诗意图册","淡墨晕开山居幽境，古木虬枝环抱书斋，凭窗士子凝眸静思，似正沉湎诗中逸怀。庭院山石错落苍润，远景丘林烟岚轻笼，将咫尺画幅晕染出悠远空濛的林下雅意。\n\n右上角题诗与画境相映成趣，笔致清隽温润，舍去浓艳设色，仅以水墨干湿浓淡铺陈萧散简淡的文人意趣。将诗文里的知己之思、林居之寂融在咫尺山水庭院中，淡远空灵，把文人心底的幽怀与林下栖居的雅静合二为一，尽显中式水墨留白的澹澹禅意。",[24,25,164,59,123,29,65,66,101,103,63,125,64,559,7,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4dc78376cec2516a555084645f9b74d.jpg",[],{"id":45362,"slug":45363,"title":45364,"dynasty":177,"author":25108,"museum":119,"description":45365,"tags":45366,"thumbUrl":45367,"material":127,"size":127,"collection":127,"collections":45368,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},238664,"shu-hua-hong-li-ni-gu-shi-yi-ce-zhang-ruo-cheng-238664","书画弘历拟古诗意册","这帧书画合册，书与画相映成趣。小楷清劲端雅，笔致匀净秀润，将赠别诗的缱绻心绪藏于点画之间，尽显文人笔墨的端凝雅致。下方山水取景清幽，以干墨皴擦写山石肌理，苍松虬劲挺秀，茅亭依崖临渊，留白铺陈出空寂辽远的氛围感，淡墨轻染晕开烟岚清韵，把诗中别绪化入山水空濛之中。书画一体，笔墨间晕开从容静穆的古典意趣，尽显传统文人诗书画合一的雅致情怀。",[24,25,164,4768,29,65,59,7,583,63,199,64,34,347,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f978df06cc91cb834cd540d2964549.jpg",[],{"id":45370,"slug":45371,"title":22228,"dynasty":177,"author":178,"museum":119,"description":45372,"tags":45373,"thumbUrl":45374,"material":127,"size":127,"collection":44,"collections":45375,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},238632,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238632","以铜版刀笔摹绘战地山川，全景铺陈层峦叠嶂，以传统山水皴法刻绘山石肌理，又融西洋写实技法还原行军实景。山林之间兵卒穿行、营寨错落掩映，将平叛征程的肃杀，糅合进山野苍莽的意境中。\n画面上方题诗点明平叛功绩，刀痕细腻克制，既如实记录战地风貌，又以沉凝的笔调烘托出征伐的沉雄庄重，在纪实叙事与山水意境间寻得平衡，让战事纪实兼具了艺术感染力。",[24,25,164,123,29,7,103,335,64,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fth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他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[24,25,164,59,7,63,34,61,65,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":45847,"slug":45848,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":10519,"tags":45849,"thumbUrl":45850,"material":337,"size":937,"collection":127,"collections":45851,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234963,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234963",[24,25,164,59,65,122,7,165,60,61,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c2256c7c79abd27570bee507128938.jpg",[],{"id":45853,"slug":45854,"title":8900,"dynasty":177,"author":3760,"museum":119,"description":10519,"tags":45855,"thumbUrl":45856,"material":337,"size":937,"collection":127,"collections":45857,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234961,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234961",[24,25,59,65,1099,164,7,34,64,60,61,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc97e93ee3df5c5120d255db227d823f.jpg",[],{"id":45859,"slug":45860,"title":29863,"dynasty":177,"author":178,"museum":20,"description":29864,"tags":45861,"thumbUrl":45862,"material":454,"size":29867,"collection":127,"collections":45863,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},234909,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234909",[24,25,164,28,27,65,7,64,34,37,30,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b62b1e5bd3d7a5f2f180e1ad3242ac.jpg",[],{"id":45865,"slug":45866,"title":159,"dynasty":54,"author":24512,"museum":119,"description":45867,"tags":45868,"thumbUrl":45869,"material":127,"size":127,"collection":127,"collections":45870,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234872,"shan-shui-ce-zhao-pu-234872","此作以水墨写意绘就空山春景，远山以淡墨披麻皴轻施晕染，似笼着薄雾轻烟，将山野空濛之态悄然铺展。近岸古木盘曲、修篁挺立，苔点错落点缀坡石，寥寥数笔便勾勒出林泉幽寂之致。\n\n左侧题字笔意疏朗秀逸，墨色浓淡层次分明，诗画相映成趣。整幅没有浓丽设色，纯以水墨写尽春日丘壑的澹远空灵，将文人寄情山水的林下风流藏于尺幅之间，淡而愈浓，简而弥长，尽显文人画以情入画、诗画相融的雅致意韵。",[24,25,164,67,59,7,264,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07946324d8ab4adf4a14156f7fcd3b5.jpg",[],{"id":45872,"slug":45873,"title":24055,"dynasty":177,"author":45874,"museum":119,"description":45875,"tags":45876,"thumbUrl":45877,"material":337,"size":937,"collection":127,"collections":45878,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234841,"shan-shui-ye-gu-fu-zhen-234841","顾符稹","一作符桢，清代画家。初名稹，字瑟如，后名符稹，字松崖，号小痴，江苏兴化人。能诗、工书、善画，山水、人物远学李昭道，善以勾染作画，近学赵孟頫，以清丽著称。所作笔法工致严谨，细入毫发，树石细笔写生，颇具气势。家贫寒，以卖画自给，故临摹托古者颇多。",[24,59,28,164,65,7,125,60,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeabedbed4db47e76e2c7fe2dd580518.jpg",[],{"id":45880,"slug":45881,"title":38062,"dynasty":177,"author":4747,"museum":20,"description":38063,"tags":45882,"thumbUrl":45883,"material":127,"size":127,"collection":127,"collections":45884,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234821,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234821",[24,25,164,59,7,62,61,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d8c7036a760a53b283794514f30a12.jpg",[],{"id":45886,"slug":45887,"title":45888,"dynasty":54,"author":5538,"museum":20,"description":15725,"tags":45889,"thumbUrl":45890,"material":375,"size":15728,"collection":127,"collections":45891,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234815,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xi-yan-chi-tu-ye-wen-jia-234815","吴门诸家寿袁方斋三绝册-文嘉洗砚池图页",[24,25,164,28,66,7,103,571,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F100d88eefd23d232afb913d921b8e093.jpg",[],{"id":45893,"slug":45894,"title":1800,"dynasty":177,"author":23957,"museum":20,"description":23958,"tags":45895,"thumbUrl":45896,"material":375,"size":127,"collection":127,"collections":45897,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234766,"huang-shan-tu-ce-jiang-zhu-234766",[24,25,164,59,65,66,67,101,7,264,61,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a104026573d.jpg",[],{"id":45899,"slug":45900,"title":45901,"dynasty":177,"author":178,"museum":119,"description":45902,"tags":45903,"thumbUrl":45904,"material":337,"size":937,"collection":127,"collections":45905,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234706,"gu-yun-wu-zhu-gao-shi-shan-mian-yi-ming-234706","顾沄梧竹高士扇面","此作以扇面为卷，绘就林泉幽居之景。浅淡笔墨晕染出水色空濛，茅亭临波，高士凭栏闲坐，似在静赏烟水林峦。梧竹葱茏伴山石朴拙，墨色清润秀雅，将山林的幽寂之气铺陈开来。\n题识小字错落排布，诗画相映，把文人寄情丘山、静享闲逸的心境尽数藏于尺幅之间。构图疏密相宜，亭台人物虽小巧却情态悠然，衬以苍茂竹木与朦胧水色，将江南林泉的清寂雅致融于咫尺扇面，尽显萧散出尘的文人意趣，以简淡笔墨勾勒出隐逸林下的悠然意境，尽显画中寄情林泉的悠远韵致。",[2484,59,28,223,103,31516,630,63,264,7,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb882582c71de5a9c47181782de4dcba1.jpg",[],{"id":45907,"slug":45908,"title":45909,"dynasty":54,"author":39611,"museum":119,"description":45910,"tags":45911,"thumbUrl":45912,"material":127,"size":127,"collection":127,"collections":45913,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234682,"shan-shui-dan-ye-wan-shou-qi-234682","山水单页","万寿祺（1603年－1652年），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍江西南昌，曾祖辈迁至江苏徐州。 [1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[17460,59,123,65,11163,101,7,583,103,64,167,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],{"id":45915,"slug":45916,"title":8174,"dynasty":177,"author":395,"museum":119,"description":2028,"tags":45917,"thumbUrl":45918,"material":127,"size":127,"collection":127,"collections":45919,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234650,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234650",[24,25,164,123,59,7,104,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6ae281bab731ccb23526b7cc5efbf0.jpg",[],{"id":45921,"slug":45922,"title":159,"dynasty":177,"author":5740,"museum":119,"description":27967,"tags":45923,"thumbUrl":45924,"material":127,"size":127,"collection":127,"collections":45925,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234644,"shan-shui-ce-cha-shi-biao-234644",[24,25,164,59,67,7,165,63,60,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9d06e411b9b13d70f95bc92270295.jpg",[],{"id":45927,"slug":45928,"title":159,"dynasty":177,"author":5740,"museum":119,"description":27967,"tags":45929,"thumbUrl":45930,"material":127,"size":127,"collection":127,"collections":45931,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234642,"shan-shui-ce-cha-shi-biao-234642",[24,25,164,59,67,66,7,165,64,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd571a94f7c6223027c110d269704e0.jpg",[],{"id":45933,"slug":45934,"title":40982,"dynasty":177,"author":41697,"museum":119,"description":42426,"tags":45935,"thumbUrl":45936,"material":127,"size":127,"collection":127,"collections":45937,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234613,"shan-shui-wan-shan-zhang-zhi-wan-234613",[24,25,100,2484,59,65,7,60,61,199,34,239,630,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a8ec8604d5c6b10775e960b4391e4e.jpg",[],{"id":45939,"slug":45940,"title":45941,"dynasty":177,"author":45942,"museum":119,"description":45943,"tags":45944,"thumbUrl":45945,"material":127,"size":127,"collection":127,"collections":45946,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234609,"chun-gou-ting-tu-wan-shan-yang-liu-gu-234609","春钩艇图纨扇","杨柳谷","杨柳谷清江苏常熟人。柳桥弟，画如其兄。\n按《韬养斋笔记》有杨念伯字柳谷，以字行。善画柳，设色参以西法，尤觉生动。山水清超绝俗，尤擅摹古。当为一人。嘉庆十八年（1813年）作山水图，现存北京故宫博物院。其一子，杨裕晖，字少古，善画，能续家法，稍逊乃翁。",[100,24,25,2484,28,65,7,571,102,62,61,33,1856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8acf6efc66be6f463452bc717e516a.jpg",[],{"id":45948,"slug":45949,"title":45950,"dynasty":54,"author":9549,"museum":119,"description":23399,"tags":45951,"thumbUrl":45952,"material":127,"size":127,"collection":127,"collections":45953,"showCount":488,"zanCount":961,"manualWeight":48,"mainColor":49},234566,"qian-gu-shan-shui-shan-qian-gu-234566","钱榖山水扇",[24,25,2484,59,65,7,60,34,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029b8b5681dd97bfa0a51a03620ac928.jpg",[],{"id":45955,"slug":45956,"title":45957,"dynasty":177,"author":3760,"museum":20,"description":45958,"tags":45959,"thumbUrl":45960,"material":11046,"size":45961,"collection":127,"collections":45962,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","王翚（1632—1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[24,25,100,149,59,65,7,630,63,62,64,61,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":45964,"slug":45965,"title":45966,"dynasty":177,"author":178,"museum":119,"description":45967,"tags":45968,"thumbUrl":45969,"material":127,"size":127,"collection":127,"collections":45970,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234485,"qing-jiang-zuo-wen-xin-ji-ce-zou-zhe-shan-shui-ce-ye-yi-ming-234485","清江左文心集册-邹喆山水册页","明末清初，金陵特殊的政治、经济、文化地位，使其集聚了一大批画家，用龚贤的话来说：“今日画家以江南最盛，江南十郡以首郡为盛，郡中著名者且数十辈，但能吮笔者岂止千人？”① 江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[24,59,28,65,164,7,64,34,150,1815,238,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceffa03dc34c80a37f79d6bb2778e258.jpg",[],{"id":45972,"slug":45973,"title":45974,"dynasty":177,"author":31779,"museum":20,"description":31780,"tags":45975,"thumbUrl":45976,"material":127,"size":127,"collection":127,"collections":45977,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234464,"zhu-shi-qiu-mu-tie-luo-shen-zhen-lin-234464","竹石秋木贴落",[24,25,59,123,65,630,734,125,264,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a82ab16ca030e25d29957577dca4f05.jpg",[],{"id":45979,"slug":45980,"title":5293,"dynasty":54,"author":945,"museum":119,"description":7266,"tags":45981,"thumbUrl":45982,"material":127,"size":127,"collection":127,"collections":45983,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},234116,"shan-shui-tu-juan-tang-yin-234116",[24,25,26,28,65,67,66,101,7,62,61,63,106,125,264,60,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":45985,"slug":45986,"title":2166,"dynasty":1051,"author":178,"museum":20,"description":14796,"tags":45987,"thumbUrl":45988,"material":454,"size":14799,"collection":127,"collections":45989,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},234037,"gong-yuan-tu-yi-ming-234037",[24,25,8531,28,304,29,104,438,7,34,559,722,278,2169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656bb14724eeca487c029c4fb834fec9.jpg",[],{"id":45991,"slug":45992,"title":159,"dynasty":177,"author":1872,"museum":20,"description":11366,"tags":45993,"thumbUrl":45994,"material":632,"size":11370,"collection":127,"collections":45995,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},233975,"shan-shui-ce-gong-xian-233975",[100,24,59,7,372,264,65,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e6408d59a0ea66fdea582dbc4ac730.jpg",[],{"id":45997,"slug":45998,"title":12155,"dynasty":177,"author":5740,"museum":20,"description":12156,"tags":45999,"thumbUrl":46000,"material":632,"size":12159,"collection":127,"collections":46001,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},233873,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233873",[24,59,164,65,125,264,630,63,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f67dc7e616a181631a9047abcec4ab2.jpg",[],{"id":46003,"slug":46004,"title":46005,"dynasty":54,"author":46006,"museum":20,"description":46007,"tags":46008,"thumbUrl":46009,"material":349,"size":127,"collection":127,"collections":46010,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},233854,"shi-hua-he-bi-ce-zhou-yong-233854","诗画合璧册","周用","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[24,25,164,59,65,123,28,7,103,264,125,532,533,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b239f8f751456574441785c55cb076.jpg",[],{"id":46012,"slug":46013,"title":46005,"dynasty":54,"author":46006,"museum":20,"description":46007,"tags":46014,"thumbUrl":46015,"material":349,"size":127,"collection":127,"collections":46016,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},233852,"shi-hua-he-bi-ce-zhou-yong-233852",[24,59,28,65,164,103,7,199,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03965c72de7d999242405e95de2efc12.jpg",[],{"id":46018,"slug":46019,"title":159,"dynasty":54,"author":1096,"museum":20,"description":6074,"tags":46020,"thumbUrl":46021,"material":375,"size":2597,"collection":127,"collections":46022,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},233802,"shan-shui-ce-dong-qi-chang-233802",[24,25,164,59,7,165,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554c42ef112494200aba5efc6ef761fb.jpg",[],{"id":46024,"slug":46025,"title":46026,"dynasty":54,"author":96,"museum":20,"description":8205,"tags":46027,"thumbUrl":46028,"material":40,"size":12171,"collection":127,"collections":46029,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":379},233762,"ren-wu-gu-shi-ce-9-chou-ying-233762","人物故事册9",[100,24,25,164,29,28,7,103,756,335,34,278,101,12166],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山岳松林图","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,25,59,28,65,7,318,583,46074,2595],"山岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cae223afb7683f359816c689e347ba.jpg",[],{"id":46078,"slug":46079,"title":46080,"dynasty":54,"author":368,"museum":119,"description":46081,"tags":46082,"thumbUrl":46083,"material":11572,"size":46084,"collection":127,"collections":46085,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,25,26,7,28,65,29,30,64,34,37,399,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":46087,"slug":46088,"title":26280,"dynasty":18,"author":3684,"museum":135,"description":46089,"tags":46090,"thumbUrl":46091,"material":87,"size":46092,"collection":127,"collections":46093,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":940},231415,"san-xian-shou-jian-tu-yan-wen-gui-231415","此图原藏清内府钟粹宫，原图无款印，签题“燕文贵二仙授简图”：图描绘世外洞府一处，洞前为一片宽阔的田野，临近洞处为坡岸，碎石横卧，草木和幽篁相间杂牛-在洞前的左侧有几棵古松，树干粗大，向左倾斜生长，枝干曲直向上，树千长有疤节，茂密的枝叶形成浓荫，将其洞府笼罩，洞府前二仙相对而坐，均为道家装束，正面一位年长者以披叶衣，赤足支膝，绾双丫髻，双日凝神，目光视着前方；正面左侧一位头披长发于背部，赤胸支着右腿，右手放置膝部，正在专心聆听对面一位仙者论经说道；正面右侧一位右腿盘坐、左腿支撑，身披道衣绾双髻，手持简册，上体前倾，右手指划，似在论经说道，神情专注，十分投入。\n燕义贵的绘画题材较为广泛，山水最为突出：他画山水不专师法，自成一家，景致多坐，使人有身临其境的感觉，他是一个来自民间的画家，他熟悉并喜爱乡间生活，即使在布局宏大的11．真水画上，也安排各种富于生活情趣的细节：刘道醇《圣朝名画评》说他“初师河东郝惠”，之后“不师于古人，自成一家，而景物万变……，燕家景致无能及者”：燕文贵除擅长山水外，还精于人物画和界画：此《三仙授简图》是他人物画的代表作。\n此图以幽深静寂的洞府为布景，画家用抑朴的线条显示道衣厚实的质感和盘旋褶皱的衣纹，线描笔法劲练，古松数株，也画得坚劲有力：图中人物面部表情，有声有色，特别是前面左边赤胸者，被对面一位手持简册仙人的话语所吸引，聚精会神地凝听着：画家驾驭人物性格，再现特定情境的功力在这一作品中得到充分的表现，树石皆湿笔，松身之鳞，略圈数笔，即以墨水晕染浅深，上缠古藤，其条下垂，用笔极细，若断若续，总之，全图着色淡雅，勾线坚凝而多折，二位仙人姿态各不相同，并在变化错落中达到和谐统一。",[100,24,25,28,29,65,103,7,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde1e2940ee2ffd9f620cc4bb8d71b99.jpg","46.3×41.3公分",[],{"id":46095,"slug":46096,"title":46097,"dynasty":177,"author":3760,"museum":135,"description":46098,"tags":46099,"thumbUrl":46100,"material":292,"size":46101,"collection":127,"collections":46102,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[100,24,25,122,65,59,28,7,1262,64,34,278,878,372,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":46104,"slug":46105,"title":27487,"dynasty":177,"author":27246,"museum":119,"description":46106,"tags":46107,"thumbUrl":46109,"material":127,"size":127,"collection":127,"collections":46110,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,24,59,65,149,7,1738,35,60,61,62,64,34,533,46108],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":46112,"slug":46113,"title":46114,"dynasty":177,"author":3973,"museum":119,"description":46115,"tags":46116,"thumbUrl":46117,"material":127,"size":127,"collection":127,"collections":46118,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,24,25,26,28,65,29,7,372,583,3987,64,31,5932,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":46120,"slug":46121,"title":29232,"dynasty":54,"author":14936,"museum":119,"description":46122,"tags":46123,"thumbUrl":46124,"material":337,"size":937,"collection":127,"collections":46125,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},230929,"shan-shui-tu-shan-mian-wang-wen-230929","王闿（kǎi）运（1833—1916），晚清经学家、文学家。字壬秋，又字壬父，号湘绮，世称湘绮先生。咸丰二年（1852）举人，曾任肃顺家庭教师，后入曾国藩幕府。1880年入川，主持成都尊经书院。后主讲于长沙思贤讲舍、衡州船山书院、南昌高等学堂。授翰林院检讨，加侍读衔。辛亥革命后任清史馆馆长。著有《湘绮楼诗集、文集、日记》等。",[24,25,2484,59,65,7,125,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0c458d558107f65a6614c148f4e979.jpg",[],{"id":46127,"slug":46128,"title":1095,"dynasty":177,"author":46129,"museum":119,"description":46130,"tags":46131,"thumbUrl":46132,"material":127,"size":127,"collection":127,"collections":46133,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},230914,"fang-gu-shan-shui-tu-cheng-geng-lu-230914","程庚鹭","此作用淡墨晕染山峦，留白铺陈出空濛水汽，层叠峰峦尽显高远之致，干笔皴擦勾勒山石肌理，湿墨晕染晕出山岚氤氲。崖间村居错落，石阶蜿蜒通幽，点染出林下幽居的闲淡意趣。\n右上角题跋笔墨隽秀，与山水笔墨相映成趣，诗画交融。整体兼具萧散简远的文人意韵，将林泉高致寄于尺幅，观之如临空山幽境，俗虑尽销。",[24,59,65,1099,7,318,319,199,34,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8830d376ba0de9a0803b19592cb0df.jpg",[],{"id":46135,"slug":46136,"title":46137,"dynasty":8332,"author":178,"museum":119,"description":46138,"tags":46139,"thumbUrl":46140,"material":337,"size":937,"collection":127,"collections":46141,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},230550,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-2-yi-ming-230550","明清古画动物山水粉本图卷-2","以淡设色铺陈林泉雅境，枯梅虬枝缀着寒花，古拙清癯。坡石间流泉蜿蜒，晕染出空山幽寂的氛围。两位高士策杖缓行，衣袂轻扬，神态悠然，似正寻幽揽胜。\n笔墨清劲秀逸，山石以淡墨皴擦，晕出空濛温润的山林气韵，草木敷色清雅，粉白梅花点活了冬末春初的清灵意趣。将林下高致融于山水小景，淡而有味，简中见雅，尽显文人寄情林泉、避世寻幽的隐逸意趣。",[23,24,26,28,59,29,65,7,103,16652,64,34,630,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4df883e88673fe6cdff89b7a09a8c.jpg",[],{"id":46143,"slug":46144,"title":46145,"dynasty":8332,"author":19195,"museum":119,"description":19196,"tags":46146,"thumbUrl":46147,"material":337,"size":937,"collection":127,"collections":46148,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）",[23,24,25,100,149,65,59,28,7,318,165,239,278,167,3658,533,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":46150,"slug":46151,"title":46152,"dynasty":8332,"author":10341,"museum":119,"description":46153,"tags":46154,"thumbUrl":46155,"material":127,"size":127,"collection":127,"collections":46156,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},230486,"zu-shi-tu-shou-ye-yuan-xin-230486","祖师图","画面以飞瀑奇峰开篇，峭壁间白练倾泻而下，撞破山岩的沉凝厚重。古松虬枝横斜，苍劲盘曲，将山野荒古之气铺展开来。雾霭轻笼林谷，柔化了山石棱角，让刚硬的笔墨晕出幽柔的空濛。\n\n拄杖祖师衣袂飘然，独立山巅凝神静望，身影与林泉相融，禅意随云气漫溢。山石以利落斧劈皴勾勒，苍劲老辣，云雾则以淡墨晕染，柔润朦胧。刚柔相生间，将隐者遁入林泉的静穆空灵尽数铺陈，幽寂清远的禅意扑面而来，恍若能听松涛瀑鸣，沉陷这山野禅境之中。",[23,24,25,28,65,7,103,199,34,64,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad9555eacda81006abbe5bbe1fcec16.jpg",[],{"id":46158,"slug":46159,"title":46160,"dynasty":177,"author":46161,"museum":119,"description":46162,"tags":46163,"thumbUrl":46164,"material":127,"size":127,"collection":127,"collections":46165,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,24,25,149,59,65,7,3764,60,61,34,64,35,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":46167,"slug":46168,"title":46169,"dynasty":54,"author":178,"museum":119,"description":46170,"tags":46171,"thumbUrl":46172,"material":127,"size":127,"collection":127,"collections":46173,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},228777,"yun-shan-lou-ge-tu-yi-ming-228777","云山楼阁图","淡墨晕开烟霭，留白晕出覆雪层峦，远山如冰棱浮于昏褐天际，将冬日萧寒缓缓铺展。近岸楼台层叠飞檐，斗拱栏楯勾勒精工，丹红暖调破开冷寂，与素裹林木相映成趣。水面空蒙如镜，将天地昏茫融于一色，远近虚实相生，把江楼清旷藏进朦胧烟岚。笔触简淡却意韵悠长，工写兼济，将冷峭冬意与楼阁的沉稳雅致相融，尽显萧寒之中的静谧古雅，恍若让人踏入了一阕清寂悠远的冬日江楼旧梦。",[23,24,25,2484,28,304,7,104,5099,64,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb59895a5da6a6f6e2388d9f2e68579a.jpg",[],{"id":46175,"slug":46176,"title":46177,"dynasty":54,"author":46178,"museum":119,"description":46179,"tags":46180,"thumbUrl":46181,"material":127,"size":127,"collection":127,"collections":46182,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,24,25,2145,28,59,67,101,66,7,318,765,165,35,22016,65,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":46184,"slug":46185,"title":4175,"dynasty":54,"author":18446,"museum":119,"description":46186,"tags":46187,"thumbUrl":46188,"material":127,"size":127,"collection":127,"collections":46189,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},228489,"fang-gu-shan-shui-ce-yun-xiang-228489","此作用笔松秀简净，以浅淡青绿晕染远山，烟岚轻笼山峦，将春山晕化为朦胧柔美的黛色剪影，悠远空寂。近岸老树虬枝舒展，枯荣相衬，坡岸错落间水面静敛，渔舟横陈，村舍掩映在淡雾中，江南平畴的清寂春景宛在眼前。\n\n画作师法宋元古意，以淡墨浅彩营造出空灵简淡的意境，不着意雕琢刻画，将山水的静穆生机融于氤氲烟霭里，尽显文人画冲和淡远的审美意趣，悠悠古意随淡彩墨韵漫开，藏着文人寄情林泉的悠然意绪。",[24,25,164,28,27,7,122,65,62,125,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d9cd7eb052e45097c71bd2f625593c.jpg",[],{"id":46191,"slug":46192,"title":46193,"dynasty":54,"author":945,"museum":119,"description":46194,"tags":46195,"thumbUrl":46196,"material":127,"size":127,"collection":127,"collections":46197,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":940},228482,"wen-dao-tu-jing-xin-tang-yin-228482","问道图镜心","此作用苍古暮色铺就底色，虬曲古木错立林间，枝叶以淡墨晕染，晕开幽寂沉敛的林下氛围。画面里旅人卸担驻足，与隐者对坐晤谈，人物情态宛然鲜活，衣纹线条清劲顿挫，兼取院体工致与文人写意之妙。\n\n整体色调沉郁古雅，古旧绢面更添静穆萧散的林下意趣，将寻问道义的幽寂心绪，与明代文人的林下襟怀融于尺幅之间，笔墨简淡却藏悠远禅意，尽显吴门画派雅致淡远的笔墨风神。",[23,24,25,28,29,103,335,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a33040bcc2b7fb57b1d476668426699.jpg",[],{"id":46199,"slug":46200,"title":46201,"dynasty":54,"author":3239,"museum":119,"description":46202,"tags":46203,"thumbUrl":46204,"material":127,"size":127,"collection":127,"collections":46205,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,24,25,164,28,59,67,7,571,60,61,103,35,34,1642,4622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],{"id":46207,"slug":46208,"title":46209,"dynasty":80,"author":178,"museum":119,"description":46210,"tags":46211,"thumbUrl":46212,"material":127,"size":127,"collection":127,"collections":46213,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},228192,"dong-jing-shan-shui-tu-tuan-shan-yi-ming-228192","冬景山水图团扇","此作以全景铺陈冬日丘壑，构图繁密却层次井然。山峦以苍劲的墨笔勾皴，浓淡晕染出山岩的嶙峋骨相，峰顶隐于淡墨烟霭之中，晕出隆冬空蒙萧寒的氛围。虬曲的枯木虬枝如铁，交错于山石林间，尽显冬日荒寒萧索。\n\n山坳间的幽居屋舍，为清寂山林晕开一丝暖意，将山野的静穆与山居的幽隐相融。全作用墨沉郁古雅，以浓淡变化区分山石阴阳向背，枯涩的笔意尽写冬日山林的清寥，暗合林泉高致的隐逸之思，把冬日山野的荒寒淡远与幽居意趣揉合，意境静雅清和。",[23,24,25,2484,7,65,28,607,125,238,60,61,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":46215,"slug":46216,"title":46217,"dynasty":18,"author":178,"museum":119,"description":46218,"tags":46219,"thumbUrl":46220,"material":127,"size":127,"collection":127,"collections":46221,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,100,24,25,29,28,65,7,64,104,199,34,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":46223,"slug":46224,"title":46225,"dynasty":18,"author":178,"museum":119,"description":46226,"tags":46227,"thumbUrl":46228,"material":127,"size":127,"collection":127,"collections":46229,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},227888,"jiang-shan-dian-ge-tu-ye-yi-ming-227888","江山殿阁图页","此作为典型的宋代界画小品，以界尺精工勾绘殿阁重楼，层台叠宇错落排布，朱栏墨瓦细节毕现，梁柱斗拱的规制严整入微，尽显苑囿楼宇的雍容富丽。一侧江天浩渺，淡墨晕染的远山轻描淡写，与工整严谨的殿阁形成虚实对照。\n\n几株垂柳轻曳，点景人物凭栏伫立，为森严的楼阁增添几分灵动生气。咫尺扇面之内，将人工匠造的规整与山水的清远空灵相融，于方寸间铺展出阔大悠远的意境，尽显院体绘画的精湛造诣。",[23,24,2484,304,28,7,104,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6bf586b9279ce366a700cdf11fca25.jpg",[],{"id":46231,"slug":46232,"title":46233,"dynasty":18,"author":178,"museum":119,"description":46234,"tags":46235,"thumbUrl":46236,"material":127,"size":127,"collection":127,"collections":46237,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},227871,"song-gu-wen-dao-tu-yi-ming-227871","松谷问道图","这幅山水小品以淡墨晕染出烟岚轻笼的山谷，留白营造出朦胧空寂的悠远意境。右下古松虬曲苍劲，疏枝错落尽显山野清趣，山石以简淡皴擦勾勒，带着朴拙古雅的质感。\n\n林下二人，一人趺坐松下安闲垂目，一人躬身持礼似在问道，寥寥数笔便将山林雅聚的隐逸意趣刻画尽致。边角古印晕染着岁月沉淀的静穆，整幅画作以简驭繁，将幽闲林下意趣融于尺幅之间，笔墨清简却意韵悠长，尽显雅致的文人山水格调。",[23,24,25,28,65,101,7,583,103,64,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1b020784fb705e4d7c880712aa2ad.jpg",[],{"id":46239,"slug":46240,"title":46241,"dynasty":18,"author":178,"museum":119,"description":46242,"tags":46243,"thumbUrl":46244,"material":127,"size":127,"collection":127,"collections":46245,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},227870,"song-xi-fang-ting-tu-yi-ming-227870","松溪放艇图","近岸危石之上老松虬曲蟠郁，旁生枯木寒枝，晕染出深秋荒寂之态。远山以斧劈皴简括勾勒，隐现于淡墨烟霭之中，将江面衬得愈发空阔辽远。水面之上扁舟随波缓行，渔翁垂竿静坐，天地间只剩水波漾开的清寂。\n\n全幅以水墨晕染江南水滨的空濛氤氲，落笔苍劲老辣，皴擦利落，以小景写尽江湖林泉的幽远萧散。将隐士寄情烟波、与世无争的隐逸襟怀融于尺幅间，淡远空灵，尽显宋人山水小品以小见大的精妙，余韵悠长。",[23,24,25,2538,2484,59,28,7,65,583,201,62,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94dd824de3650215297d3eba319e3578.jpg",[],{"id":46247,"slug":46248,"title":46249,"dynasty":177,"author":22187,"museum":119,"description":46250,"tags":46251,"thumbUrl":46252,"material":127,"size":127,"collection":127,"collections":46253,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[23,24,25,26,28,7,125,60,1586,66,101,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":46255,"slug":46256,"title":4175,"dynasty":177,"author":4747,"museum":119,"description":46257,"tags":46258,"thumbUrl":46259,"material":127,"size":127,"collection":127,"collections":46260,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},224489,"fang-gu-shan-shui-ce-wu-li-224489","此作用墨苍润清逸，远景山峦以浓淡墨色层叠晕染，峰岫间留白作云气，晕出山影空濛悠远的层次感。近渚汀岸以干笔淡墨勾勒，间以浓墨点苔写林木，简笔轻描村居茅舍，错落隐于烟树之间。\n\n整幅构图疏密相宜，以留白衬出水乡的空阔静穆，干湿互用的笔墨带着松秀苍劲的质感，将江南水畔林泉栖居的闲淡意趣铺展开来，萧散静谧的古韵漫溢其间，仿若引人身临这山水幽居，共赴隐逸悠然的林下之境。",[100,24,25,164,59,65,7,60,61,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753cd9e04c73c33b73d3d06de173f862.jpg",[],{"id":46262,"slug":46263,"title":46264,"dynasty":177,"author":3760,"museum":119,"description":46265,"tags":46266,"thumbUrl":46267,"material":127,"size":127,"collection":127,"collections":46268,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":49},224456,"shan-chuang-feng-xue-tu-wang-hui-224456","山窗封雪图","此作用高远、平远之法铺展冬山雪景，上部危崖积雪，枯笔勾勒石骨，以皴擦带出嶙峋肌理，留白晕染厚雪，尽现山巅清寒孤峭。中层林木萧疏，焦墨写出虬曲枝桠，寒意里更见笔力苍劲。下部溪岸错落村居，雪覆茅檐，静卧于素色天地间，冷寂之中暗涌脉脉烟火暖意。\n\n全幅水墨晕染层次雅致，将北派山水的雄浑苍劲与南宗笔墨的秀润柔和相融，把冬雪封山的空寂辽远与村居安谧完美揉合，于尺幅间铺展冬日山野的清寂诗意。",[23,24,59,7,65,149,1262,239,372,35,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7e2bf5fe9351a53cbd0f3cab14c970.jpg",[],{"id":46270,"slug":46271,"title":909,"dynasty":177,"author":2075,"museum":119,"description":41379,"tags":46272,"thumbUrl":46273,"material":337,"size":937,"collection":127,"collections":46274,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},224436,"shan-shui-tu-wang-shi-min-224436",[23,24,2484,59,7,65,34,278,30,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88dd2455359266ee4edecf48f9ce10fd.jpg",[],{"id":46276,"slug":46277,"title":7,"dynasty":177,"author":21919,"museum":119,"description":46278,"tags":46279,"thumbUrl":46280,"material":127,"size":127,"collection":127,"collections":46281,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":75},224435,"shan-shui-wang-yu-2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律藏自然灵韵，是传统山水精神的生动延续。",[7,24,149,59,65,238,37,201,34,122,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9efd96d57d700276b52fa63cd272999.jpg",[71],"8f8679",{"id":46759,"slug":46760,"title":46761,"dynasty":80,"author":178,"museum":56,"description":46762,"tags":46763,"thumbUrl":46764,"material":127,"size":127,"collection":127,"collections":46765,"showCount":488,"zanCount":961,"manualWeight":48,"mainColor":46766},202528,"zhong-shan-dian-ge-tu-zhou-yi-ming-202528","重山殿阁图轴","画面层峦叠嶂，青绿设色晕染山峦，石纹以皴法勾勒，尽显丘壑之奇崛。殿阁依山傍水错落而立，界画技法精工细致，飞檐翘角皆具法度。林木葱茏间，小桥横跨溪涧，隐约可见行人往来，添几分生活意趣。整体意境悠远静谧，山水的清幽与建筑的精巧相融，既得自然之趣，又显人工之妙，是元代山水与界画结合的典型之作。",[24,100,27,28,304,65,7,104,60,34,238,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b87accec4ec3aa2ca2fe0f6be7e21a2.jpg",[],"654b22",{"id":46768,"slug":46769,"title":10052,"dynasty":177,"author":46770,"museum":56,"description":46771,"tags":46772,"thumbUrl":46773,"material":127,"size":127,"collection":71,"collections":46774,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":46775},202245,"xi-hu-tu-juan-mo-er-sen-202245","莫尔森","长卷舒展，西湖景致徐徐铺陈。烟波轻笼的湖面之上，洲岛错落，亭台楼阁隐于葱茏林木间，或依岸筑居，或临水而建，尽显江南雅致。远处山峦层叠，皴法勾勒岩壑肌理，草木点缀生机；近处堤岸蜿蜒，树影婆娑，偶有孤舟泛波，添得几分闲适。设色淡雅清新，工笔细绘与写意晕染相融，既捕捉西湖山水的自然灵韵，又含人文栖居的温润气息，将湖光山色的宁静悠远凝于尺幅之间。",[24,26,7,28,63,104,62,29,65,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6962fbd0e8b455c1813bc25af9a0dbb0.jpg",[71],"cbc1af",{"id":46777,"slug":46778,"title":46779,"dynasty":177,"author":5740,"museum":56,"description":46780,"tags":46781,"thumbUrl":46782,"material":127,"size":127,"collection":71,"collections":46783,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":46784},202211,"qing-xi-bing-zhao-tu-zhou-cha-shi-biao-202211","清溪并棹图轴","画面以水墨晕染出清旷之境，淡墨铺陈的水面占据主体，留白处尽显空灵意蕴。右下角垂柳枝蔓疏朗，墨色轻淡却见笔意流转；水面两艘小船并棹而行，人影简淡，似随波悠游于天地间。远处山峦以淡墨点染，晕化自然，与天光水色相融，传递出文人画特有的雅致与悠远。笔墨简练却意境悠长，尽显画者对山水之趣的深切体悟。",[24,59,7,62,149,25,16136,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb1cf8cf11d8ee812621f72c822ff48.jpg",[71],"c9baac",{"id":46786,"slug":46787,"title":46788,"dynasty":54,"author":945,"museum":56,"description":46789,"tags":46790,"thumbUrl":46791,"material":127,"size":127,"collection":71,"collections":46792,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":46793},202205,"xue-shan-hui-qin-tu-zhou-tang-yin-202205","雪山会琴图轴","寒林雪景铺展于幅，层峦叠嶂间枯木虬枝交错，山石以简练线条勾勒，皴擦晕染间显苍劲肌理。山间茅舍内，雅士围坐抚琴，暖意暗萦；山径之上，旅人策马徐行，似向雅集而来。笔墨兼具细腻与疏放，清冷雪景中藏人间雅趣，既彰山水雄浑之态，又显文人逸致情怀，韵致悠长。",[24,7,65,103,104,335,878,1019,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4ea91b28215e094e76b2d9ca600f7f.jpg",[71],"ab9f96",{"id":46795,"slug":46796,"title":46797,"dynasty":177,"author":10061,"museum":56,"description":46798,"tags":46799,"thumbUrl":46800,"material":127,"size":127,"collection":71,"collections":46801,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":46802},202196,"chun-xi-fang-mu-tu-zhou-yang-jin-202196","春溪放牧图轴","柳丝垂曳如缕，老树盘根错节，溪畔两头水牛或卧地小憩，或缓步寻青，姿态憨然。远山以淡墨晕染，层次空灵；近景细笔勾勒草木，皴擦山石，笔墨兼具工致与意趣。春日溪涧的清宁之气漫溢画面，放牧闲逸场景传递出文人画特有的雅致情韵，细节处见生趣，平淡中显真意。",[24,7,1586,59,28,149,125,61,65,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe40b0324543b78698c57d25dfcb3c2.jpg",[71],"c8b39e",{"id":46804,"slug":46805,"title":46806,"dynasty":177,"author":27237,"museum":56,"description":46807,"tags":46808,"thumbUrl":46809,"material":127,"size":127,"collection":71,"collections":46810,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":46811},202181,"tan-xuan-tu-zhou-fang-shi-shu-202181","谭玄图轴","此画以清润水墨皴染山林之境，林木疏密交错，茅舍隐于其间，屋前人物闲适对谈，似在论道谈玄。近处溪涧潺潺，小桥横跨其上，岸畔老树虬枝盘绕，枝叶用墨或浓或淡，笔墨细腻却不失疏朗之致。整体风格雅致空灵，文人气息浓郁，将林泉的静谧与人物的悠然情态相融，传递出超然尘外的哲思韵味，尽显清代山水的清逸之趣。",[24,25,149,59,65,7,60,61,125,12027,103,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d422157f79eb842001448214ac15844.jpg",[71],"bfb2a4",{"id":46813,"slug":46814,"title":46815,"dynasty":177,"author":10457,"museum":56,"description":46816,"tags":46817,"thumbUrl":46818,"material":127,"size":127,"collection":71,"collections":46819,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":46820},202160,"zhi-hua-shan-shui-tu-zhou-gao-qi-pei-202160","指画山水图轴","以指代笔，匠心独运。画面中山石以浓淡墨块交错铺陈，指尖皴擦的肌理苍劲朴拙，线条简练却藏骨力。留白处烟岚隐现，意境空濛悠远。右侧行书题跋笔意洒脱，与画面率意风格浑然相融，朱红印章点缀其间，更添古雅韵致。整作跳出毛笔细腻窠臼，凭指尖独特触感传递山水雄浑灵秀之态，尽显苍古洒脱之趣，为指画艺术代表性佳作。",[15480,59,7,264,101,67,65,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad447925188041d26f194209d30acd6f.jpg",[71],"9f8c7b",{"id":46822,"slug":46823,"title":46824,"dynasty":177,"author":18412,"museum":56,"description":46825,"tags":46826,"thumbUrl":46828,"material":127,"size":127,"collection":71,"collections":46829,"showCount":488,"zanCount":48,"manualWeight":48,"mainColor":46830},202081,"cheng-hu-bi-shu-tu-zhou-qian-du-202081","澄湖碧树图轴","画面以水墨晕染出清旷之境，近景碧树扶疏，枝干遒劲，墨叶浓淡相衬；湖畔石矶错落，苔点细密。中景澄湖如镜，一叶孤舟静泊，舟中隐者似凭舷凝思，意境幽远。远景山峦层叠，皴笔简练却见雄浑，云雾轻笼间显空灵。整体笔墨清雅秀润，兼具秀逸与萧散之致，将自然之美与隐逸之思融于尺幅，读之如沐清风，心归宁静。",[24,59,7,62,65,34,46827,23],"澄湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55ea73b5578df7a2eb12aaa2c1a387.jpg",[71],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尽得水意空濛。\n\n书画合璧相映成趣，笔墨简淡秀润，摒弃繁复刻画，以极简意趣勾勒林泉幽致，将文人幽栖林下、寄情山水的襟怀融于尺幅之间，尽显静穆淡远的出世雅韵，藏着画者寄情林泉的隐逸心绪。",[24,25,164,59,65,67,7,318,165,35,167,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6798e239385714ccb8825c45b27d4d05.jpg",[],{"id":47447,"slug":47448,"title":159,"dynasty":54,"author":9184,"museum":20,"description":9185,"tags":47449,"thumbUrl":47450,"material":9188,"size":9189,"collection":127,"collections":47451,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236908,"shan-shui-ce-song-xu-236908",[24,25,164,59,28,65,7,199,60,61,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f50c72816fffe8cbf23304031d9beb.jpg",[],{"id":47453,"slug":47454,"title":29849,"dynasty":177,"author":29511,"museum":119,"description":47455,"tags":47456,"thumbUrl":47457,"material":337,"size":937,"collection":127,"collections":47458,"showCount":189,"zanCount":961,"manualWeight":48,"mainColor":75},236874,"shan-shui-shan-ye-wan-shang-lin-236874","字殿卿，号辋冈，江西分宜（分宜城郊辋冈人）拔贡生。清朝画家，曾任清宫画院待诏，专事书画。上遴年少失父，家境清寒。从小聪颖好学，酷爱王维诗画，终日练习作画，画一幅画，就写一首诗。“诗、画、行、草”，均“细筋入骨”。",[24,2484,59,28,65,7,165,583,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba64749bd8f1082d037d2a12b1c5bb8.jpg",[],{"id":47460,"slug":47461,"title":159,"dynasty":177,"author":683,"museum":119,"description":47462,"tags":47463,"thumbUrl":47464,"material":127,"size":127,"collection":127,"collections":47465,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236870,"shan-shui-ce-wang-yuan-qi-236870","此帧取平远章法，近岸陂陀之上杂木扶苏，茅舍隐于树荫间，漾出幽寂村居之致。水面开阔空明，留白尽现湖光清旷。远山以干笔淡墨皴擦，山峦平缓舒展，苔点疏简萧散。\n\n画作师法元人萧散意趣，以渴笔淡墨层层积染，笔墨苍润松秀，在清空格调中融入浑朴醇厚的质感。题字朱印点缀提亮画面，整幅气息静穆淡远，于简淡中见苍劲，枯涩中含温润，观之如临林泉，尘俗尽涤，尽显文人画以意驭笔的雅致格调。",[24,25,164,59,65,7,630,165,1674,167,3796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3c9c6dc81a288f4e46e612797932fe.jpg",[],{"id":47467,"slug":47468,"title":159,"dynasty":177,"author":683,"museum":119,"description":21619,"tags":47469,"thumbUrl":47470,"material":337,"size":937,"collection":127,"collections":47471,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236860,"shan-shui-ce-wang-yuan-qi-236860",[24,25,164,59,28,65,7,165,734,63,322,167,3796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633eb9f8b4163d37394a1a0247798738.jpg",[],{"id":47473,"slug":47474,"title":159,"dynasty":177,"author":672,"museum":119,"description":40423,"tags":47475,"thumbUrl":47476,"material":337,"size":937,"collection":127,"collections":47477,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},236727,"shan-shui-ce-hua-yan-236727",[100,24,25,164,223,59,28,7,34,64,201,1616,241,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae85168545d98380ed02d659de03898.jpg",[],{"id":47479,"slug":47480,"title":24479,"dynasty":54,"author":4959,"museum":119,"description":4960,"tags":47481,"thumbUrl":47482,"material":337,"size":937,"collection":127,"collections":47483,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},236695,"shan-shui-shan-wu-bin-236695",[24,2484,59,65,7,318,165,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d2d1c7b189da915960a72d863ed308d.jpg",[],{"id":47485,"slug":47486,"title":15132,"dynasty":177,"author":15133,"museum":20,"description":15134,"tags":47487,"thumbUrl":47488,"material":127,"size":127,"collection":127,"collections":47489,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236647,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236647",[24,25,164,59,7,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0093e408abd0f99359f13f2fada7d83.jpg",[],{"id":47491,"slug":47492,"title":17802,"dynasty":177,"author":5740,"museum":119,"description":17803,"tags":47493,"thumbUrl":47494,"material":127,"size":127,"collection":127,"collections":47495,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236577,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236577",[24,25,164,59,67,101,7,125,63,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee557396aff50c5074a6a47c1a85ad5.jpg",[],{"id":47497,"slug":47498,"title":17802,"dynasty":177,"author":5740,"museum":119,"description":17803,"tags":47499,"thumbUrl":47500,"material":127,"size":127,"collection":127,"collections":47501,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236575,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236575",[24,25,164,59,67,101,65,7,165,62,103,63,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa500eae7a23d41f6746de1ac5b6f218e.jpg",[],{"id":47503,"slug":47504,"title":159,"dynasty":177,"author":33948,"museum":119,"description":33949,"tags":47505,"thumbUrl":47506,"material":87,"size":127,"collection":127,"collections":47507,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236506,"shan-shui-ce-cheng-ming-236506",[24,59,65,7,62,64,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9893caaefcd308bd326536d50725541.jpg",[],{"id":47509,"slug":47510,"title":16899,"dynasty":54,"author":16900,"museum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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,25,149,59,28,7,34,64,60,61,103,101,65,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[71,212],{"id":47563,"slug":47564,"title":29849,"dynasty":177,"author":47565,"museum":119,"description":47566,"tags":47567,"thumbUrl":47568,"material":337,"size":937,"collection":127,"collections":47569,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236376,"shan-shui-shan-ye-wang-ze-236376","王泽","王泽（？－？），浙江临安人，明朝政治人物。进士出身。\n王泽曾于万历年间接替赖嘉谟任邵武府知府一职，万历年间由岳钟英接任。",[24,25,2484,59,7,65,318,165,319,167,1897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef36f243b6f7752b786cafb501caa1ec.jpg",[],{"id":47571,"slug":47572,"title":47573,"dynasty":177,"author":47574,"museum":119,"description":47575,"tags":47576,"thumbUrl":47577,"material":337,"size":937,"collection":127,"collections":47578,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[24,25,2484,59,7,583,1738,16652,2446,278,34,64,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":47580,"slug":47581,"title":4175,"dynasty":177,"author":47582,"museum":119,"description":47583,"tags":47584,"thumbUrl":47585,"material":127,"size":127,"collection":71,"collections":47586,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236356,"fang-gu-shan-shui-ce-hu-jie-236356","胡节","胡节，字竹君，号井农，娄东（江苏太仓）人。山水师王翚，笔墨超逸，骨格秀整，虽严守师规，一种超尘拔俗之趣，耕烟（王翚）不能不放其出一头地。兼长杂卉。",[24,25,164,59,65,122,7,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e6c24fba7d0ae7b5b43ca45dbdb68.jpg",[71,45],{"id":47588,"slug":47589,"title":47590,"dynasty":54,"author":27990,"museum":20,"description":47591,"tags":47592,"thumbUrl":47593,"material":127,"size":127,"collection":71,"collections":47594,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},236183,"shan-shui-ren-wu-shan-ye-zhou-han-236183","山水人物扇页","周翰，是清代画家，即周沈禄，字子章，号南山，工山水、人物。生卒年月不详，约活动于明弘治至嘉靖年间。\n著作：南屏烟雨图，珍藏于北京故宫绘画馆，嘉靖三十四年（一五五五）所画，绢本，此图绘群山如蘑菇般突起，山中乔松老树葱茏茂密，山下白雪滃起，似有[山雨欲来风满楼]之势。数座楼观殿阁和梵宇，或隐于绿阴云雾之中，或屹立于山巅之上。数条小路或盘山绕涧通入峰顶，或隐没于深山幽谷之中。图中山峦以浓淡色皴染出远近层次和凹凸，富有立体的质感。苍松、杂树用笔扎实，而飘浮不定的烟云用留白烘染法。故此图是考查周翰生平、艺绩的重要史料，难能可贵。",[2484,24,7,103,34,101,123,28,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35662cfd206b419ab2d7864093d15a.jpg",[71],{"id":47596,"slug":47597,"title":17594,"dynasty":177,"author":13008,"museum":20,"description":17595,"tags":47598,"thumbUrl":47599,"material":40,"size":17598,"collection":127,"collections":47600,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236123,"shan-shui-lou-ge-ce-chen-mei-236123",[24,25,164,28,7,104,64,34,61,304,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cd7b8431d0b02358a7a258104d3b57.jpg",[],{"id":47602,"slug":47603,"title":159,"dynasty":177,"author":30686,"museum":119,"description":47604,"tags":47605,"thumbUrl":47606,"material":127,"size":127,"collection":127,"collections":47607,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236081,"shan-shui-ce-shen-zong-jing-236081","此作以虚实相生之法铺陈景致，右侧危崖壁立，苍劲皴笔尽显山石肌理，崖下林木错落，浅红点染枝头晕开萧疏秋意，临水茅舍静立，暗合山居幽趣。左侧留白尽写湖光浩渺，远山澹澹浮沉于烟波间，汀渚佳木错落点缀。\n\n笔致松秀简淡，墨色清润层次分明，以淡赭轻敷秋意，将江畔山居的安寂静穆铺展眼前，尽显文人山水空远幽寂的意趣，藏着寄情林泉、超然物外的隐逸襟怀。",[24,25,100,164,28,59,65,7,64,34,35,167,3796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a1ec9339eb075e97e0895732289911.jpg",[],{"id":47609,"slug":47610,"title":159,"dynasty":177,"author":30686,"museum":119,"description":47611,"tags":47612,"thumbUrl":47613,"material":127,"size":127,"collection":127,"collections":47614,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},236079,"shan-shui-ce-shen-zong-jing-236079","此作用笔苍秀温润，近景虬松挺峙，松针层叠如翠盖，坡岸缀苔点石，野意横生。山溪潺湲，板桥轻架，勾连起幽谧的山居意趣。中密林掩映茅庐数间，隐于深翠，暗合幽栖避世之雅。远景危峰峭拔，以干笔皴擦、淡墨晕染山石，将山峦浑朴苍厚的质感晕染开来。\n\n整体设色清和，淡赭铺底衬出山林温润气色。构图疏密相宜，近景幽致与远景浑融相映，铺展出林泉间静穆清寂的氛围，尽显寄情丘壑的文人雅趣，将林下幽居的闲淡意致娓娓道来。",[24,25,100,164,59,28,65,7,318,165,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ae9af8aa5ff3b0f6caa53597504d00.jpg",[],{"id":47616,"slug":47617,"title":8900,"dynasty":177,"author":178,"museum":119,"description":47618,"tags":47619,"thumbUrl":47620,"material":127,"size":127,"collection":127,"collections":47621,"showCount":189,"zanCount":961,"manualWeight":48,"mainColor":75},236065,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236065","此作以淡墨晕染出清寂空濛的山居意趣。远景山峦以披麻皴写就，墨色由浓及淡铺展出层叠高远之势，天际留白隐现远汀归帆，将山野寥廓铺陈开来。中近景茂林环伺村居，石径随溪涧蜿蜒，林木枯荣交错，苍润兼具，藏着幽居山野的安然闲逸。\n\n右上角题跋朱印与画面相映，诗画相融。笔法秀逸温婉，墨色层次淡雅清和，未以泼墨造势，全以轻墨晕染烘托出江南冬末的萧寒清润，将文人山水疏淡静雅的意趣藏在留白与笔墨间，悠悠古意漫溢，尽显沉静淡远的山居诗意。",[24,25,164,59,65,7,61,16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画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,164,59,65,7,64,34,101,63,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0762a3eec0a65f59d303bfcfc56d44.jpg","纵48.1cm，横32.4cm",[],{"id":47929,"slug":47930,"title":394,"dynasty":177,"author":672,"museum":4678,"description":47931,"tags":47932,"thumbUrl":47933,"material":225,"size":47934,"collection":127,"collections":47935,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},234299,"shan-shui-tu-ce-hua-yan-234299","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[24,25,164,59,65,7,264,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d4d6b1b1d3c0b3e8b1f9bfb2fbe25.jpg","31.2x44.7cm",[],{"id":47937,"slug":47938,"title":47939,"dynasty":54,"author":1652,"museum":20,"description":47940,"tags":47941,"thumbUrl":47942,"material":40,"size":47943,"collection":127,"collections":47944,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":379},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,24,25,26,59,28,67,66,7,34,60,61,62,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":47946,"slug":47947,"title":47948,"dynasty":177,"author":32730,"museum":119,"description":32731,"tags":47949,"thumbUrl":47950,"material":127,"size":127,"collection":127,"collections":47951,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},234218,"gu-shan-tan-mei-juan-fei-dan-xu-234218","孤山探梅卷",[23,24,25,26,59,28,29,67,4768,66,7,2127,63,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3be1175cb06f441b1110bd428095b.jpg",[],{"id":47953,"slug":47954,"title":11212,"dynasty":54,"author":14148,"museum":20,"description":47955,"tags":47956,"thumbUrl":47957,"material":375,"size":127,"collection":127,"collections":47958,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,24,26,59,7,65,30,37,34,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":47960,"slug":47961,"title":34430,"dynasty":18,"author":178,"museum":20,"description":47962,"tags":47963,"thumbUrl":47964,"material":454,"size":47965,"collection":127,"collections":47966,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},234005,"chun-shan-yu-ting-ye-yi-ming-234005","旧题张训礼《春山渔艇图》，著色青绿山水，洋溢着春天江山的迷人景色。小中见大，咫尺千里。",[24,100,25,164,28,65,7,62,373,125,61,64,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58925613d9d45dd69436ad5f30d253bc.jpg","纵29厘米横29.8厘米",[],{"id":47968,"slug":47969,"title":159,"dynasty":177,"author":1872,"museum":20,"description":11366,"tags":47970,"thumbUrl":47971,"material":632,"size":11370,"collection":127,"collections":47972,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},233979,"shan-shui-ce-gong-xian-233979",[24,25,100,164,59,65,7,34,64,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c506e1dd94b12399f4ff8f6e1f1702.jpg",[],{"id":47974,"slug":47975,"title":159,"dynasty":177,"author":1872,"museum":20,"description":11366,"tags":47976,"thumbUrl":47977,"material":632,"size":11370,"collection":127,"collections":47978,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},233974,"shan-shui-ce-gong-xian-233974",[24,25,59,164,7,65,165,734,1674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64310292f88a83a0135ec9a111518a6.jpg",[],{"id":47980,"slug":47981,"title":159,"dynasty":177,"author":1872,"museum":20,"description":11366,"tags":47982,"thumbUrl":47983,"material":632,"size":11370,"collection":127,"collections":47984,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},233973,"shan-shui-ce-gong-xian-233973",[24,59,65,164,7,264,34,166,63,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7c4e867cb34626de1215535caa7f51.jpg",[],{"id":47986,"slug":47987,"title":159,"dynasty":177,"author":18602,"museum":20,"description":47988,"tags":47989,"thumbUrl":47990,"material":454,"size":47991,"collection":308,"collections":47992,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},233812,"shan-shui-ce-fu-shan-233812","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,25,164,67,66,59,7,520,165,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7207aa4714a6c40bb3a6c5365c536f07.jpg","纵36.5厘米，横37厘米",[308,71],{"id":47994,"slug":47995,"title":47996,"dynasty":54,"author":96,"museum":20,"description":8205,"tags":47997,"thumbUrl":47998,"material":40,"size":12171,"collection":127,"collections":47999,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},233760,"ren-wu-gu-shi-ce-7-chou-ying-233760","人物故事册7",[24,25,164,29,28,103,7,104,583,125,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380d0e84f9cd583dda27a702d507c950.jpg",[],{"id":48001,"slug":48002,"title":48003,"dynasty":54,"author":96,"museum":20,"description":8205,"tags":48004,"thumbUrl":48005,"material":40,"size":12171,"collection":127,"collections":48006,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},233758,"ren-wu-gu-shi-ce-5-chou-ying-233758","人物故事册5",[24,25,164,29,28,7,103,63,34,238,347,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5085027baa8e94e1b14d676b966a38.jpg",[],{"id":48008,"slug":48009,"title":10190,"dynasty":177,"author":10191,"museum":20,"description":10192,"tags":48010,"thumbUrl":48011,"material":375,"size":10195,"collection":127,"collections":48012,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},233453,"ren-wu-shan-shui-ce-luo-pin-233453",[24,25,164,59,28,103,125,653,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdc0cb6cc09557977d6c19bb8f10aac.jpg",[],{"id":48014,"slug":48015,"title":10190,"dynasty":177,"author":10191,"museum":20,"descri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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[48247,48248,48249,28,7,104,60,61,2394,48250],"铜胎","珐琅器","铜制","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6789b67c5b48f626b73c2e9020820d3b.jpg",[],{"id":48254,"slug":48255,"title":48256,"dynasty":54,"author":1652,"museum":119,"description":15923,"tags":48257,"thumbUrl":48258,"material":337,"size":937,"collection":127,"collections":48259,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},228877,"shan-shui-shi-hua-ye-wen-zheng-ming-228877","山水诗画页",[23,2484,24,25,65,28,7,34,64,167,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da512d12092ad5a4bca1271cc317131.jpg",[],{"id":48261,"slug":48262,"title":48263,"dynasty":54,"author":178,"museum":119,"description":48264,"tags":48265,"thumbUrl":48266,"material":127,"size":127,"collection":127,"collections":48267,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},228806,"hu-jia-shi-ba-pai-tu-yi-ming-228806","胡笳十八拍图","长卷以文绘合璧铺陈离愁，清雅古拙的笔致勾勒出乱世行旅的沧桑。一侧行书墨色沉凝，诉尽别乡归汉的哀戚心事；一侧铺展城郭乡野、车马仪仗，人物衣袂舒展间带着羁旅的凄惶，队列的肃穆衬出归程的沉重。每一段场景都晕开沉郁旧韵，将半生流离的家国之悲具象化，把泣血诗意揉进绢本烟尘，织就一曲带着泪痕的乱世离歌。",[23,24,25,26,28,29,103,335,5624,35,451,6756,7,34,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc832ea82b5e9aaa888f3517bdfe2c08d.jpg",[],{"id":48269,"slug":48270,"title":33229,"dynasty":54,"author":178,"museum":119,"description":44402,"tags":48271,"thumbUrl":48272,"material":337,"size":937,"collection":127,"collections":48273,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},228415,"fu-hui-dong-yi-ming-228415",[24,28,29,1042,103,7,4459,64,34,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6f4518709ec82c461efb452cdfaf72.jpg",[],{"id":48275,"slug":48276,"title":48277,"dynasty":54,"author":38921,"museum":119,"description":48278,"tags":48279,"thumbUrl":48281,"material":127,"size":127,"collection":127,"collections":48282,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},228345,"jiao-lin-yi-qu-tu-chen-guan-228345","蕉林易趣图","此作以蕉林铺就幽凉底色，阔叶舒展扶苏，浓荫笼住一隅清境。近处方石上，高士坦卧枕臂静观书卷，旁侧茶盏轻置，将卧读忘忧的闲逸缓缓铺陈。右侧柴扉半掩，篱墙隐现，衬出幽居的静穆私密。远景山峦以淡墨晕染，朦胧悠远，与近景繁密蕉叶形成虚实对照，拉开疏密错落的空间层次。笔墨苍秀温润，线条清劲兼具柔润，点染间尽显园林小景的雅逸，将寄情林泉、耽于闲逸的心境融于尺幅之间，隐逸意趣悠长内敛。",[23,24,149,59,65,7,48280,34,347,61,64],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad90adfea8e7ab7fd9c6c9596f3a350.jpg",[],{"id":48284,"slug":48285,"title":48286,"dynasty":54,"author":25713,"museum":119,"description":48287,"tags":48288,"thumbUrl":48289,"material":127,"size":127,"collection":127,"collections":48290,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[23,24,25,149,59,65,7,103,335,104,62,372,4496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],{"id":48292,"slug":48293,"title":48294,"dynasty":80,"author":8313,"museum":119,"description":48295,"tags":48296,"thumbUrl":48297,"material":337,"size":937,"collection":127,"collections":48298,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},228268,"teng-wang-ge-tu-wei-ba-tang-di-228268","滕王阁图-尾跋","唐棣（1296-1364），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，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年（1329）应诏在南京龙翔寺绘制画壁，至顺四年（1333）第二次北上大都，奉诏在宫廷作画，晚年返乡埋头读书作画，生活较凄苦。",[24,25,66,67,304,59,28,7,104,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f5f43a1f68f280907f5479996eaa37.jpg",[],{"id":48300,"slug":48301,"title":48302,"dynasty":80,"author":7238,"museum":119,"description":48303,"tags":48304,"thumbUrl":48305,"material":127,"size":127,"collection":127,"collections":48306,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[23,24,25,26,123,59,28,103,7,34,101,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":48308,"slug":48309,"title":37107,"dynasty":80,"author":178,"museum":119,"description":48310,"tags":48311,"thumbUrl":48312,"material":127,"size":127,"collection":127,"collections":48313,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":379},228228,"xing-lv-tu-ye-yi-ming-228228","此作用笔简淡苍润，以水墨晕染出江南水岸的清寂之境。左畔危崖耸峙，古松斜出探向江面，崖腰古亭半掩，山道上旅人缓步徐行，衬出林泉丘壑的悠远空阔。汀洲上虬松错落，枝干古拙有姿，与崖岸松色遥相呼应。江面淡墨轻描，远帆与渔舟错落波上，寥寥笔意铺展水天空濛。\n\n整幅简而不空，淡而有味，以极简笔墨勾勒出山水行旅的幽闲意趣，尽显萧散淡远的文人意韵，将林泉高致与江湖野趣融于尺幅间，藏着幽寂闲淡的山水真味。",[23,24,59,7,65,164,103,104,62,106,64,61,101,200,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46616df25f9b51e1b52cfac683349316.jpg",[],{"id":48315,"slug":48316,"title":48317,"dynasty":80,"author":178,"museum":119,"description":48318,"tags":48319,"thumbUrl":48320,"material":127,"size":127,"collection":127,"collections":48321,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,24,59,65,149,25,100,7,347,165,60,61,979,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":48323,"slug":48324,"title":48325,"dynasty":80,"author":178,"museum":119,"description":48326,"tags":48327,"thumbUrl":48328,"material":127,"size":127,"collection":127,"collections":48329,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},228085,"jin-que-xuan-yuan-tai-shang-lao-jun-ba-shi-yi-hua-tu-juan-yi-ming-228085","金阙玄元太上老君八十一化图卷","这是一幅图文合璧的经卷长幅，开篇版画场面宏阔，帝尊环于仪仗之中，人物排布错落有致，殿宇规制、衣袂褶皱皆刻画入微，尽显刊刻版画的精湛水准，将崇道仪典的庄重威严尽数铺展。\n\n后半段以端稳方正的楷书镌录御序经文，笔力劲挺舒展，排布齐整肃穆，将崇道之心融于刀笔之间。图文呼应，让宗教肃穆与世俗礼制浑然相融，是释道文化与皇权威仪结合的典型载体，尽显刻绘工艺的深厚造诣与时代奉道风尚。",[23,26,123,1042,103,104,7,66,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e5c89f7636ca90a970e9abed49bb16.jpg",[],{"id":48331,"slug":48332,"title":48333,"dynasty":18,"author":178,"museum":119,"description":48334,"tags":48335,"thumbUrl":48336,"material":127,"size":127,"collection":127,"collections":48337,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[100,24,25,2484,28,29,1478,978,166,34,7,62,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":48339,"slug":48340,"title":48341,"dynasty":18,"author":178,"museum":119,"description":48342,"tags":48343,"thumbUrl":48347,"material":127,"size":127,"collection":127,"collections":48348,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},227886,"shui-cun-yan-ai-tu-yi-ming-227886","水村烟霭图","这幅小品以淡墨晕染出烟霭笼罩的水村晨色，浅赭铺陈的远山隐在氤氲雾气里，和浩渺水面晕融成一片空濛。近岸松林错落，茅舍悄然栖于林下，仿佛还浸在拂晓的湿意中。\n\n画家以极简的笔触轻皴淡染，留白处皆是流动的水雾，将江南水乡的清寂温柔晕开。没有繁复勾勒，只借墨色浓淡铺就幽远意境，似将水村清晨的恬然凝在绢素之上，仿佛能闻见湿润的水汽，静听水波轻漾，尽显山水简淡清远的意趣，将人拉入这安谧空阔的悠然之中。",[23,100,24,2484,59,28,7,2595,12666,36289,48344,4729,48345,48346,65],"水雾","安谧","清远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b44eb01cfd8f0d4d2d18c15bf08eed.jpg",[],{"id":48350,"slug":48351,"title":7344,"dynasty":18,"author":178,"museum":119,"description":48352,"tags":48353,"thumbUrl":48354,"material":127,"size":127,"collection":127,"collections":48355,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},227853,"shan-shui-ren-wu-tu-yi-ming-227853","此作为典型的宋人山水小品，以圆框取景，将江南烟岚山居收于尺幅间。远景山峦以淡墨轻晕，隐没在濛濛雾气之中，虚实相生间晕染出空濛悠远的暮色秋意。近景林木苍郁，墨色干湿互用，枝叶攒簇尽显山野生机，几椽村舍错落藏于树荫之下，石阶板桥隐约勾连，似有山民往来其中，暗合着幽居林泉的隐逸意趣。\n\n整幅画作以简淡笔墨写尽江南乡野的静谧闲雅，无繁复刻画，却将烟雨空蒙的氛围感烘托至极，带着宋画独有的平淡天真，引人踏入这方避世山乡，静享林泉间松弛的意韵。",[23,24,25,2484,28,7,103,34,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05371d2fa860c6b3af216ce13990958.jpg",[],{"id":48357,"slug":48358,"title":32587,"dynasty":18,"author":32588,"museum":119,"description":48359,"tags":48360,"thumbUrl":48361,"material":127,"size":127,"collection":127,"collections":48362,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},227808,"cao-tang-ke-hua-tu-he-quan-227808","此作以淡墨晕染山石林木，晕开江南山野湿润清寂的氛围。临水草堂轩窗通透，堂内陈设隐约可见，屋外二人缓步闲话，将幽居雅会的闲淡意趣铺展开来。笔墨苍秀简逸，屋舍界画工致灵动，林木点染生机自现，以尺幅之境铺陈林泉高致的隐逸情怀，尽显宋人小品山水以小见大的妙处，将士人幽栖林下、寄情丘壑的心境藏于皴染点画之中，淡而有味，雅意悠长。",[23,24,25,2484,28,7,104,60,61,103,63,34,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9398f267cba5d2aa93e5525aecdb351.jpg",[],{"id":48364,"slug":48365,"title":48366,"dynasty":8332,"author":48367,"museum":119,"description":48368,"tags":48369,"thumbUrl":48374,"material":337,"size":937,"collection":48375,"collections":48376,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},226042,"the-banks-of-the-seine-at-port-villez-1885-mo-nai-226042","The Banks of the Seine at Port-Villez, 1885","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[24007,48370,7,31,1886,34,21215,35654,48371,48372,48373],"印象派","光影表现","色彩丰富","笔触灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96ec56cd645cbeadbfbd70108d65c95.jpg","油画精选",[48375],{"id":48378,"slug":48379,"title":48380,"dynasty":177,"author":2075,"museum":119,"description":15811,"tags":48381,"thumbUrl":48382,"material":15814,"size":15815,"collection":127,"collections":48383,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},224409,"shu-hua-shi-liu-kai-10-wang-shi-min-224409","书画十六开-10",[23,24,25,164,28,65,7,60,61,34,64,35,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b1fffac4109daa74541bf9f3ca25d9.jpg",[],{"id":48385,"slug":48386,"title":7,"dynasty":177,"author":20488,"museum":119,"description":48387,"tags":48388,"thumbUrl":48389,"material":127,"size":127,"collection":127,"collections":48390,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},224406,"shan-shui-wang-xue-hao-224406","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[23,24,25,59,65,67,149,7,64,34,1738,106,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":48392,"slug":48393,"title":48394,"dynasty":177,"author":5740,"museum":119,"description":48395,"tags":48396,"thumbUrl":48397,"material":127,"size":127,"collection":127,"collections":48398,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},224256,"xian-lou-gao-zhi-cha-shi-biao-224256","仙楼高峙","此作用淡渴墨勾勒崖壁轮廓，皴擦简率松秀，寥寥数笔便绘出山石清峭之态。坡岸与丛木以写意点染，虚实相生间，晕染出幽寂空濛的山境。左侧行书笔致萧散飘逸，笔墨舒展随性，与画中简淡意境相融，文气悠悠。\n\n整体脱去尘俗，以极简的笔墨铺陈出清旷出尘的林下仙境，尽显新安画派笔简意赅、气韵荒寒的特质，观之如临幽林高阁，心神也随之沉静，沉醉于这份水墨疏淡里的幽远禅意。",[23,24,25,164,59,65,67,101,7,104,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7674da97971c55f319361c3f120ebd48.jpg",[],{"id":48400,"slug":48401,"title":48402,"dynasty":177,"author":672,"museum":119,"description":48403,"tags":48404,"thumbUrl":48405,"material":337,"size":937,"collection":127,"collections":48406,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":75},224174,"gan-li-tu-quan-juan-hua-yan-224174","敢荔图全卷","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,24,25,26,28,103,7,165,66,67,473,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e347c76a16901f1b2b37187d2892d85.jpg",[],{"id":48408,"slug":48409,"title":48410,"dynasty":177,"author":12197,"museum":119,"description":17259,"tags":48411,"thumbUrl":48414,"material":337,"size":937,"collection":127,"collections":48415,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":940},224128,"pantaka-tang-ka-224128","Pantaka",[1042,28,29,103,3988,7,165,734,48412,6241,24240,48413,26707],"台案","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0daf70fd92bb2c8a4f1651237bd70e.jpg",[],{"id":48417,"slug":48418,"title":48419,"dynasty":80,"author":178,"museum":135,"description":48420,"tags":48421,"thumbUrl":48422,"material":48423,"size":48424,"collection":127,"collections":48425,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},223588,"hua-yuan-ming-gui-qu-lai-ci-yi-ming-223588","画渊明归去来辞","画中陶渊明策杖归来，有两位僕人随行，一人携带古琴，一人背负著酒罈，前方则是种植有五株柳树的家园，象徵他「五柳先生」的自号。此幅旧传为赵孟頫，不过以衣纹用笔，可能是出自元代其他追随李公麟风格的画家笔下。",[23,24,123,26,103,125,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2b984b69e1a4206610cd399581893c.jpg","绢本，浅没色","27x72.5cm",[],{"id":48427,"slug":48428,"title":48429,"dynasty":80,"author":178,"museum":20,"description":48430,"tags":48431,"thumbUrl":48432,"material":225,"size":48433,"collection":127,"collections":48434,"showCount":189,"zanCount":48,"manualWeight":48,"mainColor":49},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 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高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[5254,49253,40487,28147,22359,304,7,104,2127,2394],"紫砂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff334f3c4318308da149811d77034a7.jpg",[42060],{"id":49257,"slug":49258,"title":49259,"dynasty":177,"author":15549,"museum":119,"description":43416,"tags":49260,"thumbUrl":49261,"material":337,"size":937,"collection":127,"collections":49262,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},241676,"fan-zhou-xi-hu-ji-jing-ba-shou-ce-qian-long-241676","泛舟西湖即景八首册",[177,164,67,66,33160,62,7,24748,6299,8338,15552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90636a70ad449b4b9292a60752b76474.jpg",[],{"id":49264,"slug":49265,"title":49266,"dynasty":177,"author":49267,"museum":119,"description":49268,"tags":49269,"thumbUrl":49270,"material":349,"size":127,"collection":927,"collections":49271,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},241321,"qi-lv-zhou-liang-guo-zhi-241321","七律轴","梁国治","梁国治（1723—1786），清代书法家，字阶平，号瑶峰，一号丰山，又号梅塘，浙江会稽（今绍兴）人。\n乾隆十三年（1748）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书。以经术勤吏治，清俭自守，好学爱才，治事敬慎缜密。有《敬思堂文集》。曾充任《四库全书》副总裁。卒谥文定。\n梁国治，清朝大臣。清代上虞中塘梁巷（又说为浙江会稽，今绍兴）人。天资聪颖，博通经史，工制艺。乾隆十三年中状元，先授编修，后充日讲起居官、国子监司业。二十一年接任广东道员二十五年，移署粮驿道。因政绩卓著，擢督察院左副都御史、吏部左侍郎。广东总督杨廷璋追论其在署粮驿道时失察家人舞弊，被夺职。后起授山西冀宁道，迁江苏学政、湖南布政使、湖北巡抚。乾隆三十四年（1769），署湖广总督，兼荆州将军。赈济灾民。三十六年，移湖南巡抚。从征金川，治军械，造弹药，筹军费，业绩卓著。三十八年召还，命在军机处行走。次年授户部侍郎，迁户部尚书，四十八年，协办大学士，五十年，累迁至东阁大学士兼军机大臣、户部尚书，并先后任广东、江西、顺天乡试正考官，又充任过《四库全书》副总裁。平生治事缜密，不徇私情，廉政清俭，俸入随手即尽。乾隆下谕赞称其“品学端醇，小心谨慎，扬历中外”。工书法，著有《敬思堂文集》。卒于乾隆五十一年，赠太子太保，谥文定。",[149,67,66,101,59,62,28751,106,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982a86984c6fb1ab11ebf061f12708d3.jpg",[927],{"id":49273,"slug":49274,"title":49275,"dynasty":80,"author":49276,"museum":119,"description":49277,"tags":49278,"thumbUrl":49279,"material":349,"size":127,"collection":927,"collections":49280,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},241107,"xing-ti-qian-feng-shi-juan-liu-bing-241107","行题嵌峰诗卷","刘昺","刘昺（1199—1277年），祖籍宁州安定（今甘肃省宁县南义）。生当金元交替时代，后成为元朝疆臣。元睿宗（成吉思汗四子拖雷）攻灭金国时，与金朝河南从事龚忠归降，因受赏识而招赘东宫蒲察二公主，命佩索鞑，成为皇帝的信臣",[100,24,25,26,67,66,101,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb463bb13665fc5877deda78f05816b95.jpg",[927],{"id":49282,"slug":49283,"title":23312,"dynasty":177,"author":23313,"museum":119,"description":49284,"tags":49285,"thumbUrl":49286,"material":127,"size":127,"collection":127,"collections":49287,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},239540,"fang-gu-ji-you-tu-ce-huang-yi-239540","此作用干笔淡墨绘就山野幽境，危崖怪石错落层叠，古木虬曲扎根崖隙，枝叶苍郁带着古拙生机。山径之上，一人策杖缓行，似在寻访林泉旧迹，萧淡荒寒的野趣扑面而来。\n左侧长款行书题字笔力朴厚苍劲，书画相映成趣，将访古寻幽的文人情思融入山水笔墨之间，带着金石考据家特有的静穆古雅意韵，淡墨皴擦尽显山野清寂，把纪游的幽怀和林泉雅兴合二为一，尽显清寂淡远的文人山水意境。",[24,25,164,59,65,7,64,34,63,101,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5c7cb01475be10b72a530339abaa12.jpg",[],{"id":49289,"slug":49290,"title":23312,"dynasty":177,"author":23313,"museum":119,"description":31603,"tags":49291,"thumbUrl":49292,"material":337,"size":937,"collection":127,"collections":49293,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},239537,"fang-gu-ji-you-tu-ce-huang-yi-239537",[24,59,123,164,7,85,167,37,101,8249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec6732ab7dbed29550b6e9e7d243771.jpg",[],{"id":49295,"slug":49296,"title":49297,"dynasty":177,"author":49298,"museum":119,"description":49299,"tags":49300,"thumbUrl":49301,"material":337,"size":937,"collection":71,"collections":49302,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},239499,"lv-bi-shan-shui-ce-lv-bi-239499","吕璧山水册","吕璧","此作为书画对开，右侧绘平远水色：浅滩岸柳扶风，枝叶含烟，湖面扁舟轻泛，渔人悠然。远山以淡墨晕染，虚实掩映，尽显江南水泽清旷空濛之致，笔墨秀润简约，意境幽寂淡远。左侧行书题诗，笔意疏朗俊逸，墨色浓淡相宜，诗境与画境呼应相合，将文人画诗画交融的意趣挥洒尽致，尽显清雅简淡的文人心境与审美意涵。",[24,25,164,59,7,65,318,319,125,62,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e148bed07c3295c76c3c1c3fd874cf.jpg",[71,45],{"id":49304,"slug":49305,"title":49306,"dynasty":54,"author":23973,"museum":119,"description":49307,"tags":49308,"thumbUrl":49309,"material":337,"size":937,"collection":127,"collections":49310,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},239476,"qu-jiang-xian-fang-shan-zhang-fu-239476","曲江仙舫扇","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[2484,24,25,59,65,7,104,63,62,34,61,64,4496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ab7bb7e7633b3bb346844f892a0546.jpg",[],{"id":49312,"slug":49313,"title":49314,"dynasty":177,"author":683,"museum":119,"description":49315,"tags":49316,"thumbUrl":49317,"material":127,"size":127,"collection":127,"collections":49318,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},239463,"qing-chu-liu-da-jia-ji-ce-xia-shan-tu-ce-ye-wang-yuan-qi-239463","清初六大家集册-夏山图册页","此作用笔苍浑老辣，以干笔积墨反复皴擦，山峦层叠间云气横生，将高远、深远之境相融，衬出山林空阔幽深。坡岸林木错落，或虬劲或葱郁，溪桥村居隐于林泉间，暗合题句里长夏山居的悠然意趣。\n\n画面笔墨沉厚苍秀，于繁密皴法中透出灵透，既得宋元山水的苍茫元气，又自具朴拙静穆的文人雅韵，将夏日山林的清寂悠长晕染开来，尽显静谧澹远的山居之美。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，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[24,25,164,59,65,67,101,7,264,63,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":50167,"slug":50168,"title":19095,"dynasty":54,"author":5427,"museum":119,"description":32897,"tags":50169,"thumbUrl":50170,"material":127,"size":127,"collection":127,"collections":50171,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},234222,"shan-shui-juan-sun-zhi-234222",[23,24,25,26,7,59,28,65,238,34,31,2845,35,722,5146,583,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":50173,"slug":50174,"title":19095,"dynasty":177,"author":32752,"museum":119,"description":50175,"tags":50176,"thumbUrl":50177,"material":127,"size":127,"collection":127,"collections":50178,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,24,25,26,59,65,7,34,64,35,31,167,533,452,1286,1779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":50180,"slug":50181,"title":50182,"dynasty":177,"author":3760,"museum":20,"description":50183,"tags":50184,"thumbUrl":50185,"material":375,"size":50186,"collection":127,"collections":50187,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,25,26,59,28,7,65,67,66,62,106,61,34,2856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":50189,"slug":50190,"title":50191,"dynasty":54,"author":44028,"museum":20,"description":50192,"tags":50193,"thumbUrl":50194,"material":349,"size":127,"collection":127,"collections":50195,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,24,25,26,67,28,29,59,7,104,60,61,63,630,165,35,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":50197,"slug":50198,"title":50199,"dynasty":54,"author":368,"museum":20,"description":50200,"tags":50201,"thumbUrl":50202,"material":25739,"size":25740,"collection":127,"collections":50203,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},234051,"jia-shu-qing-yun-tu-shan-lan-ying-234051","嘉树晴云图扇","蓝瑛的扇面《嘉树晴云图》，画的是山石丘壑间，古松盘桓，白云缭绕，二隐士临溪席地而憩，坐而论道。整个扇面幽静清远，洒脱自然。我国古代文人讲究“达则兼济天下，穷则独善其身”，归隐山林则成为了官场失意的士大夫避世的理想与归宿。\n《嘉树晴云图》画中的隐士坐而论道的“避世”情境，适应了我国古代文人涉、忘、出而皆备的心理需求，因此深得人们喜爱。",[24,25,2484,59,28,7,103,34,979,64,65,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddd331fc0e7be4e9b5165c7795b3bd.jpg",[],{"id":50205,"slug":50206,"title":50207,"dynasty":18,"author":178,"museum":20,"description":50208,"tags":50209,"thumbUrl":50211,"material":454,"size":50212,"collection":127,"collections":50213,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},234017,"liu-xi-diao-ting-tu-ye-yi-ming-234017","柳溪钓艇图页","此图原载《历代名笔集胜册》第一册。图画溪江岸柳，土坡茅舍，溪中一渔翁戴草笠穿蓑衣垂钓。远处山影一抹，景物疏朗，意趣无穷。作者用花青、石绿画丛树和柳页，白粉点柳花，赭脱减笔画茅舍。设色清丽丰富，层次分明。构图采用局部取景法。用笔简练秀逸，几脱画院习气。此图旧题签马远画，但究其画风与马远无相似之处，故改为无名氏作。画中钤有“真赏”、“宜尔子孙”、“信公珍赏”、“会侯珍藏”、“都尉耿信公书画之章”等藏印多方。曾经清人耿昭忠收藏，《虚斋名画录》著录。",[24,25,2145,59,28,7,571,201,62,167,720,50210,29,373,1886,18653,65],"水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b0db537c474e6e93fd4294004a01a7.jpg","纵23、横24.5厘米",[],{"id":50215,"slug":50216,"title":50217,"dynasty":18,"author":178,"museum":20,"description":50218,"tags":50219,"thumbUrl":50220,"material":388,"size":50221,"collection":127,"collections":50222,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 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月次风俗图屏风","以分段全景铺陈世相，上段朱红鸟居攒动着祭典人潮，神舆穿行、阁上观礼，将神社祭典的喧嚷烟火揉进淡彩绢面。中段寒松下踏雪徐行，郊野雅趣悄然中和了祭典的喧闹。下段驰马挥械，甲胄扬尘间，武事竞技的张力扑面而来。\n\n朴拙的笔意晕开古旧质感，没有繁复勾描，却将祭仪、游冶、武事的时代风俗鲜活定格，让古昔年间的日常盛景跨越岁月，带着温热的市井气息浮现眼前。",[23,28,29,8336,103,104,413,7,50399,34],"风俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f37c42d1f22af23e54171be250b144.jpg",[],{"id":50403,"slug":50404,"title":50405,"dynasty":8332,"author":42657,"museum":119,"description":42658,"tags":50406,"thumbUrl":50407,"material":337,"size":937,"collection":127,"collections":50408,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},231585,"shi-ting-shi-dai-gao-shi-tan-mei-shan-shui-tu-shou-ye-zheng-xin-231585","室町时代 高士探梅山水图",[23,24,25,28,29,65,7,103,2683,2127,583,64,37,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":50410,"slug":50411,"title":3702,"dynasty":18,"author":178,"museum":135,"description":50412,"tags":50413,"thumbUrl":50414,"material":2147,"size":29180,"collection":127,"collections":50415,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},231346,"qian-yan-wan-he-tu-yi-ming-231346","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。",[1555,24,25,100,149,59,65,7,239,34,201,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a367f486734e2739a21f3d46375c6e.jpg",[],{"id":50417,"slug":50418,"title":50419,"dynasty":177,"author":5031,"museum":119,"description":50420,"tags":50421,"thumbUrl":50423,"material":337,"size":937,"collection":127,"collections":50424,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},231058,"sai-shang-ye-qu-tu-jiao-bing-zhen-231058","塞上野趣图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。",[23,24,25,2484,28,29,7,2234,106,50422,14446],"边塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708c9c2f236532c6f6469d779a3c6473.jpg",[],{"id":50426,"slug":50427,"title":50428,"dynasty":177,"author":50429,"museum":119,"description":50430,"tags":50431,"thumbUrl":50432,"material":127,"size":127,"collection":127,"collections":50433,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},230871,"zhi-hua-chun-shan-dai-du-tu-zhu-lun-han-230871","指画春山待读图","朱伦瀚","《指头生活三百年:高其佩与指头画派(套装共2册)》内容简介：指头画，即以手代笔，蘸墨作画。\n中国传统绘画中的一种特殊的画法。\n即以画家的手指代替传统工具中的毛笔蘸墨作画，别有一种特殊趣味和技巧。\n历史上清代高其佩、近代潘天寿、洪世清所作指画作品其影响较大。\n辽宁与指头画有着深厚的渊源，指头画开派人物清代的高其佩祖籍是辽宁的铁岭。\n其弟子传派众多，至清末已达百余人，遂有“指头画派”之称，在清代绘画史中占有一席之地。\n国内著名的指墨家杨一墨就是辽宁开原人，现为铁岭中国手指画研究院院长。\n目前辽宁地区活跃着一批热爱和研究指画艺术、颇具影响力的画家。\n《指头生活三百年:高其佩与指头画派(套装共2册)》由辽宁美术出版社出版。\n《指头生活三百年·上卷》目录： 涂洛陆日为合绘高其佩洗聪明图 指头生活——高其佩作品 杂画册 策杖观涛图 江岸笛声图 蜘蛛图 苍鹰待擒图 梅竹图 鱼虾图 风帆出峡图 三牛图 猿戏图 狮子听泉图 策杖行旅图 松鹤图 人物杂画册 荷花翠鸟图 北上京师纪游册 游骑图 蜀葵图 天宁寺图 捕鱼图 拈针图 臼沟河图 龙图 虎图 樱桃小鸟图 冰图 石首鱼图 青菜图 竹石花卉图册（笔画） 三石图 牡丹图 山茶图 玉兰图 兰花圈 牡丹图 桂花圈 芙蓉图 萱草海棠图 松树图 梅树图 竹枝图 花鸟图 古木幽亭图 雪景山水图 柳塘鸳鸯图 钟馗降魔图 鱼虾水戏图 溪桥古木图 杜陵诗意图 怒容钟馗图 杂画图册 雁归图 沧海孤舟图 松驴图 松下授经图 鱼戏图 枝头小鸟图 风竹图 牡丹图 兰花图 凤凰梧桐图 狮子观瀑图 秋菊图 花卉图册 黄菊图 葡萄图 兰花图 出水芙蓉图 萱花图 虞美人图 绣球花图 桃花图 牡丹图 梅花图 杂画图册 骏马图 蜷猫图 鲜果图 枝图 佛手图 荚蓉图 寄生草图 竹笋图 杂画图册 桂兔图 月季图 双燕图 秋葵图 柳鸶图 萱草图 桃花游鱼图 柳荫扁舟图 杂画册 洛神图 孤帆远景图 钟旭图 云龙图 猛虎图 牧童图 松鼠图 寒泉图 雁陈图 静观图 人物杂画图册 老翁携仆图 风竹图 枝头孤鸟图 疏木流泉图 顽石花卉图 捕蝶仕女图 菊兰图 雉鸡图 依松听泉图 山中高士图 观瀑图 俯视一切图 游骑图 观潮图 春游图 深谷水泻图 采芝图 云中钟馗图 钟馗图 文昌像 麒麟送子图 牛背诵经图 鸿雁图 秋柳水鸟图 雄鸡水仙图 石崖雄鸡图 梧桐喜鹊图 草兰花图 牡丹图 松鹰图 松鹰图 松鹰图 雄鹰窥雀图 鹰木图 云龙图 山君饮涧图 踞虎图 饱虎图 虎啸图 喜报封侯图 松鹿图 题画诗十二首 高其佩款印 高其佩年表 指画生息——指画传派作品 朱伦瀚山虎咆哮图 朱伦瀚云龙图 朱伦瀚龙虎风云图 朱伦瀚春山待读图 朱伦瀚逆流撑篙图 朱伦瀚松下观泉图 朱伦瀚仙山春晓图 朱伦瀚松溪论道图 朱伦瀚山水杂画册 朱伦瀚杂画图册 高凤翰花卉图册 李世倬钟馗策蹇图 李世倬雄鸡菊石图 薛渔柏鹿双寿图 高秉杂画册 朱孝纯山水图册 苏廷煜梅兰竹菊册 苏廷煜杂画册 苏廷煜墨竹图 罗聘团扇徘徊图 罗聘西瓜图 严钰仿高其佩溪山竹居图 张敌钟馗图 甘士调芙蓉水禽图 甘士调松鹰图 甘士调春燕图 甘士调藕蟹图 甘士调荷花游禽图 傅雯钟馗图 傅雯观音变相图 傅雯山亭赏雪图 傅雯罗汉图 傅雯目送归鸿图 傅霞杂画册 傅雯观音变相图 傅雯山水图 杜鳌山水册 萧景云兰花图 崇善罗汉降龙伏虎图 黄骍花卉禽鸟册 瑛宝杂画册 瑛宝杂画册 瑛宝观瀑图 萨克达氏花鸟图 萨克达氏山平水远图 刘锡玲墨莲图 刘锡玲花鸟册 刘锡玲桃花源图 蒋璋白鹅图 李春林柳燕图 指墨生辉——近现代指画作品 潘天寿新安江景图 潘天寿墨蛙图 袁贤麟牧牛图 宁斧成大好山河图 梁崎老子骑牛图 宋世传山水图 吴在炎山水瀑布图 吴在炎君子之交图 吴在炎韵满荷塘图 万一鹏古木云萝图 筱原光美达摩图 藤沢正子山花浪漫 张立辰梅花图 王曼如松树图 吴俊达松鼠图 林奇英前程似锦图 张林极乐世界图 吴景原猛虎图 王洪泰梅颂图 四明一风牡丹猫图 花艳寻觅图 路建群墨梅图 虞小风几度夕阳红图 龚继先竹藕图 宋雨桂枯树图 许勇亲情图 亓官良关东情 杨宝峰金秋图 赵宝平人远江天图 张晖春江水暖图 荆成义红颜图 冯朝辉孤影浮云图 杨一墨果实累累 杨一墨指点绿谷 杨一墨弃杖画中行 宋希祥指蘸清溪写山河 顾鹤冲高寒图 韩富华达摩面壁图 尹向东秋风秋雨也宜人 李永平花鸟图 曹伟秋院晓露图 王嘉宁山居图 赵伟山里人家图 王晓峰关山行 吴润龄千里雪茫茫 张桂生清溪幽谷出 王作千关山指画写生 王岩吴昌硕像 刘永春踏花归来马蹄香 朱兆东野趣图 张晓风万岁和平 高辉荒塬 杜晓波山里人家 张凤权春到家山 杨春福安图 千晓东西藏人物之三 邓云凉送给建设者的果实 赵明明十里秋色图 辛杰吉祥三宝 左群好年头 干晓畅秋实 黄辞培花鸟 刘懿娜丰硕 宋立欣金州写生 任刚荷塘秋色 都立春清晨入古寺 董德敏生命的期待 王均亮月下香雪 张丽敏山居 刘丹人物 高敏群鸡图 陈铁生彝乡风情 子墨风烟秋色 干一丁山水 张儒一雨清心 后记 …… 《指头生活三百年·下卷》",[23,24,25,149,28,15480,103,7,125,64,65,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707cad4fc65c61dfbf21de15bf26ca76.jpg",[],{"id":50435,"slug":50436,"title":50437,"dynasty":8332,"author":178,"museum":119,"description":50438,"tags":50439,"thumbUrl":50440,"material":337,"size":937,"collection":127,"collections":50441,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},230556,"ba-jiao-ye-yu-tu-ri-ben-shi-ting-shi-dai-yi-ming-230556","芭蕉夜雨图-日本室町时代","轻烟晕染远山淡影，茅庐偎依芭蕉古松，板桥隐没于空蒙水雾间，将秋夜听雨的清寂铺展于卷上。湿冷的潮气仿佛浸透纸面，夜雨敲打着芭蕉叶，声声都揉着羁旅幽愁。\n\n整幅以画载情，上部题满唱和诗书，笔墨错落间，将寒宵孤坐的怅惘与同侪酬和的共情融为一体，书画相映，把蕉下听雨的清冷意绪，晕染得愈发绵长醇厚。",[23,24,25,59,65,67,66,101,7,6300,165,24747,318,319,734,979,24752,12027,413],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff965d35070656840bce03fd2737af2ec.jpg",[],{"id":50443,"slug":50444,"title":50445,"dynasty":8332,"author":36999,"museum":119,"description":37000,"tags":50446,"thumbUrl":50447,"material":337,"size":937,"collection":127,"collections":50448,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},230489,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-yi-ping-yun-gu-deng-yan-230489","安土桃山 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Old Tree at the Confluence, 1889",[48370,24007,48371,50601,7,31,34,125,4468,1886,38,50602],"短笔触","自然风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff92193d1b38c9b54d64327c68faff0a9.jpg",[48375],{"id":50606,"slug":50607,"title":50608,"dynasty":8332,"author":178,"museum":119,"description":50609,"tags":50610,"thumbUrl":50611,"material":127,"size":127,"collection":127,"collections":50612,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},225431,"fu-shi-hui-189-yi-ming-225431","浮世绘189","暮月悬于淡墨长空，清辉漫过烟霭水乡。渔舟破水而行，梢公持篙稳立，舱中旅人团坐，任由扁舟载着归意漫溯。野凫惊起，剪开水面柔波，漾开细碎涟漪。远处岸汀林麓轻笼薄霭，茅舍隐在深翠间，浅渚疏枝晕染出清寂秋意。\n\n题画俳句错落排布，墨色与淡彩相融，将旅人的闲寂愁思晕开纸面。笔触清简秀雅，以淡赭、花青铺展暮色，留白衬出空濛水色，把暮归的悠然与水乡将夜的恬宁揉为一处，尽显侘寂清和的抒情画韵。",[21213,28,7,62,103,166,34,106,35,373,1643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129990f61e538d14cb452bf3756b362b.jpg",[],{"id":50614,"slug":50615,"title":50616,"dynasty":8332,"author":178,"museum":119,"description":50617,"tags":50618,"thumbUrl":50619,"material":127,"size":127,"collection":127,"collections":50620,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},225332,"fu-shi-hui-85-yi-ming-225332","浮世绘85","这幅风景版画以高远视角铺展云海深谷之景，朱红飞桥凌空横跨山涧，将孤亭与崖畔古寺相连。青绿山石鲜亮明快，暖调屋宇错落嵌入崖壁，翻涌的云海如棉絮般托举山峦，将山寺衬得恍若缥缈仙境。\n作者以利落线条勾勒建筑与山石肌理，冷暖色彩雅致对比，兼具装饰性与意境感，将深山古刹的凌空奇险和山林空寂的禅意相融，尽显幽玄出尘的意蕴，令人仿若踏入这灵秀秘境，静赏山云间的静谧禅味。",[21213,21214,28,7,104,60,37,182,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f8f059fd473dcde6fb951462b02bea8.jpg",[],{"id":50622,"slug":50623,"title":50624,"dynasty":8332,"author":178,"museum":119,"description":50625,"tags":50626,"thumbUrl":50627,"material":127,"size":127,"collection":127,"collections":50628,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},225307,"fu-shi-hui-36-yi-ming-225307","浮世绘36","平远构图铺展幽谧海国盛景，石桥跨海蜿蜒，旅人策杖徐行，将尘世烟火揉入静穆烟波。海面上古舟缓行，樯帆轻扬，漾开细碎水纹晕开闲淡意趣。远景岛岫含翠，古木疏朗，淡霭间隐见富士山，晕染出悠远空寂的氛围感。\n\n画面以清隽雅致的色彩铺陈，蓝白晕开辽阔海天，暖黄点染桥道与秋树，柔化山海的清冷。笔致朴拙温润，将远洋行旅的悠然意趣藏在平澹笔色间，侘寂淡柔的诗意漫溢其间，把山海间的松弛闲静凝为永恒帧景。",[21213,21214,28,7,60,61,62,181,125,5146,21215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1179db3afe9ee8867dfe0295acbfb673.jpg",[],{"id":50630,"slug":50631,"title":50632,"dynasty":8332,"author":178,"museum":119,"description":50633,"tags":50634,"thumbUrl":50635,"material":127,"size":127,"collection":127,"collections":50636,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},225301,"fu-shi-hui-24-yi-ming-225301","浮世绘24","此作以月夜河谷铺展清宁画卷，靛蓝河面晕开幽柔夜色，暖棕沙崖晕着烟火暖意，冷暖交织晕融出松弛氛围。拱桥飞架两岸，串联山居水榭，三两渔舟缓行漾开碎金波光，悬月垂洒清辉，树影错落晕染出闲淡的水乡日常。\n\n上方书法与图景呼应，诗画合璧，尽显江户风物的雅致闲情。将寻常夜色揉成隽永诗意，带着浮世绘特有的市井雅韵，把水乡月夜的宁和诗意藏进笔端，晕染出东方美学的幽玄余韵，尽显浮世日常中的栖居之美。",[21213,28,7,1643,60,61,62,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4360a626effed2c38c92dc097ca0cc.jpg",[],{"id":50638,"slug":50639,"title":50640,"dynasty":177,"author":22187,"museum":119,"description":50641,"tags":50642,"thumbUrl":50644,"material":127,"size":127,"collection":127,"collections":50645,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},224567,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-224567","仿李晞古采薇图全卷","此作追摹古法，以苍劲斧劈皴勾勒首阳山巉岩硬石，尽显山峦枯寂荒寒。伯夷、叔齐席地对坐，衣纹圆劲凝练，神色沉郁而坚毅，将先贤守节不屈的志节暗藏于眉眼身形间。\n整卷气息沉穆高古，设色浅淡克制，简淡笔墨里见朴拙苍厚。既恪守原作肃穆格调，又融入自身细腻摹写之功，将乱世君子的嶙峋风骨与山野清寂氛围相融，让观者于笔情墨韵间，触摸到千年不移的忠义襟怀。",[24,100,26,122,28,65,103,7,1630,50643],"忠义","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54554e3c6cce8aff03f2293277073082.jpg",[],{"id":50647,"slug":50648,"title":50649,"dynasty":54,"author":14340,"museum":119,"description":50650,"tags":50651,"thumbUrl":50652,"material":127,"size":127,"collection":127,"collections":50653,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},224562,"shu-hua-ce-ye-27-xiao-yun-cong-wang-shi-zhen-224562","《书画册页》-27","近景苍松虬曲古拙，苔痕覆于顽石，执杖行人徐行溪桥，柴扉轻掩，僮仆静候于竹篱茅舍侧，修篁环绕更添幽寂。飞瀑穿谷蜿蜒而下，层叠山峦以朴拙皴法写就，山石棱角间点染丹色，暗合秋意。\n整幅画作以元人笔意写林泉幽居，笔墨简淡松秀，淡赭轻施衬出山野清秋之致。题字清雅隽秀，与山水笔墨相映成趣，将文人寄情丘壑的雅逸襟怀融于尺幅之中，把山野幽居的静穆恬然尽数铺陈，尽显淡远清寂的林下之风。",[24,25,164,28,59,65,7,103,104,61,64,413,1478,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17b3a9e13051ba3c52fdb0d84755f1c.jpg",[],{"id":50655,"slug":50656,"title":50657,"dynasty":177,"author":3760,"museum":119,"description":50658,"tags":50659,"thumbUrl":50660,"material":127,"size":127,"collection":127,"collections":50661,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,24,26,28,7,65,29,32,34,33,347,5146,1738,890,2832,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":50663,"slug":50664,"title":50665,"dynasty":177,"author":2075,"museum":119,"description":50666,"tags":50667,"thumbUrl":50668,"material":127,"size":127,"collection":127,"collections":50669,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[23,24,28,65,164,7,60,61,125,64,35,1738,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":50671,"slug":50672,"title":50673,"dynasty":177,"author":683,"museum":119,"description":50674,"tags":50675,"thumbUrl":50676,"material":127,"size":127,"collection":127,"collections":50677,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[24,25,149,59,65,101,66,67,7,318,34,35,31,239,583,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":50679,"slug":50680,"title":50681,"dynasty":177,"author":683,"museum":119,"description":50682,"tags":50683,"thumbUrl":50684,"material":127,"size":127,"collection":127,"collections":50685,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,24,25,7,149,28,65,318,319,34,583,239,60,201,37,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":50687,"slug":50688,"title":50689,"dynasty":177,"author":683,"museum":119,"description":50690,"tags":50691,"thumbUrl":50692,"material":127,"size":127,"collection":127,"collections":50693,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[23,100,24,25,149,28,7,64,34,722,61,37,65,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":50695,"slug":50696,"title":50697,"dynasty":177,"author":18602,"museum":119,"description":50698,"tags":50699,"thumbUrl":50700,"material":127,"size":127,"collection":127,"collections":50701,"showCount":458,"zanCount":961,"manualWeight":48,"mainColor":75},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[23,24,25,59,65,164,7,34,64,35,167,5068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":50703,"slug":50704,"title":50705,"dynasty":54,"author":178,"museum":119,"description":50706,"tags":50707,"thumbUrl":50708,"material":127,"size":127,"collection":127,"collections":50709,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},223682,"feng-yu-po-zhou-tu-yi-ming-223682","风雨泊舟图","此作以淡墨晕染出空濛雨意，水雾裹挟秋意漫过江天。近岸怪石虬松相错，丹红枝叶点破深褐苍翠，晕开晚秋暖色。远山隐在烟霭中，只露嶙峋半截，将天地晕成一片苍茫。\n\n江面上薄雾横生，泊岸的舟楫静立，远水处孤帆在烟浪里浮沉，尽写羁旅之人待雨歇的怅惘。画师以虚实相生之法，将风雨欲来的沉郁秋江铺展开，淡墨轻皴晕出湿冷空寂的氛围感，把秋日羁泊的萧索意趣藏在烟水林峦之中。",[23,24,25,7,28,65,62,125,264,61,34,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04289f046947f163b3eebe5ac5d89837.jpg",[],{"id":50711,"slug":50712,"title":50713,"dynasty":18,"author":178,"museum":119,"description":50714,"tags":50715,"thumbUrl":50716,"material":127,"size":127,"collection":127,"collections":50717,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},223659,"wen-chuan-tu-juan-yi-ming-223659","问喘图卷","此作用淡墨白描写就，右侧古木虬劲苍郁，浓墨点簇枝叶，衬出林间幽寂。画面左侧水畔空濛悠远，平沙浅滩愈发衬出乡野静穆。\n\n画中士人抬手问询，田夫敛袖作揖应答，神态恳切自然，身后侍童恭立持扇，氛围悠然庄重。耕牛垂首缓行，身姿朴拙生动，将典故融于乡野实景。\n\n构图疏密相宜，淡墨晕染水色空濛，简练线条精准勾勒人物神情与物态，设色简淡素雅，尽显清雅意趣，暗含体恤民生的古韵深意，平淡画面间尽显含蓄悠远的古典风雅。",[23,24,26,123,28,101,103,1586,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae80987d2d826d7b80a5a3b01b261be.jpg",[],{"id":50719,"slug":50720,"title":50721,"dynasty":177,"author":178,"museum":1542,"description":50722,"tags":50723,"thumbUrl":50724,"material":50725,"size":50726,"collection":127,"collections":50727,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},223486,"wu-kuan-lian-she-yi-ming-223486","无款莲社","画白莲群聚的白莲，白莲群庐山俗地净莲，是佛教末年山东林寺僧人慧远修士所建。 以慧远为首的“十八圣”，有两个界面，专职人员，有同伙，学佛修行。",[24,25,26,123,1042,103,7,60,61,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbbe4bdab61cf202a84f218f71d1300.jpg","絹本、設色","35x849cm",[],{"id":50729,"slug":50730,"title":50731,"dynasty":54,"author":178,"museum":135,"description":50732,"tags":50733,"thumbUrl":50734,"material":454,"size":50735,"collection":127,"collections":50736,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},223392,"ping-hu-xue-ji-yi-ming-223392","平湖雪霁","此水墨小品以暗绢托出雪意清寒。近岸枯木寒枝错落斜欹，茅舍隐于林渚间，三两渔舟泊在冰封浅滩，天地间凝着凛凛寒意。远景以淡墨轻晕远峦寒雾，留白作漫天寒雪，虚实相生间晕开空濛冷寂。\n\n未用浓墨重彩，仅以极简笔墨铺陈湖山冬日疏旷萧寒。霜风仿佛正掠过镜面平湖，冷意顺着绢面漫开，将江天雪后的岑寂澹远藏进方寸画幅，把追慕幽寂山水的雅趣融在素淡墨色里，叫人坠入这万籁俱静的清寒意境中。",[24,2484,59,7,878,2264,165,508,25,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e5b81a7081e638b4129936f8fc4768.jpg","38.9x81",[],{"id":50738,"slug":50739,"title":50740,"dynasty":18,"author":178,"museum":20,"description":50741,"tags":50742,"thumbUrl":50743,"material":454,"size":50744,"collection":127,"collections":50745,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},223334,"si-lun-tu-yi-ming-223334","丝纶图","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[23,24,25,149,59,28,65,7,125,1674,103,34,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b414ad5d3ac5d537b5cf0676affa9d4.jpg","纵83.2厘米横37.5厘米",[],{"id":50747,"slug":50748,"title":50749,"dynasty":177,"author":3973,"museum":135,"description":15830,"tags":50750,"thumbUrl":50751,"material":292,"size":50752,"collection":127,"collections":50753,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴",[23,24,25,149,29,65,28,66,101,67,7,103,35,34,64,372,10608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":50755,"slug":50756,"title":50757,"dynasty":177,"author":1704,"museum":20,"description":50758,"tags":50759,"thumbUrl":50760,"material":87,"size":50761,"collection":127,"collections":50762,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},223099,"fang-fan-kuan-shan-shui-zhou-tang-dai-223099","仿范宽山水轴","此画作者采用全景似的构图，使近、中，远景层次分明，中心突出。\n远景山峦重叠，主峰矗立，气势雄伟，山巅间烟云缭绕，云气弥漫，似浮起润泽的雾气；中景峰峦对峙，林木丛生，烟锁山腰，山坳中树木茂密，层次分明，满而不塞，两座秀丽的楼阁屋宇隐显于烟光浮动之中，寂静的山林更增添了幽邃之感。近处为坡石丛林，两坡石间高架有一座木桥，两山峡谷间溪水直流而下，汇聚于溪水之中，左侧溪水边，座落着几间房舍，掩映在浓密的丛树荫底",[23,24,25,149,7,122,65,59,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe688d58fa90bd041577c62dc09e8dbba.jpg","155.3x74.4",[],{"id":50764,"slug":50765,"title":50766,"dynasty":54,"author":15301,"museum":369,"description":50767,"tags":50768,"thumbUrl":50772,"material":349,"size":50773,"collection":127,"collections":50774,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},222535,"zi-shu-shi-hu-wu-shou-juan-wang-duo-222535","自书石湖五首卷","释文：石湖 物心流水会，草外即平皋。怀土佳兵厌，占云挟雨高。学狂希羽客，引笑佐溪毛。幽影皆为象，前滩响莫涛。瓜州大慈庵夏望 吾择慈庵寂，焚香起正心。杖因江稻植，山在寺门寻。楚越中区抱，金焦大壑深。紫天开素气，鸦路意阴阴。 贺九山村已遇枇杷熟，频过碌石园。远柯兼瀑影，古凸自柴门。骨傲仍多性，兰衰尚有根。昌阳飞半腹，石穴共寒温。 问牧斋拂水山崖 欲履虞山迳，还赊六尺筇。思君偕寤语，似共万溪松。桂酒留华榭，天门落古镛。可知头尽皓，更得扰玄龙。 丙戌五月朔，王铎书。",[23,66,67,26,59,101,7,4740,4660,2910,50769,106,201,50770,17504,4924,2216,3836,50771],"兰草","石穴","诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb46539435de274822f16f672ccbf5c3.jpg","27X253cm",[],{"id":50776,"slug":50777,"title":50778,"dynasty":54,"author":24139,"museum":56,"description":37309,"tags":50779,"thumbUrl":50780,"material":349,"size":50781,"collection":127,"collections":50782,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},222494,"shang-bo-hua-ji-xuan-36-2-zhang-lu-222494","上博画集选36-2",[23,24,59,28,7,65,30,583,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F377dfdee156b7a0ee7585d9c2cafa0bd.jpg","55.88厘米 27.94厘米",[],{"id":50784,"slug":50785,"title":50786,"dynasty":54,"author":50787,"museum":135,"description":50788,"tags":50789,"thumbUrl":50791,"material":127,"size":50792,"collection":127,"collections":50793,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},222240,"shui-cheng-tu-qian-gu-zhang-fu-222240","水程图","钱谷 张复","钱谷，[明]（一五○八至？）一作（一五○八至一五七二）字叔宝，自号悬罄室，吴县（今江苏苏州）人。少孤贫，失学，迨壮始知读书。\n家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便学心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔於艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物字藏有万历六年（一五七八）客金陵王氏修行馆作兰竹卷，时年七十一。《冯元成集、肯史·文徵明传、列朝诗集小传、苏州府志、明画录、无声诗史、明史·艺文志》\n朱彝尊《列朝诗传》：钱谷字叔宝，少孤贫，游文侍诏门下，日取架上书读之。以其余力点染水墨，得沈氏之法。晚葺故庐，读书其中。闻有异书，虽病必强起，匍匐请观。手自抄写，几於充栋，穷日夜校勘，至老不衰。钱谷手抄之书，一丝不苟，为后来藏家所重。陆心源皕宋楼曾藏有钱氏抄本《会稽掇英集》，后有文震孟跋说：《会稽掇英集》皆集唐宋名贤时文，宇内流传绝少，是其早岁所抄，无一惰笔，乃从宋刻本而录者，为世珍重可知矣。钱谷家贫，故文徵明为题室名悬罄就是空无所有的意思。文震孟《姑苏名贤小记》：叔宝先生不为家，家逾贫。先太史过而题其室曰'悬罄'。先生笑曰：'吾志哉！'而其嗜读日益甚。收录古文金石书几数千卷。\n看到文徵明收藏的典籍罗列，顿生羡慕之心，遂有志于藏书。先后购求及手录古籍至几万卷，闻有异书，虽病必强起借观，手自抄写，校雠至子夜不辍。所录古文、金石书近万卷，皆为当时佳本秘籍。建藏书室有“悬罄室”，由文徵明为其命名并题写匾额。老屋三间，藏书充栋。所藏多人间罕见版本。刘凤作有《悬罄室集》。又命名多处藏书、藏画室名如“十友斋”、“意远轩”、“红木轩”、“梦雉斋”等。藏书印有“句吴逸民”、“三吴漫士”、“吴越王子孙”、“中吴钱氏收藏印”、“钱谷手抄”、“百计寻书志亦迂，爱护不异隋侯珠。有假不还遭神诛，子孙不宝真其愚”、“钱氏叔宝”、“悬罄室”等。喜刻书，刻印有唐、宋秘籍众多，数千卷近百种。编有《续吴都文粹》、《静观室三苏文选》等，著有《三国类抄》、《隐逸集》、《南北史摭言》、《长洲志》、《吴中人物志》、《悬罄室杂录》、《悬罄室诗》、《苏州三刺史诗》等。子钱允治，亦酷喜藏书。 [1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[24,59,164,7,31,7699,1433,50790,756,34,106,304],"城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],{"id":50795,"slug":50796,"title":50797,"dynasty":54,"author":1652,"museum":119,"description":50798,"tags":50799,"thumbUrl":50800,"material":127,"size":50801,"collection":127,"collections":50802,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},222024,"wan-shan-ji-yu-wen-zheng-ming-222024","万山积玉","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[24,25,164,59,28,7,30,65,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c6206d5ccf2ea4aa660b1242fc9714.jpg","32x39.2",[],{"id":50804,"slug":50805,"title":50806,"dynasty":54,"author":4764,"museum":20,"description":9820,"tags":50807,"thumbUrl":50808,"material":9823,"size":41501,"collection":127,"collections":50809,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},221887,"za-hua-tu-ce-fang-zhao-qian-li-bi-fa-chen-hong-shou-221887","杂画图册-仿赵千里笔法",[23,24,25,164,122,27,28,7,125,264,450,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5478b57693b040ba618e4030c80496.jpg",[],{"id":50811,"slug":50812,"title":50813,"dynasty":54,"author":1096,"museum":20,"description":6567,"tags":50814,"thumbUrl":50815,"material":1697,"size":2597,"collection":127,"collections":50816,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},220917,"shan-shui-ce-11-dong-qi-chang-220917","山水册11",[23,24,25,164,67,59,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f7e360c2e666043ede851a0559fc83e.jpg",[],{"id":50818,"slug":50819,"title":50820,"dynasty":177,"author":32248,"museum":3323,"description":50821,"tags":50822,"thumbUrl":50823,"material":32252,"size":32253,"collection":127,"collections":50824,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":127},220744,"shan-shui-ji-3-wang-shi-min-weng-ling-wu-hong-deng-220744","山水集3","此作用笔苍劲老辣，以披麻皴写山峦层叠，淡墨晕染间烟岚轻笼，尽显山川空濛灵秀。山脚村居错落掩映，古木扶疏，干笔点叶尽显虬枝苍劲，林泉间野趣悠然。\n\n画面兼具高远、平远之致，山峦逶迤舒展，将山野幽居的静穆闲逸融于尺幅，题款古雅朴拙，与画面意境相得益彰。整体清寂淡远，既有传统山水的章法意趣，又带着疏放的文人笔墨情致，藏着画师对林泉高致的栖心向往，淡墨轻岚间绘出江南山居的悠然意韵。",[24,59,65,164,7,318,165,35,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaae731b9dae7bc42a3658c425546d3d.jpg",[],{"id":50826,"slug":50827,"title":50828,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":50829,"thumbUrl":50830,"material":349,"size":1805,"collection":127,"collections":50831,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},220292,"huang-shan-tu-ce-34-hong-ren-220292","黄山图册-34",[23,100,24,25,164,59,123,65,7,64,583,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84559c0f2c7cbcaa548a5c6e5ffdd9e.jpg",[],{"id":50833,"slug":50834,"title":50835,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":50836,"thumbUrl":50837,"material":349,"size":1805,"collection":127,"collections":50838,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},220280,"huang-shan-tu-ce-44-hong-ren-220280","黄山图册-44",[23,100,24,25,164,59,65,7,60,61,583,64,103,199,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21470b7f1a2d452117e27065c43f0e3.jpg",[],{"id":50840,"slug":50841,"title":50842,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":50843,"thumbUrl":50844,"material":349,"size":1805,"collection":127,"collections":50845,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},220274,"huang-shan-tu-ce-49-hong-ren-220274","黄山图册-49",[23,24,25,164,59,65,7,583,64,61,104,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71bd4770863ba162bf7f722a936374b.jpg",[],{"id":50847,"slug":50848,"title":50849,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":50850,"thumbUrl":50851,"material":349,"size":1805,"collection":127,"collections":50852,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":75},220272,"huang-shan-tu-ce-51-hong-ren-220272","黄山图册-51",[23,100,24,25,164,59,65,7,30,64,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878124d4212b5065f64f157660ee3b03.jpg",[],{"id":50854,"slug":50855,"title":50856,"dynasty":177,"author":1801,"museum":20,"description":1802,"tags":50857,"thumbUrl":50858,"material":349,"size":1805,"colle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众文人或围坐清谈、或临流闲憩，衣袂翩然间尽显林下风流。\n\n全画构图虚实相宜，以细腻秀逸的线条勾勒人物情态，淡赭花青晕染山水，设色雅致清和。将文人雅集的幽闲意趣，融于萧散淡远的林泉景致之中，既得传统文人画简淡空灵的意境，又以精妙细节描摹出文人群聚时从容恬和的情致，尽显林泉高致的文人雅怀。",[24,25,164,29,28,65,7,103,34,60,61,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc124dfd2ea1bb740823e080e69e78ebd.jpg",[],{"id":51773,"slug":51774,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":51775,"tags":51776,"thumbUrl":51777,"material":127,"size":127,"collection":127,"collections":51778,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},238735,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238735","平远铺展的画面，将闲雅行旅与整肃江景相融。前景策马文士缓行于枯木寒林间，古木虬曲苍劲，淡墨晕染出萧散冷寂的林下意趣。中远景水寨樯桅如林，墨线劲挺勾勒出森严江防气象，与行旅的悠然形成动静对照。右侧题诗笔意清隽，诗画合璧，把文人情思与戍边壮怀悄然绾合。全作用笔秀雅清劲，水墨皴染简淡含蓄，以极简的笔墨营造出悠远沉静的意境，让林下风雅与家国襟怀相映成趣，尽显含蓄蕴藉的东方意韵。",[24,25,164,59,65,7,103,335,165,31,238,6756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f036e896d713b00d4c5bbf6a31717de.jpg",[],{"id":51780,"slug":51781,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":51782,"tags":51783,"thumbUrl":51784,"material":127,"size":127,"collection":127,"collections":51785,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},238730,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238730","此作用笔苍秀，以开合之局铺陈画面。左侧层岩逶迤，皴笔勾勒出山骨棱棱，古松扎根危石，枝叶攒簇间尽显苍劲生机。右侧平远江岸，烟水空濛，临流高士衣袂微拂，抬眼远望，将怀思怅惘凝于眉目间，与空阔江天相映成趣。\n题诗与画境相融，把临水怀远的幽寂诗意落于笔端，干笔淡墨晕染出清寂淡远的氛围，简括的人物笔意，让文人情思与山水烟岚浑然一体，尽显静穆萧散的文人雅韵，将诗中幽怀化作可视的山水清境。",[24,59,65,29,66,101,7,103,34,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd94d6cfcbee82e12b34bda246172df0d.jpg",[],{"id":51787,"slug":51788,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":51789,"tags":51790,"thumbUrl":51791,"material":127,"size":127,"collection":127,"collections":51792,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},238723,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238723","此作用淡墨轻皴绘就郊野别景，林烟轻笼山居古宅，古木扶疏间宾主执手话别，牵马车夫静立车旁，将饯别缱绻融入清寂山野。\n\n干笔勾勒山石林木，淡墨晕染出烟岚空濛，画面留白悠然，衬出离情悠远绵长。右侧题诗与图景呼应，诗画合璧，将诗作伤别意涵具象化。画风清逸雅致，以景托情，文人诗意与水墨笔意相融，淡远疏朗间尽显古典抒情的含蓄温婉。",[24,25,164,59,123,67,66,7,103,335,34,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0c7bc1ebeff09d73e3effaf5f99bf5.jpg",[],{"id":51794,"slug":51795,"title":36462,"dynasty":54,"author":178,"museum":119,"description":51796,"tags":51797,"thumbUrl":51798,"material":337,"size":937,"collection":127,"collections":51799,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},238569,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238569","此作设色精工，以山间隘口为舞台铺展平叛激战。左侧部伍严整，甲胄鲜明的将士阵列齐整，旌旗猎猎提振军势；右侧叛军惶然奔逃，人马散乱尽显溃态。\n\n画师以劲挺线条勾勒衣袂甲叶，用朱赤、石青冷暖重彩区分阵营，视觉张力十足。山石皴擦凝练，林木苍劲苍郁，烘托出战场肃杀氛围，细节处对武备军阵考据详实，写实还原了平叛战事的激烈瞬间，尽显王师平乱的赫赫威仪。",[24,28,29,164,103,7,34,199,61,335,1110,6756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65fc88697584680990a28cdd8a508217.jpg",[],{"id":51801,"slug":51802,"title":49443,"dynasty":177,"author":24281,"museum":119,"description":49444,"tags":51803,"thumbUrl":51804,"material":337,"size":937,"collection":127,"collections":51805,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},238557,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238557",[24,25,164,28,4768,66,101,103,7,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f51ffc76a84df4aff548baad355f81.jpg",[],{"id":51807,"slug":51808,"title":49443,"dynasty":177,"author":178,"museum":119,"description":51809,"tags":51810,"thumbUrl":51811,"material":127,"size":127,"collection":127,"collections":51812,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},238546,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-yi-ming-238546","此帧绘圣王观龙马负图，青绿浅设色晕染山水，崖岸幽旷、林木苍润。圣王端坐石畔，神态肃穆沉静，正凝神观览出水龙马，将应天受道的古雅典故融于清寂山水间，意境静穆庄严。左侧楷书赞辞笔致端稳匀整，清隽雅正，与画作呼应相合。整体工致秀雅，设色调和柔婉，人物情态传神尽显开天神圣意蕴，书画合璧，文韵与画意相得益彰，尽显静穆古朴的庙堂雅意。",[24,25,164,28,103,7,67,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d164ff88d7fd692f4ee36bf1ec23332.jpg",[],{"id":51814,"slug":51815,"title":159,"dynasty":177,"author":3973,"museum":119,"description":32679,"tags":51816,"thumbUrl":51817,"material":2296,"size":127,"collection":71,"collections":51818,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},238301,"shan-shui-ce-dong-bang-da-238301",[100,24,25,59,65,7,34,1738,239,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b6973b20a4bceb9c2b98bf95c3010c.jpg",[71,45],{"id":51820,"slug":51821,"title":27867,"dynasty":177,"author":25108,"museum":119,"description":51822,"tags":51823,"thumbUrl":51824,"material":127,"size":127,"collection":127,"collections":51825,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},238244,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238244","此帧以水墨晕染塞山冬色，山峦以淡墨披麻皴缓缓铺陈，圆浑肌理间晕开积雪霜华，淡墨浮空化作寒云轻笼峰峦，留白与墨色交织出清寂空蒙的冬日清气。山坳细径蜿蜒隐现，山脚枯木萧疏淡写萧寒。\n\n通篇笔墨简淡温雅，舍弃浓艳重彩，只以水墨浓淡层次晕染雪覆群峰的素净苍茫，将塞北冬日的冷寂辽远融在温润笔触之中。静穆雅致的画面里，淡而不薄的墨色间藏着深阔幽远的冬山诗意，把荒寒塞冬晕染成一幅清简出尘的文人雅绘。",[24,25,164,59,65,7,101],"https:\u002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志，与画面相映成趣，将吴中山林的幽寂野趣融于尺幅之间。笔墨简淡松灵，设色浅淡明净，带着温婉清逸的格调，把荒寒幽隐的山景之美娓娓铺陈，尽显文人山水的雅致意趣。",[24,25,164,28,65,67,66,7,125,64,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2376ab2c236666ad1f05c99a9eba1b16.jpg",[],{"id":52447,"slug":52448,"title":159,"dynasty":54,"author":15209,"museum":119,"description":52449,"tags":52450,"thumbUrl":52451,"material":127,"size":127,"collection":127,"collections":52452,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235825,"shan-shui-ce-li-liu-fang-235825","此作以水墨晕染出江南幽居之景，近岸老松错落苍劲，村居隐于林麓，远山以淡墨轻扫，留白晕开空濛水汽，尽显萧散淡远之致。\n\n题跋点出此画于简淡中藏精妙，取法先贤又自出机杼，笔意松秀温润，将文人幽居林泉的襟怀寄寓其中。以干湿浓淡的水墨层次，勾勒出山林静穆清和的氛围，把江南山水的温润雅致凝于尺幅之间，淡而弥永，悠悠诗意漫溢纸面，尽显文人画尚韵重意的隽永特质。",[100,24,25,164,59,7,318,165,35,319,37,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c930a53074b4f73f98b23eeeb0df25.jpg",[],{"id":52454,"slug":52455,"title":159,"dynasty":54,"author":15209,"museum":119,"description":52456,"tags":52457,"thumbUrl":52458,"material":127,"size":127,"collection":127,"collections":52459,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235823,"shan-shui-ce-li-liu-fang-235823","此作以枯淡松灵之笔绘秋山幽居，孤峰挺立于淡墨岚气之中，疏林苍劲带秋意，村居错落隐于岩壑林间，不见喧嚣，尽是萧散闲寂。笔墨秀润简雅，不作浓丽设色，以水墨晕染出远山空濛，淡墨枯枝尽显秋韵清寒。\n左侧题诗书意清雅，与画作相映成趣，将幽栖林泉的高逸情志融于尺幅之间，尽显静穆淡远的文人雅趣，把晚明文人疏朗淡逸的精神风骨藏于山水丘壑之中。",[24,25,164,59,28,65,7,30,34,35,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0307ac5dedc1a3a065d5342083a3cbb.jpg",[],{"id":52461,"slug":52462,"title":52463,"dynasty":177,"author":178,"museum":119,"description":52464,"tags":52465,"thumbUrl":52466,"material":337,"size":937,"collection":127,"collections":52467,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235790,"wu-li-lin-tang-shi-si-tu-shan-ye-yi-ming-235790","吴历林塘诗思图扇页","此作用淡墨写就林塘秋景，取景清寂萧疏。近岸渔舟独棹，蓑翁垂纶，坡岸间疏林错落，茅庐隐于修竹茂树之下，远汀横斜，归雁掠过长天，淡墨晕开暮霭轻云，将秋日郊野的静谧寥廓尽数铺陈。\n笔墨松秀简淡，以干笔皴擦勾勒山石林木，墨色清润柔和，层次井然。题诗与画面相映成趣，将幽居闲眺、寄情林泉的隐逸诗意收束在尺幅之间，尽显萧散淡远的文人画意趣，静穆悠远，引人沉入秋日闲居的清宁遐思里。",[24,25,2484,59,65,67,101,7,165,1738,60,61,106,63,62,103,125,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c905d93c173e008f79cf2e820329ff4.jpg",[],{"id":52469,"slug":52470,"title":52471,"dynasty":177,"author":178,"museum":119,"description":52472,"tags":52473,"thumbUrl":52474,"material":127,"size":127,"collection":127,"collections":52475,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235784,"zhu-jia-shu-hua-he-bi-ce-xu-qiu-fang-wang-meng-shan-shui-ye-yi-ming-235784","诸家书画合璧册-徐釚仿王蒙山水页","此作用笔简淡清隽，以枯墨勾勒山水层次。远景山峦以淡墨晕染，朦胧间藏起村居茅舍，恍若世外幽乡。中景湖面留白成趣，衬出水天寥空，汀渚杂木萧疏，暗合清秋闲寂意韵。近景怪石虬松笔法苍劲，化用王蒙繁复皴点却删繁就简，只留苍古意态。\n书画合璧，题识笔意潇洒，与山水淡远气质相融。全幅不着艳色，以笔墨骨力撑起身韵，将摹古之工与文人写意之趣相合，淡墨轻岚间尽显林泉高致的隐逸心曲，简雅悠长。",[24,25,164,59,65,7,34,64,167,1897,104,125,607,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8c27d6d6111c0d05e6d997af3f5fc8.jpg",[],{"id":52477,"slug":52478,"title":52479,"dynasty":177,"author":2017,"museum":119,"description":52480,"tags":52481,"thumbUrl":52482,"material":127,"size":127,"collection":127,"collections":52483,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235774,"qing-chu-liu-da-jia-ji-ce-fang-huang-gong-wang-shan-shui-ye-yun-shou-ping-235774","清初六大家集册-仿黄公望山水页","此作用枯淡笔墨勾勒皴擦山峦，峰峦清拔却无迫人之态，线条松秀温雅，尽得元人山水萧散之致。近处坡岸杂木萧疏，枝桠错落间漫染清秋意趣，几处村居散落在水畔山坳，淡写闲淡烟火日常。\n\n画作追摹黄公望苍浑简远的气韵，舍弃浓墨重彩，以空灵留白晕染出江南丘壑的静穆淡远。笔底皴点看似疏简随性，实则藏着师古而不泥古的巧思，将文人画的雅洁淡远融于尺幅之间，尽显林下之风的平和逸趣。",[24,59,7,122,65,164,64,34,35,61,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1086554c4417a79cac04135f0425a476.jpg",[],{"id":52485,"slug":52486,"title":52487,"dynasty":54,"author":10318,"museum":119,"description":24480,"tags":52488,"thumbUrl":52489,"material":337,"size":937,"collection":127,"collections":52490,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235770,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-bai-lian-jing-tu-ye-lu-zhi-235770","吴门诸家寿袁方斋三绝册-白莲泾图页",[24,25,164,59,7,61,34,167,707,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2e309fbe02004711f5f56e85083f44.jpg",[],{"id":52492,"slug":52493,"title":4175,"dynasty":177,"author":31655,"museum":119,"description":31656,"tags":52494,"thumbUrl":52495,"material":337,"size":937,"collection":127,"collections":52496,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235749,"fang-gu-shan-shui-ce-xue-xuan-235749",[24,25,100,164,122,59,28,7,64,583,34,238,65,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6590555f1e36c3823d694fdfcd0498b.jpg",[],{"id":52498,"slug":52499,"title":11696,"dynasty":54,"author":12464,"museum":119,"description":30409,"tags":52500,"thumbUrl":52501,"material":337,"size":937,"collection":127,"collections":52502,"showCount":405,"zanCount":961,"manualWeight":48,"mainColor":75},235689,"shan-shui-hua-hui-ce-xiang-sheng-mo-235689",[100,24,25,164,59,65,7,60,61,34,64,35,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ce76f18a440db12e15e7aac8a905f.jpg",[],{"id":52504,"slug":52505,"title":394,"dynasty":177,"author":4747,"museum":119,"description":52506,"tags":52507,"thumbUrl":52508,"material":127,"size":127,"collection":127,"collections":52509,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235646,"shan-shui-tu-ce-wu-li-235646","此作用笔苍浑秀润，右侧危崖壁立，古松虬曲倒挂，松针劲挺如铁，崖间飞瀑垂落，碎石寒泉隐于其下，尽显清寂萧寒。远景山峦层叠，云气氤氲漫卷，将峰岫半遮半掩，虚实相生，烘托出深山冬日的幽僻荒寒。\n\n右上角题诗呼应画境，干笔皴擦勾画出山石嶙峋肌理，淡墨晕染流云柔态，刚柔并济。整幅以水墨铺陈，摒弃浓艳，以萧疏之景写尽荒寒之美，寄寓静穆淡远的文人意趣，于冷寂之中藏着深挚的山水情怀，尽显水墨山水空灵悠远的意境。",[24,25,100,164,59,65,7,64,583,199,167,37,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706cd4af2901587fe982252869318b4a.jpg",[],{"id":52511,"slug":52512,"title":4175,"dynasty":54,"author":19566,"museum":119,"description":22795,"tags":52513,"thumbUrl":52514,"material":337,"size":937,"collection":127,"collections":52515,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235632,"fang-gu-shan-shui-ce-shen-hao-235632",[24,25,164,59,28,65,122,7,264,34,104,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa698f25ebf99871d4d9aff675b534aa9.jpg",[],{"id":52517,"slug":52518,"title":4175,"dynasty":54,"author":19566,"museum":119,"description":52519,"tags":52520,"thumbUrl":52521,"material":127,"size":127,"collection":127,"collections":52522,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235626,"fang-gu-shan-shui-ce-shen-hao-235626","此作以淡墨晕染山峦，皴擦相济刻画出山石嶙峋肌理，近坡石错落横生，浅波隐现溪石，蜿蜒栈道串联谷中村居与山巅古寺，远景峰峦淡化为浅灰虚影，虚实相生晕染出悠远空寂的山林意境。\n\n右上题字朱印雅致点缀，文人气韵悠然暗合仿古意趣。笔墨简淡松灵，不刻意雕琢却尽得山水真趣，将林泉幽居的静穆逸致融于尺幅之中，尽显文人画尚意抒情的特质，是师法古人又自出机杼的小品佳制。",[100,24,25,164,59,28,65,122,7,264,61,125,60,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211c9dc6b8ace33b6a81cfb116839d6b.jpg",[],{"id":52524,"slug":52525,"title":159,"dynasty":54,"author":14186,"museum":119,"description":52526,"tags":52527,"thumbUrl":52528,"material":337,"size":937,"collection":127,"collections":52529,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},235605,"shan-shui-ce-wang-qi-235605","王綦(16－17世纪初)，字履若，一字履石。吴郡（今江苏苏州）诸生。明晚期吴门派后劲，擅山水，秀润简远，是一个书卷气极浓的画家。他好写庭院小景，幽桐修篁，竹篱茅舍，倚水面山，是贫寒文人理想的读书养性之处。\n性狷介，杜门以画自娱。与山水，结构奇幻，人物、树石、花鸟，略写形似，不拘囿于画法。万历二十八年（1600年）作。又天启六年（1626年）作；这幅画的取材是东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，身边有童仆和家人在旁陪伴伺候，迎面有一位访客正渡过溪桥，准备造访，溪畔停放著一艘小舟，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型",[24,25,164,7,65,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd8de4ac67cdb90bb2f93056ea7b168.jpg",[],{"id":52531,"slug":52532,"title":52533,"dynasty":177,"author":178,"museum":119,"description":52534,"tags":52535,"thumbUrl":52536,"material":127,"size":127,"collection":127,"collections":52537,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235545,"gao-xiang-shan-shui-tu-zhou-yi-ming-235545","高翔山水图轴","此作用笔秀逸松灵，以水墨晕染出江南山川的氤氲淡远。近岸虬松斜出，坡石错落；中景溪塘如镜，幽居藏于林麓，扁舟泛波，暗合幽人乘兴之趣；远山层峦叠嶂，枯笔皴擦写尽山石肌理，淡墨晕染衬出岚气浮动。左上角题诗添就文人情致，整幅构图疏密相宜，干湿浓淡相生，将林泉幽寂之景尽藏尺幅，萧散清和的笔墨间，寄寓着寄迹丘山、超然尘外的隐逸襟怀，尽显文人山水的静雅意趣。",[24,25,149,59,65,7,60,61,62,34,64,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9d45655fb7d98595579441514f4e6e.jpg",[],{"id":52539,"slug":52540,"title":394,"dynasty":54,"author":38004,"museum":119,"description":38005,"tags":52541,"thumbUrl":52542,"material":337,"size":937,"collection":127,"collections":52543,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235460,"shan-shui-tu-ce-pan-zheng-235460",[24,59,164,65,7,264,34,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb13a97cbcea40f048ede3e3e78f3a6.jpg",[],{"id":52545,"slug":52546,"title":394,"dynasty":54,"author":38004,"museum":119,"description":52547,"tags":52548,"thumbUrl":52549,"material":127,"size":127,"collection":127,"collections":52550,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235457,"shan-shui-tu-ce-pan-zheng-235457","此作用笔简劲老辣，以干笔淡墨皴擦出山石嶙峋质感，留白代作平湖，虚实相生。崖壁间山居错落藏于岩岫，野趣盎然。近湖畔孤亭孑立，细柱撑顶，更衬出山水清寂空阔。右上角朱印点睛，静穆水墨中晕开一抹亮色。整体意境萧散淡远，尽显文人画简淡空灵意趣，以极简笔墨写尽林泉幽居之致，观之如临无人之境，俗念俱消。",[24,25,164,59,65,7,63,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4339426ce7db412654a1b123d4ac7c8d.jpg",[],{"id":52552,"slug":52553,"title":159,"dynasty":177,"author":26431,"museum":119,"description":52554,"tags":52555,"thumbUrl":52556,"material":127,"size":127,"collection":127,"collections":52557,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235330,"shan-shui-ce-wen-dian-235330","此作用淡墨晕染出两岸温润山峦，留白为川，以细索为渡桥，一人策杖徐行，身影简净萧散。山石以短披麻皴辅以苔点，笔墨清润柔和，晕染出江南丘林的氤氲秀雅。\n\n右上角题诗与画境相映，暗合幽人寄情林泉的意趣。整幅小品简淡空灵，舍去繁复刻画，以极简笔墨托出林下隐逸的悠然襟怀，淡远清和的墨色间，尽显文人画物我相融的高致，简而意足，静中生趣。",[100,24,25,164,59,65,7,103,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e4e96628a0adb47fbfae58e7cf6c6a.jpg",[],{"id":52559,"slug":52560,"title":159,"dynasty":177,"author":26431,"museum":119,"description":52561,"tags":52562,"thumbUrl":52563,"material":127,"size":127,"collection":127,"collections":52564,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},235329,"shan-shui-ce-wen-dian-235329","此作半边取景，水岸坡陀蜿蜒铺展，留白漾成浅溪。近岸苔点苍润朴厚，枯荣林木错落而立，茂叶与秃枝相映成趣，远林劲拔列于坡上，淡墨晕染出松软的土岸。\n\n笔墨干湿互济，以松秀简淡的笔致勾勒萧疏林景，墨色层次柔和平静，舍去繁复皴擦，以留白烘托出清寂淡远的意境，将江南水畔幽僻静谧的林下闲趣晕染开来，淡而有味，静中生韵，尽显文人画的雅逸疏朗。",[24,59,65,1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写雪压枝头的沉凝质感。山坳间古寺浮屠隐于林木中，朱红屋舍素白雪景相映，冷寂里晕开一抹烟火暖意。溪谷浅滩以白代雪，水坝板桥藏于雪色间，于静谧中暗涌生机。\n\n整画仿戴进雪岭笔意，兼得浙派山水刚劲构图，又融入禅意冲淡萧散的气韵，将冬日空山的冷寂与古刹温煦相融，尽显雪后山林清旷安闲之境，笔墨清雅意趣悠长。",[23,24,25,149,59,28,7,104,34,64,520,765,60,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":53113,"slug":53114,"title":53115,"dynasty":54,"author":178,"museum":119,"description":53116,"tags":53117,"thumbUrl":53118,"material":127,"size":127,"collection":127,"collections":53119,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},228814,"xing-lv-tu-yi-ming-228814","行旅图","此作以淡墨晕染出江南暮野水畔之景。柔柳垂丝错落于画面边角，晕开朦胧氤氲的暮色氛围。郊野水泽间，行骑缓行，驮队紧随，简笔勾勒的旅人神态松弛，带着日暮赶路的闲淡倦意。远景中山丘村舍隐于墨色晕染间，虚实相生，将乡野暮色的清寂淡远尽数铺陈。整作笔墨简淡苍润，以简驭繁，留白处尽显空濛诗意，把羁旅暮归的悠然况味融于水乡烟霭之中，尽显小品山水的雅致意趣，于古旧绢色间晕开静谧悠远的古典意境。",[24,2484,59,28,103,335,165,7,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21df2211d26e0597c4692d204c60fc5e.jpg",[],{"id":53121,"slug":53122,"title":53123,"dynasty":54,"author":9549,"museum":119,"description":40295,"tags":53124,"thumbUrl":53125,"material":337,"size":937,"collection":127,"collections":53126,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},228463,"song-ting-gao-yi-tu-qian-gu-228463","松亭高逸图",[23,100,24,25,2484,28,65,7,413,63,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe165198908dffca33a1454536263b0a.jpg",[],{"id":53128,"slug":53129,"title":22582,"dynasty":54,"author":7763,"museum":119,"description":53130,"tags":53131,"thumbUrl":53132,"material":127,"size":127,"collection":127,"collections":53133,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,100,24,25,26,67,66,59,28,7,62,34,61,60,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":53135,"slug":53136,"title":38046,"dynasty":54,"author":14936,"museum":119,"description":53137,"tags":53138,"thumbUrl":53139,"material":127,"size":127,"collection":127,"collections":53140,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},228337,"yin-bao-jie-shan-tu-zhou-wang-wen-228337","《隐宝界山图》是明朝王问所作名画，此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生于1949年购于广州。\n1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。\n画心左上自题：“宝界山，余读易庐在焉。\n嘉靖戊申始得辞岭南之命，寄傲其间，静志远交，可以寡过矣。\n诗曰：荒山雨雪暮寒时，碧树临湖橘柚垂。\n归棹复寻渔径入，幽居更向谷云移。\n鲈如张翰思偏早，酒为渊明酿已迟。\n木石久谙麇鹿性，野人相见莫相疑。\n仲山王问写并书。\n”钤“王问之印”、“进士”等印。\n据此图题跋，可知所画是王问在嘉靖戊申年（二十七年，1548年）隐居无锡宝界山读书时的情景，为画家5岁时所作。\n鉴赏印钤“石渠宝笈”、“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等印。\n画幅右下钤“无事对青山”白方印，左下钤“闲溪陈氏玉阶珍藏”朱长方印。\n画中所绘当为宝界山实景。\n筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。\n画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。\n用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。\n王问之作传世不多，得此盛年鼎绝作品实为不易。",[23,24,149,7,59,65,104,62,61,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8002608845fa1f1fb6a6f63a76f2c409.jpg",[],{"id":53142,"slug":53143,"title":53144,"dynasty":80,"author":178,"museum":119,"description":53145,"tags":53146,"thumbUrl":53147,"material":127,"size":127,"collection":127,"collections":53148,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},228221,"qiu-lin-shan-zhuang-tu-ye-yi-ming-228221","秋林山庄图页","此作用笔简淡松秀，以干笔皴擦辅以淡墨晕染，绘就秋日山林逸致。远山空灵虚蒙，主峰浑厚苍劲，带着沉静古拙之气。近岸林木错落，墨色浓淡相宜，枯荣交织间晕开清寂秋意。山居隐于林麓深处，石阶蜿蜒探入其间，藏着避世闲雅的意趣。浅滩碎石错落，缓流无声，野趣横生。\n\n整幅画以萧散之韵勾勒山水，摒弃繁饰，将秋日山野的幽寂与山居恬逸融为一体，尽显文人画尚意境、重简淡的风骨，观之便如踏入清秋林泉，山风裹木叶轻响漫过周身，浸满心间出世的安宁。",[23,24,59,28,65,164,7,125,64,104,1389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d509898140a5a6b0d07109bfe329e7f.jpg",[],{"id":53150,"slug":53151,"title":53152,"dynasty":18,"author":178,"museum":119,"description":53153,"tags":53154,"thumbUrl":53155,"material":127,"size":127,"collection":127,"collections":53156,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},227923,"lian-tang-fan-ting-tu-yi-ming-227923","莲塘泛艇图","此作用水墨晕染铺就塘间幽趣，古木虬曲苍劲，浓墨点叶半掩水榭，凭栏二人对坐低语，檐下暗影浮动浸着凉意。扁舟缓行于烟水间，舱中三人敛衣静坐，淡墨晕开的烟霭晕化虚实界限，树影与水色融作一片朦胧，将暑夜荷塘的清宁雅致尽数铺展。\n\n全画以墨色浓淡区分层次，于尺幅团扇间营造出悠远空阔的幽居之境，尽显闲逸雅致的林下风流，寥寥笔墨便勾勒出淡远空灵的氛围感，将幽寂闲趣藏进晕染的烟水间，诗意漫溢其间。",[23,2538,100,24,25,2484,28,29,7,103,62,653,4192,63,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3772f4c64aa6c5f5f71e8800df047da4.jpg",[],{"id":53158,"slug":53159,"title":53160,"dynasty":18,"author":178,"museum":119,"description":53161,"tags":53162,"thumbUrl":53163,"material":127,"size":127,"collection":127,"collections":53164,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},227857,"gui-mu-tu-yi-ming-227857","归牧图","柔柳垂丝轻拂溪岸，将暮春的慵懒揉入淡墨晕染的郊野暮色里。右侧石畔春树缀着初绽的碎花，清润雅致。\n\n溪间小径上，牧童斜卧牛背，抬手逗弄枝梢，自在憨顽的神态跃然绢上。水牛缓步徐行，憨态温驯，带着收工后的松弛安然。\n\n整幅笔墨简括灵动，留白悠远清寂，将日暮归牧的闲散诗意铺陈开来。寥寥数笔便定格乡野间悠然自适的日常，把田园隐逸的恬淡安闲揉进空濛画境里，尽显小品画的隽永意趣。",[100,24,25,29,28,7,103,1586,1478,64,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa148c2528ceed5d7922fc200a9a4438.jpg",[],{"id":53166,"slug":53167,"title":53168,"dynasty":18,"author":178,"museum":119,"description":53169,"tags":53170,"thumbUrl":53171,"material":127,"size":127,"collection":127,"collections":53172,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},227845,"tian-mo-gui-fan-tu-yi-ming-227845","天末归帆图","淡墨轻晕远汀，留白铺陈出浩渺水色，归帆杳杳隐在烟霭之间，寥寥数笔便写尽水天空寂的清寥诗意。\n\n右侧行书笔致苍雅隽秀，将羁人盼归的怅惘藏在笔墨间，与画境浑然相融。后幅题跋评点精当，诗书画印合为一体，尽显宋人的雅致襟怀。咫尺团扇之中，以极简的水墨语言晕染出江南泽国的空濛澹远，把山水写意与文人情思揉作一处，悠悠古韵扑面而来。",[23,24,25,59,28,7,31032,979,319,978,67,101,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f10e214dabe06bffc5da9e27b7f30bb.jpg",[],{"id":53174,"slug":53175,"title":53176,"dynasty":18,"author":178,"museum":119,"description":53177,"tags":53178,"thumbUrl":53180,"material":127,"size":127,"collection":127,"collections":53181,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},227572,"zhu-tang-su-yan-tu-yi-ming-227572","竹塘宿雁图","此作以团扇取景，绘就郊塘夜色。虬曲老竹斜出坡岸，细劲笔意写尽竹叶萧疏清峭，枝桠间宿雁静敛羽翼隐伏其中，于幽暗中藏着生趣。塘水浅滩以淡墨晕染留白，将夜色空茫铺展开来，虚实相映间，把郊野清寂萧寒的意趣尽数烘托。\n\n笔触简淡老辣，以极简铺陈勾勒出秋日塘岸的荒寒淡远，尽显寄情林泉的幽淡襟怀，带着典型的雅致空寂审美意韵，淡墨轻痕里藏着侘寂出尘的林下幽思。",[23,100,24,25,29,28,630,36809,53179,1249,7],"水塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580d6774714bf40f3729bca7ab8ff08.jpg",[],{"id":53183,"slug":53184,"title":53185,"dynasty":8332,"author":178,"museum":119,"description":32975,"tags":53186,"thumbUrl":53188,"material":337,"size":937,"collection":127,"collections":53189,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},225515,"fu-shi-hui-273-yi-ming-225515","浮世绘273",[21213,21214,28,103,124,3988,53187,7,199,34,101,184],"狐狸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f334386e8207ba6ef75127f434e9d71.jpg",[],{"id":53191,"slug":53192,"title":53193,"dynasty":8332,"author":178,"museum":119,"description":53194,"tags":53195,"thumbUrl":53196,"material":127,"size":127,"collection":127,"collections":53197,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},225335,"fu-shi-hui-88-yi-ming-225335","浮世绘88","这幅作品以撞色铺陈山林飞瀑之景，冷调瀑水如垂落的素白匹练，自涡旋潭水倾泻而下，衬得两侧暖黄覆绿的崖壁愈显温润厚实。\n\n左侧崖台之上，三位旅人围坐铺陈的席面，就着山音瀑声煮茶闲坐，将幽寂山境晕出悠然雅趣。画作以装饰性的线条勾勒水纹与山形，将自然的雄浑壮阔与市井文人的松弛闲情相融，落笔尽显侘寂悠然的日式美学意韵，定格出深山中治愈松弛的片刻闲景。",[21213,21214,28,7,199,103,34,239,450,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9bc4955b2fb3c24bfab0a38bef4537.jpg",[],{"id":53199,"slug":53200,"title":53201,"dynasty":8332,"author":178,"museum":119,"description":53202,"tags":53203,"thumbUrl":53208,"material":127,"size":127,"collection":127,"collections":53209,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},225323,"fu-shi-hui-68-yi-ming-225323","浮世绘68","这幅风景绘以大开大合的构图铺陈峡谷索桥之景。苍劲古松下，高悬的索桥连接两岸险崖，两名旅人负物徐行，步履安然。留白晕染出云气翻涌的深谷，拉满视觉纵深感，崖顶小鹿驻足远眺，为雄奇山野添了几分灵动。\n\n石青与砂黄撞色明快澄澈，勾勒出清旷辽远的山间氛围，线条凝练利落，精准带出索桥的紧绷张力，将旅人行于险途的悠然从容尽数刻画。自然雄奇与人间烟火柔和相融，尽显静谧幽远的山野意趣，仿佛山风拂面，能听见索桥轻晃的细碎声响，静与动在此间悄然平衡。",[21213,28,7,53204,50945,4660,28995,53205,106,53206,53207,6747],"索桥","小鹿","石青","砂黄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684233528e77564ba82dc61d2bb40292.jpg",[],{"id":53211,"slug":53212,"title":53213,"dynasty":54,"author":14340,"museum":119,"description":53214,"tags":53215,"thumbUrl":53216,"material":127,"size":127,"collection":127,"collections":53217,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},224556,"shu-hua-ce-ye-21-xiao-yun-cong-wang-shi-zhen-224556","《书画册页》-21","此作以淡墨写尽林泉幽致，危崖壁立留白萦雾，虚摹山岚空濛。几株古松虬曲苍劲，松针攒簇尽显老硬风神，枯笔勾勒山石肌理，皴染极简，却将崖壁厚重苍朴之意托出。滩渚扁舟之上，隐士垂纶独钓，与幽寂山水浑然相融。追摹李成笔意，以简淡清润的笔墨，复刻宋人山水中静穆淡远的意境，将林下幽闲的隐逸之思藏于尺幅之间，通篇萧散出尘，尽显山林高致。",[100,24,25,164,59,28,65,7,103,583,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffcf411dec0de24fd38c2c62f6835e2.jpg",[],{"id":53219,"slug":53220,"title":53221,"dynasty":177,"author":3760,"museum":119,"description":53222,"tags":53223,"thumbUrl":53225,"material":127,"size":127,"collection":127,"collections":53226,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},224466,"wan-feng-ji-yu-wang-hui-224466","万峰积玉","以水墨晕染层叠峰峦，素雪覆裹山巅，留白与淡墨交织出寒冽空寂的冬日林泉。枯木萧疏错落，枝桠凝霜覆雪，愈发衬出山野清旷辽远。\n\n运笔兼具苍劲与秀润，勾勒山峦简约空灵，淡墨皴擦晕出积雪的厚重，细笔摹画木梢萧寒之态，将冬日山野的冷逸出尘尽数铺展。边角题诗相伴印信，诗画相融，把万峰积素、空谷幽寂的冬日意境定格卷上，既有雪景山水的清寒之美，又携文人雅韵，尽显雪景山水的隽永格调。",[23,100,24,59,7,878,733,101,66,65,53224],"空寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba9d8c4472c4dc665491c07f3c820fd.jpg",[],{"id":53228,"slug":53229,"title":53230,"dynasty":177,"author":683,"museum":119,"description":53231,"tags":53232,"thumbUrl":53234,"material":127,"size":127,"collection":127,"collections":53235,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},224403,"gao-ling-ping-chuan-tu-wang-yuan-qi-224403","高岭平川图","《王原祁画论译注》由俞丰译注，荣宝斋出版社出版。\n雨窗漫笔 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附录",[23,24,25,149,28,65,7,318,53233,165,104,61,60],"平川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5175b8b65826f681dca70b8cad442470.jpg",[],{"id":53237,"slug":53238,"title":53239,"dynasty":177,"author":683,"museum":119,"description":53240,"tags":53241,"thumbUrl":53243,"material":127,"size":127,"collection":127,"collections":53244,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},224396,"shan-jian-lin-lu-wang-yuan-qi-224396","山磵林庐","此作用笔沉厚老辣，以干笔积墨层层皴擦，山石苍润浑厚，草木华滋清隽。取景紧凑却丘壑幽深，巨岩洞天藏山光，飞瀑落溪撞碎林麓静谧，蜿蜒山径隐于苍林，板桥轻架溪上，暗合山居幽趣。\n\n画面融宋元古意与清时文心，将江南秋山的秀润与沉雄揉为一体，笔底晕开幽寂山居的雅兴，藏林下隐逸的文人情致于皴染点苔之间，整体气息浑朴雅致，尽显文人山水画的从容格调。",[23,24,25,59,28,65,164,7,318,239,199,61,60,34,20600,53242,101,826],"庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ab1978204110c84f6a7f7d85c76ce.jpg",[],{"id":53246,"slug":53247,"title":53248,"dynasty":177,"author":53249,"museum":135,"description":53250,"tags":53251,"thumbUrl":53252,"material":337,"size":937,"collection":127,"collections":53253,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},224350,"qing-shan-shui-lou-tai-jin-de-ying-224350","清山水楼台","金德瑛","金德瑛（1701年－1762年），中国清朝状元、政治人物，字汝白，号桧门。浙江仁和（今浙江杭州）人。\n生于康熙四十年（1701年），乾隆元年（1736年）状元。授翰林院修撰，历任右庶子、太常寺卿，任江西、山东及顺天学政。乾隆二十一年（1756年），路过徐州，发现黄河决口，运河溢涨，及时上奏。官至左都御史。金德瑛工书法，喜欢戏曲，常至梨园听歌。",[23,24,25,28,29,7,104,63,103,34,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911cc53f39a6642f5e1301b28b6ba7b0.jpg",[],{"id":53255,"slug":53256,"title":53257,"dynasty":177,"author":18602,"museum":119,"description":53258,"tags":53259,"thumbUrl":53260,"material":127,"size":127,"collection":127,"collections":53261,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},224282,"shan-shui-hua-hui-ce-shi-liu-fu-shan-224282","山水花卉冊(十六)","此作以淡墨晕染铺就清寂夜色，远山如笼薄纱，隐在月色之下，峰顶残雪凝着夜的清寒。近旁老树虬曲苍劲，疏枝错落，将荒寒之意晕开田亩间。\n\n三两茅舍围以篱栅，隐约的烟火气揉碎在清寂里，更衬郊野空阔。江畔独行身影缓步徐行，把孑然意趣融进夜色。\n\n全作用笔松秀简淡，设色浅雅无华，以极简笔墨铺陈出悠远空寂的意境，将冬夜荒村的冷逸幽然娓娓道来，尽显文人画简淡天真的意趣，藏着画者寄情林泉、静守幽独的襟怀。",[23,24,25,164,59,7,125,1643,64,150,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf90a61c1ff07591699375f901f6300.jpg",[],{"id":53263,"slug":53264,"title":53265,"dynasty":177,"author":18602,"museum":119,"description":53266,"tags":53267,"thumbUrl":53268,"material":127,"size":127,"collection":127,"collections":53269,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},224280,"shan-shui-hua-hui-ce-shi-er-fu-shan-224280","山水花卉冊(十二)","此作用笔简淡稚拙，以浅赭轻晕山峦，敷色清和柔润。近滩板桥轻横，浅渚疏林错落；中景红墙环绕，古寺隐现于茂林之间，城郭拱门洞开，晕开几分烟火清寂；远景峰峦平缓朦胧，晕染出空濛山意。全画无繁复皴擦，以简淡线条勾勒出幽寂山居，将林泉隐逸的萧散意趣融于尺幅之中。笔墨空灵简净，褪去雕琢之态，尽显超然出尘的林下之风，藏着寄情丘壑的文人雅怀，整体氛围静谧冲淡，意蕴悠远绵长。",[23,24,25,164,28,7,65,318,165,104,60,61,101,35,34,166,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ed8a4cf428d9d61c7bc6b9cfbed48.jpg",[],{"id":53271,"slug":53272,"title":53273,"dynasty":177,"author":18602,"museum":119,"description":53274,"tags":53275,"thumbUrl":53276,"material":127,"size":127,"collection":127,"collections":53277,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":49},224278,"shan-shui-hua-hui-ce-shi-yi-fu-shan-224278","山水花卉冊(十一)","此作用淡赭铺就底色，晕开烟岚暮色。远景山峦以淡墨轻扫，隐入空濛雾霭间，虚渺悠远；近山石以浓墨挥写出朴拙块面，厚重沉凝，虚实相映间拉开天地纵深。阔静水面之上，红衣旅人独行滩涂，渺小身形衬出天地辽寂荒寒，点染出萧散淡远的意境。\n\n全画笔墨简淡写意，舍却精细描摹，重在意境生发，寥寥数笔铺陈出荒寒空灵之境，将孤高出世的襟怀寄寓其中，笔简而意足，清冷孤高的林下之风扑面而来。",[23,24,25,164,59,28,7,264,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52592c15fcc9a4bed6abbb257d1bc05a.jpg",[],{"id":53279,"slug":53280,"title":53281,"dynasty":177,"author":18602,"museum":119,"description":53282,"tags":53283,"thumbUrl":53284,"material":127,"size":127,"collection":127,"collections":53285,"showCount":405,"zanCount":48,"manualWeight":48,"mainColor":75},224275,"shan-shui-hua-hui-ce-ba-fu-shan-224275","山水花卉冊(八)","这幅小品以浅绛晕染出清旷秋山，层叠峰峦如瘦玉排云，淡赭轻敷，尽显清峭空灵。前景枯木虬枝盘错，苍劲如龙，带着深秋的荒寒古拙，将山野萧索之气铺展开来。溪涧蜿蜒穿林，板桥横卧浅流，似能听见潺潺水声，衬出空山幽寂。\n全画笔简意足，以淡墨勾勒形神，轻施淡彩不着浓艳，将文人山水的疏朗意趣藏于尺幅之间。静穆空寂中暗含生机，无繁复皴擦却将丘壑灵韵尽数托出，寄寓着林泉高致，淡而不薄，简而有味，尽显水墨小品的隽永余韵。",[23,24,28,7,60,61,607,125,264,65,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef01adc37194acb4634f850f7a504be.jpg",[],{"id":53287,"slug":53288,"title":53289,"dynasty":177,"author":18602,"museum":119,"description":53290,"tags":53291,"thumbUrl":53292,"material":127,"size":127,"collection":127,"collections":53293,"showCount":405,"zanCount":961,"manualWeight":48,"mainColor":49},224274,"shan-shui-hua-hui-ce-wu-fu-shan-224274","山水花卉冊(五)","此作笔墨简率古雅，以朴拙皴染写就群山苍莽浑厚的质感，数道飞泉破壁而出，灵动生机撞破山林沉静。坡上古松虬曲苍劲，松针攒簇如盖，掩映着朱栏青瓦的山居，暖艳设色在水墨晕染间跳脱而出，为山野添了几分雅致温馨。\n\n画面无过多雕琢，将山野荒疏之境与幽居安和之意相融，浅淡设色晕出柔和静谧的氛围，藏着遁世丘壑、寄情林泉的文人襟怀，尽显静穆散淡的世外意趣。",[23,24,25,164,28,65,7,318,199,583,104,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9054b9316da205782a3ee8906cbcf0e5.jpg",[],{"id":53295,"slug":53296,"title":53297,"dynasty":177,"author":18602,"museum":119,"description":53298,"tags":53299,"thumbUrl":53300,"material":127,"size":127,"collection":127,"collections":53301,"showCount":405,"zanCount":961,"manualWeight":48,"mainColor":75},224272,"shan-shui-hua-hui-ce-san-fu-shan-22427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古拙，衬出山居幽寂。中林错落，隐见山桥通幽，引目光渐入山林深处。远景松涛簇拥，半露楼阁，烟岚轻笼，将山境晕染得空濛悠远。画面虚实相生，留白映出山林静穆清旷，笔墨间浸透着文人画的闲淡意趣，把幽栖林泉的隐逸心境铺陈开来，观之恍若踏入这世外丘壑，静享山野间的恬然雅韵。",[24,164,59,28,7,583,35,64,34,167,533,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660baabc7465be653011c7eee6aa69bf.jpg",[],{"id":54351,"slug":54352,"title":23312,"dynasty":177,"author":23313,"museum":119,"description":31603,"tags":54353,"thumbUrl":54354,"material":337,"size":937,"collection":127,"collections":54355,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239534,"fang-gu-ji-you-tu-ce-huang-yi-239534",[24,59,7,164,65,66,101,63,35,34,64,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3dc0466975068a1080e129da46a211.jpg",[],{"id":54357,"slug":54358,"title":23312,"dynasty":177,"author":23313,"museum":119,"description":31603,"tags":54359,"thumbUrl":54360,"material":337,"size":937,"collection":127,"collections":54361,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239531,"fang-gu-ji-you-tu-ce-huang-yi-239531",[24,100,25,164,59,123,103,125,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924c1247898f08ee7257df85283e7639.jpg",[],{"id":54363,"slug":54364,"title":21016,"dynasty":177,"author":22674,"museum":119,"description":54365,"tags":54366,"thumbUrl":54367,"material":127,"size":127,"collection":127,"collections":54368,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239414,"fang-gu-shan-shui-ping-qin-zu-yong-239414","此作用平远构图铺展湖乡霁后之景。浩淼湖面之上，舟楫轻泛、水鸟翔集，洲渚错落延展，田畦方整如织，村舍掩映于林麓间，行人缓步堤岸，满溢悠然烟火意趣。下半段笔意陡转，青绿重峦挺拔苍劲，古松虬枝盘绕，山巅亭台、山麓城郭错落排布，融田园疏淡与山水雄浑于一体。\n\n笔墨承袭元明文人画意，设色淡雅秀润，线条松秀柔和，题诗呼应画境，将江南湖山的清润灵秀与村居闲趣相融，师法古人又自出机杼，把江南雨后的雅致诗意尽铺尺幅之中。",[24,25,149,28,65,122,7,63,106,60,61,62,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0faa8571b923df80597b934c85f728d.jpg",[],{"id":54370,"slug":54371,"title":159,"dynasty":177,"author":24520,"museum":119,"description":54372,"tags":54373,"thumbUrl":54374,"material":127,"size":127,"collection":127,"collections":54375,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239364,"shan-shui-ce-wang-san-xi-239364","此帧以淡墨晕染远山，将谷中氤氲雾气铺陈开来，左上飞瀑垂落，碎玉落入寒潭，随波漾开清浅留白，摹写出平湖空寂。近景虬曲矮树斜生石畔，墨色点染的花叶与身旁幽竹交映，石隙细流潺潺汇入清溪。\n\n配题诗以笔补画境，将林樾阴浓、山光浸溪的幽寂尽数托出，整体笔墨秀润清雅，于尺幅间铺展出世外林泉的静穆禅意，观之如临其境，似能呼吸到谷中清润山风，将山水间的闲澹空明悄然藏于笔墨方寸中。",[24,25,164,59,28,7,630,61,264,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af868a5a5bb3d88f883d36b6aacae40.jpg",[],{"id":54377,"slug":54378,"title":159,"dynasty":177,"author":24520,"museum":119,"description":54379,"tags":54380,"thumbUrl":54381,"material":127,"size":127,"collection":127,"collections":54382,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239362,"shan-shui-ce-wang-san-xi-239362","此作取景分两重溪山，上部峡谷溪流宛转，矶渚错落排布，淡墨晕染山石，线条松秀灵动，间杂几株清瘦林木，幽寂空阔之意扑面而来。下半段以险峻崖嶂为主体，双松虬曲扎根危石，古拙苍劲，姿态奇崛。下方汀岸平缓，茅舍隐现一角，与上部深远山水形成疏密对照。\n\n全作用浅绛淡设色，笔墨简淡秀雅，意境清远冷寂，尽显文人画萧散淡远之致，将江南溪山的清旷之美，以极简笔墨勾勒晕染，淡而不薄，简中见雅，寄寓着画者林泉高致的隐逸襟怀。",[24,59,65,164,7,182,34,33,1707,106,61,264,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d082822abb6054ae8bb023d4baaba3.jpg",[],{"id":54384,"slug":54385,"title":159,"dynasty":177,"author":5740,"museum":119,"description":14772,"tags":54386,"thumbUrl":54387,"material":337,"size":937,"collection":127,"collections":54388,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239332,"shan-shui-ce-cha-shi-biao-239332",[24,25,164,59,67,65,7,372,238,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74458d219673175ee12b1e558e6fc03e.jpg",[],{"id":54390,"slug":54391,"title":394,"dynasty":54,"author":2842,"museum":119,"description":12412,"tags":54392,"thumbUrl":54393,"material":337,"size":937,"collection":127,"collections":54394,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239321,"shan-shui-tu-ce-zhang-hong-239321",[24,25,164,59,65,7,264,125,607,101,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd2edef713a7351041f53ee6949307.jpg",[],{"id":54396,"slug":54397,"title":36425,"dynasty":177,"author":19508,"museum":119,"description":54398,"tags":54399,"thumbUrl":54400,"material":127,"size":127,"collection":127,"collections":54401,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239205,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239205","此帧以枯淡笔墨绘就云山胜景，嶙峋危崖如鬼斧削成，淡墨晕染出空濛烟岚，将山林古寺晕化在清寂烟霭之间，萧散简远。\n\n画作笔墨苍秀内敛，山石勾勒简劲古拙，林木层叠间见生拙之趣。左侧题跋行书笔致清刚疏宕，与山水意境浑然相融，尽显画者寄情林泉、幽独超逸的林下之风，通篇淡墨浅痕，漫溢出静穆淡远的文人雅韵，是遗民画家清冷孤高心境的笔墨写照。",[24,25,164,59,7,318,165,63,167,37,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff082f0001e6630a62c74dcc0fe01cbfd.jpg",[],{"id":54403,"slug":54404,"title":36425,"dynasty":177,"author":19508,"museum":119,"description":54405,"tags":54406,"thumbUrl":54407,"material":127,"size":127,"collection":127,"collections":54408,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239198,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239198","此作以枯淡水墨绘就林泉幽境，危崖层叠嵯峨，飞瀑垂落寒潭，山径蜿蜒通至崖畔山居，林木萧疏掩映屋舍，尽现山野荒寂之致。笔墨苍浑秀润，皴擦间尽显山石肌理质感，简淡中见深隽意境。左侧题跋笔意萧散古雅，与山水意境相融相合，书画合璧更添林下之风。整幅作品寄寓幽栖避世的隐逸襟怀，尽显文人山水的高致雅趣，淡墨浅痕间铺陈出静穆清远的林下丘壑。",[24,25,164,59,65,66,101,67,7,199,64,34,35,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6194dc0c33f78efbc5de6255ec8b8f55.jpg",[],{"id":54410,"slug":54411,"title":39266,"dynasty":177,"author":10574,"museum":119,"description":54412,"tags":54413,"thumbUrl":54414,"material":127,"size":127,"collection":127,"collections":54415,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239135,"shan-shui-he-hui-ce-zhang-zong-cang-239135","此作用笔枯淡清劲，以细碎排线勾勒水波，层层叠叠间铺展出缓流浅滩的柔缓水态。左下角汀渚以焦墨点染丛草，苍朴野逸，右上角矶石以淡墨晕出轮廓，留白衬出苔痕斑驳。\n\n全幅摒弃重彩繁皴，以极简笔墨营造江渚幽寂之境，无喧嚣物象，只留水波漱石的清旷野趣，将水畔荒寒静谧的氛围尽数铺陈，尽显文人山水萧散冷逸的雅韵，于平淡疏朗间，写尽林下水边的悠然意趣。",[24,25,164,59,65,7,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84401a2343027df5773770f569ee993d.jpg",[],{"id":54417,"slug":54418,"title":39266,"dynasty":177,"author":10574,"museum":119,"description":54419,"tags":54420,"thumbUrl":54421,"material":127,"size":127,"collection":127,"collections":54422,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},239134,"shan-shui-he-hui-ce-zhang-zong-cang-239134","此作截取早春山居一隅，枯木虬枝蟠屈于溪畔，几枝红梅绽出嫩蕊，将浅春暖意揉入萧寒底色。临水村舍幽藏其间，暗合隐逸闲情。远山以淡墨轻晕，留白作流云烟霭，虚实相生晕染出空濛淡远之境。\n\n笔墨苍润相济，山石皴擦朴拙沉厚，花枝点染雅致清妍，淡设色衬出江南早春温润底色，将幽居的清寂安闲缓缓铺陈，尽显文人山水萧散淡远的诗意。",[24,25,164,59,28,7,2127,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb87142567f41ad31d795f1f99d41e6.jpg",[],{"id":54424,"slug":54425,"title":159,"dynasty":177,"author":36433,"museum":119,"description":36434,"tags":54426,"thumbUrl":54427,"material":127,"size":127,"collection":127,"collections":54428,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},239010,"shan-shui-ce-li-dong-239010",[24,25,164,28,59,7,65,64,34,37,199,63,5146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264bea25ee2616400b5c6c32e7d5ca98.jpg",[],{"id":54430,"slug":54431,"title":159,"dynasty":177,"author":36433,"museum":119,"description":36434,"tags":54432,"thumbUrl":54433,"material":127,"size":127,"collection":127,"collections":54434,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},239004,"shan-shui-ce-li-dong-239004",[24,28,7,164,65,63,62,34,238,278,61,31,496,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf7dc16989e5cd6fd06d50edd6ecd70c.jpg",[],{"id":54436,"slug":54437,"title":24479,"dynasty":54,"author":54438,"museum":119,"description":54439,"tags":54440,"thumbUrl":54441,"material":337,"size":937,"collection":127,"collections":54442,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},238938,"shan-shui-shan-zhang-yang-hao-238938","张养浩","张养浩（1270年—1329年），汉族，字希孟，号云庄，又称齐东野人，济南（今山东省济南市）人，元代著名政治家，文学家。生于元世祖至元七年（公元1270年），卒于元文宗天历二年（公元1329年）。\n一生经历了世祖、成宗、武宗、英宗、泰定帝和文宗数朝。少有才学，被荐为东平学正。历仕礼部、御史台掾属、太子文学、监察御史、官翰林侍读、右司都事、礼部侍郎、礼部尚书、中书省参知政事等。后辞官归隐，朝廷七聘不出。天历二年（1329年），关中大旱，出任陕西行台中丞。是年，积劳成疾，逝世于任上。\n元文宗至顺二年（1331年），追赠张养浩摅诚宣惠功臣、荣禄大夫、陕西等处行中书省平章政事、柱国，追封滨国公、礼部侍郎、礼部尚书、中书省参知政事，谥文忠。尊称为张文忠公。\n张养浩是元代重要的政治、文化人物，其个人品行、政事文章皆为当代及后世称扬，是元代名臣之一。与清河元明善，汶上曹元用并称为“三俊”。代表作品有《三事忠告》，散曲《山坡羊·潼关怀古》等",[17460,24,2484,59,7,34,106,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8ee047d04f9a86865071923ef918c5.jpg",[],{"id":54444,"slug":54445,"title":24479,"dynasty":54,"author":54446,"museum":119,"description":54447,"tags":54448,"thumbUrl":54449,"material":337,"size":937,"collection":127,"collections":54450,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},238936,"shan-shui-shan-yun-qi-xun-238936","恽启巽","恽启巽（1629—1686）明末清初诗文家。字符介，又字符理，号平江。武进（今常州市区）人。恽厥初孙。清康熙十二年（1673）进士，官内阁中书。朝廷在《敕封内阁中书恽启巽》里称其“温醇著誉，恪谨持躬，质有其文，撰述分劳于两制，才堪称职，丝纶贲宠于重霄”。重孝养不重科名，侍母燕尝亭榭间，网鱼斸笋献之高堂，良辰令节得欢颜，以为乐，遂不愿仕。卒葬常州政门外丰西乡三里庵（今青龙三里村）。著有《平江诗文集》、《西江游草》等。",[24,25,2484,59,65,7,318,319,165,1674,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c41b41a851ea62605e5e7c279b33e.jpg",[],{"id":54452,"slug":54453,"title":2754,"dynasty":177,"author":15403,"museum":119,"description":54454,"tags":54455,"thumbUrl":54456,"material":127,"size":127,"collection":127,"collections":54457,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},238905,"fang-song-yuan-shan-shui-ce-dong-gao-238905","此作以开合之境铺展幽居秋意，近岸木板桥连汀渚，杂树点染蓝、朱异色，晕开清秋绚烂意趣。山岩以干笔皴擦，苍浑朴厚，崖畔山居隐于林木间，飞瀑穿石下注溪涧，野趣悠然自生。溪流转折间，视线渐引向远江，白帆轻曳，淡墨平峦横卧天际，虚实相生中，将山野幽寂与江天旷远相融。浅绛设色温润雅致，笔墨兼具苍秀与清润，暗合山水简淡意韵，以鲜活点彩衬出秋光明丽，尽显林下幽居的静穆清旷，仿若可神游其间，坐览林泉烟霞，品味山居闲逸。",[24,25,164,28,65,7,60,61,62,34,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b8bc09fe2e7559af2d3a86f3149bc3.jpg",[],{"id":54459,"slug":54460,"title":16488,"dynasty":177,"author":178,"museum":119,"description":54461,"tags":54462,"thumbUrl":54463,"material":127,"size":127,"collection":127,"collections":54464,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},238813,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238813","此作以两段取景铺展早春江村之景。上段平岸柳林如烟，柔丝垂拂春水，堤畔策驴缓行，野意悠然。下段汀渚垂柳掩映，江帆停驻，舟头闲坐之人似在低语，漫溢松弛闲适。\n\n笔触秀润清雅，柳丝细毫勾勒，晕染出笼烟含翠之姿，水面以淡墨轻晕留白，漾出空濛春水的软润质感。全幅设色浅淡明净，舍去繁复皴擦，以简淡之笔写尽融融春意，将江南早春的慵懒恬和融于尺幅，尽显寄情丘山的文人雅趣，将春日江乡的闲淡之韵缓缓铺陈。",[24,25,164,28,59,7,34,1673,103,335,166],"https:\u002F\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峦温润质感，春日空濛尽现。开阔平缓的水面上，板桥木桥连缀溪村，错落村舍隐于初绽的柳桃之间，浅粉嫩绿晕开融融春意。\n\n画面动静相生，溪水流淌衬出村野静谧，将元人山水的空灵雅致与清丽设色意趣相融，把春日水乡的闲逸山居图景缓缓铺展，尽显山乡春日里的柔润生机与世外幽宁。",[24,28,7,149,60,61,34,35,238,37,102,1856,65,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1c09a715a0baa9e13a5302b519b433.jpg",[],{"id":55175,"slug":55176,"title":159,"dynasty":177,"author":30686,"museum":119,"description":55177,"tags":55178,"thumbUrl":55179,"material":127,"size":127,"collection":127,"collections":55180,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},236077,"shan-shui-ce-shen-zong-jing-236077","此作以半边危崖配平林茅亭，虚实相映意境幽辽。苍松虬曲伴柔柳相依，松下茅亭孑然独立，暗合林泉隐逸之趣。崖外空茫间，扁舟一人随波泛远，更添江湖闲寂。\n\n笔墨清隽淡雅，淡墨皴擦写尽崖壁嶙峋肌理，点染间见草木苍润生机。留白空灵悠远，将山野幽居的澹泊之思藏于尺幅间，尽显文人画简淡静穆的雅韵，寥寥数笔便勾勒出出世忘机的悠然之境。",[24,25,164,59,28,65,7,62,63,165,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a0a885c772e2c9c78b09dfb92b60c9.jpg",[],{"id":55182,"slug":55183,"title":8900,"dynasty":177,"author":178,"museum":119,"description":55184,"tags":55185,"thumbUrl":55186,"material":127,"size":127,"collection":127,"collections":55187,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},236066,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236066","此作用笔简淡松秀，绘就冬日郊野之景。枯木寒林错落苍劲，虬枝瘦干尽显古拙姿态，留白晕染出空濛清寂的萧疏寒意。近景板桥之上行人徐行，林麓间茅舍错落，漾出幽闲野趣。整体意境淡远萧疏，以简驭繁将郊林冬日的静谧铺陈开来，右上角题字添缀文人气韵，暗合文人寄情林泉的幽怀，尽显仿古山水的雅逸意趣，将冬日林野的清寂闲雅藏于笔墨之间。",[24,25,164,59,122,65,7,607,125,60,61,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a464c894302ac9e286789abd11005a.jpg",[],{"id":55189,"slug":55190,"title":8900,"dynasty":177,"author":178,"museum":119,"description":55191,"tags":55192,"thumbUrl":55193,"material":127,"size":127,"collection":127,"collections":55194,"showCount":550,"zanCount":961,"manualWeight":48,"mainColor":75},236064,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236064","此作用水墨晕染江南春山朝暮之景，云雾如缕，在层叠峰峦与林麓间漫溢缠绕，将青山晕染得虚实相生，似含温润水汽。近岸苍木蓊郁，山坞中隐见村居屋舍，下方溪河蜿蜒舒展，三两扁舟轻泛烟波，野趣悠然。\n\n笔法松秀温雅，以淡墨反复皴擦晕染，不见刻露之笔，处处透着静穆淡远的意境，将江南山水的柔婉清幽与文人向往的林泉雅趣融为一体，观之如身临幽寂山野，足以涤荡尘心。",[24,25,164,59,122,65,7,199,34,31,37,64,60,63,62,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae085406406d31950536f0b8ca2ee6f.jpg",[],{"id":55196,"slug":55197,"title":8900,"dynasty":177,"author":178,"museum":119,"description":55198,"tags":55199,"thumbUrl":55200,"material":127,"size":127,"collection":127,"collections":55201,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},236063,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236063","此作用笔苍劲老辣，以细密干笔勾勒山峦，披麻皴皴擦山石肌理，层叠岩峦兼具高远、深远之致，硬朗质感尽显。谷中溪流蜿蜒回转，为沉静山景添灵动生机。林木排布疏密得宜，虬松横斜、茂林簇拥，错落之间晕染出山野幽寂意趣。\n\n全幅以焦墨写就，气息苍浑古雅，追摹宋元山水意韵，仿古却不泥古，将林下隐逸之境铺陈开来。静穆丘壑藏着秀逸情致，尺幅之中笔墨简澹却意韵悠长，尽显沉稳醇厚的仿古笔墨功力，观之便如踏入幽寂山居，揽获林泉雅趣。",[24,25,164,59,65,122,101,7,64,34,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9300aae1fac661607e253e9eeea9c6.jpg",[],{"id":55203,"slug":55204,"title":8900,"dynasty":177,"author":178,"museum":119,"description":55205,"tags":55206,"thumbUrl":55207,"material":127,"size":127,"collection":127,"collections":55208,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},236057,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236057","这幅小品以云气为脉络铺陈春山景致，虚实相生，意境空濛。前景苍松虬曲盘桓，老干苍劲带着古拙意趣，与右侧烟霭里的粉艳桃枝相映，刚柔相济。青绿敷色清润雅致，山石晕染柔和无浓艳浮躁之感，浅淡石色晕开山峦肌理，衬得云海愈发舒卷通透。远山隐没在留白云涛之中，尽显天地的空阔幽谧。整作追摹古贤山水的雅逸格调，将春山温润秀灵与云烟清寂融于一处，仿若可踏入烟峦春晓，静赏林泉雅致，尽显传统山水空灵悠远的隽永美感。",[24,25,164,28,7,318,979,165,239,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd09ae05db7b0ad208deb7681ba373b2.jpg",[],{"id":55210,"slug":55211,"title":159,"dynasty":177,"author":683,"museum":119,"description":55212,"tags":55213,"thumbUrl":55214,"material":127,"size":127,"collection":127,"collections":55215,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},236054,"shan-shui-ce-wang-yuan-qi-236054","此作用笔苍劲老辣，以干笔枯墨反复皴擦山峦，层层铺陈出山石浑厚苍润的质感。山峦开合有致，高远与深远兼得，尽显层林叠嶂的幽深意境。林木错落穿插，姿态古拙秀挺，山居村舍掩映在林泉烟霭之间，晕染出江南山野的幽寂清宁。\n\n画面气息高古静穆，师法元人笔意，将文人山水的书卷气融于笔墨之中，于简淡疏朗里藏着沉郁苍茫的力道，缓缓铺展出林泉高致的悠然意趣，让观画之人仿佛踏入这清幽山居，沉醉在这份安谧雅致的山水之境。",[24,25,164,59,7,65,34,60,61,64,63,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6812b912b7fec3140154e618a8e51b1e.jpg",[],{"id":55217,"slug":55218,"title":20037,"dynasty":177,"author":178,"museum":119,"description":55219,"tags":55220,"thumbUrl":55221,"material":127,"size":127,"collection":127,"collections":55222,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235989,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235989","这幅淡墨山水以留白造境，尽显简澹空灵。坡岸以干笔淡墨皴擦，苍润相生，带着松弛的山野意趣。崖边杂木疏朗错落，枝桠轻逸，晕染出清寂秋意。近岸奇石嶙峋，极简勾勒衬出水畔生趣。水榭静立岸侧，柴扉半掩，似藏幽人闲居的意趣。\n\n整幅画舍去繁丽设色，以水墨浓淡晕染悠远空寂的山水氛围，将文人寄情林泉的雅逸心境藏在留白与淡墨之间，笔致简净萧散，淡而有味，尽显幽寂淡远的林下之风。",[24,25,164,59,65,7,64,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8833b6b46e79827720239e467fd7d0d0.jpg",[],{"id":55224,"slug":55225,"title":20037,"dynasty":177,"author":178,"museum":119,"description":55226,"tags":55227,"thumbUrl":55228,"material":127,"size":127,"collection":127,"collections":55229,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235987,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235987","此作用大片留白铺陈烟波浩渺的水色，以极简笔墨勾勒两岸景致。左岸苍松枯木错落排布，清劲笔线写尽枯木疏朗萧散之态，苍松墨色沉郁朴拙，干湿浓淡相映成趣。右岸淡墨晕染坡岸，林麓间隐现屋舍，渔舟独系石畔，野逸悠然。\n\n全幅以水墨写意而成，删繁就简、以少胜多，不着一笔而尽得水意空濛，尽显空灵淡远的文人意趣，将江南水滨的清寂之景融于尺幅间，笔致简净松秀，墨韵温润清雅，暗含静穆淡远的禅意，写尽林泉幽居之致。",[24,25,164,59,7,125,64,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3eec8b4c8a4dea519b70e55b5d133d.jpg",[],{"id":55231,"slug":55232,"title":20037,"dynasty":177,"author":178,"museum":119,"description":55233,"tags":55234,"thumbUrl":55235,"material":127,"size":127,"collection":127,"collections":55236,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235984,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235984","此作用笔松灵简淡，以枯笔勾皴石骨，淡墨晕染山石苍润质感。主峰奇崛高拔，岩间苔木轻缀，暗藏山野生机。左侧流泉沿石涧蜿蜒而下，似有声韵潺潺而出。右侧山麓茅舍掩映，素朴圆窗透着幽居闲意，远景疏木淡描、板桥横陈，留白铺就空寂开阔的意境。整幅以少胜多，萧疏清寂，将林泉隐逸的意趣融于尺幅间，尽显文人山水静穆淡远的旨趣，笔底尽是幽居林泉的恬然逸致。",[24,25,164,59,65,7,264,125,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af1ecce7d9c3d96decf8ee1b9840d56.jpg",[],{"id":55238,"slug":55239,"title":20037,"dynasty":177,"author":178,"museum":119,"description":55240,"tags":55241,"thumbUrl":55242,"material":127,"size":127,"collection":127,"collections":55243,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235979,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235979","此作为水墨写意小品，以极简笔墨晕染出江南水乡的空濛意趣。苍劲老干以浓墨枯笔写出，苔点醒出古拙生气；留白作烟波水面，寥寥数笔勾勒出扁舟渔父，隐于舟中，淡写村居篱落与苇草，似有微风穿拂摇曳。\n\n画面干湿浓淡对比鲜明，大片留白撑起幽清远阔的意境，萧散简淡间，晕染出水乡日常的恬寂闲静。不见繁复刻画，却将渔隐的悠然、水乡的清和融入方寸之间，笔简意足，尽显文人写意画的疏淡禅意，仿佛可闻水波轻响，静享一隅江村的安闲况味。",[24,25,164,59,7,103,60,61,62,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c7d6ad1d31bd0925cff24cdb4ca87a.jpg",[],{"id":55245,"slug":55246,"title":394,"dynasty":177,"author":28779,"museum":119,"description":28780,"tags":55247,"thumbUrl":55248,"material":337,"size":937,"collection":127,"collections":55249,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235922,"shan-shui-tu-ce-mei-chong-235922",[24,25,164,59,28,7,104,34,264,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F584dc382ba2512e9137efe4215de9b65.jpg",[],{"id":55251,"slug":55252,"title":394,"dynasty":177,"author":33984,"museum":119,"description":55253,"tags":55254,"thumbUrl":55255,"material":337,"size":937,"collection":127,"collections":55256,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235906,"shan-shui-tu-ce-guan-quan-235906","官铨（公元17-18世纪初）〔清〕字方楷，号山启(《中国美术家人名辞典》作字心楷)，上元（今江苏南京）人，生卒年不详。\n龚贤(1618-1689)弟子，能诗善画。山水得龚贤正传，画风似乃师，墨法精到，唯缺劲健勾勒之笔，所见龚画中有款印确真而画笔平弱者，可能是其代笔之作。",[24,25,164,59,65,7,60,64,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4169c0a0ffa86872925f8f981ded500a.jpg",[],{"id":55258,"slug":55259,"title":394,"dynasty":177,"author":33984,"museum":119,"description":55253,"tags":55260,"thumbUrl":55261,"material":337,"size":937,"collection":127,"collections":55262,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235905,"shan-shui-tu-ce-guan-quan-235905",[24,25,164,59,67,7,63,125,64,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0eaa7a87b7ac9157db6bf743b98cc8.jpg",[],{"id":55264,"slug":55265,"title":394,"dynasty":177,"author":33984,"museum":119,"description":55253,"tags":55266,"thumbUrl":55267,"material":337,"size":937,"collection":127,"collections":55268,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235904,"shan-shui-tu-ce-guan-quan-235904",[24,25,164,67,59,65,7,63,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554022a25b0e04b5053a9dfe3fcb9fa0.jpg",[],{"id":55270,"slug":55271,"title":55272,"dynasty":54,"author":45715,"museum":119,"description":55273,"tags":55274,"thumbUrl":55275,"material":127,"size":127,"collection":127,"collections":55276,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235846,"ma-an-shan-tu-ye-wang-gu-xiang-235846","马鞍山图页","此作设色清润淡雅，右侧江岸山峦静立，坡岸林木蓊郁，茅庐隐于浓荫，开阔江面三两轻帆远渡，尽写江南水色空濛清寂之态。\n\n左侧题诗与画作相映成趣，笔墨秀雅，诗书画印融为一体，尽显文人画的萧散意趣。全幅不作繁复皴染，仅以浅绛轻敷，以简淡笔致铺展出幽旷山水意境，将凭眺江海的澹泊襟怀藏于简净笔墨中，观之便如沐江风，恍若身临山野江岸，静享林泉闲逸之致。",[24,25,164,59,28,67,101,7,62,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13cf2d28ee82931a2392cf23a8655e69.jpg",[],{"id":55278,"slug":55279,"title":55280,"dynasty":54,"author":55281,"museum":119,"description":55282,"tags":55283,"thumbUrl":55284,"material":127,"size":127,"collection":127,"collections":55285,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235838,"yu-shan-tu-ye-lu-shi-dao-235838","虞山图页","陆师道","此作为诗画合璧的小品佳构。右侧绘烟波丘林，淡墨轻皴的远山如晕染的眉黛，晕开在水天之际。近岸坡渚错落延展，苍松虬枝斜出崖侧，山居藏于岩麓林樾间，三两江帆浮沉烟波，清浅设色晕染出江南林泉的空濛柔婉。\n左侧题诗笔致秀逸，诗文与画境相契，把林泉幽怀细细道来。整作笔墨简淡却意韵醇厚，以极简铺陈，勾勒出文人心中的栖居雅境，淡而不薄，简不尽意，将江南山水的温婉清和与林泉高致融于尺幅，尽显幽寂淡远的文人意趣，让观览者坠入这份江南丘林的闲静雅思中。",[24,28,7,65,164,318,319,34,104,33,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33068c99d67a90c296175336686a30f5.jpg",[],{"id":55287,"slug":55288,"title":55289,"dynasty":54,"author":55281,"museum":119,"description":55290,"tags":55291,"thumbUrl":55292,"material":127,"size":127,"collection":127,"collections":55293,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235837,"shan-quan-dong-tu-ye-lu-shi-dao-235837","善权洞图页","以淡赭轻铺山峦，层叠丘壑间晕染柔雅，细笔点苔缀林，古松苍劲欹斜，山坳楼宇隐现于烟岚之中，幽寂空灵尽显洞天清旷。\n\n书画合璧，笔致清隽秀雅，以写意笔法铺展林泉胜景，不重精雕细刻，却将幽隐丘壑的澹然意趣娓娓铺陈。笔墨间浸润文人情思，简淡萧疏的格调里，尽显林泉高致，将山水灵秀与古雅意蕴融于尺幅，尽显师法自然又饱含文心的画中真意。",[24,25,164,28,65,67,101,66,7,318,319,34,583,63,167,3658,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93a23db8a02747d1835698287b7243e.jpg",[],{"id":55295,"slug":55296,"title":55297,"dynasty":54,"author":178,"museum":119,"description":55298,"tags":55299,"thumbUrl":55300,"material":337,"size":937,"collection":127,"collections":55301,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235835,"jiang-song-shan-shui-zhou-yi-ming-235835","蒋嵩山水轴","此作用留白铺就江天悠远意境，近岸枯木斜出，疏枝缀萼，垂条摇曳含着晚来秋意，坡岸蒹葭苍苍，野趣横生。中景扁舟一叶，渔翁俯身整理渔具，身形简括却神态安然，渔网静卧船头，漾出江上生计的闲散况味。远景汀洲以淡墨晕染，烟水空濛，将江天辽阔藏在留白之中。全作以水墨浓淡分出层次，笔意纵逸简淡，未作繁复皴染，寥寥笔墨写尽江乡清寂诗意，将江湖渔隐的安闲雅致融在烟水之间，观之如临清秋江渚，幽淡闲远的意境扑面而来。",[24,25,100,149,59,7,62,495,571,31,508,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75688a21c81c1a5d4b199bb00f6a0ed2.jpg",[],{"id":55303,"slug":55304,"title":159,"dynasty":54,"author":15209,"museum":119,"description":55305,"tags":55306,"thumbUrl":55307,"material":127,"size":127,"collection":127,"collections":55308,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235826,"shan-shui-ce-li-liu-fang-235826","此作笔墨简率松灵，枯木虬枝或苍劲挺拔，或柔婉舒展，柳丝轻曳漾开幽淡逸趣。坡石以淡墨晕染，留白衬出空濛幽寂之境，茅舍隐于林隅，愈发衬出山野清宁。\n诗画相融，随性点染间尽得萧散出尘的林下风致，以极简构图传递静穆淡远的文人情思，笔墨带着疏朗雅致的文人意趣，不刻意雕琢却意韵悠长，尽显寄心林泉的隐逸襟怀。",[100,24,25,164,59,65,7,165,1738,305,1674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e466953c256a2680a68a00e9f2bea8.jpg",[],{"id":55310,"slug":55311,"title":24479,"dynasty":177,"author":3760,"museum":119,"description":10519,"tags":55312,"thumbUrl":55313,"material":337,"size":937,"collection":127,"collections":55314,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235810,"shan-shui-shan-wang-hui-235810",[24,25,2484,59,7,63,34,125,103,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6daf7e7598c2bb21603e31c2a8cb3a.jpg",[],{"id":55316,"slug":55317,"title":55318,"dynasty":177,"author":3760,"museum":119,"description":55319,"tags":55320,"thumbUrl":55321,"material":127,"size":127,"collection":127,"collections":55322,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235780,"zhu-jia-ji-jin-ce-yun-shan-ye-wang-hui-235780","诸家集锦册-云山页","此作用淡墨晕染云霭，以短披麻皴写山峦，苍润浑厚。云气以留白与淡晕相融，将层峦托于云海之上，虚实相生间尽显飘渺灵动。茂林清溪之畔隐着山居小屋，野逸幽寂的林下栖居之趣扑面而来。\n\n右上角题诗与画面呼应，诗画交融，尽显文人山水的雅致意韵。笔墨干湿浓淡交织，松秀苍浑，既见丘壑幽深，又具笔墨雅韵，将江南云山空蒙秀润之景，与文人幽栖的襟怀相融，简淡间意蕴悠长，尽显山水小品的隽永情致。",[24,25,164,59,65,7,5099,34,64,37,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa306eb381b484c752eb4e75fab1e7f67.jpg",[],{"id":55324,"slug":55325,"title":19118,"dynasty":177,"author":1825,"museum":119,"description":55326,"tags":55327,"thumbUrl":55328,"material":127,"size":127,"collection":127,"collections":55329,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235775,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-jian-235775","此作以淡墨铺就江南山居，层峦叠嶂缓缓铺陈，坡岸蜿蜒勾连散落村居，虚实相生间漾开幽寂清宁的氛围。笔墨以干笔皴擦写山峦肌理，披麻皴淡晕出丘壑温润质感，墨色清润苍秀，兼得元人萧散简远与苍浑沉厚。林间枝桠疏朗有致，衬出林泉静谧。\n\n题诗与山水浑然相融，点破涧水幽鸣、尘意尽褪的意境，观之恍若身临无人林泉，俗念皆消。全作画简意丰，平和静穆之中藏着文人画独有的清空之韵，将江南丘壑的雅致与隐逸襟怀相融，尽显淡远深秀的文人山水意趣。",[24,59,65,7,165,35,305,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f82ad621b27ff4881bea84eff05f49.jpg",[],{"id":55331,"slug":55332,"title":4175,"dynasty":177,"author":31655,"museum":119,"description":31656,"tags":55333,"thumbUrl":55334,"material":337,"size":937,"collection":127,"collections":55335,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235748,"fang-gu-shan-shui-ce-xue-xuan-235748",[24,25,164,59,65,122,7,104,63,34,64,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5771efbb423ac3c706348959f901f8.jpg",[],{"id":55337,"slug":55338,"title":4175,"dynasty":54,"author":19566,"museum":119,"description":22795,"tags":55339,"thumbUrl":55340,"material":337,"size":937,"collection":127,"collections":55341,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235630,"fang-gu-shan-shui-ce-shen-hao-235630",[24,59,164,122,65,7,372,264,63,103,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcef9a985b4193102c5b6bef5a8abb3b.jpg",[],{"id":55343,"slug":55344,"title":4175,"dynasty":54,"author":19566,"museum":119,"description":55345,"tags":55346,"thumbUrl":55347,"material":127,"size":127,"collection":127,"collections":55348,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235627,"fang-gu-shan-shui-ce-shen-hao-235627","此作用笔苍劲老辣，左上主峰巍峨矗立，山石以干笔皴擦勾斫，尽显嶙峋厚重，带着古拙山野意趣。山间古松虬枝舒展，松下茅舍临溪而建，板桥横卧通幽，寥寥数笔便勾勒出世外幽居图景。远景山峦以淡墨晕染，虚实相映，铺陈出山林的悠远空寂。画面留白恰到好处，搭配右上角题诗，笔墨清逸雅致，将文人幽居林泉、寄情山水的雅趣尽藏其中，以简淡布景传递静谧禅意，尽显文人山水画抒情寄兴的悠然意韵。",[24,25,164,59,7,65,101,318,165,35,533,413,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F814c6c822e532304dd3b9f3a1c18071e.jpg",[],{"id":55350,"slug":55351,"title":35326,"dynasty":54,"author":4301,"museum":119,"description":32651,"tags":55352,"thum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繁，净洁雅素，以笔墨写尽林泉幽致，将山水静穆与文人幽怀融为一体，淡远空灵，余韵悠长，是清代文人山水画中极具代表性的清逸之作。",[24,25,164,59,65,7,264,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd385a39e368a353355424531a3bc0d.jpg",[],{"id":55478,"slug":55479,"title":394,"dynasty":177,"author":672,"museum":119,"description":55480,"tags":55481,"thumbUrl":55482,"material":127,"size":127,"collection":127,"collections":55483,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235079,"shan-shui-tu-ce-hua-yan-235079","此作取平远小景，几株清松瘦劲挺拔，荫蔽茅舍矮篱，空庭静立，浅坡覆着细草，淡墨晕染出幽寂的秋日郊野。笔致松秀简淡，以干笔轻皴，略施淡墨晕染，全然舍去浓丽设色，只以素净笔墨勾勒出萧散清旷的意境。左侧题诗与画境相合，诗画共生，将幽居的闲静隐逸融入山水之间。整体无繁复铺陈，于极简布景中尽显文人画淡泊清远的意趣，淡而有味，简中见深，把寄情丘壑的隐逸心境铺陈在尺幅之中，是意韵悠长的山水小品佳作。",[24,25,164,59,123,7,34,1674,64,20199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8b2b5a55526836adfcf20b9553f596.jpg",[],{"id":55485,"slug":55486,"title":394,"dynasty":177,"author":672,"museum":119,"description":55487,"tags":55488,"thumbUrl":55489,"material":127,"size":127,"collection":127,"collections":55490,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235078,"shan-shui-tu-ce-hua-yan-235078","此作以淡墨写意山水，远山以枯笔皴擦晕染，留白营造出空濛烟岚，流云似萦于峰岫之间。近岸浅渚点缀疏草，清寂雅致。扁舟横波，渔翁独棹，静逸清冷的氛围扑面而来。\n\n画面左上题字笔致疏朗，与水墨山水相得益彰，左侧小楷题诗秀润端丽，诗画交融，尽显文人雅趣。全作用笔清润简淡，不施浓彩，以留白托举云水空茫之意，将江南水畔的幽寂之美与江湖散人的萧散襟怀相融，于尺幅间铺展出淡远空灵的意境，尽显水墨造境的精妙意趣。",[24,25,164,59,65,67,7,62,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cb60d0eebb42dd33b6fdd457ccc97b.jpg",[],{"id":55492,"slug":55493,"title":394,"dynasty":177,"author":672,"museum":119,"description":55494,"tags":55495,"thumbUrl":55496,"material":127,"size":127,"collection":127,"collections":55497,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235076,"shan-shui-tu-ce-hua-yan-235076","此作用淡墨晕染出幽寂林泉，松秀笔触勾勒交错竹影，茅石隐于青竹间，平滩处幽人凭岸闲坐，留白铺就空濛悠远之意。诗画合璧，题诗呼应画中林下幽居之境。\n\n整体笔致灵松动宕，简淡的水墨晕染出山光清寂，将文人林下遐思的雅逸襟怀融于咫尺尺幅间，静穆萧散中尽显悠然旷达的林下意趣，笔简意丰，淡岚轻墨里晕开寄情山水的文人雅致。",[24,25,164,59,7,1738,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee2904067eed19e574426633f82e048.jpg",[],{"id":55499,"slug":55500,"title":394,"dynasty":177,"author":672,"museum":119,"description":55501,"tags":55502,"thumbUrl":55503,"material":127,"size":127,"collection":127,"collections":55504,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235075,"shan-shui-tu-ce-hua-yan-235075","此作以淡墨晕染出清寂山水，崖巅浮屠卓立，古松倚石横斜，山径隐于林樾之间。远景江波浩渺，片帆数点悠悠往来，留白铺就云水空濛之境，尽显悠远淡宕的诗意。\n\n书法页笔致隽秀舒朗，诗文与画境呼应，书画相生，融笔墨意趣与林泉雅韵为一体，淡逸萧散，将幽寂清和的山居江景，化作可赏可吟的世外丘壑，尽显文人山水的简远之美。",[24,25,164,59,65,7,104,34,64,62,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b83ff495a225ca7271b25ac8426346e.jpg",[],{"id":55506,"slug":55507,"title":159,"dynasty":177,"author":4747,"museum":20,"description":21024,"tags":55508,"thumbUrl":55509,"material":632,"size":21027,"collection":127,"collections":55510,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},235016,"shan-shui-ce-wu-li-235016",[24,100,25,164,59,67,101,65,7,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156efb030ae76d105034c69b34121e47.jpg",[],{"id":55512,"slug":55513,"title":55514,"dynasty":54,"author":178,"museum":119,"description":55515,"tags":55516,"thumbUrl":55517,"material":337,"size":937,"collection":127,"collections":55518,"showCount":550,"zanCount":961,"manualWeight":48,"mainColor":75},234969,"qian-gu-shan-shui-shan-ye-yi-ming-234969","钱穀山水扇页","此作用平远章法铺展湖山小景，三段洲渚错落排布，留白勾画出空阔水色，尽显湖天寥廓。枯木虬曲苍劲，以简括折芦笔意写出古拙之态，远林以点染之法轻施笔墨，淡赭晕染秋山，花青敷色浅岸，轻烟隐于远峦间，浅绛设色清透雅致。村居藏在林间坡岸，野意闲静，将江南秋日萧疏淡远的隐逸之趣收于咫尺扇面。题钤朱印点缀边角，文气悠然，笔墨疏淡却意蕴悠长，尽显文人山水寄情丘壑的雅逸品格。",[24,25,2484,7,59,28,65,125,64,61,62,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298d611f28db0ebf31aeb5ae6874a5be.jpg",[],{"id":55520,"slug":55521,"title":23406,"dynasty":177,"author":20361,"museum":20,"description":44068,"tags":55522,"thumbUrl":55523,"material":388,"size":44071,"collection":127,"collections":55524,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},234915,"xue-jing-gu-shi-ce-sun-hu-234915",[24,25,164,28,67,29,66,7,878,35,34,60,5932],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a903a9e7094137117389a07086cb5c7.jpg",[],{"id":55526,"slug":55527,"title":12420,"dynasty":177,"author":683,"museum":119,"description":12421,"tags":55528,"thumbUrl":55529,"material":349,"size":12424,"collection":127,"collections":55530,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},234892,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234892",[24,25,164,59,7,64,34,201,65,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204b1c2c416ad60fa5fb1ddfc578732d.jpg",[],{"id":55532,"slug":55533,"title":12420,"dynasty":177,"author":683,"museum":119,"description":12421,"tags":55534,"thumbUrl":55535,"material":349,"size":12424,"collection":127,"collections":55536,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},234885,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234885",[24,25,164,59,65,7,318,165,239,334,66,101,67,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9073c04ada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画中的文人坐于船上泛舟荷汀欣赏夏季美景，船上放着一函书，渔夫轻快地划着船，好一个闲适的生活！",[24,25,2484,28,59,7,653,62,103,165,890,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e31b3a65d44a24549835378870184a1.jpg","19.5cmx53.7cm",[],{"id":55671,"slug":55672,"title":55673,"dynasty":177,"author":178,"museum":119,"description":55674,"tags":55675,"thumbUrl":55676,"material":337,"size":937,"collection":127,"collections":55677,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},234433,"qing-ren-bai-yong-bao-hu-fa-xiang-zhou-yi-ming-234433","清人白勇保护法像轴","主尊六面六臂皎然如玉，安坐于炽盛烈焰光鬘之中，宝相威严慑人，握持法器尽显护法神威。整幅构图层次分明，上方云端诸佛安坐，似聆梵音；四方环绕忿怒本尊，共护坛城。\n\n云水苍峦以石青石晕染，朱砂赤金勾描衣纹宝饰，矿物颜料晕染出沉静又浓烈的色调，尽显藏地唐卡的华美厚重。画面细节饱满，净水瑞草、翔游灵禽点缀其间，将护法的狞厉肃穆与天界清宁相融，是藏传宗教绘画里兼具神性意蕴与工艺美感的精品。",[24,25,149,1042,28,29,103,8876,4459,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ff6e566cb14adb8e1471fe067fe0a2.jpg",[],{"id":55679,"slug":55680,"title":55681,"dynasty":177,"author":24281,"museum":119,"description":55682,"tags":55683,"thumbUrl":55684,"material":537,"size":127,"collection":127,"collections":55685,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},234245,"chen-shu-hua-si-zi-jiang-de-juan-chen-shu-234245","陈书画四子讲德卷","陈书（1660–1736）是清代女画家。陈书出生于浙江省秀州（今嘉兴），以字“南楼”及号“上元弟子”、“南楼老人”著称。陈书被认为是清代第一位女画家，以及秀水画派的开创者。除了她本人的艺术成就外， 陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,100,24,25,26,28,29,67,101,7,583,63,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":55687,"slug":55688,"title":55689,"dynasty":54,"author":55690,"museum":119,"description":55691,"tags":55692,"thumbUrl":55693,"material":127,"size":127,"collection":127,"collections":55694,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},234165,"lin-mou-yi-shan-ze-za-shu-zhou-zhuang-juan-ma-yu-234165","临缪佚山泽杂树轴装卷","马愈","马愈， 明代书画家。字抑之，号华发仙人，人号 马清痴，嘉定（今属 上海市）人。其父 马轼曾以星占服务于军中，又是著名的院体画家。马愈于 明英宗天顺八年（1464年）中甲申科进士，后来官至刑部主事。马愈能诗，善书，工山水，登逸品。以诗文书画与江南士有广泛交游，著有 《马氏日抄》一卷。",[23,24,25,26,122,59,65,67,101,7,3110,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd053d0aa504c020ce53dd9906b558821.jpg",[],{"id":55696,"slug":55697,"title":55698,"dynasty":18,"author":178,"museum":20,"description":55699,"tags":55700,"thumbUrl":55701,"material":87,"size":55702,"collection":127,"collections":55703,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},234080,"song-gu-wen-dao-tu-ye-yi-ming-234080","松谷问道图页","在这张照片中，现场附近有一条潺潺的小溪。 一个老和尚坐在一棵古松下，另一个老和尚用手问老和尚。 远景云雾缭绕。 人物文笔简洁，意境生动，精神饱满。 这张图题中的“询价”二字，显然有表面和内在两层含义。 类似的题材和绘画手法出现在南宋马远、夏圭的画册中。",[100,24,25,28,65,101,7,103,413,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc520db25e880f9feeb4e1560f18da22c.jpg","44x43cm",[],{"id":55705,"slug":55706,"title":55707,"dynasty":18,"author":178,"museum":20,"description":50741,"tags":55708,"thumbUrl":55709,"material":454,"size":55710,"collection":127,"collections":55711,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},234038,"si-lun-tu-zhou-yi-ming-234038","丝纶图轴",[24,25,149,59,28,65,66,67,7,34,583,35,103,533,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc447fe7cf03f1038a72f049cc5ebbc4f.jpg","纵83.2厘米 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本幅：34×105.5cm 题跋：31×33cm×13",[],{"id":55855,"slug":55856,"title":55857,"dynasty":54,"author":2842,"museum":135,"description":55858,"tags":55859,"thumbUrl":55860,"material":349,"size":55861,"collection":127,"collections":55862,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},231372,"qi-xia-shan-tu-zhang-hong-231372","栖霞山图","栖霞山以禅寺和石刻千佛岩闻名于世，位于南京城东北22公里，又名摄山，南朝时山中建有“栖霞精舍”，因此得名。栖霞山有三峰，主峰三茅峰海拔286米，又名凤翔峰；东北一山，形若卧龙，名为龙山；西北一山，状如伏虎，名称虎山。栖霞山没有钟山高峻，但清幽怡静，风景迷人，名胜古迹，遍布诸峰，被誉为“金陵第一名秀山”。尤其是深秋的栖霞，枫林如火，漫山红遍，宛如一幅美丽的画卷，素有“春牛首，秋栖霞”之说。1634年，明代画家张宏以南京近郊的胜地栖霞山为画题，创作了一幅栖霞山图。真实地描绘出了明朝时期栖霞山的风貌。整幅画面气势恢宏，以千佛岩为主体，纵深地铺洒出一片葱郁的森林，使人看后心旷神怡，仿佛置身于那片清凉世界之中。\n此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[24,25,149,28,7,34,63,104,64,37,65,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fad6af81b9c3d5091b3f39f4570be3.jpg","纵341.9cm，横101.8cm",[],{"id":55864,"slug":55865,"title":8592,"dynasty":54,"author":178,"museum":119,"description":55866,"tags":55867,"thumbUrl":55868,"material":127,"size":127,"collection":127,"collections":55869,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":379},231361,"shan-shui-tu-zhou-yi-ming-231361","山水画，简称“山水”。中国画的一种。描写山川自然景色为主体的绘画。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。\n在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；成为中国画中的一大画科；后蜀后主孟昶创设翰林图画院；元代山水画趋向写意，以虚带实，侧重笔墨神韵，开创新风；明清及近代，续有发展，亦出新貌。表现上讲究经营位置和表达意境。",[23,24,59,7,149,65,583,62,63,61,64,167,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32218520c64ca979c215b59b175d93c9.jpg",[],{"id":55871,"slug":55872,"title":55873,"dynasty":8332,"author":178,"museum":119,"description":55874,"tags":55875,"thumbUrl":55877,"material":337,"size":937,"collection":127,"collections":55878,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},230542,"shi-ting-shi-dai-ri-yue-shan-shui-tu-ping-feng-ri-ping-yi-ming-230542","室町时代 日月山水图屏风-日屏","此作以云气横分天地，上半段飞泉叠流于苍绿岩岫，金地衬出山野清旷仙气，留白的水色灵动通透，晕染出幽寂空远的山林意趣。\n\n下半段苍崖伴着涡卷水纹，苔点轻缀石面，古雅朴拙的设色带着侘寂况味。敷色古旧厚重，却将山水灵秀融于沉静笔意间，以简驭繁，把悠远禅意藏于斑驳绢面，尽显东方山水空濛虚灵之美，笔简意足，勾勒出幽谧出尘的山水之境。",[23,24,28,27,8336,7,199,979,64,55876,24748,49419],"水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a5a169c7bb1db40e61ea5461dce240.jpg",[],{"id":55880,"slug":55881,"title":55882,"dynasty":8332,"author":55883,"museum":119,"description":55884,"tags":55885,"thumbUrl":55886,"material":337,"size":937,"collection":127,"collections":55887,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},230491,"jiang-hu-shi-dai-shan-ye-xing-le-tu-ping-feng-yi-ping-yu-xie-wu-cun-230491","江户时代 山野行乐图屏风-一屏","与谢芜村","与谢芜村(1716～1783),本姓谷口，别号夜半亭（二世），画名谢长庚、春星等。生于摄津国毛马村。少年时代即爱好艺术。20岁前后丧失家产，漂泊至江户，拜师学习俳谐，寄寓于芭蕉传人早野巴人的夜半亭，为江户俳坛所瞩目。以后10年间游历各地，致力学画。后名声大震。1757年成家，恢复俳谐创作。1766年与其他俳句作者成立“三果社”，提倡俳句的新风格。1767年继承夜半亭俳号，发展成为一代宗匠。",[23,8336,59,28,65,21213,7,318,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce6136ac3abe35cf6a8933992871d3c.jpg",[],{"id":55889,"slug":55890,"title":55891,"dynasty":177,"author":178,"museum":119,"description":55892,"tags":55893,"thumbUrl":55894,"material":337,"size":937,"collection":127,"collections":55895,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},230336,"bai-miao-tu-miao-man-tu-shuo-si-yi-ming-230336","百苗图苗蛮图说(四)","这幅工笔设色小品，以灵动笔触铺展苗乡出行图景。木桥之上挑货汉子步履轻快，竹篮盛着满满烟火日常。盛装妇人身背长伞，衣襟纹饰雅致细腻，随行童子憨态可掬，稚犬蹦跳嬉闹鲜活灵动，持锄男子紧随其后，将山野劳作的松弛尽数勾勒。远景山峦晕染朦胧，飞瀑穿林而下，粉花缀在青崖，淡墨轻晕开山居清逸。画作未刻意猎奇民俗风情，而是以细腻视角定格苗家日常的恬淡鲜活，将乡野生计的烟火意趣与山水清灵融为一体，把苗岭日常的温柔生机藏在笔墨晕染间。",[24,28,29,164,103,7,60,61,106,102,13567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ce470f883074425eca78903e825a9a.jpg",[],{"id":55897,"slug":55898,"title":55899,"dynasty":177,"author":178,"museum":119,"description":55900,"tags":55901,"thumbUrl":55902,"material":127,"size":127,"collection":127,"collections":55903,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},230327,"lang-qiao-shan-shui-tu-yi-ming-230327","廊桥山水图","此作截取江岸一隅，崖壁以石青石绿晕染敷色，古雅厚重，间杂丹红秋叶，冷暖相映晕开深秋明丽。苍松杂木扎根崖间，笔墨点染间尽显葱郁生机。\n\n浅滩汀渚错落排布，水面留白尽显烟波空濛之态。滩头人物往来、牧放嬉游，纤毫小笔勾勒出鲜活烟火，将山居野逸与人间日常相融无间。\n\n笔法兼工带写，山石皴擦简练古拙，树木点染生动自然，承继青绿山水明丽设色的传统，又以生活化场景消解了古典山水的清冷疏离，尺幅间铺展出世外桃源般的悠然意韵。",[24,28,27,29,7,60,61,34,64,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6071decbc12190d4d9612207ecb3d76d.jpg",[],{"id":55905,"slug":55906,"title":55907,"dynasty":177,"author":1925,"museum":119,"description":18578,"tags":55908,"thumbUrl":55909,"material":337,"size":937,"collection":127,"collections":55910,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},230282,"hua-niao-shan-shui-ce-ba-kai-zhu-da-230282","花鸟山水册八开",[24,25,164,59,1249,7,264,106,9920,653,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73043b7ba44730441ec6f9634ec31f70.jpg",[],{"id":55912,"slug":55913,"title":55914,"dynasty":177,"author":178,"museum":119,"description":55915,"tags":55916,"thumbUrl":55918,"material":337,"size":937,"collection":127,"collections":55919,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},229186,"yang-cai-dong-jing-shan-shui-mei-ping-yi-ming-229186","洋彩冬景山水梅瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[40487,55917,7,9410,878,28,2394,64,34,25332,5254,22359,54283],"洋彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d91d2c06f50e2eadaff4b6cc3e9361e.jpg",[],{"id":55921,"slug":55922,"title":55923,"dynasty":177,"author":27470,"museum":119,"description":55924,"tags":55925,"thumbUrl":55926,"material":127,"size":127,"collection":127,"collections":55927,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},229054,"shan-shui-ce-274-ye-xin-229054","山水册274","此作以淡赭轻晕铺就雪野寒山，留白晕染间，天地漫着清寂冬意。远山以浅墨晕成朦胧雪色，不见繁复皴擦，只以简淡笔墨勾勒山形，将冬日山野荒寒铺展眼前。山道间车马旅人简笔写就，行色匆匆的羁旅之态跃然纸上，把凛冬行路的困顿萧索藏于笔底。\n\n整体笔墨清逸简淡，以少胜多，留白尽是寒雪，淡墨皆是荒丘，将冬日关山的空疏与行旅的孤寂相融，于尺幅之间晕染出悠远萧寒的意境，尽显小品山水的空灵诗意。",[24,25,164,59,7,3434,335,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f683da4426a9134d7608944f202e2e.jpg",[],{"id":55929,"slug":55930,"title":55931,"dynasty":177,"author":683,"museum":119,"description":55932,"tags":55933,"thumbUrl":55934,"material":127,"size":127,"collection":127,"collections":55935,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},229031,"shan-shui-shi-er-kai-wang-yuan-qi-229031","山水十二开","此作用北苑墨法写就，山峦层叠盘桓，以干笔积墨反复皴擦，线条苍劲老辣，墨色干湿浓淡交织，层层铺陈出山林的浑厚华滋。近岸杂木错落，掩映水榭村居，溪涧回环穿谷而出，衬出林泉幽寂之致。\n整体章法紧而不塞，虚实相生，将元人笔墨的疏淡苍润融入自身沉雄笔力之中，既得古法的静穆高逸，又自具苍浑朴拙气度，尽显正统山水画的笔墨意趣，将江南山林的深秀与文人画的书卷气融为一体，师法古人又自出机杼，是极具代表性的传统山水佳构。",[24,25,59,164,65,7,64,61,34,150,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146913e1e87fe1b26f6aef5dc147242.jpg",[],{"id":55937,"slug":55938,"title":55939,"dynasty":54,"author":55940,"museum":119,"description":55941,"tags":55942,"thumbUrl":55943,"material":127,"size":127,"collection":127,"collections":55944,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},228900,"xiao-fu-tu-juan-zhang-feng-bu-tu-gu-meng-you-228900","啸赋图卷张风补图","顾梦游","水墨淡绘峰林幽谷，隐者策杖独行，留白疏淡间，漾出幽远超尘的林下意趣。随行行书长卷笔致秀雅舒展，录就《啸赋》全篇，笔墨清逸萧散，与画境相映成趣。\n\n书画合璧，将赋文里寄怀烟霞、啸傲林泉的隐逸襟怀融于卷中，明人尚雅的高致风流尽在其中，文、书、画相生相融，勾勒出古贤遁世丘山的澹泊襟怀。",[23,100,24,25,26,123,59,7,264,66,67,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2daf2a4d157139ac44e11d0373f8546.jpg",[],{"id":55946,"slug":55947,"title":55948,"dynasty":54,"author":178,"museum":119,"description":55949,"tags":55950,"thumbUrl":55951,"material":127,"size":127,"collection":127,"collections":55952,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},228788,"han-jiang-yu-jia-tu-yi-ming-228788","寒江渔家图","此作用淡墨晕染出萧寒冬日的江野之景。前景老树虬曲苍劲，枯槎间缀着残雪与点点红萼，荒寒里透出一缕生机。寒江之上，孤舟泛波，舟头渔者瑟缩，暗合冬日生计的清苦。远山覆雪，以淡笔轻勾，衬出江天空蒙冷寂。全画笔法简淡空灵，将江乡冬日的荒寒静穆悉数铺展，把渔家漂泊的清寂与山水的悠远相融，于萧索冷冽的意境里，藏着水墨山水独有的空雅致趣，尽显冬日江野的澹泊清寂之美。",[23,24,28,7,62,372,64,2855,373,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af03191cefa620a2ca42015524e4fb9.jpg",[],{"id":55954,"slug":55955,"title":55956,"dynasty":54,"author":178,"museum":119,"description":55957,"tags":55958,"thumbUrl":55959,"material":337,"size":937,"collection":127,"collections":55960,"showCount":550,"zanCount":961,"manualWeight":48,"mainColor":49},228666,"wu-cai-bai-lu-zun-yi-ming-228666","五彩百鹿尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[17460,40487,45293,28,2394,3987,3988,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a0cd95d73f694da81155f13e428e8f.jpg",[],{"id":55962,"slug":55963,"title":55964,"dynasty":54,"author":55965,"museum":119,"description":55966,"tags":55967,"thumbUrl":55968,"material":127,"size":127,"collection":127,"collections":55969,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},228336,"xi-shan-zhen-shang-tu-jin-run-228336","溪山真赏图","金润","《溪山真赏图》是中国明代画家 的国画作品，现藏于天津市艺术博物馆。\n该作品纸本，设色，纵29厘米，横16.5厘米，据卷后题跋可知是为其婿陈坚远所作。\n《溪山真赏图》是中国明代画家 的国画作品，画上自题“静虚写溪山真赏图，时年七十四也”。\n卷后自题署成化戊戌款，可知此图作于成化十四年，作者时年七十四岁，属晚年之作。\n欧阳序篆书引首，拖尾有作者自题及吴宽、马迪、陈璚、杜堇、性嘉、周孟中、蒋谊等人的题跋。\n卷中钤有清初朱之赤、清内府及吴亦先、陈嗣宗、张叔诚等鉴藏印。\n该作品用笔工细简淡，设色清雅，构图平远，疏密有致，是金润画作精品，亦是其现存海内孤本。\n金润 (公元15世纪)〔明〕字伯玉，又字静虚，上元(今江苏南京)人，生卒年不详。\n幼即嗜学，年十二能赋诗，正统(146-1449)间举乡贡，授兵部司务。\n为少保于谦所重，每与之咨议兵事。\n后擢南安知府，政暇即弹琴写画赋诗。\n精通音律，工书画。\n书法类赵孟頫，山水法方从义。\n所画山水天真横溢，工整简淡，细笔勾皴，浓墨点醒，勾点兼用，构图严谨，疏密有致。\n从艺活动约在正统、成化年间。",[24,25,67,66,7,38542,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d37175f7f1a0a5de4cde2f0f3cab04.jpg",[],{"id":55971,"slug":55972,"title":55973,"dynasty":80,"author":178,"museum":119,"description":55974,"tags":55975,"thumbUrl":55976,"material":127,"size":127,"collection":127,"collections":55977,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},228229,"guan-jing-tu-yi-ming-228229","观景图","以水墨晕染出林泉幽隅，老干虬曲的大树遮天蔽日，浓墨点簇的枝叶如盖，掩映着后方隐约的山居茅舍。淡墨皴擦的坡岸蜿蜒延伸，留白处似清溪浅濑，石上隐者凭坐对谈，共赏烟林清景。\n\n笔意简淡清疏，不施浓艳，以水墨的浓淡干湿晕开朦胧烟岚，将幽居林下的散淡襟怀藏在晕染的雾气之中。残题与画作相映，尽显简远意趣，寥寥数笔便勾勒出林泉高致，把山泽间的静穆悠然铺陈在尺幅之内，观之如身临疏旷幽寂的林下烟景，尽得闲雅隐逸之致。",[24,25,59,7,103,67,65,60,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bae947a0ca7be4223f0dd9af5acdecc.jpg",[],{"id":55979,"slug":55980,"title":30480,"dynasty":18,"author":178,"museum":119,"description":55981,"tags":55982,"thumbUrl":55983,"material":127,"size":127,"collection":127,"collections":55984,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},227895,"cheng-jiang-bi-xiu-tu-yi-ming-227895","此作为宋代青绿山水小品，取半边构图，左畔山石以石青石绿晕染，苍润古雅，坡岸松荫蔚然，隐见茅舍山居，野意悠然。右侧铺陈空阔澄江，几叶扁舟随波缓行，远山以淡墨轻扫晕染，在赭色绢底烘托下，将尺幅小景延展为辽远空濛的水天之境。\n\n全画色调沉静古拙，雅致内敛，把江南平远山水的清寂空阔，与山居的安闲悠然相融。咫尺尺幅间尽显宋人观照山水的澹泊意趣，见微知著，藏着江南烟水的沉静诗意，尽显院体小品的清丽雅致。",[23,100,24,25,2484,28,7,62,165,734,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebd0603c9adc30af9685e06d3a0274a.jpg",[],{"id":55986,"slug":55987,"title":55988,"dynasty":18,"author":178,"museum":119,"description":55989,"tags":55990,"thumbUrl":55991,"material":127,"size":127,"collection":127,"collections":55992,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},227875,"liu-tang-qiu-cao-tu-yi-ming-227875","柳塘秋草图","此作以淡墨晕染水天，将清秋的空濛萧索揉在氤氲水汽中。左侧岸渚垂柳成林，枝叶以细笔点染如烟似雾，把秋的清柔藏在垂绦之间。水面留白处点缀浅渚芦草，笔墨简淡却野意自生，细描的水纹漾开闲静涟漪，晕开塘岸幽寂。\n\n以尺幅小景框住秋郊疏朗之美，摒弃繁复皴法，凭水墨浓淡铺陈远近层次，将深秋的沉静淡愁融在画面里，如同一曲低缓清寂的秋歌，淡而余味悠长，尽显宋画独有的含蓄雅致，藏着文人偏爱的冷澹幽隽意境。",[23,100,24,25,2484,29,59,28,65,7,1478,2527,1031,34,1815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce6b7f466f533a40e0830c8a2449467.jpg",[],{"id":55994,"slug":55995,"title":37715,"dynasty":18,"author":178,"museum":119,"description":55996,"tags":55997,"thumbUrl":55998,"material":127,"size":127,"collection":127,"collections":55999,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},227873,"liu-tang-du-shu-tu-yi-ming-227873","苍松虬劲盘绕，柔柳垂拂溪岸，茅庐静踞山隅，堂内人影潜于书卷之间。溪石隐现于浅濑，清泠水意漫溢出纸面，远景平波澹澹，林峦在烟霭中晕化成淡墨剪影，将尘嚣完全隔绝在外。\n笔墨苍莽淋漓，皴擦间带着山野朴拙之气，将林泉高致的隐逸意趣藏在细节里，观之如身临幽寂山隅，窥见古人寄心林泉、沉潜书卷的雅静襟怀，仿佛能听见松涛卷着书香漫过水湄。",[23,100,24,25,2484,29,28,7,34,35,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd30268d4053639501778e8219f9b2a.jpg",[],{"id":56001,"slug":56002,"title":56003,"dynasty":18,"author":178,"museum":119,"description":56004,"tags":56005,"thumbUrl":56006,"material":127,"size":127,"collection":127,"collections":56007,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},227373,"xi-shan-cang-cui-tu-ye-yi-ming-227373","溪山苍翠图页","以谨严苍劲的笔墨描绘文人的隐逸生活。画面上高山峻拔，溪流绕岸，松林苍翠。一隐士漫步于溪岸，仰望远山，陶醉于林泉山色中。",[23,24,25,2538,59,28,67,164,7,125,106,239,61,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529b992184b93821d121297b00ee2b7e.jpg",[],{"id":56009,"slug":56010,"title":56011,"dynasty":1051,"author":178,"museum":119,"description":56012,"tags":56013,"thumbUrl":56014,"material":337,"size":937,"collection":127,"collections":56015,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},227117,"hai-shou-pu-tao-wen-jing-zhi-fu-jian-1-yi-ming-227117","海兽葡萄纹镜之附件-1","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[28,7,29,318,319,34,722,2394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6d8d9f78003218873fad34b454f55c.jpg",[],{"id":56017,"slug":56018,"title":56019,"dynasty":8332,"author":178,"museum":119,"description":56020,"tags":56021,"thumbUrl":56022,"material":127,"size":127,"collection":127,"collections":56023,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},225339,"fu-shi-hui-92-yi-ming-225339","浮世绘92","层叠奔涌的飞瀑是画面的灵魂，蓝白水纹带着磅薄动感顺着赭黄、赤红的山崖倾泻而下，冷暖色调相撞，迸发出强烈的视觉张力。\n\n右上角负鼓攀山的行者，与下方驻足观瀑的旅人，让雄阔山水晕开人间烟火气，动静相映，让幽深山林多了鲜活的意趣。利落刚劲的勾勒线条，明快浓烈的平涂色彩，尽显浮世绘版画的典型风韵，将飞瀑的雄浑奔涌与山林的清幽苍润融为一体，把寄情山水的江户风雅藏在寸尺画幅中，既有着自然造物的震撼冲击力，也传递出松弛闲适的人文意涵。",[21213,21214,28,7,199,34,103,61,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c62916bb5162e51217d00a2aa5f5f3b.jpg",[],{"id":56025,"slug":56026,"title":56027,"dynasty":8332,"author":178,"museum":119,"description":56028,"tags":56029,"thumbUrl":56030,"material":127,"size":127,"collection":127,"collections":56031,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},225334,"fu-shi-hui-87-yi-ming-225334","浮世绘87","飞流直下的瀑布以劲挺利落的蓝白线条铺就，仿佛携着轰然水声自崖头倾泻而下。崖畔朱色小屋静立，暖调破开冷冽水汽，让奔涌的山水多了一丝人间暖意。右下角旅人负具驻足观瀑，衬出飞瀑的宏阔，将人与自然的尺度铺展开来。\n\n设色明丽雅致，青绿山石晕染出山野苍翠，钴蓝飞瀑撞入眼底，暖棕崖壁点缀其间，尽显浮世绘独有的装饰质感。画作揉合幽谷飞瀑的壮阔与山居的幽寂烟火，将日式山水特有的诗意幽玄之美尽显无余。",[21213,21214,28,7,199,104,60,61,103,34,35,37,239,201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd712d7caa336d20298db6aa8156e555f.jpg",[],{"id":56033,"slug":56034,"title":56035,"dynasty":8332,"author":178,"museum":119,"description":56036,"tags":56037,"thumbUrl":56038,"material":127,"size":127,"collection":127,"collections":56039,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},225329,"fu-shi-hui-80-yi-ming-225329","浮世绘80","初雪轻覆隅田湾，澄澈蓝波托着覆雪渔舟，舱顶积雪似凝霜，静泊水面晕开冬日清寂。汀渚林木素白裹着苍绿，柔化了凛冬寒意。远处滩涂农夫负薪徐行，把烟火暖意揉进淡远暮色里。\n\n画作以平远构图铺展近郊冬景，雅致设色晕染出清冷疏朗氛围，将幽寂冬色与俗世温情相融，把寻常冬日常景，绘成诗意栖居的画卷，尽显风景绘的侘寂美学，定格下日常风物里的清宁温柔。",[21213,21214,28,7,62,495,1643,63,61,165,765,14977,373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d053a755b841d51128d3cdce096bf3c.jpg",[],{"id":56041,"slug":56042,"title":56043,"dynasty":177,"author":683,"museum":119,"description":56044,"tags":56045,"thumbUrl":56046,"material":127,"size":127,"collection":127,"collections":56047,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},224397,"fang-li-ying-qiu-bi-yi-zhou-wang-yuan-qi-224397","仿李营丘笔意轴","《清薛宣仿李营丘山水图轴》是清朝薛宣所创作的山水图轴。\n清薛宣仿李营丘山水图轴 此画作于1685年，从题款得知为仿北宋李营丘笔法。\n整幅画构图采用北宋人的主山高耸的格局，细笔绘成，敷以淡色，具有清旷、温秀的格调。\n薛宣，康熙年间人，字辰令，号水田居士，浙江嘉善人；一作娄东（今江苏太仓）人，侨居浙江武唐（今嘉兴）。\n善仿宋、元诸家山水，宗法王鉴，用笔厚重有气，一时之能品也。\n尝自夸其画“不参二王”，意即可与王原祁、王翚两名家并列。",[23,24,25,149,122,59,65,7,64,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577963b0648ab73e5506961bfbe382a1.jpg",[],{"id":56049,"slug":56050,"title":17936,"dynasty":177,"author":683,"museum":119,"description":56051,"tags":56052,"thumbUrl":56053,"material":127,"size":127,"collection":127,"collections":56054,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","此帧全景山水层峦叠嶂，逶迤连绵，尽显浑穆苍茫的山水元气。以干笔积墨之法，以披麻皴反复皴擦山峦，笔墨苍厚华滋，细密间见疏朗之致。河谷间村舍错落隐于林木，松荫下茅舍临水枕溪，板桥横陈浅滩，将山居隐逸的澹然意趣藏于丘壑之中。画作追摹前贤笔意却自出机杼，以熟后生的笔法调和苍润，在繁密构图里经营疏密节奏，将端稳气质与林下幽居的清雅意韵相融，尽显文人山水的静穆悠长。",[23,24,25,149,7,28,65,318,319,60,34,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":56056,"slug":56057,"title":56058,"dynasty":177,"author":12070,"museum":119,"description":56059,"tags":56060,"thumbUrl":56061,"material":127,"size":127,"collection":127,"collections":56062,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":49},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,100,24,25,149,7,28,65,318,765,5624,165,35,239,201,103,8208,372,31214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":56064,"slug":56065,"title":56066,"dynasty":177,"author":56067,"museum":119,"description":56068,"tags":56069,"thumbUrl":56070,"material":337,"size":937,"collection":127,"collections":56071,"showCount":550,"zanCount":48,"manualWeight":48,"mainColor":75},224242,"shan-mian-shan-shui-wang-wu-tian-224242","扇面山水","王无忝","清河南孟津人，字夙夜。康熙九年进士，官金华知府。善画山水。词语分解忝的字典解释忝ǎ 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地，举头缈缈似瑶宫。”",[23,24,100,25,149,59,7,65,104,60,61,62,63,64,583,3109,2216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce127fb8d35aa9d318a679e90e4b8366.jpg",[],{"id":57063,"slug":57064,"title":57065,"dynasty":18,"author":178,"museum":119,"description":57066,"tags":57067,"thumbUrl":57069,"material":337,"size":937,"collection":127,"collections":57070,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":49},289786,"song-yan-xian-guan-tu-yi-ming-289786","松严仙馆图","采用全景式山水章法，将高远、平远景致相融。危崖之巅，楼阁隐于青松翠岫间，尽显出尘高逸。水畔台榭依崖而建，烟波浩渺间远山如黛，留白处晕染出空濛悠远的诗意。前景古木虬曲苍劲，坡岸山石皴擦细腻苍润，笔致严谨雅致，绢本晕染的古雅色调沉静悠然。\n整幅画铺展出林泉幽居之景，将仙馆清寂融于烟岚山水之中，尽显可观可游可居的山水意趣，暗合林泉高致的风雅，氤氲出静谧悠远的隐逸之美。",[23,24,7,304,28,65,104,583,64,61,167,62,57068],"亭馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c8cfd725c56d9836e02506697d5c1d.jpg",[],{"id":57072,"slug":57073,"title":57074,"dynasty":8332,"author":57075,"museum":119,"description":57076,"tags":57077,"thumbUrl":57078,"material":337,"size":937,"collection":127,"collections":57079,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},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。",[23,24,1388,28,59,65,7,60,61,62,63,102,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b4914d50ec75112b683d1d423ddc33.jpg",[],{"id":57081,"slug":57082,"title":57083,"dynasty":177,"author":15454,"museum":119,"description":17511,"tags":57084,"thumbUrl":57085,"material":337,"size":937,"collection":127,"collections":57086,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":49},288405,"liu-lao-lao-chu-you-xiao-xiang-you-sun-wen-288405","刘老老初游潇湘游",[23,24,29,28,103,104,535,7,559,24714,2559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f507d3ef760c9586f9b9e3fed86bb8.jpg",[],{"id":57088,"slug":57089,"title":57090,"dynasty":177,"author":178,"museum":119,"description":57091,"tags":57092,"thumbUrl":57093,"material":337,"size":937,"collection":127,"collections":57094,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},288196,"mi-you-ren-kuan-chu-shan-qiu-ji-yi-ming-288196","米友仁款楚山秋霁","此作追摹米家云山之法，以淡墨层层晕染山峦林麓，间以浓墨错落点苔，不着意勾勒山石轮廓，纯以水墨干湿浓淡的层次变化，晕染出楚山秋霁后烟岚浮动、空濛湿润的清灵景致，萧散简远，尽显文人山水的淡逸禅意。\n整卷拖尾题跋琳琅，钤印错落，层层递加的鉴藏印记晕开厚重的流传脉络，精准还原了米家山水的烟雨空蒙之韵，将秋日楚山初晴的温润灵秀，藏入氤氲墨色之中。",[23,100,24,25,26,59,7,66,67,19975,101,3865,238,8249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cedc727e28733e55d4168e8b27dd6d8.jpg",[],{"id":57096,"slug":57097,"title":3773,"dynasty":54,"author":9356,"museum":119,"description":22164,"tags":57098,"thumbUrl":57099,"material":337,"size":937,"collection":127,"collections":57100,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":49},288068,"yu-le-tu-zhou-chen-288068",[23,24,26,59,28,103,7,62,61,373,19975,66,4622,583,535,756,6501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6016ca5fec09df5ebc518e20343612.jpg",[],{"id":57102,"slug":57103,"title":57104,"dynasty":54,"author":178,"museum":119,"description":57105,"tags":57106,"thumbUrl":57107,"material":337,"size":937,"collection":127,"collections":57108,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":49},287650,"fu-hui-xi-quan-tu-wu-se-cha-ban-yi-ming-287650","赴会西全图（无色差版）","此作画境分野分明，上部飞天凌于彩云之间，衣袂随云气舒卷，手托仙花缓行，祥云或如赤焰翻涌，或似棉絮轻漫，将赴会的悠然仙韵晕染尽致。\n\n下半部笔锋转向苍劲，危崖怪石间枯藤盘虬，山岩皴染沉郁古朴，下方水纹卷绕如缠丝，又与底部祥云相融，将仙凡两境自然衔接。\n\n整体设色沉厚古雅，朱砂石青历经岁月晕化出沉静古韵，线条刚柔并济，飞天身姿柔婉灵动，山石水纹苍劲拙朴，糅合仙意空灵与山海雄浑，尽显古拙灵动的庙堂雅韵。",[23,24,25,149,1042,28,103,7,4459,61,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4d53e20df1d861cf2bc0b89c87c64b.jpg",[],{"id":57110,"slug":57111,"title":57112,"dynasty":80,"author":178,"museum":119,"description":15073,"tags":57113,"thumbUrl":57115,"material":337,"size":937,"collection":127,"collections":57116,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":49},287599,"cheng-gong-jie-bao-tu-yi-ming-287599","成功捷报图",[24,28,27,103,7,1616,57114,1630],"捷报","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6fe327570e9ef18159927c0d36ee239.jpg",[],{"id":57118,"slug":57119,"title":57120,"dynasty":18,"author":178,"museum":119,"description":57121,"tags":57122,"thumbUrl":57123,"material":337,"size":937,"collection":127,"collections":57124,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":49},287558,"bu-hua-shan-shui-yi-ming-287558","布画山水","此作用全景式铺陈山林丘壑，淡墨皴擦出层叠山峦的温润质感，留白处引出水云萦回的空濛意境。苍松杂木错落生姿，枝叶用细笔点染，尽显清苍秀润之态。山坳间屋舍楼阁星罗，山道随溪岸蜿蜒，将山居日常悄然融于林泉烟岚间。\n\n整作笔墨简淡却意趣丰盈，未用浓艳设色，以水墨浓淡层次晕染出清寂山林气象，尽显寄情林泉、天人共生的隐逸意趣，将山水画可观可居可游的特质，藏在浅淡烟岚间娓娓道来。",[24,100,7,104,34,61,64,65,101,66,15126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b95cc9d9b51fdb04a617f251e875252.jpg",[],{"id":57126,"slug":57127,"title":57128,"dynasty":177,"author":178,"museum":119,"description":57129,"tags":57130,"thumbUrl":57131,"material":337,"size":937,"collection":127,"collections":57132,"showCount":500,"zanCoun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\n\n左侧题诗与画境呼应，诗书画相融无间。笔法松秀温润，全以水墨浓淡分出层次，不着艳色，晕染出清寂淡远的氛围，暗合拟古诗的澹澹诗意，将文人寄情林泉、澄怀观道的雅趣藏在简淡笔墨之中，尽显悠然闲逸的林下之思，是兼具诗境与画韵的文人山水佳构。",[24,25,164,59,7,103,34,63,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a6b4a16c71ff0d19154e6a540211cc.jpg",[],{"id":57603,"slug":57604,"title":28711,"dynasty":177,"author":3973,"museum":119,"description":57605,"tags":57606,"thumbUrl":57607,"material":127,"size":127,"collection":127,"collections":57608,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238756,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238756","此作用淡墨绘就行旅小景，左侧城堞隐于烟柳山峦间，石径沿陂岸迤逦延展。策马路过的士人衬出荒村的清寂。远景山峦以干笔皴擦，苍朴雅致，近岸林木简淡清润，虚实相映晕染出空濛悠远的氛围。配页书法端雅工稳，诗画呼应，将拟古羁旅诗意融于尺幅山水间。笔致松秀灵和，简净萧疏，把行旅幽寂的况味藏在淡墨山水里，诗画合璧，尽显清和淡远的绵长意韵。",[24,25,164,59,28,65,304,7,103,335,104,334,264,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f6b582e70bcee5d7540efab516672d.jpg",[],{"id":57610,"slug":57611,"title":28711,"dynasty":177,"author":3973,"museum":119,"description":57612,"tags":57613,"thumbUrl":57614,"material":127,"size":127,"collection":127,"collections":57615,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238752,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238752","此作以素墨绘就林丘胜景，近景苍松斜生，策杖老者随侍童缓步山径，古意悠然。远景层峦以干笔勾勒皴擦，山石嶙峭的肌理尽现，留白铺陈出山林空寂悠远的意境。左侧题诗与山水呼应，诗画交融，将诗句中的林泉高致具象化。\n\n笔墨清隽秀润，无繁复设色，以淡墨晕染出山野的沉静氛围，把文人心中的隐逸林下的雅趣铺展开来，将观景、品诗、赏画融为一体，尽显冲淡平和的中式文人意趣。",[24,25,164,59,65,7,103,34,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe57c5b9817030755ee9c5303360dccd.jpg",[],{"id":57617,"slug":57618,"title":28711,"dynasty":177,"author":3973,"museum":119,"description":57619,"tags":57620,"thumbUrl":57621,"material":127,"size":127,"collection":127,"collections":57622,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238749,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238749","此作用笔秀雅简淡，以水墨写就园林幽居之景。右侧楼阁凭栏立人，古木环合，檐角隐于枝叶间，静谧安闲；左侧溪桥蜿蜒，水榭依水而建，水波澹澹衬出空濛之态，奇石错落、嘉木扶疏，铺陈出林泉雅境。\n诗画合璧，以留白晕染烟霞之致，将拟古诗意具象化。整体疏朗清寂，不着浓彩，以简练皴擦勾勒山石肌理，淡墨点染林木苍润，尽显江南园林的闲雅隐逸之趣，藏着文人士大夫悠游林泉、静赏烟霞的澹泊襟怀。",[24,25,164,59,7,60,61,63,34,64,35,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beae70bf636e6e1c5680dd3f003c793.jpg",[],{"id":57624,"slug":57625,"title":28711,"dynasty":177,"author":3973,"museum":119,"description":57626,"tags":57627,"thumbUrl":57628,"material":127,"size":127,"collection":127,"collections":57629,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238748,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238748","此幅以淡墨写就郊林清景。右侧古松虬劲苍茂，松下二人对坐晤谈，衣袂简雅，尽显林下闲逸之姿。左侧平林远岫，浅溪横桥，山石以干笔皴擦，淡墨晕染，清润秀逸。\n\n诗画合璧，将早行郊游的闲雅意趣融于山水间，笔致简净松秀，以简淡笔墨铺陈出萧散出尘的林下之思。清和笔墨晕开春日郊野的柔润清旷，把观景游赏的雅兴藏在一山一水、一松一人中，诗画呼应，静穆平和，尽显文人山水的淡远意境。",[24,25,164,59,65,7,34,103,60,64,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2462a8ce8ca5ba5a1ed1c415901cd6aa.jpg",[],{"id":57631,"slug":57632,"title":28711,"dynasty":177,"author":3973,"museum":119,"description":57633,"tags":57634,"thumbUrl":57635,"material":127,"size":127,"collection":127,"collections":57636,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238747,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238747","此作用淡墨写就山水林泉，右侧巉岩峻崚，古木盘虬于石畔，涧水漱石有声；左侧平坡疏林，士人携童策杖徐行，似正流连林壑幽景。\n笔墨清隽秀雅，以简淡皴擦勾勒山石肌理，林木仅以淡墨点染枝叶，全无浓艳敷色，尽显文人山水的疏淡逸致。画幅题诗与景致相映，将诗意融于山水间，把林下行吟的雅事铺展开来，传递出林泉高致的隐逸意趣，简淡中裹挟着温润秀逸的气韵，观之如身临幽山，可共赴林壑闲居之乐。",[24,25,164,59,123,65,67,101,7,103,34,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a9d1e57865971baf5429d4b67f7c74d.jpg",[],{"id":57638,"slug":57639,"title":28711,"dynasty":177,"author":3973,"museum":119,"description":57640,"tags":57641,"thumbUrl":57642,"material":127,"size":127,"collection":127,"collections":57643,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238746,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238746","此作以淡墨绘就江岸山居之景，近岸古松盘虬苍劲，松下高士凭崖远眺，崖壁层叠皴擦细致，石间草木蓊郁清润。远景江天相融，水色空濛渺远，将咫尺尺幅拓展出辽阔的山水意趣。\n笔墨以干笔勾勒山石肌理，淡墨晕染铺陈出清寂空润的氛围，将写实景致与文人写意笔趣相融。右侧题诗与画作相映成趣，诗画相生，尽显清雅文心，把幽远超脱的林下意境烘托尽致，将观者带入沉静澹泊的文人情思之中，是兼具笔墨意趣与抒情性的精妙山水小品。",[24,25,164,59,7,65,66,101,583,64,103,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be58a09a3b88e645e21dc2dc3082d64.jpg",[],{"id":57645,"slug":57646,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":57647,"tags":57648,"thumbUrl":57649,"material":127,"size":127,"collection":127,"collections":57650,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238724,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238724","此作用淡墨晕染出空濛水岸，远山以留白晕开，愈显清旷悠远。左侧坡岸竹树苍润，两位文士相对晤谈，神态悠然尽显林下雅意，隔水洲渚垂柳依依，掩映屋舍，幽寂雅致。右上角题诗呼应画意，诗画相融。笔触清隽秀雅，以简淡笔墨铺陈林泉之致，将诗中寄怀烟水、相逢林下的闲逸情愫，尽数融于尺幅之中，意境简澹幽远，尽显文人高致雅怀。",[24,59,65,164,103,630,165,35,7,66,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53573bcded433e098bb06431006acdb3.jpg",[],{"id":57652,"slug":57653,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":57654,"tags":57655,"thumbUrl":57656,"material":127,"size":127,"collection":127,"collections":57657,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238721,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238721","此作以淡墨绘就烟江林峦，近渚之上，高士曳杖徐行，侧首远眺烟水间的迤逦远山，林木苍润秀拔，姿态舒展灵动。\n笔墨清隽秀润，以简练皴擦写尽山峦肌理，淡墨晕染出空濛水汽，虚实相生间铺展出悠远淡宕的山水意境。左上题诗与画境呼应，诗画交融，将送别怀友的缱绻心绪融在林泉烟霭之中，褪去浓丽色彩，以素净水墨尽显澹泊雅致的文人意趣，把古典山水的沉静襟怀与诗意共情合二为一，尽显中式文人画独有的清雅韵致。",[24,25,164,59,65,7,103,165,734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c619325979390fa1e762a1233424d98.jpg",[],{"id":57659,"slug":57660,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":57661,"tags":57662,"thumbUrl":57663,"material":127,"size":127,"collection":127,"collections":57664,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238720,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238720","此作用笔清隽萧散，以水墨晕染出月夜空蒙之境。左上角谯楼隐在烟霭中，留白铺就出辽远夜色，右下角茅舍旁，老翁凭栏望月，树石苍秀简澹。\n画面将怀远幽思融在淡墨山色间，诗画合璧呼应诗意，天地俱寂里，幽人寄情明月，虚实相生间晕开悠悠愁绪。无浓丽敷色，全以极简笔墨铺陈出清远孤寂的意境，将文人情思和山水夜色融为一体，尽显清雅淡远的文人画意趣。",[24,25,59,304,164,65,66,101,103,104,1643,63,7,34,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870e2824ee524e800c8f5fd3fce2de7c.jpg",[],{"id":57666,"slug":57667,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":57668,"tags":57669,"thumbUrl":57670,"material":127,"size":127,"collection":127,"collections":57671,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238719,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238719","画面分作两处景致，左侧亭畔雅士驻足凝睇，右侧水村茅庐内有人凭窗独坐，一色清月悬于墨色夜空，牵起两地幽思。\n作者以枯淡笔墨绘林木萧疏，淡墨晕开烟水空濛，留白铺就夜色清寂，将羁旅怀远的缱绻心绪融于萧疏秋景之中。诗画合璧，把客子念旧的别愁，化作眼前空濛悠远的秋宵图景，简澹秀雅的笔触里，尽显文人写意水墨的空灵风神，清冷月色漫过水岸亭台，晕开满幅寂廖怀人之思。",[24,25,164,59,123,29,103,63,34,347,7,264,66,67,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685e75274ee14cd63fb4e9d802c99914.jpg",[],{"id":57673,"slug":57674,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":57675,"tags":57676,"thumbUrl":57677,"material":127,"size":127,"collection":127,"collections":57678,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238718,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238718","此作用淡墨晕染江渚，空濛淡远，枯笔皴写林木苍劲疏朗。茅庐依树而建，曳杖老者独立坡岸，身形萧索，怅然远望。\n\n画面极简，却将拟陶诗中归来不见旧人、饥寒愧恨的凄清意绪尽数铺陈。干湿浓淡间尽显幽寂冷逸，以画释意，诗韵与画境浑然相合。简淡笔墨勾勒出世故寥落，藏着文人归处难觅的怅惘，尽显诗画交融的清雅意趣。",[24,59,65,67,101,66,164,103,7,125,347,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb255cccc29c416bdf6b4a094d25bb4f7.jpg",[],{"id":57680,"slug":57681,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":57682,"tags":57683,"thumbUrl":57684,"material":127,"size":127,"collection":127,"collections":57685,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238716,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238716","此作用白描绘就雅集盛景，左畔古木怪石环抱幽亭，右方水榭远山含藏烟波。汀洲之上文人两两揖晤，衣袂舒展、仪态温恭，尽显林下酬唱的清逸闲趣。\n\n画师以铁线勾勒写形，山石皴擦简淡却见丘壑层次，古木虬枝挺拔苍劲，笔致秀挺洗练。题诗与画境呼应，诗画交融，将文人雅聚的风流意韵尽藏卷中，笔墨间浸透着古典山水人文的悠然意趣。",[24,25,164,59,65,103,7,165,734,63,104,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc51b9748c6e4f11f137e26f6f94113.jpg",[],{"id":57687,"slug":57688,"title":45356,"dynasty":177,"author":3973,"museum":119,"description":57689,"tags":57690,"thumbUrl":57691,"material":127,"size":127,"collection":127,"collections":57692,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238711,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238711","此作用左文右图的形制，将诗画相融。画面以水墨绘就板桥送别之景，着笠佩剑的行者停驻桥头，与揖手相送的故友遥遥相对，侧旁侍从牵马静候，依依别情尽在无言。远景山峦以淡墨轻皴，烟岚晕染出平远空濛之态，近岸枯木虬枝挺拔，衬出萧疏清远的氛围。\n\n笔墨秀雅清劲，皴擦简淡含蓄，将离别的缱绻怅惘融于山水间。题字与朱印错落排布，诗书画印相映成趣，尽显文人雅韵，把诗文里的惜别深情化作可感的山水意境，含蓄隽永。",[24,25,59,28,29,65,7,103,104,60,125,63,334,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9563c77083b5aa0bd8dc5dec7ab912ba.jpg",[],{"id":57694,"slug":57695,"title":159,"dynasty":177,"author":3973,"museum":119,"description":32679,"tags":57696,"thumbUrl":57697,"material":337,"size":937,"collection":127,"collections":57698,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238682,"shan-shui-ce-dong-bang-da-238682",[24,59,65,164,7,583,103,239,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F446e498ed2ca0c06c57ea4d826a33924.jpg",[],{"id":57700,"slug":57701,"title":49443,"dynasty":177,"author":24281,"museum":119,"description":49444,"tags":57702,"thumbUrl":57703,"material":337,"size":937,"collection":127,"collections":57704,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238553,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238553",[24,25,164,28,103,7,66,4768,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7518fb02bb683dca75f7caf9465231d2.jpg",[],{"id":57706,"slug":57707,"title":27859,"dynasty":177,"author":6622,"museum":119,"description":27860,"tags":57708,"thumbUrl":57709,"material":337,"size":937,"collection":127,"collections":57710,"showCount":500,"zanCount":48,"manualWeight":48,"mainColor":75},238543,"hua-shou-pu-ce-yu-sheng-238543",[24,25,164,28,29,65,3988,7,64,61,264,101,66,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e195d1cb03a98ec6f13efa18e214b2e.jpg",[],{"id":57712,"slug":57713,"title":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闲逸之意托于笔端。\n\n紫檀边框雕饰回纹缠枝，古朴雅致，衬得画面愈发清丽。整体融中西所长，既有文人山水的静美意境，又以明暗铺陈烘托出山川的悠远空濛，色彩浓妍和谐，将中式隐逸之趣与西洋写实光影相融，别具别致韵味。",[24,57154,27,28,7,104,60,61,62,63,238,34,979,11989,26332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c980b7ceed54e1f88b2d50c576249e.jpg",[],{"id":60514,"slug":60515,"title":60516,"dynasty":177,"author":178,"museum":119,"description":60517,"tags":60518,"thumbUrl":60519,"material":337,"size":937,"collection":127,"collections":60520,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":75},272842,"zi-tan-mu-bian-zuo-xi-chi-mu-shan-shui-tu-cha-ping-yi-ming-272842","紫檀木边座鸂鶒木山水图插屏","屏心以鸂鶒木雕琢山居图景，与紫檀木座相映，色调沉穆古雅。远景峰峦错落，山石肌理写实朴拙，苍松虬枝旁逸，嘉木葱郁生凉。山阶迤逦藏隐屋舍，将林泉幽居之趣凝于木雕之上，古意悠然。描金题字点缀屏首，更添华贵雅致。\n\n下承紫檀座身，通体浮雕繁丽规整，与屏心山水的写意疏朗形成绝妙反差，将文人山水意境与木雕工艺精妙融合，尽显清代匠人巧思，把林泉高致化为案头雅物，藏纳中式古典陈设的隽永韵味，是木雕陈设中兼具审美与工艺价值的佳作。",[36405,11989,27155,7,64,34,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb45a314a003b346df37419b0356fd9.jpg",[],{"id":60522,"slug":60523,"title":60524,"dynasty":177,"author":178,"museum":119,"description":60525,"tags":60526,"thumbUrl":60528,"material":337,"size":937,"collection":127,"collections":60529,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":75},272669,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-da-yu-shi-xing-huang-mo-yi-ming-272669","御制月令七十二候诗色墨-大雨时行黄墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[7117,27155,7,103,62,63,34,61,28,60527],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51f578d9ea7839b584d2e7f5acc10026.jpg",[],{"id":60531,"slug":60532,"title":60533,"dynasty":18,"author":178,"museum":119,"description":60534,"tags":60535,"thumbUrl":60536,"material":337,"size":937,"collection":127,"collections":60537,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":75},272486,"lan-ting-xiu-xi-tu-shi-yan-yi-ming-272486","兰亭修禊图石砚","以温润石材为载体，将永和雅集的风雅凝于周身。砚面素净堂池为中心，边角镂刻茂林修竹、流觞曲水，文人雅士或临流衔觞、或援笔赋诗，衣袂翩然，神态悠然尽显魏晋旷达。四围通身遍刻兰亭胜景，山环水绕间亭台错落，将千载雅集盛景镌刻得鲜活生动。\n\n刀工细腻遒劲，线条婉转流畅，将文人间的清谈雅会尽数铺陈。它既是研墨实用的文房重器，亦是可赏可藏的艺文珍品，挥毫研墨时，仿佛能循着刀痕触碰那场流芳千古的文人盛会，让翰墨间晕开兰亭的清逸风流。",[7119,27155,103,7,104,16465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbe04a961a54a5bf84745bc1480b16a.jpg",[],{"id":60539,"slug":60540,"title":45272,"dynasty":177,"author":178,"museum":119,"description":45273,"tags":60541,"thumbUrl":60542,"material":337,"size":937,"collection":127,"collections":60543,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":75},269995,"zhu-diao-chi-bi-tu-bi-tong-yi-ming-269995",[54258,27155,2394,103,7,12585,4377,51610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cb0adec100d993b5822a1abf05ca95.jpg",[],{"id":60545,"slug":60546,"title":60547,"dynasty":2272,"author":178,"museum":119,"description":60548,"tags":60549,"thumbUrl":60550,"material":337,"size":937,"collection":127,"collections":60551,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":940},269992,"xiang-ya-diao-shan-shui-tu-yuan-cha-ping-yi-ming-269992","象牙雕山水图圆插屏","以刀代笔，于方寸牙面刻绘林下村居小景。古木虬曲苍劲，盘根错节探向浅溪，浓荫如盖掩映茅舍一角。屋侧有人凭栏，似正静听溪声林籁，野趣悠然。画面以留白衬出幽寂空阔的山野氛围，刀工细腻写实，线条皴擦兼具水墨山水的笔墨意趣，将文人画里的隐逸之趣凝刻在温润象牙之上，尽显微雕工艺的精妙，把山野幽居的闲雅意境定格在方寸之间，是兼具画意与匠心的小品佳作。",[51600,27155,7,34,150,36405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3095642dde6e573f0c10d52de976c9fd.jpg",[],{"id":60553,"slug":60554,"title":60547,"dynasty":2272,"author":178,"museum":119,"description":60555,"tags":60556,"thumbUrl":60557,"material":337,"size":937,"collection":127,"collections":60558,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":940},269991,"xiang-ya-diao-shan-shui-tu-yuan-cha-ping-yi-ming-269991","以刀为笔，将江南雅居凝于方寸牙面。水岸茅庐安然静立，蕉叶垂落添幽趣，堂内人影隐约似在闲话家常，石畔二人临水流连，恍若正赏玩波光。皴刻的苍劲奇石、清疏林木排布疏密得当，浅淡墨色晕出远近层次，把文人隐逸的林下闲趣铺陈开来。\n\n它融文人画的写意意境与牙雕精工于一体，虽尺幅极小，却将山居日常的恬然氛围尽数藏纳，见之便如踏入江南一隅静地，偷得浮生半日闲，尽显微雕工艺的动人魅力。",[51600,27155,7,2394,35,64,103,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff592bb7ef91b5b96f8fd87aeba6a2c2c.jpg",[],{"id":60560,"slug":60561,"title":60562,"dynasty":177,"author":178,"museum":119,"description":45273,"tags":60563,"thumbUrl":60564,"material":337,"size":937,"collection":127,"collections":60565,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":940},269947,"zhu-diao-song-yin-ya-ji-tu-bi-tong-yi-ming-269947","竹雕松荫雅集图笔筒",[45275,27155,2394,583,103,7,3454,51609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7d68273ca429ada09be5cf7ceda123.jpg",[],{"id":60567,"slug":60568,"title":60569,"dynasty":177,"author":178,"museum":119,"description":51651,"tags":60570,"thumbUrl":60572,"material":337,"size":937,"collection":127,"collections":60573,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":940},269354,"zi-tan-diao-chan-zhi-lian-wen-qian-qing-shi-ke-shan-shui-lou-ge-tu-tuo-yuan-he-yi-ming-269354","紫檀雕缠枝莲纹嵌青石刻山水楼阁图椭圆盒",[11989,27155,42058,60571,7,104,37777,2394],"石刻","https:\u002F\u002Fos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绘因果经图卷","该作为佛教叙事长卷，以分段连环式铺陈太子出家前的典故。设色调和沉稳，赭色底衬以朱砂、石绿，古雅庄重。人物造型端正凝练，侍从躬身肃穆，太子神态沉静，动作细节贴合经文情节，将太子决意出家的心路通过场景层层铺展。山水配景简拙写意，仅以程式化林木点缀空间。左侧楷书题字与画面呼应，图文并茂还原经文场景。线条稚朴古拙，带着早期宗教绘画的质朴特质，烘托出求道抉择的肃穆氛围，兼具宗教传播价值与古典审美意趣。",[24,25,26,28,29,103,7,34,335,1042,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded943c0496f7b82e17a85451ef88eba.jpg",[],{"id":62817,"slug":62818,"title":62819,"dynasty":8332,"author":10341,"museum":119,"description":46072,"tags":62820,"thumbUrl":62821,"material":337,"size":937,"collection":127,"collections":62822,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":49},231624,"shi-ting-shi-dai-shan-shui-tu-zhou-shou-ye-yuan-xin-231624","室町时代 山水图轴",[23,24,25,149,59,7,64,34,238,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd95d2140079f970ee5dd318cc6ff750.jpg",[],{"id":62824,"slug":62825,"title":62826,"dynasty":8332,"author":178,"museum":119,"description":62827,"tags":62828,"thumbUrl":62829,"material":337,"size":937,"collection":127,"collections":62830,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":75},230517,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-yi-ming-230517","仿古人物山水粉本(狩野家图卷)","此作淡彩晕染烟水空蒙，水榭之上，两位文士凭栏闲坐，一俯一仰，伴松梅清景清谈遣兴。设色调和柔雅，笔致温婉工细，将文人林下雅游的散淡心境融绘其中。画面留白衬以题诗，虚实相衬，晕开空灵禅意，尽显清雅的和风汉画意趣，把东方古典的澹远闲静藏在水墨淡彩之间，观之如见幽居雅集的悠然旧景。",[23,24,26,28,1099,29,304,7,103,104,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b8ff428c4e9035f635b3ad850e6cd7.jpg",[],{"id":62832,"slug":62833,"title":62834,"dynasty":177,"author":178,"museum":119,"description":62835,"tags":62836,"thumbUrl":62837,"material":337,"size":937,"collection":127,"collections":62838,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":49},230342,"cao-tang-tu-yi-ming-230342","草堂图","此作以淡墨晕染出幽寂山居之景，草堂临水而设，主人凭榻安坐，尽显林下幽居的松弛散淡。山石以简笔皴擦，淡墨晕渍出层叠肌理，林木或以细笔点叶、或以浓墨醒梢，清润苍郁。\n\n画面以草堂为中心，环拥松石溪谷，高墙小径掩映于林麓间，将幽闭的山居氛围铺陈开来。整幅笔墨简净萧疏，不事繁饰，以极简排布勾勒出文人理想中的林泉高致，把出世幽栖的隐逸意趣藏于尺幅之间，尽显静穆淡远的文人山水意境。",[23,24,59,65,101,7,278,34,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc825ed05822b45e25334949d452cf0.jpg",[],{"id":62840,"slug":62841,"title":62842,"dynasty":177,"author":178,"museum":119,"description":51642,"tags":62843,"thumbUrl":62844,"material":337,"size":937,"collection":127,"collections":62845,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":75},229788,"yu-xi-qiao-song-bie-cha-ping-yi-ming-229788","玉溪桥送别插屏",[5254,27156,27155,57258,7,63,103,6299,2127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf6878f703f79837d1abdb90fcd0d68.jpg",[],{"id":62847,"slug":62848,"title":62849,"dynasty":177,"author":178,"museum":119,"description":62850,"tags":62851,"thumbUrl":62852,"material":337,"size":937,"collection":127,"collections":62853,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":49},229440,"diao-xiang-ya-shan-shui-ren-wu-xiao-jing-yi-ming-229440","雕象牙山水人物小景","温润牙料之上，刀代笔墨铺展山居胜景。层叠峰峦逶迤错落，苍松翠木虬曲葱茏，亭台屋舍掩映其间，窗牖分明，似可窥见幽人隐于林泉的闲雅日常。\n\n匠人以精妙刀工，镂刻出林木的婆娑意态，皴凿出山石的嶙峋肌理，将文人山水的笔墨意趣凝于方寸之间。疏密有致的布局，让咫尺天地生出深远山水意境，尽显工艺的雅致精妙，藏着东方美学里寄情丘壑的悠然意韵。",[27155,51600,7,103,104,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bddc5ce8f015d847af6b12bfe2c334.jpg",[],{"id":62855,"slug":62856,"title":62857,"dynasty":177,"author":178,"museum":119,"description":40484,"tags":62858,"thumbUrl":62859,"material":337,"size":937,"collection":127,"collections":62860,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":75},229067,"qing-hua-shan-shui-ren-wu-si-fang-hua-pen-yi-ming-229067","青花山水人物四方花盆",[40487,40486,28,7,103,106,34,64,61,2394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5a4b635208c99d407b48e79bf1f7c.jpg",[],{"id":62862,"slug":62863,"title":159,"dynasty":177,"author":3760,"museum":119,"description":62864,"tags":62865,"thumbUrl":62866,"material":127,"size":127,"collection":127,"collections":62867,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":940},229017,"shan-shui-ce-wang-hui-229017","此作用笔苍劲老辣，以干笔枯墨勾勒皴擦峰峦，淡墨晕染出山石清寂质感，坡岸枯木错落排布，不着多余点缀，尽显深秋荒寒淡远之境。画面极简克制，舍去繁复布景，以少胜多，于萧疏间流露浑朴意趣。\n\n左侧行书题跋笔意舒展跌宕，与画作淡远意境彼此呼应，笔墨相生，将文人情思融于丘壑，淡而不薄，枯而有韵，将深秋山景的萧寒空寂勾勒尽致，书画相映，尽显雅致林下之风，把文人寄情山水的幽怀远思藏于尺幅之间。",[24,25,164,28,65,7,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904c4b60e56978853be414f2c20cc7f1.jpg",[],{"id":62869,"slug":62870,"title":62871,"dynasty":54,"author":178,"museum":119,"description":62872,"tags":62873,"thumbUrl":62874,"material":127,"size":127,"collection":127,"collections":62875,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":75},228784,"lan-ting-ju-hui-tu-ye-yi-ming-228784","兰亭聚会图页","以淡墨晕染出平远烟峦，汀渚松下，文人士子围坐宴饮，暗合曲水流觞之雅趣。湖山留白铺就空濛烟景，笔意简淡清疏，将兰亭修禊的从容散逸藏于萧散山水间，不见丝竹繁喧，只余林下清谈的幽寂意韵。\n\n下方行书题跋笔墨舒展流动，与山水淡远画风相得益彰，诗书画相融，尽显文人雅尚。将魏晋风雅以水墨淡远之态重述于纸间，把雅集的清旷襟怀寄寓湖山烟霭之中，浑朴简淡间尽显明代文人画崇尚幽远雅致的意趣风骨。",[23,24,25,164,59,67,66,103,7,583,64,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1a5cbaf540dda22927c4e55b8c6bd3.jpg",[],{"id":62877,"slug":62878,"title":62879,"dynasty":54,"author":178,"museum":119,"description":44402,"tags":62880,"thumbUrl":62881,"material":337,"size":937,"collection":127,"collections":62882,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":49},228418,"fu-hui-xi-quan-tu-yi-ming-228418","赴会西全图",[24,28,29,1042,7,103,34,199,4459,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551142db7c47fedec8fd1af938298d3e.jpg",[],{"id":62884,"slug":62885,"title":62886,"dynasty":54,"author":178,"museum":119,"description":44402,"tags":62887,"thumbUrl":62889,"material":337,"size":937,"collection":127,"collections":62890,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":49},228417,"fu-hui-xi-yi-ming-228417","赴会西",[24,28,29,1042,103,7,979,165,64,4192,54,62888,44633,8533,34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积墨，纹理厚重见骨力，墨色浓淡交错显深远层次；溪流蜿蜒穿林绕石，亭舍隐于茂树间，添幽居逸趣。构图严谨灵动，远近虚实相生，尽显文人画清雅悠远之致，为王氏山水经典之作。",[7,65,59,28,149,63,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc349f3e6105f34004e36616f8bc163ee.jpg",[71],"dacbb3",{"id":63639,"slug":63640,"title":8592,"dynasty":177,"author":63641,"museum":56,"description":63642,"tags":63643,"thumbUrl":63644,"material":127,"size":127,"collection":71,"collections":63645,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":63646},202142,"shan-shui-tu-zhou-wang-mian-ying-202142","汪渑煐","水墨铺陈间，江河如练蜿蜒，岸畔丘峦以皴笔勾勒，纹理疏朗却见苍劲。远处峰影淡远，似隐于烟霭；近处石桥卧波，连接两岸人家，屋舍疏落于林麓间，添了几分人间烟火。岸边小径上，两人缓步，身影闲淡，与周遭的枯树、青松、矶石相映，更显山水之静谧。整幅画以简练笔触写尽自然之趣，水墨晕染中意境悠远，尽显文人山水的雅致清寂。",[24,59,7,65,60,35,103,34,1019,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768a8b557f50379bd86ac93fc0e10f5b.jpg",[71],"ae926e",{"id":63648,"slug":63649,"title":15782,"dynasty":177,"author":58803,"museum":56,"description":63650,"tags":63651,"thumbUrl":63652,"material":127,"size":127,"collection":127,"collections":63653,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":63654},202105,"guan-pu-tu-zhou-hu-yuan-202105","画面峭壁凌云，飞瀑如练倾泻而下，气势灵动。山间松枝盘曲，杂树葱茏，崖边二人对坐观瀑，意态悠然。山石以皴法写就，笔墨苍劲兼具秀逸，设色淡雅清润。云雾轻绕峰峦，流水潺潺映带，动静相生间，尽显文人山水之清幽雅趣，传递出寄情自然的闲适心境。",[24,7,65,28,199,583,103,29504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4fce65eb71d8e1913251091303b1e1.jpg",[],"b4a390",{"id":63656,"slug":63657,"title":8592,"dynasty":177,"author":33925,"museum":56,"description":63658,"tags":63659,"thumbUrl":63660,"material":127,"size":127,"collection":127,"collections":63661,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":63662},202103,"shan-shui-tu-zhou-zhu-ang-zhi-202103","画面以水墨写意出山川之姿，峰峦层叠险峻，笔触勾勒山石轮廓，皴染结合尽显肌理质感，雄浑中见秀逸。山间云雾氤氲，留白与墨色交融，虚实相生间拓延悠远意境。近景林木苍劲，枝干挺劲，墨色浓淡交错；山坳隐现小屋，添几分尘世暖意。整体笔墨洒脱，既有传统山水的笔墨底蕴，又具个人情致，尽显自然静谧灵秀之态。",[59,7,65,149,34,37,64,51366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dc78c8a9ac7b038797a4e3ab6bd5413.jpg",[],"b7a694",{"id":63664,"slug":63665,"title":63666,"dynasty":177,"author":683,"museum":56,"description":63667,"tags":63668,"thumbUrl":63669,"material":127,"size":127,"collection":71,"collections":63670,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":63671},201729,"fang-huang-gong-wang-fu-chun-da-ling-tu-zhou-wang-yuan-qi-201729","仿黄公望富春大岭图轴","这幅画师法黄公望笔意，以干笔皴擦与湿墨晕染交织，山峦层叠间尽显苍劲古拙。山石勾勒含披麻皴韵，纹理细腻且质感厚重，林木疏密有致，溪涧蜿蜒穿流于谷底，屋舍隐现于林麓间，营造出静谧悠远的文人山水意境。笔墨浓淡干湿变化丰富，既保留黄公望清逸神韵，又融入自身沉雄厚重风格，尽显清代正统山水画的笔墨功力与师古出新的追求，为仿元人山水的典型之作。",[7,65,59,149,122,24,100,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10669e9e905877133dba1fe679d10c2c.jpg",[71],"dbceb3",{"id":63673,"slug":63674,"title":63675,"dynasty":177,"author":43376,"museum":56,"description":63676,"tags":63677,"thumbUrl":63678,"material":127,"size":127,"collection":71,"collections":63679,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":22019},201713,"fang-dong-yuan-wan-he-song-feng-tu-zhou-wang-hui-201713","仿董源万壑松风图轴","画面层峦叠嶂，云雾轻笼峰谷，虚实相映间显山川深远。苍松虬劲盘曲，松针浓墨攒簇，与淡墨山石形成明暗对比，溪水隐于林间似携松风穿涧。笔墨上皴擦互用，承董源南宗温润秀逸，融自家苍劲古拙之韵，线条勾勒精准，墨色层次丰富，尽显山川浑厚、草木华滋之态。整体意境清幽旷远，文人山水的雅致与深邃尽藏其中。",[24,7,65,59,122,125,264,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93649f5412769e97c0c246f8f7089bc.jpg",[71],{"id":63681,"slug":63682,"title":63683,"dynasty":177,"author":27638,"museum":56,"description":63684,"tags":63685,"thumbUrl":63686,"material":127,"size":127,"collection":71,"collections":63687,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":63688},201710,"xue-shan-gui-qiao-tu-zhou-li-shi-zhuo-201710","雪山归樵图轴","寒雪覆山峦，嶙峋石骨隐于素白间。虬曲枯树枝桠交错，似欲探触云端，山间小亭孑立崖畔，添得几分清寂。水墨晕染间，雪的蓬松与石的坚凝相映成趣，皴笔勾勒出山峦肌理，线条简练却含苍劲之韵。整幅画清冷孤远，似藏隐逸之思，观之如临寒谷，心随山风静穆。",[24,59,7,65,372,63,64,878,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c530eba2bc9a79d62366bb0caa16ce.jpg",[71],"cbbdb6",{"id":63690,"slug":63691,"title":34829,"dynasty":54,"author":368,"museum":56,"description":63692,"tags":63693,"thumbUrl":63694,"material":127,"size":127,"collection":71,"collections":63695,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":63696},201686,"fang-yi-feng-shan-shui-tu-zhou-lan-ying-201686","画面山峦错落，岩石以劲健皴笔勾勒，纹理分明；树木苍郁，枝干虬曲，墨色浓淡相间。山间屋舍隐现于林麓，近景流水潺潺，一人凭岸闲坐，意境清幽淡远。此作仿黄公望山水意趣，既承元人萧散简远之韵，又融作者刚劲笔力，皴染结合间，尽显山水丘壑之美。笔致灵动，墨色层次丰富，将自然之境与文人情怀相融，是明代山水仿作中兼具古法与个性的佳作。",[24,7,59,65,149,239,34,61,103,122,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1a5cfff9b43297385240a11afc74c54.jpg",[71],"d0bc9f",{"id":63698,"slug":63699,"title":63700,"dynasty":177,"author":1925,"museum":56,"description":63701,"tags":63702,"thumbUrl":63703,"material":127,"size":127,"collection":71,"collections":63704,"showCount":712,"zanCount":48,"manualWeight":48,"mainColor":63705},201683,"qiu-lin-ting-zi-tu-zhou-zhu-da-201683","秋林亭子图轴","悬崖耸峙，秋木疏枝横斜，茅亭隐于林麓间，似含幽思。近处溪流缓淌，远岫淡抹如黛，水天相映成空濛。笔墨简劲老辣，以水墨写意出荒寒之境，树木枝干虬曲如铁，山石皴擦寥寥却见骨力。留白处尽是余韵，清冷孤寂中藏超然逸气，尽显文人山水的简淡深致。",[24,59,7,63,125,65,264,399,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2353175154fbe0e89a0e13305460a4e0.jpg"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如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[23,66,26,67,59,101,40273,64480,64481,24747,2264,6393,49419,6969,165,35457,978,6299,61,1642,1643,334,63,106,62,7,2127,19943,630,12676],"芳草","烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[927],{"id":64487,"slug":64488,"title":64489,"dynasty":177,"author":63472,"museum":119,"description":64490,"tags":64491,"thumbUrl":64492,"material":337,"size":937,"collection":127,"collections":64493,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},240538,"shi-ti-huang-shan-tu-ce-yang-yong-jian-240538","诗题黄山图册","杨雍建(1631—1704)，字自西，号以斋，海宁盐官人。清顺治十二年(1655)进士，授广东高要知县。后被荐举任兵科给事中。",[24,25,164,67,101,59,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb996abe2d345b0311d46573fd1e38e58.jpg",[],{"id":64495,"slug":64496,"title":64489,"dynasty":177,"author":64497,"museum":119,"description":64498,"tags":64499,"thumbUrl":64500,"material":337,"size":937,"collection":127,"collections":64501,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},240537,"shi-ti-huang-shan-tu-ce-liu-shi-ling-240537","刘石龄","长洲（今江苏苏州）人。工花鸟。《石田茆屋诗》",[24,25,164,7,66,67,101,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe988c6f8126ab546686e46357d514a5e.jpg",[],{"id":64503,"slug":64504,"title":64489,"dynasty":177,"author":64505,"museum":119,"description":64506,"tags":64507,"thumbUrl":64508,"material":337,"size":937,"collection":127,"collections":64509,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},240526,"shi-ti-huang-shan-tu-ce-zhang-qi-zong-240526","张起宗","此作为行书诗册，用笔清劲秀雅，牵丝映带间尽显灵动韵致，结体疏密随心排布，章法舒展疏朗，墨色温润且浓淡有别，兼具帖学的隽秀与文人写意的松弛自在。\n诗作以黄山胜景为骨，将天都峰的奇崛云海、盘虬古松尽付笔端，字句间浸满对山水的沉醉与赞叹，书与诗交融相衬，尽显旧时文人寄情山水、以笔抒怀的澄澈襟怀。",[25,164,67,66,7,264,334,63,59,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9377adb7e258a0d2af75dab10298ad22.jpg",[],{"id":64511,"slug":64512,"title":64513,"dynasty":54,"author":64514,"museum":119,"description":64515,"tags":64516,"thumbUrl":64517,"material":337,"size":937,"collection":127,"collections":64518,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},240216,"zhi-wu-lv-shi-ye-lu-nan-240216","至五律诗页","陆南","陆深（1477年—1544年） 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江天寥廓混茫，意境幽冷孤高。\n\n整体取法逸笔草草的文人意趣，以简淡笔墨写尽清寂林下之境，寄寓幽远超然的襟怀，淡墨间浸透疏淡避世的雅韵，留白处皆是余味，简中见深，淡而弥长。",[24,25,59,67,65,164,7,125,64,60,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5945a50217da6dd6387ae3ca6be8bf72.jpg",[],{"id":65801,"slug":65802,"title":27922,"dynasty":177,"author":27923,"museum":119,"description":65803,"tags":65804,"thumbUrl":65805,"material":127,"size":127,"collection":127,"collections":65806,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235927,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235927","此作用浅绛设色写秋山古寺，左侧危崖层叠，枯笔皴擦出山石嶙峋肌理，淡石青晕染远山，铺展出深远空阔的山居层次。山麓苍松虬劲，荫蔽梵刹飞檐，几株丹枫点染秋意，溪涧蜿蜒穿林，漾出清寂生机。\n\n右上角题诗与画境呼应，诗画合璧，笔墨清隽秀雅，兼具元人山水的淡远萧疏与文人雅韵，将秋日山寺的幽寂空灵烘托尽致，静穆淡远的禅意漫溢纸面，尽显雅致出尘的文人意趣。",[24,25,164,28,65,7,583,64,1120,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad115590e3609c8f1ddcdd81403d190.jpg",[],{"id":65808,"slug":65809,"title":27922,"dynasty":177,"author":27923,"museum":119,"description":65810,"tags":65811,"thumbUrl":65812,"material":127,"size":127,"collection":127,"collections":65813,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235926,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235926","这幅画截取冬日湖山一隅，素雪覆峦，天地澄澈清寂。湖面波色澹澹，将冷冽水汽晕开在纸面。朱红梵宇静立岸畔，撞破冰色的单调，点亮了萧索冬景。远处佛塔孤挺于雪岭，与古寺遥遥相望，禅意自生。\n枯柳寒木虬枝错落，淡墨晕染出积雪留白，笔法清润秀雅，将冬日元气暗藏于冷寂间。右上角题诗与画境相映，诗画相融，把江南雪后梵刹的空灵悠然铺展开来，淡远含蓄的古意扑面而来，令人沉湎在这份冷雅安宁之中。",[100,24,25,164,28,7,104,520,60,34,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde125e9d55a9325d0a01ab1425d1a1db.jpg",[],{"id":65815,"slug":65816,"title":394,"dynasty":177,"author":28779,"museum":119,"description":28780,"tags":65817,"thumbUrl":65818,"material":337,"size":937,"collection":127,"collections":65819,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235921,"shan-shui-tu-ce-mei-chong-235921",[24,25,164,59,7,264,34,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635d8c96de649bef05d32908f7072d22.jpg",[],{"id":65821,"slug":65822,"title":394,"dynasty":177,"author":28779,"museum":119,"description":28780,"tags":65823,"thumbUrl":65824,"material":337,"size":937,"collection":127,"collections":65825,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235920,"shan-shui-tu-ce-mei-chong-235920",[24,25,164,59,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e27310d12f85ca27b7ff9c6f8ddf4e5.jpg",[],{"id":65827,"slug":65828,"title":394,"dynasty":177,"author":28779,"museum":119,"description":28780,"tags":65829,"thumbUrl":65830,"material":337,"size":937,"collection":127,"collections":65831,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235919,"shan-shui-tu-ce-mei-chong-235919",[24,25,164,59,28,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8db055361bd8657798ff1ab02a1648.jpg",[],{"id":65833,"slug":65834,"title":394,"dynasty":177,"author":28779,"museum":119,"description":28780,"tags":65835,"thumbUrl":65836,"material":337,"size":937,"collection":127,"collections":65837,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235918,"shan-shui-tu-ce-mei-chong-235918",[24,25,164,59,7,65,264,63,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b9de35d6ab334a6dff958cc15b276a8.jpg",[],{"id":65839,"slug":65840,"title":394,"dynasty":177,"author":28779,"museum":119,"description":28780,"tags":65841,"thumbUrl":65842,"material":337,"size":937,"collection":127,"collections":65843,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235917,"shan-shui-tu-ce-mei-chong-235917",[24,25,100,164,59,28,65,7,413,264,106,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08fe1c0ed0f617749ef3fab32741bf16.jpg",[],{"id":65845,"slug":65846,"title":65847,"dynasty":177,"author":178,"museum":119,"description":65848,"tags":65849,"thumbUrl":65851,"material":127,"size":127,"collection":127,"collections":65852,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235909,"yuan-ji-shan-shui-tu-ye-yi-ming-235909","原济山水图页","这幅小品以淡墨轻勾慢染，铺就江乡闲趣。近岸枯草疏疏，点出暮秋清寂。江面上两艘帆船借风徐行，船仓、帆柱细节分明，暗衬出行舟的悠然意态。\n\n右侧丹赭山崖以泼墨晕染间杂短线皴擦，苍劲朴拙，和清浅柔缓的江水形成刚柔对照。远岸村居错落，黛瓦白墙隐在墨色山峦之下，和烟霭相融，悄然晕开幽远宁静。\n\n整体设色淡雅清和，水墨与浅赭相互映衬，笔致简括写意，淡墨晕开江面漾漾水色，寥寥数笔便将江上行旅的闲淡、江村栖居的安然揉在尺幅间，晕染出江南水乡独有的温润悠然。",[24,59,28,164,7,33,61,65850,85],"岸草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f3d2ffbd8d5bfd732d4718e79ab924.jpg",[],{"id":65854,"slug":65855,"title":394,"dynasty":177,"author":33984,"museum":119,"description":55253,"tags":65856,"thumbUrl":65857,"material":337,"size":937,"collection":127,"collections":65858,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235898,"shan-shui-tu-ce-guan-quan-235898",[24,25,164,59,67,7,165,106,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d2c1204b41a60e69aeb2f87be953e6.jpg",[],{"id":65860,"slug":65861,"title":65862,"dynasty":54,"author":178,"museum":119,"description":65863,"tags":65864,"thumbUrl":65865,"material":127,"size":127,"collection":127,"collections":65866,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":75},235848,"qian-gu-yang-shan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gao-jian-202461","山居读书图轴","画面以水墨写意出陡峭悬崖，苍劲古松虬枝垂挂，松旁筑一简陋书屋，屋内文人临窗静坐，似沉浸书海。笔墨简淡却见功力，山石以简洁皴法勾勒，松针用细劲线条写出，整体意境清寂悠远，尽显文人隐居读书的闲适与超脱。无繁复设色，仅借水墨层次营造空濛氛围，将自然之境与人文之思相融，传递出古代文人对山水田园的向往与内心宁静。",[24,7,59,65,4660,2446,5387,149,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca12b755d70fcf601a1b23e1227b77c5.jpg",[],"b4a08a",{"id":67613,"slug":67614,"title":1420,"dynasty":177,"author":47574,"museum":56,"description":67615,"tags":67616,"thumbUrl":67617,"material":127,"size":127,"collection":127,"collections":67618,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":67619},202453,"shan-shui-zhou-zhu-ben-202453","此作山峦层叠，皴笔细腻勾勒岩石纹理，线条兼具刚劲与秀润。山间林木错落，虬枝与劲干交织，衬出峰峦的雄奇。溪流穿石而过，沿岸屋舍隐于林麓间，添得几分烟火气。整体笔墨雅致，意境清幽，将传统山水的文人意趣融于咫尺之间，尽显画家对自然与生活的细腻体察。",[7,65,59,149,64,34,150,8804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc0526f8cf2ea318622dfb4afeb795d.jpg",[],"b7a08a",{"id":67621,"slug":67622,"title":1420,"dynasty":177,"author":2075,"museum":56,"description":67623,"tags":67624,"thumbUrl":67625,"material":127,"size":127,"collection":127,"collections":67626,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":67627},202423,"shan-shui-zhou-wang-shi-min-202423","笔墨苍润沉厚，皴染相济间得元人遗风。层峦叠嶂以舒缓皴笔铺陈，林木葱茏错落，近处杂树虬枝挺拔，远处峰岫隐现于烟岚中，一溪清泉蜿蜒穿谷，漾开静谧悠远的文人意趣。画作师古而能化，于规整章法里藏灵动生机，尽显山水之清幽雅致。",[7,65,59,149,101,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ed9d01aa264055624130b561ac2e74.jpg",[],"d3c8b4",{"id":67629,"slug":67630,"title":41306,"dynasty":177,"author":3760,"museum":56,"description":67631,"tags":67632,"thumbUrl":67633,"material":127,"size":127,"collection":127,"collections":67634,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":67635},202400,"luo-fu-shan-qiao-tu-zhou-wang-hui-202400","这幅山水以水墨为韵，皴染交织间铺展层峦叠嶂。峰崖肌理借皴法尽显苍劲，松枝虬曲盘结于岩畔，枝叶葱茏带生趣。山间溪流隐现于林麓，云雾轻笼添幽深，整体意境清旷而富文人雅趣。笔墨灵动兼具骨力，树木勾勒细致，山石皴擦见质感，于方寸间藏自然丘壑之美。",[24,7,59,65,583,64,201,149,1019,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53cbd0909683a564214639f9822f372c.jpg",[],"cfb697",{"id":67637,"slug":67638,"title":8592,"dynasty":177,"author":683,"museum":56,"description":67639,"tags":67640,"thumbUrl":67641,"material":127,"size":127,"collection":127,"collections":67642,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":56744},202381,"shan-shui-tu-zhou-wang-yuan-qi-202381","这幅山水图轴取境深远，层峦叠嶂间笔墨苍劲老辣，皴染交织尽显山石纹理之妙。山间树木姿态各异，松枝虬曲如铁，杂树错落有致，与山石浑然一体。近景处小桥卧波，屋舍掩映于林麓间，流水潺潺似可闻，营造出清幽静谧的文人栖居之境。整体构图疏密得当，气息醇厚含蓄，承宋元山水遗韵，又融个人笔墨意趣，尽显沉雄古逸之态，为文人山水画的典范之作。",[24,7,65,60,25,100,13651,1019,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9590973518b677a737c49b535a925f1.jpg",[],{"id":67644,"slug":67645,"title":8592,"dynasty":177,"author":27237,"museum":56,"description":67646,"tags":67647,"thumbUrl":67648,"material":127,"size":127,"collection":127,"collections":67649,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":67650},202380,"shan-shui-tu-zhou-fang-shi-shu-202380","这幅山水图轴笔墨清润雅致，承娄东派遗风。山峦以披麻皴层层皴染，线条劲挺柔婉兼具；云雾借淡墨晕散或留白，虚实相生间拓出深远意境。近处林木葱茏，小桥卧波，屋舍隐于岩麓，细节生动却不繁琐，尽显文人画简淡天真之趣。整体构图层次分明，远岫叠嶂至近景溪桥气脉连贯，营造出静谧悠远的山水胜境，传递画家对自然的体悟与文人雅致情怀。",[24,7,59,65,149,60,61,12027],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9724f464202538f2035ff6234be33f.jpg",[],"b09b76",{"id":67652,"slug":67653,"title":67654,"dynasty":177,"author":3760,"museum":56,"description":67655,"tags":67656,"thumbUrl":67657,"material":127,"size":127,"collection":127,"collections":67658,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":22019},202368,"zuo-ting-song-feng-tu-juan-wang-hui-202368","坐听松风图卷","松涛穿林，山风入怀。虬松盘曲，笔墨皴擦间尽显苍劲之姿；雅士端坐石畔，神情悠然，似与松声相和。远山含黛，近岫嶙峋，墨色层次丰富，皴法多变，兼具宋元山水的雄浑与清雅。整卷意境空灵，静中寓动，仿佛松风拂面，尽显文人画的诗意禅趣，是王翚融古创新的经典之作。",[24,26,7,103,65,59,125,264,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb552e39b032d3e85073bef49afb696.jpg",[],{"id":67660,"slug":67661,"title":8592,"dynasty":177,"author":55656,"museum":56,"description":67662,"tags":67663,"thumbUrl":67664,"material":127,"size":127,"collection":127,"collections":67665,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":67666},202359,"shan-shui-tu-zhou-fa-ruo-zhen-202359","画面层峦叠嶂，山石以皴擦结合勾勒，线条刚劲中藏灵动，纹理毕现。近景怪石嶙峋，树木虬曲，枝叶点染相济，苍劲挺拔；中景留白处烟岚轻笼，溪流隐现，虚实相生；远景山峦雄浑，气势开张。笔墨干湿浓淡交错，尽显山水幽远静谧之致，蕴含文人画的雅致意趣。",[65,59,7,64,34,149,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3a4e2f9284ddffc888bb9d05c205d5.jpg",[],"b6a692",{"id":67668,"slug":67669,"title":67670,"dynasty":54,"author":39074,"museum":56,"description":67671,"tags":67672,"thumbUrl":67673,"material":127,"size":127,"collection":127,"collections":67674,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":67675},202355,"hua-yang-dong-tian-tu-juan-gu-zheng-yi-202355","华阳洞天图卷","这幅长卷铺展华阳洞天的幽邃景致，峰峦叠嶂间皴法交错，勾勒山石苍劲纹理；林木葱茏，浓淡相宜，层次分明。山间溪流蜿蜒穿谷，与错落亭台、隐现路径相映，透着隐逸清旷之气。构图疏密有致，虚实相生，将洞天灵秀与静谧融于一卷，尽显文人山水雅致韵致，仿佛可闻松风溪声，可观云气往来，引人入胜。",[7,26,59,65,63,61,1616,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560435f5609dfe3292dd815394b3504e.jpg",[],"b2a391",{"id":67677,"slug":67678,"title":67679,"dynasty":177,"auth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bUrl":68416,"material":127,"size":127,"collection":71,"collections":68417,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":68418},201278,"lin-liu-du-shu-tu-zhou-peng-shun-qing-201278","临流读书图轴","画面以水墨写意绘就，近景虬枝盘曲，藤蔓低垂，与嶙峋山石、潺潺流水相映成趣。士人临溪而坐，手捧书卷，神情悠然，似沉醉于山水间的读书之乐。远景山峦叠嶂，云雾轻笼，意境清寂淡远。笔触简练洒脱，墨色浓淡相宜，山石以皴法勾勒肌理，树木用写意点染生机，尽显明代文人画的雅致韵致，传递出超然物外的文人情怀。",[24,59,7,103,61,65,149,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4aaec04bc552dcd46816f342d6d7bd1.jpg",[71],"857152",{"id":68420,"slug":68421,"title":68422,"dynasty":177,"author":12146,"museum":56,"description":68423,"tags":68424,"thumbUrl":68426,"material":127,"size":127,"collection":127,"collections":68427,"showCount":1080,"zanCount":48,"manualWeight":48,"mainColor":68428},201257,"huang-shan-song-gu-tu-zhou-mei-qing-201257","黄山松谷图轴","画面中山峰如剑戟攒聚，皴笔勾勒出岩石苍劲肌理，虬松于峭壁间挺生，松枝斜逸带起清冽之风。云雾似白练缠绕峰脚，虚实相生间，松谷的幽深与奇险扑面而来。笔墨清逸洒脱，水墨晕染出朦胧意境，山石硬朗与云气柔润相映成趣，尽显黄山雄奇又空灵的神韵。观者仿佛踏入松谷，听松涛阵阵，看云卷云舒，心随山影浮动，沉醉于自然的静谧与壮阔。",[24,7,59,65,413,734,37,68425],"黄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd74389fe133eddd7cd244ddcaeb13a.jpg",[],"b9b8b4",{"id":68430,"slug":68431,"title":68432,"dynasty":177,"author":1825,"museum":673,"description":68433,"tags":68434,"thumbUrl":68435,"material":69,"size":68436,"collection":71,"collections":68437,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},301586,"fang-zhao-wen-min-xiao-xiang-bai-yun-tu-wang-jian-301586","仿赵文敏潇湘白云图","王鉴在构思这幅画作时对赵孟頫的“青绿 山水”有所扬弃，并结合了其他不同风格以获 得新的形式。比如古意盎然的低云、明快的色 彩以及淡青绿和黄褐相间的色调，都令人想起 赵孟頫和早期中国山水画的样式。同时画面中 山石倾斜的姿态，密集的皴法勾勒的植被和地 形的轮廓，则又可以上溯到董源的传统。",[24,23,149,122,7,104,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c57b458a035bd2ef7b2a95a6c3e25f.jpg","136.1x63.2厘米",[71,45],{"id":68439,"slug":68440,"title":6157,"dynasty":177,"author":68441,"museum":119,"description":68442,"tags":68443,"thumbUrl":68444,"material":337,"size":937,"collection":127,"collections":68445,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},290388,"shan-shui-tu-ye-gu-yin-guang-290388","顾胤光","此作用笔简淡秀逸，以干笔皴擦勾勒山石肌理，湿墨晕染晕开远山空濛。近岸枯木虬曲多姿，或疏枝苍劲、傲骨嶙峋，或垂丝轻曳、柔态扶风。水面以留白代碧波，汀洲茅舍隐于林麓，幽寂清旷。右上角题字古雅，朱印点睛，诗画相融无间。\n整幅不作浓艳敷色，尽显萧散冷逸的林下之风，将春日水岸的淡远空寂勾勒入微，藏着文人画独有的简淡意趣，观之便如身临无人江渚，揽天地疏朗，偷得片刻沉静闲逸。",[23,24,25,59,7,125,167,347,106,166,264,66,101,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956b7d014aafa4df5b1732f2cb42b6a7.jpg",[],{"id":68447,"slug":68448,"title":68449,"dynasty":177,"author":15403,"museum":119,"description":19972,"tags":68450,"thumbUrl":68451,"material":337,"size":937,"collection":127,"collections":68452,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":49},290212,"jin-fen-shui-cun-tu-cheng-dong-gao-290212","金粉水村图成",[23,2484,24,7,28,64019,66,4768,85,1616,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55825679e5d552e5fedfeb3363063b3a.jpg",[],{"id":68454,"slug":68455,"title":68456,"dynasty":8332,"author":178,"museum":119,"description":68457,"tags":68458,"thumbUrl":68460,"material":337,"size":937,"collection":127,"collections":68461,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},289547,"attributed-to-matthijs-cock-landscape-with-a-town-by-the-seashore-yi-ming-289547","Attributed to Matthijs Cock--Landscape with a Town by the Seashore","以棕褐线条晕开山海乡居图景，近坡荒草萋萋，几株古木虬曲苍劲，疏朗枝桠晕染山野意趣。坡下石桥横跨浅溪，矮屋簇拥钟楼漫出烟火暖意。\n视线铺展至中远景，滨海屋舍错落着融入山岚，海面扁舟轻泊，朦胧远山柔化了天地边界。笔触克制细腻，以极简线条铺陈层次，不着浓丽色彩，却将郊野渔村的松弛日常揉进阔远天地间，藏着古朴写实的质感，把山海乡野的静穆悠远晕在纸面，尽显古典风景绘作里含蓄温柔的自然意趣。",[68459,35652,7,7699,57005,34,60,1433,64],"风景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadbf5e3a353af94ff6a0b1e0715beafd.jpg",[],{"id":68463,"slug":68464,"title":68465,"dynasty":8332,"author":178,"museum":119,"description":68466,"tags":68467,"thumbUrl":68468,"material":337,"size":937,"collection":127,"collections":68469,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},289525,"aureliano-milani-hilly-landscape-with-three-figures-yi-ming-289525","Aureliano Milani--Hilly Landscape with Three Figures","以红粉笔晕开乡野意趣，前景虬曲古木占据左侧画面，苍劲枝干肆意舒展，叶片晕染出蓬松生机，深褐阴影稳稳锚定视觉重心。右侧坡地三两旅人暂作休憩，姿态松弛自然，为静谧山野晕开一抹烟火暖意。\n\n丘陵层叠向着远方漫延，错落村舍依山势铺陈，石砌屋宇与尖顶隐现于林木之间，光影顺着起伏山势缓缓铺展，将郊野的安闲松弛娓娓晕开。朴拙随性的笔触感揉合着山野的鲜活与悠然，把丘林乡野的松弛意态铺陈纸面，藏着独属于郊野的温柔闲静。",[35652,7,103,34,85,13180,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbac8ac1049ce7cae64849dc0cc2e580.jpg",[],{"id":68471,"slug":68472,"title":68473,"dynasty":8332,"author":178,"museum":119,"description":68474,"tags":68475,"thumbUrl":68476,"material":337,"size":937,"collection":127,"collections":68477,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},289281,"philip-van-den-bossche-rugged-wooded-river-landscape-yi-ming-289281","Philip van den Bossche--Rugged Wooded River Landscape","近景苍劲古木虬曲扎根崖石，三位行人衣袂飘然，驻足低语间衬出林野幽寂。画师以疏密错落的排线铺陈光影，复刻出林木的婆娑层次与山石的粗糙肌理。\n\n中景崖岸蜿蜒衔接着河谷村落，屋舍隐桥错落嵌入氤氲山霭，将深林的荒疏与村居的烟火柔和衔接。淡笔留白晕染出空濛的郊野雾气，让山野层次愈发悠远。\n\n笔致简淡却层次丰盈，将北方乡野的清旷朴拙尽数藏于线条褶皱里，仿佛能让人踏入这幅画，静享漫游林麓的悠然隐逸之趣。",[35652,123,7,6923,333,239,103,31,85,28301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff910edd277d9b45df0dad6f89d46302f.jpg",[],{"id":68479,"slug":68480,"title":68481,"dynasty":8332,"author":178,"museum":119,"description":68482,"tags":68483,"thumbUrl":68484,"material":337,"size":937,"collection":127,"collections":68485,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},288766,"salvator-rosa-landscape-with-hills-and-a-lake-trees-in-right-foreground-yi-ming-288766","Salvator Rosa--Landscape with hills and a lake, trees in right foreground","这幅速写以灵动随性的线条，铺展郊野湖畔的幽寂意趣。右侧前景虬曲枯木打破规整构图，牵引视线纵深游走。左侧丘坡以疏密浓淡的线条铺陈植被，顿挫间区分出坡地起伏与林叶层次。水面以极简淡线勾勒，大片留白烘托出沉静空濛的氛围。\n\n岸侧点缀的渺小人物，为山野空境晕开一丝烟火暖意，平衡了丘林的空旷感。整作以朴拙写意的笔触，摒弃繁复修饰，将郊野松弛又清寂的瞬间气韵定格，尽显写生速写捕捉自然灵韵的动人魅力。",[123,7,32,4415,372,103,68459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeed5c3cb95a34896c120938e667190d.jpg",[],{"id":68487,"slug":68488,"title":68489,"dynasty":8332,"author":178,"museum":119,"description":68490,"tags":68491,"thumbUrl":68494,"material":337,"size":937,"collection":127,"collections":68495,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},288566,"attributed-to-giuseppe-zocchi-landscape-prospect-with-a-buggy-and-a-herd-of-goats-yi-ming-288566","attributed to Giuseppe Zocchi--Landscape Prospect with a Buggy and a Herd of Goats","这幅风景以淡墨晕染铺就朦胧底色，前景枯木虬曲，框住乡野闲情。坡头三五乡人歇坐闲话，目光追随着土道上辚辚驶过的马车。浅滩水光轻漾，驮队踱步过村舍拱廊，远处羊群漫过草甸，将烟火日常揉进氤氲晨雾里。\n\n画师以细腻排线区分光影，丘峦层叠着漫向天际，晕开的墨色晕染出山峦的朦胧，把乡野的松弛与静美缓缓铺展。无浓烈色彩，却用深浅墨色织就鲜活的田园日常，将郊野的悠然氛围定格在纸面之上。",[68459,68492,35652,18653,7,334,372,68493,103,335,3434,9198],"西洋画","乡村建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c07276728919b92534419c5a574b9a.jpg",[],{"id":68497,"slug":68498,"title":68499,"dynasty":177,"author":178,"museum":119,"description":68500,"tags":68501,"thumbUrl":68502,"material":337,"size":937,"collection":127,"collections":68503,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},288190,"bo-lin-cai-hui-tu-ce-si-yi-ming-288190","伯麟彩绘图册(四)","崖畔双松苍劲挺秀，山坳间三位边地夷人席地围坐。二人正摆弄餐食，一人合掌致意，竹篮置于身侧，野席陈放的饭食，让清寂山水晕开质朴烟火暖意。\n\n此画以工笔淡彩晕染，人物情态鲜活生动，将边地族群尚美食、重报本的古朴风习，融于雅致山水小景之中，以日常纪实的视角，尽显边地淳厚悠然的生息意趣，将西南边地的民俗风情悄然铺展于绢上。",[24,164,28,103,7,583,15692,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754940aea494e9bad8b05a7a3dfe8b99.jpg",[],{"id":68505,"slug":68506,"title":68507,"dynasty":177,"author":178,"museum":119,"description":68508,"tags":68509,"thumbUrl":68511,"material":337,"size":937,"collection":127,"collections":68512,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":49},288037,"min-sheng-yan-chang-quan-tu-yi-ming-288037","闽省盐场全图","以工笔设色绘就山海格局，晕染出苍润海色与厚重山峦，写实勾勒闽地岸线肌理。图中排布盐场灶寮、汛防营垒与聚居村落，将清代闽省盐业的生产布局、海防护产的格局完整铺陈。\n\n它突破单纯舆图的枯燥，以山水笔法晕染景致，山海相映间既保留地理纪实的严谨性，又带着传统古画的雅致意趣，既是窥探清代闽海盐业经济脉络的珍贵实证，亦是融实用性与审美性为一体的舆图佳作，凝留住百年前闽海盐业的鲜活图景。",[23,24,26,28,7,103,33459,68510,8028],"海岛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa162979780b3c0923445f34a36f0cd21.jpg",[],{"id":68514,"slug":68515,"title":68516,"dynasty":177,"author":178,"museum":119,"description":68517,"tags":68518,"thumbUrl":68519,"material":337,"size":937,"collection":127,"collections":68520,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":49},281504,"ri-ben-zhi-rong-shan-shui-tu-zhou-yi-ming-281504","日本织绒山水图轴","这幅织绒山水取峡谷秋景，两侧危崖壁立，苍松扎根石罅，丹黄秋叶晕染出暖融融的秋意，与冷灰色岩崖形成鲜明冷暖对冲。谷底湍流击石，浪涛翻涌，远处峰峦隐在烟霭之中，虚实相生。\n\n织绒工艺精妙复刻山石嶙峋肌理、林木深浅层次，将东方山水的空寂禅意融入绒线经纬之间。兼具日式山水的幽寂诗意与宋元山水的雄浑气度，仿佛能耳闻涧水轰鸣、山风穿林动叶，把秋日溪山的辽远苍茫，定格成触手可及的温润质感。",[149,28,7,3865,50945,31,106,583,1120,239,15126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8a69733a1c2285f4fb9e4850df1d53.jpg",[],{"id":68522,"slug":68523,"title":68524,"dynasty":2272,"author":178,"museum":119,"description":68525,"tags":68526,"thumbUrl":68527,"material":337,"size":937,"collection":127,"collections":68528,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":49},280223,"fan-jiang-zhai-shou-shan-shi-zhang-yi-ming-280223","“凡将斋”寿山石章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[101,66381,27156,27155,7,413,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c57a81f0bff4b757dd3f96dd891e5e.jpg",[],{"id":68530,"slug":68531,"title":68532,"dynasty":177,"author":178,"museum":119,"description":68533,"tags":68534,"thumbUrl":68535,"material":337,"size":937,"collection":127,"collections":68536,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":49},275820,"qing-yu-dong-gao-shu-yu-zhi-san-lao-ji-ce-yi-ming-275820","青玉董诰书御制三老记册","漆黑如凝夜，金彩似熔星，将林泉幽居之景晕染于器身。汀洲茅舍隐于苍林，曲水绕阶，渔舟泊岸，把江南山居的闲澹逸趣凝缩方寸间。髹漆沉穆莹润，描金走线匀净秀雅，将文人山水意境纳于置物雅器，平涂勾勒间带着沉静古雅的质感，把隐逸之思藏于日常之中，工艺与画意相融，尽显清隽雅致的旧时意趣。",[31565,37777,7,63,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0e7bb307aa6d284347dcd907a5f484.jpg",[],{"id":68538,"slug":68539,"title":68540,"dynasty":177,"author":178,"museum":119,"description":68541,"tags":68542,"thumbUrl":68545,"material":337,"size":937,"collection":127,"collections":68546,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},275714,"wu-yue-qi-bei-yue-qi-yi-ming-275714","五岳旗-北岳旗","以纯黑素缎为地，沉敛底色衬得绣制山景格外醒目。深浅不一的蓝线循山势层叠铺展，绣出层峦叠嶂，如云海翻涌托举群山，浅米色点染峰顶，似残雪覆山，又像云气缭绕山巅。绣线顺着山石纹理排布，细腻针法勾勒出山岳起伏的苍劲质感，将北岳沉浑大气的风骨凝于绣面。侧边系带留存器物实用形制，礼制器物的规整与传统绣艺意趣相融，把山水诗意藏于绣帛之间，尽显古典雅致的东方美学韵味。",[6756,15126,14485,7,68543,68544],"五岳","北岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fb07f5a9780364ec671dfe271623f8.jpg",[],{"id":68548,"slug":68549,"title":68550,"dynasty":177,"author":178,"museum":119,"description":68551,"tags":68552,"thumbUrl":68553,"material":337,"size":937,"collection":127,"collections":68554,"showCount":961,"zanCoun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Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[24007,48370,28,71065,71066,71067,7,21215,10088,71068,71069],"芭蕾舞者","芭蕾舞裙","花束","光影","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff68b8063da5291a778c5ccfb4826206b.jpg",[],{"id":71073,"slug":71074,"title":71075,"dynasty":8332,"author":71062,"museum":119,"description":71063,"tags":71076,"thumbUrl":71077,"material":337,"size":937,"collection":127,"collections":71078,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":49},232121,"de-jia-62-de-jia-232121","德加62",[24007,48370,28,7,318,450,21215,1434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941bc05dfcea3de6db94b3eca10ddc5f.jpg",[],{"id":71080,"slug":71081,"title":71082,"dynasty":8332,"author":178,"museum":119,"description":71083,"tags":71084,"thumbUrl":71085,"material":337,"size":937,"collection":127,"collections":71086,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},231811,"ri-guang-shan-tu-xia-juan-yi-ming-231811","日光山图下卷","此作为全景纪行山水，以鸟瞰视角铺展河岳胜状。蜿蜒江流以流畅往复的曲线摹写水势回旋奔涌，浪纹层叠尽显烟波灵动。两岸峰石以淡墨勾廓，青灰敷色晕出山峦肌理，苍松错落植于崖畔坡地，笔致简雅秀润。\n\n整作兼具纪实性与抒情意趣，既摹绘出河湾萦回的实景地貌，又以浅设色晕染出林泉幽深的雅境，江流回转间尽显造化灵韵，淡彩轻岚晕开静穆清旷的古意，暗含悠远超脱的林下襟怀。",[23,24,25,26,28,7,31,238,583,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0953a25ed12ed128374d5b5a49110ac6.jpg",[],{"id":71088,"slug":71089,"title":71090,"dynasty":8332,"author":178,"museum":119,"description":71091,"tags":71092,"thumbUrl":71093,"material":337,"size":937,"collection":127,"collections":71094,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},231802,"ri-guang-shan-tu-shang-juan-yi-ming-231802","日光山图上卷","此作用淡彩晕染山野川泽，青绿点染层峦植被，浅赭勾勒山石肌理，萦回水网穿梭于滩渚之间，茅舍行人点缀岸畔，将幽谷行旅的幽寂实景铺展开来，留白晕合烟岚，尽显林泉悠远之致。\n\n右侧题以行书长文，记述行路见闻与风物感触，图文相映，兼具纪胜写景与行旅笔录的意趣。笔致简淡古雅，把旅途中的山野实景与羁旅心绪相融，朴拙间带着独有的质朴悠然，将远行途中的林泉之美与行路感怀娓娓道来。",[23,24,26,28,7,34,64,201,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf5e7698789495a054b25e42eb7a8a2.jpg",[],{"id":71096,"slug":71097,"title":71098,"dynasty":8332,"author":9470,"museum":119,"description":62771,"tags":71099,"thumbUrl":71100,"material":337,"size":937,"collection":127,"collections":71101,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},231783,"xin-gui-shan-yuan-qi-hui-juan-3-niao-yu-seng-zheng-jue-you-231783","信贵山缘起绘卷-3",[23,25,26,28,59,7,5146,34,106,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc95963f964a4df718b94fa44e04db5f1.jpg",[],{"id":71103,"slug":71104,"title":71105,"dynasty":8332,"author":178,"museum":119,"description":71106,"tags":71107,"thumbUrl":71108,"material":337,"size":937,"collection":127,"collections":71109,"showCount":961,"zanCount":48,"manualWeight":48,"mainColor":75},231727,"lian-cang-shi-dai-tian-gou-cao-zhi-ci-shu-yan-li-si-juan-yi-ming-231727","镰仓时代 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传教士 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与行军规制融于一图，是纪实战图里极具代表性的写实佳作。",[24,29,65,59,164,7,103,335,64,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b98e701e6d2e7644a41ed31a283cf5a.jpg",[],{"id":79169,"slug":79170,"title":19629,"dynasty":177,"author":178,"museum":119,"description":79171,"tags":79172,"thumbUrl":79173,"material":127,"size":127,"collection":127,"collections":79174,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},238653,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238653","这幅铜版画以全景式铺陈开山地平叛战况，嶙峋喀斯特峰峦间，山道上兵卒衔枚疾进，谷地硝烟翻涌，还原攻坚厮杀的肃杀氛围。右侧主将勒马整军，阵列严整尽显军纪森严。\n\n创作者以精细线条勾勒山石肌理，明暗晕染塑造出层叠山势的立体感，将战场的紧迫张力尽显纸面。右上角御题诗文呼应战事功过，使得作品兼具纪实征战场面的档案价值，又以中西融合的版画技法，描摹出山地征伐的壮阔图景，写实复刻出平苗一役的激烈瞬间，肃穆且极具纪功图的厚重质感。",[24,25,164,123,59,29,65,7,103,335,318,31,34,239,3765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099552331f1937403457da9040e47880.jpg",[],{"id":79176,"slug":79177,"title":19629,"dynasty":177,"author":178,"museum":119,"description":79178,"tags":79179,"thumbUrl":79182,"material":127,"size":127,"collection":127,"collections":79183,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},238651,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238651","这幅作品以全景式构图铺展苗疆莽莽群山，飞瀑穿崖、层峦叠嶂，既尽显山野苍莽雄浑，又将扎营收军、攀崖攻坚的战事细节藏于峰壑之间。右上御题诗文点明战事经纬，将纪实叙事与山水意境相融。\n创作者以细密劲挺的铜版线条，借明暗层次皴刻山石肌理，兼具东方山水的悠远意境与西洋版画的写实质感，详实复刻战事实景，是诗画合璧、兼具纪实性与艺术性的战史图绘。",[100,3806,164,7,103,79180,45384,79181,65,20209,5408],"战事","诗画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768ed58f80401e2ef764d5383f97b9f8.jpg",[],{"id":79185,"slug":79186,"title":19629,"dynasty":177,"author":178,"museum":119,"description":79187,"tags":79188,"thumbUrl":79189,"material":127,"size":127,"collection":127,"collections":79190,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},238650,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238650","全景式构图铺展平叛战事，山峦河谷间清军分路挺进，炮火硝烟腾起于密林隘口，河桥处短兵相接人马奔突，远景大营与层叠山境烘托出磅礴战事规模。作者以精细线刻技法，复刻战地肃杀张力，山石林木皴刻入微，将士甲胄阵型排布分毫毕现，将平叛战事的宏阔与惨烈凝于尺幅。画作融合纪实性与艺术表现力，以西式铜版画写实笔法，将这场平叛的铁血征程跃然纸上，尽显战争纪实版画的独特质感。",[29,123,65,103,7,34,31,36,238,2716,278,37,19632,32977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9741823415bd26d59844915cd4218c3.jpg",[],{"id":79192,"slug":79193,"title":19629,"dynasty":177,"author":178,"museum":119,"description":79194,"tags":79195,"thumbUrl":79196,"material":127,"size":127,"collection":127,"collections":79197,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":379},238649,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238649","以全景式构图铺展这场战事，层叠山峦环围出厮杀战场，苍劲线条勾勒出山野村寨，将烽烟肃杀的氛围尽数烘托。\n画面里兵马缠斗不休，有人奔溃逃窜，有人死战不退，檐角边硝烟暗涌，远景的兵卒动向、近前的搏杀细节皆刻画入微，将平疆战事的壮烈紧张全然还原。右上角题诗呼应此战功勋，让纪实叙事染上沉郁厚重的史诗感，既以精妙的线条功力展现古典绘事章法，又留存下详实的战事细节，兼具审美价值与史料意义，将边陲平叛的铁血过往凝于尺幅之间。",[29,123,65,21214,164,103,335,7,34,278,64,3765,35,32977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cdcdce13eafa566f486359db7dcdf3.jpg",[],{"id":79199,"slug":79200,"title":19629,"dynasty":177,"author":178,"museum":119,"description":79201,"tags":79202,"thumbUrl":79203,"material":127,"size":127,"collection":127,"collections":79204,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},238648,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238648","全景式构图铺展浩荡战事，远山层叠河谷蜿蜒，将清军列阵行军、攻坚平叛的场景错落排布。左侧题笺点明战事背景，画面前方将领挥斥策马，甲士阵列严整肃然，右侧战场烽烟翻涌，短兵相接的厮杀仿佛声闻于耳。画作以精细线描勾勒出山峦苍劲质感，将士甲胄衣袂细节分毫毕现，既兼具传统界画的工致写实，又糅合西洋铜版画明暗层次，精准还原平乱战事的宏大意象，将行伍整肃、攻坚激烈与山野雄浑融为一体，笔墨间承载纪实叙事的厚重，尽显清代战史图绘的严谨表现力。",[24,29,59,65,164,103,335,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4cc8d1034d51c633c0775814fa4e48.jpg",[],{"id":79206,"slug":79207,"title":19629,"dynasty":177,"author":178,"museum":119,"description":79208,"tags":79209,"thumbUrl":79210,"material":127,"size":127,"collection":127,"collections":79211,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},238647,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238647","以全景视角铺展苗疆崇山险壑，山道间清军策马挺进，远处营寨森然列阵，将平叛行军的肃杀氛围淋漓呈现。画面线条凌厉精细，山石皴刻尽显地势陡绝，既还原了山地平叛的艰险，也刻画出清军整肃军容。右上方题诗与图景呼应，笔墨载录克捷之功，将纪实叙事与军功宣扬融为一体，以画笔复刻王朝征伐史事，带着厚重的纪史质感。",[24,25,29,59,65,66,7,103,335,238,34,104,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff94fcd4e79e8f17638699ba5ca75a71b.jpg",[],{"id":79213,"slug":79214,"title":19629,"dynasty":177,"author":178,"museum":119,"description":79215,"tags":79216,"thumbUrl":79217,"material":127,"size":127,"collection":127,"collections":79218,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},238646,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238646","这幅全景式战图以硬朗的铜版画排线刻绘层叠险峰，山道河谷间兵勇整列挺进，隘口烽烟暗起，将平叛行军的肃杀紧迫铺陈开来。左上题字以规整小楷详述战事经纬，图文相映，兼顾舆图纪实性与叙事画感染力。\n\n山石皴擦利落刚劲，精准勾勒出西南山地的峭拔险峻，将士甲胄旌旗细节分明，把行军威仪刻画得详实入微。画面冷峻克制，以纪实笔触定格边地平叛的历史瞬间，承载着军功纪实的肃穆厚重。",[24,164,29,65,7,103,335,1110,64,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6c1738edbffd432d53460f49927ba1.jpg",[],{"id":79220,"slug":79221,"title":19629,"dynasty":177,"author":178,"museum":119,"description":79222,"tags":79223,"thumbUrl":79224,"material":127,"size":127,"collection":127,"collections":79225,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},238644,"ping-ding-miao-jiang-zhan-tu-ce-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lection":127,"collections":79640,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236254,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236254","此作为泥金扇面，以青绿浅绛设色绘水畔名园。层叠楼阁依偎碧波，隐于繁花茂林之中，丹粉花树、靛青枝叶与赭石山石相映，色彩明丽和谐。远山以淡墨晕染，晕开空濛悠远之境，疏密布局得当，将幽居消暑的静雅意趣娓娓铺陈。\n\n书画合璧，一面绘景，一面题诗，尽显文人雅赏之韵。棕竹扇骨肌理细腻，包浆温润，古意盎然，是兼具审美与收藏价值的风雅旧物，尽显旧时清夏闲赏的悠然意致。",[24,25,2484,28,7,104,34,64,278,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F574532c10d36c9b98500beb5028c48e3.jpg",[],{"id":79642,"slug":79643,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79644,"tags":79645,"thumbUrl":79646,"material":337,"size":937,"collection":127,"collections":79647,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236253,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236253","此作为泥金扇面，浅设色绘山居胜景。暖调金底晕出雅致基调，远山层峦叠翠，林木蓊郁苍润，屋舍错落排布在林畔水滨，将山居夏凉的清旷意境收于盈尺之间，工细写实中透着文人山水的悠然意趣。诗画合璧，景致与诗书相映成趣，将园林胜景的静穆清和融于扇中，尽显清代扇画诗书画一体的雅致格调，笔墨工致细腻，晕染柔和自然，带着夏日山居的沁人凉意，是兼具观赏与收藏价值的扇画佳制。",[24,25,2484,28,7,65,67,51927,278,238,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167b80713ade90382ad76f2bf6e6a4d3.jpg",[],{"id":79649,"slug":79650,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79651,"tags":79652,"thumbUrl":79653,"material":337,"size":937,"collection":127,"collections":79654,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236252,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236252","以泥金为底，墨色晕染出层叠山峦，苍松茂林错落掩映着屋舍板桥，将名园夏景凝缩于盈尺扇面。笔触清隽秀雅，既写实还原了林泉雅致的园居意趣，又以文人山水的笔墨意韵，勾勒出疏朗开阔的山居清凉，在金笺的华贵底色衬映下，咫尺丘壑里藏着林下幽居的澹然意趣，尽显精致工致的审美意趣。",[24,25,2484,28,7,65,66,238,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b916d94ef4389e164da30dced0ab5b3.jpg",[],{"id":79656,"slug":79657,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79658,"tags":79659,"thumbUrl":79660,"material":337,"size":937,"collection":127,"collections":79661,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236251,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236251","泥金笺底自带华贵沉稳，浅绛晕染出平林远岫之致。近岸林木苍郁，坡岸逶迤着衔起水泽幽光，远山以淡墨轻扫层叠铺展，将夏日林泉的清旷闲逸晕开。笔墨简淡秀雅，不刻意求工，却把幽寂安宁的林泉高致烘托尽致。黝黑莹润的扇骨与金底山水相映，雅致古朴，将避暑的悠然意态藏于开合之间，尽显文人清赏的雅韵风骨。",[2484,24,25,28,65,7,278,34,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ee76ef6b97b54ef2db5d64d8d8c8a.jpg",[],{"id":79663,"slug":79664,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79665,"tags":79666,"thumbUrl":79667,"material":337,"size":937,"collection":127,"collections":79668,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236250,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236250","这帧金笺扇面以浅绛设色绘就山居消暑之景，远山层峦披黛，淡墨勾勒皴擦出空濛清旷的天际。近林木蓊郁苍润，深浅墨色点染出繁叶错落生机，素朴屋舍隐于浓荫之下，不见人迹却满溢幽寂闲适的消暑意趣。\n\n笔墨清隽柔和，泥金底色衬得画面古雅温润，晕染出山林间静穆凉意，尽显传统山水小品悠然淡远的格调，藏着夏日山居松弛安然的氛围感。",[2484,28,7,104,34,238,66,65,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0142746b271b5d66491bfb420705662a.jpg",[],{"id":79670,"slug":79671,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79672,"tags":79673,"thumbUrl":79674,"material":337,"size":937,"collection":127,"collections":79675,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236249,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236249","泥金笺底凝着华贵光泽，层叠山峦自扇沿铺展，皴笔细劲柔和晕出岩壑肌理，淡赭敷染漫出秋山沉郁苍润。丛树错落植于平坡，将林苑清旷之致揉入尺幅之间，笔墨带着端整雅致的风貌，又暗合文人山水的悠然意趣。\n\n深色竹骨衬得扇面愈见明丽，素洁扇骨与金碧画境相映成趣，开合间尽揽苑囿秋光，把皇家林泉的静穆清逸，藏纳在这一方扇面之中，雅致兼具赏用之美。",[2484,24,28,7,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a975b536de2c1932475f977d30874b.jpg",[],{"id":79677,"slug":79678,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79679,"tags":79680,"thumbUrl":79681,"material":337,"size":937,"collection":127,"collections":79682,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236248,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236248","此作为泥金扇面山水，浅绛设色晕染柔和雅致。远山层峦淡墨轻皴，将天际晕染朦胧悠远；近岸林木苍郁错落，屋舍隐于林麓间，红径蜿蜒接引通幽，水面孤舟泛波，衬出山居的清寂闲雅。笔墨简淡合宜，皴法勾勒山石肌理，既见工致又不失写意松弛，泥金底色托衬浅淡设色，更添沉静古雅氛围，将林泉避暑的悠然隐逸之趣，尽纳咫尺扇面之间，尽显文人心目中的栖居佳境。",[24,25,2484,28,7,104,34,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5388bb9940267fcf1eed940a56223cc.jpg",[],{"id":79684,"slug":79685,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79686,"tags":79687,"thumbUrl":79688,"material":337,"size":937,"collection":127,"collections":79689,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236247,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236247","金笺设色晕开湖山秋光，烟波漾开清寂水色，洲渚林木点染丹黄秋意，疏密交织间藏着幽居意趣。临水楼阁错落隐于林麓，石阶逶迤接岸，似能窥见山居闲凉。远山以淡墨轻笼，层峦含烟，与近景的明秀相映，虚实相生铺展出平远开阔的意境。笔墨秀润雅致，设色妍而不艳，将林泉高致藏于折幅咫尺之间，轻摇仿佛便揽得满扇山居清趣，恍若身临幽凉林泉，静享隐逸闲雅的诗意栖居之美。",[24,25,2484,28,7,104,34,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef3f3dd5f2b47275a5f1b04ff58bc42.jpg",[],{"id":79691,"slug":79692,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79693,"tags":79694,"thumbUrl":79695,"material":337,"size":937,"collection":127,"collections":79696,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236246,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236246","以泥金笺为底，青绿晕染山峦叠翠，墨笔点簇林木苍茂，山居幽隐于林麓间，似可窥见山窗纳凉的清宁意趣。笔墨秀润温婉，将夏日山居的闲适静谧凝于盈尺扇面之上，青绿与泥金相映，更添雅致华贵。搭配包浆莹润的素骨，书画合璧，把消暑寄情的林下之思融于掌中清玩，尽显小品山水的温婉意韵，是案头清赏的佳妙之作。",[2484,24,25,27,28,7,1616,2216,6501,51128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e894079a0761742f2aaafae5773e9f7.jpg",[],{"id":79698,"slug":79699,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79700,"tags":79701,"thumbUrl":79702,"material":337,"size":937,"collection":127,"collections":79703,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236245,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236245","此作以泥金笺为地，墨色皴染层叠山峦，林麓间屋舍隐现，暗合山居夏凉的清寂幽致。山峦以披麻皴写就，线条松秀苍润，浓淡墨色交错晕染，既勾勒出雄浑山骨，又衬出泥金底的华贵雅致，将林泉幽居的闲静藏于咫尺扇间。素净扇骨与画面相得益彰，笔墨平和悠远，尽显林泉避暑的雅逸意趣，是融华贵材质与文人山水意韵于一体的佳制。",[5254,24,2484,7,28,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7788deada02b9c12276b51876e8c79f.jpg",[],{"id":79705,"slug":79706,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79707,"tags":79708,"thumbUrl":79709,"material":337,"size":937,"collection":127,"collections":79710,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236244,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236244","此扇以泥金笺为地，自带华贵雅致底色。画面绘林苑一隅，重檐楼宇静处方庭，佳木环绕、远山逶迤。笔墨秀润细腻，敷色淡逸沉稳，将苑囿的清寂消暑意韵尽显，石隐木葱，处处透着山居夏凉的疏闲意境。\n\n书画合璧，笔墨兼具写实精巧与写意澹远，将苑林清幽揉入尺幅扇间，尽显传统扇面的隽永意趣，是兼具观赏与把玩价值的佳制。",[5254,24,2484,28,304,7,104,34,559,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5325818f7d0138bd8effac6eb2a16315.jpg",[],{"id":79712,"slug":79713,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79714,"tags":79715,"thumbUrl":79716,"material":337,"size":937,"collection":127,"collections":79717,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236243,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236243","此扇以泥金为地，水墨晕染出山林幽居之境。淡墨轻扫远山，层叠轮廓似笼薄烟，漾出空濛悠远之态。近处长松郁茂，蓊然成林，掩映间茅舍静立，水泽清浅环伺，将山野间的凉寂闲适铺陈开来。\n笔墨枯湿浓淡相宜，以极简的皴染区分远近层次，将幽居避喧的隐逸意趣融于盈尺扇面。素净扇骨衬得水墨愈见清润雅致，观之如身临林泉，暑意尽散，尽显小品山水的隽永韵味。",[24,25,2484,7,104,34,28,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80c793f4441e4eaa665a86bcb4a8be2.jpg",[],{"id":79719,"slug":79720,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79721,"tags":79722,"thumbUrl":79723,"material":337,"size":937,"collection":127,"collections":79724,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":940},236242,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236242","此扇以泥金笺为底，墨笔绘就山居丘林景致。远山层叠晕染，草木华滋蓊郁，近舍错落隐于繁荫之间，笔墨苍秀清润，将山居避暑的幽旷闲静氛围尽数铺展。一侧配书诗文，书画合璧，尽显文人雅玩的审美意趣，朴雅古拙的扇骨衬得这帧小品愈显雅致。虽无名款，亦能窥见彼时山水小品的典型风貌，是兼具赏玩与收藏价值的文房清玩。",[2484,24,25,7,28,65,104,34,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e78faae2ebc8efa888f479aad353905.jpg",[],{"id":79726,"slug":79727,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79728,"tags":79729,"thumbUrl":79730,"material":337,"size":937,"collection":127,"collections":79731,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236241,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236241","泥金扇底晕开暖雅底色，远山以淡墨轻勾晕染，烟岚浮于层峦间，晕出空濛悠远之意。丘壑间林木葱郁，山居屋舍隐现其中，似藏夏日幽凉意趣。布局疏密得宜，左侧铺陈山水实景，右侧留白落款虚实相映，尽显中式山水的空灵雅致。乌润扇骨与暖金扇面相映成趣，将林泉高致凝于盈尺扇面之间，开合间尽纳山水丘壑，融文人赏玩意趣与工艺精巧为一体，静赏便觉山居凉意扑面而来。",[2484,7,65,28,66,67,238,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680122ea17ca0664a593a65a39a33a7.jpg",[],{"id":79733,"slug":79734,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79735,"tags":79736,"thumbUrl":79737,"material":337,"size":937,"collection":127,"collections":79738,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236240,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236240","金笺为底，墨色晕染间衬以浅淡青绿，层次婉转分明。远山轻烟弥散，黛色含晕，林泉之间屋舍亭台错落排布，嘉木繁荫葱翠，将盛夏清和消暑的意韵尽显。雅致山水间藏着闲居清赏的意趣，笔墨秀润灵和，写尽林泉雅墅的静穆安恬。配竹骨莹润光洁，工艺精巧，书画合璧，将文人悠然消暑的心境融于咫尺扇面，尽显隽永雅致的旧时雅韵。",[2484,28,7,66,67,104,34,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4970e68989959a6db21f5c17cfb9f9e5.jpg",[],{"id":79740,"slug":79741,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79742,"tags":79743,"thumbUrl":79744,"material":337,"size":937,"collection":127,"collections":79745,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236239,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236239","此作用泥金扇面绘就，满幅晕着沉敛华贵的光泽。层林如盖，蓊郁苍润，山居屋舍错落排布于浓荫之间，隐现雅致格局。远处山峦平缓铺展，与平林烟霭相融，将山庄幽寂清宁的夏日常态铺陈眼前，笔墨工致细腻，晕染柔和清润，把山居避暑的闲雅意趣尽数藏入尺幅间。搭配古朴匀整的扇骨，与扇面书画呼应相成，整体意蕴悠然沉静，尽显传统山水小品的雅致情致，藏着旧时林下幽居的恬淡意涵。",[24,25,2484,28,7,104,34,35,66,29,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad75937842031be1e76c63dfd0a475a.jpg",[],{"id":79747,"slug":79748,"title":61971,"dynasty":177,"author":178,"museum":119,"description":79749,"tags":79750,"thumbUrl":79751,"material":337,"size":93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蜒，人家错落，林木扶疏间透着烟火气。远近景致相映，险峻与平和交织，简淡笔触里藏着悠远意境，将名山的灵秀与生机凝于一纸，尽显传统山水的笔墨意趣与自然情致。",[24,25,123,7,65,318,734,165,61,199,278,31,81988],"岩崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedcaa7bf1af7789de333dd73b0196aea.jpg",[],{"id":81992,"slug":81993,"title":81994,"dynasty":177,"author":178,"museum":119,"description":81995,"tags":81996,"thumbUrl":81997,"material":169,"size":127,"collection":127,"collections":81998,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215615,"tian-xia-ming-shan-tu-11-yi-ming-215615","天下名山图-11","明黄底色如鎏金倾泻，龙纹隐现于云涛间，或昂首腾跃，鳞爪张弛带劲风；或蜿蜒穿梭，身姿矫健藏威仪。祥云以朱红、墨褐、浅灰交织，卷舒间既有飘逸之态，又含厚重质感，与龙形相生相映。织物纹理细密，色彩晕染自然，每处线条都凝着匠人的巧思，将龙的霸气与云的灵动揉成气韵生动的画卷。既显皇家气象的庄重，又含天地灵韵的鲜活，仿佛能听见龙啸云涌，让人沉浸在跨越时空的震撼里。",[24,25,28,29,7,181,8533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7abfc668db6fe63f0b0df10e26004dc.jpg",[],{"id":82000,"slug":82001,"title":82002,"dynasty":177,"author":178,"museum":119,"description":82003,"tags":82004,"thumbUrl":82005,"material":169,"size":127,"collection":127,"collections":82006,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215614,"tian-xia-ming-shan-tu-9-yi-ming-215614","天下名山图-9","墨线勾勒山峦筋骨，层叠起伏间见丘壑纵深。劲挺线条下，山体轮廓分明，转折处藏自然肌理；峰顶疏木点缀，添几分生机意趣。云雾以柔婉曲线晕染，与硬朗山形相映，缥缈中见沉稳。峰峦间题署小字，似与山川私语，藏古雅余韵。整幅以简驭繁，素纸之上铺展清旷山水，凝练传统笔墨神韵，尽显自然与人文交织的静谧之美。",[24,25,100,5254,123,65,7,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F463a8c20ae5b93bf59ddf366e3c36edd.jpg",[],{"id":82008,"slug":82009,"title":82010,"dynasty":177,"author":178,"museum":119,"description":82011,"tags":82012,"thumbUrl":82013,"material":169,"size":127,"collection":127,"collections":82014,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215613,"tian-xia-ming-shan-tu-12-yi-ming-215613","天下名山图-12","层峦叠嶂间晕染着古雅气韵，笔墨勾勒出山水的灵秀风骨。勾勒山体的线条刚柔相济，皴擦点染间，山石肌理与苍劲质感尽显；远近层次分明，近山嶙峋，远山含烟，留白处似有云雾流转，拓出深远辽阔的意境。草木点缀其间，添几分生机，仿佛能触到山间清风，听涧水潺潺。画面将名山胜景的雄浑与秀美融于一纸，古朴雅致的画风里藏着对自然的敬畏与描摹，尽显传统山水画的韵味，引人沉湎于天地山川的静谧壮美之中。",[24,7,164,28,59,64,34,104,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84efbd4b36b3e97ebff6b431d7242c14.jpg",[],{"id":82016,"slug":82017,"title":82018,"dynasty":177,"author":178,"museum":119,"description":82019,"tags":82020,"thumbUrl":82021,"material":169,"size":127,"collection":127,"collections":82022,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215610,"tian-xia-ming-shan-tu-16-yi-ming-215610","天下名山图-16","这幅山水图以细腻墨线勾勒山峦脉络，皴法交错间尽显山石嶙峋肌理。层峦叠嶂如浪涛翻涌，远近错落间营造出深远空间感。山间亭台掩映于松荫之下，古木虬枝添几分苍劲。题款错落分布于峰峦幽谷，笔墨与山川相映成趣，隐现文人寄情山水的雅致。整体画风清逸，意境幽远，既展现自然山川的雄浑之美，又蕴含人文意趣的温润质感，似可窥见古人对名山胜景的向往与描摹。",[24,25,123,7,318,64472,34,104,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22efdb52057a6e8e11ec555f4ef41ebb.jpg",[],{"id":82024,"slug":82025,"title":82026,"dynasty":177,"author":178,"museum":119,"description":82027,"tags":82028,"thumbUrl":82029,"material":169,"size":127,"collection":127,"collections":82030,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215609,"tian-xia-ming-shan-tu-15-yi-ming-215609","天下名山图-15","画面以白描织就山水清韵，左幅烟波浩渺，远山如黛层叠向云际，水纹细劲似鳞，漾开一片空寂；右幅峭壁嶙峋，皴笔如斧劈石骨，几处楼宇嵌于翠嶂间，古木虬枝斜出，藏着烟火与禅意。疏密线条勾勒虚实相生之境，远山的淡墨晕染与近石的刚劲笔触相映，静水的留白与峻岭的密线交织。极简笔墨里透出名山的雄浑与灵秀，似能闻山风穿林、水声拍岸，引观者步入那片悠远清旷的天地，触摸岁月沉淀的山水情怀。",[24,25,164,123,304,7,104,30,34,239,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7152fb149bafa97c5505e4e0064a66a.jpg",[],{"id":82032,"slug":82033,"title":82034,"dynasty":177,"author":178,"museum":119,"description":82035,"tags":82036,"thumbUrl":82037,"material":169,"size":127,"collection":127,"collections":82038,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215608,"tian-xia-ming-shan-tu-14-yi-ming-215608","天下名山图-14","笔墨勾勒的峰峦如剑戟般刺破云霭，线条如流水游走于山石肌理间，皴擦点染藏着草木的低语。近景峭壁纹理清晰，似能触到岩石冷硬；中景山势层叠，隐现的屋宇漏出人间烟火；远景云气缭绕，将天地连成浩渺一片。整幅画以线为骨、以意传神，静穆中透着山河壮阔，仿佛能听见山风穿峡的回响，看见云雾在峰尖缓缓流动。每一笔都凝着对自然的敬畏，把名山的雄奇与灵秀收于尺幅，让观者心随画游，沉醉在这片笔墨构筑的山水秘境里。",[24,25,123,7,318,979,34,532,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94287d078c1957cca19cd0f5038dfe0d.jpg",[],{"id":82040,"slug":82041,"title":82042,"dynasty":177,"author":178,"museum":119,"description":82043,"tags":82044,"thumbUrl":82045,"material":169,"size":127,"collection":127,"collections":82046,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215607,"tian-xia-ming-shan-tu-18-yi-ming-215607","天下名山图-18","这幅白描山水以清劲婉转的线条勾勒天地丘壑。奇峰罗列，或陡峭如削，或层叠如垒，山间林木葱茏，松枝苍劲、杂树扶疏，姿态各显生机。左下角亭台隐于林麓，与自然景致相融；溪流蜿蜒穿涧而过，添几分灵动韵致。笔墨简练却意韵丰厚，构图开合有致，远近层次分明，咫尺间见千里之势。峰峦的雄浑与草木的纤秀相映，静岩与流泉相衬，尽显山川灵秀与人文意趣，于素净线条中藏天地大美。",[24,25,123,7,64,34,104,61,38,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205d74ceaf9020f3503fd62295d027ec.jpg",[],{"id":82048,"slug":82049,"title":82050,"dynasty":177,"author":178,"museum":119,"description":82051,"tags":82052,"thumbUrl":82053,"material":169,"size":127,"collection":127,"collections":82054,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215606,"tian-xia-ming-shan-tu-17-yi-ming-215606","天下名山图-17","笔墨轻挥间，山水之韵徐徐铺展。前景溪流蜿蜒，岸线层叠，水纹细劲如丝，似有潺潺声入耳。中景坡地起伏，林木疏密有致，几椽屋舍隐于其间，添了烟火气却不失清幽。背景山峦巍峨，轮廓刚劲含柔，山间留白若云雾缭绕，将远岫的深邃悄然晕开。线条简练却见功底，皴擦点染皆合章法，简淡中藏深远，平实处生奇趣。整幅画如无声的山水诗，把自然静谧与人文闲适融于尺幅，引人入胜，心生向往。",[100,24,25,164,123,59,65,7,34,167,3658,239,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7b0bab5cf9e908df16329dcb37bf07.jpg",[],{"id":82056,"slug":82057,"title":82058,"dynasty":177,"author":178,"museum":119,"description":82059,"tags":82060,"thumbUrl":82061,"material":169,"size":127,"collection":127,"collections":82062,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215605,"tian-xia-ming-shan-tu-13-yi-ming-215605","天下名山图-13","线痕勾勒层峦脉络，皴擦间藏山石苍劲肌理。云雾似轻纱漫过峰巅，晕染出远近丘壑的虚实层次。山顶亭台隐于云霭，如遗落的仙踪；林麓溪涧藏于深谷，似有潺潺声入耳。细密笔触铺展林木，葱茏间透着生机；劲挺线条刻画石崖，嶙峋中显风骨。整幅画以线为骨，以意传神，凝名山雄浑与灵秀于一纸。静穆里带着悠远气息，仿佛牵引观者踏入烟霞深处，尽览丘壑间的万千意趣——山石的沉稳、云雾的轻盈、草木的鲜活，皆在笔墨流转中，化作可感的山水诗行。",[24,25,123,65,7,318,979,34,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8394b00c27a1825ce9e44ffccd130e.jpg",[],{"id":82064,"slug":82065,"title":82066,"dynasty":177,"author":178,"museum":119,"description":82067,"tags":82068,"thumbUrl":82069,"material":169,"size":127,"collection":127,"collections":82070,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215604,"tian-xia-ming-shan-tu-22-yi-ming-215604","天下名山图-22","奇峰嵯峨，层峦叠嶂间云气氤氲，烟岚如轻纱漫卷。山坳隐现亭台，与嘉木相映成趣；山麓城墙蜿蜒，门楼古朴，藏岁月沧桑。笔墨以线描为骨，勾勒精准利落，山石皴法简洁有致，简练中见丘壑之深。云雾柔润与山石硬朗相衬，动静相宜，尽显山川雄浑与灵秀。意境清幽旷远，引观者步入烟霞深处，听松涛阵阵，观云卷云舒，心随山水静，意与天地悠。",[24,123,7,164,104,34,106,60,61,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269afc58a44f0e1e03b8848a437d5522.jpg",[],{"id":82072,"slug":82073,"title":82074,"dynasty":177,"author":178,"museum":119,"description":82075,"tags":82076,"thumbUrl":82078,"material":169,"size":127,"collection":127,"collections":82079,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215603,"tian-xia-ming-shan-tu-23-yi-ming-215603","天下名山图-23","笔墨晕染出山川灵秀风骨，峰峦叠嶂隐于烟霞缥缈间，溪涧蜿蜒绕林麓。线条苍劲古拙，墨色浓淡藏虚实相生之妙，尽显清代山水含蓄韵致。每一笔触似诉名山千年底蕴，烟岚浮动中，松涛阵阵可闻，飞瀑流泉如见。虽佚名，却以自然之笔绘就天地大美，观者于尺幅间神游万仞，心寄烟霞，沉醉于那份古朴静谧的山水诗意里，不知归处。",[100,24,25,7,59,71042,241,17016,7089,12370,5408,26047,82077,6747],"古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6a0b9248f3d7c0896470902e898923.jpg",[],{"id":82081,"slug":82082,"title":82083,"dynasty":177,"author":178,"museum":119,"description":82084,"tags":82085,"thumbUrl":82086,"material":169,"size":127,"collection":127,"collections":82087,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215600,"tian-xia-ming-shan-tu-24-yi-ming-215600","天下名山图-24","笔墨勾勒间，层峦叠嶂自左铺展，峰崖错落如剑戟横空，皴法细密处见山石肌理，苍劲中藏秀逸。山脚下林木扶疏，几株古松枝干虬劲，掩映着茅舍隐现，石径蜿蜒间，一隐士凭石而坐，似与山光对语，野趣盎然。右侧云气氤氲，淡墨晕染出烟波浩渺，远处楼阁半藏于雾霭，恍若仙境浮于尘世。整幅画面虚实相生，近景的真切与远景的缥缈相映成趣，将山水之雄浑与文人之雅意融于一纸，观之如临溪山深处，心随云卷云舒，顿生旷远之思。",[24,123,65,7,30,34,239,61,60,63,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ca8330c953affc3651f81a97b60ad8.jpg",[],{"id":82089,"slug":82090,"title":82091,"dynasty":177,"author":178,"museum":119,"description":82092,"tags":82093,"thumbUrl":82094,"material":169,"size":127,"collection":127,"collections":82095,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215599,"tian-xia-ming-shan-tu-19-yi-ming-215599","天下名山图-19","峰峦如削，劲挺线条勾勒出山石嶙峋轮廓，皴擦点染间显肌理苍古。云雾轻笼，淡墨晕染与留白相映，层叠山岩似浮于烟霭之上。山间隐现亭榭，小径行人缓步，为雄奇景致添几分生活意趣。笔墨细腻却藏力道，线条精准而富变化，既绘出山川壮阔气象，又含林泉高致清雅之韵。整幅画以线立骨、以墨生韵，将自然奇秀与文人情怀融于一纸，尽显传统山水的笔墨匠心与意境之美。",[24,25,123,7,65,30,34,104,61,60,103,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5563039e1aa92ca9812b376ef1e688c5.jpg",[],{"id":82097,"slug":82098,"title":82099,"dynasty":177,"author":178,"museum":119,"description":82100,"tags":82101,"thumbUrl":82102,"material":169,"size":127,"collection":127,"collections":82103,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215598,"tian-xia-ming-shan-tu-30-yi-ming-215598","天下名山图-30","墨线勾勒的峰峦层叠如浪，自远及近铺展成壮阔山景。近山林木错落，枝叶简笔点染，添几分生机；远山轮廓淡远，似隐于云雾间。山间小径蜿蜒穿梭，连接标注地名，藏着古人踏访的足迹。整幅画以极简笔墨揉合长白山的雄奇与静谧——既有群峰竞秀的磅礴，又有林径幽寂的清雅。笔墨虽简，却道尽山川神韵：仿佛能听见山风掠树梢，看见云雾绕山脊，是古人对自然的敬畏与诗意凝萃，让观者于尺幅间触摸到山川的魂魄。",[24,25,164,123,59,7,318,165,334,61,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d0a5dd1bce0fa60dc5b609ffbf60b0.jpg",[],{"id":82105,"slug":82106,"title":82107,"dynasty":177,"author":178,"museum":119,"description":82108,"tags":82109,"thumbUrl":82110,"material":169,"size":127,"collection":127,"collections":82111,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215597,"tian-xia-ming-shan-tu-28-yi-ming-215597","天下名山图-28","画面以清劲线条勾勒山水神韵，层峦叠嶂如黛染屏，皴擦间见石骨嶙峋。左侧峰麓，几椽屋宇隐于苍松翠柏，石阶蜿蜒入林，似藏烟霞逸趣。右侧平畴开阔，溪流如练，三五行人策蹇徐行，衣袂轻扬间添几分人间烟火。远近林木疏密有致，或挺拔如盖，或虬曲含姿，与山势相映成趣。整幅图于简淡中见深远，既有山川雄秀，又含隐逸清寂，更兼市井鲜活，尽展名山灵韵与人文之味。",[24,25,164,123,7,318,165,60,61,335,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a3a6bd166d4db149c98e1e329f9b8e9.jpg",[],{"id":82113,"slug":82114,"title":82115,"dynasty":177,"author":178,"museum":119,"description":82116,"tags":82117,"thumbUrl":82118,"material":169,"size":127,"collection":127,"collections":82119,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215596,"tian-xia-ming-shan-tu-26-yi-ming-215596","天下名山图-26","峰峦如聚，皴笔勾勒山石筋骨，苍劲中见细腻；林木若织，墨线轻描草木灵韵，繁密里藏疏朗。近观层岩叠翠间隐现亭台，似有隐逸者凭栏；远眺烟波浩渺中浮着扁舟，恰如江湖客放怀。构图疏密有致，近景沉实与远景空灵相映成趣；笔墨刚柔相济，山石硬朗线条与水面柔婉波纹相得益彰。整幅画如无声山水诗，既有山川雄浑气象，又含文人清雅情韵，引人徜徉其间，忘尘嚣而醉心自然之美。",[24,25,59,123,65,164,7,62,34,30,104,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb3eef3d9f407d4d6317c74cc7c7bfc.jpg",[],{"id":82121,"slug":82122,"title":82123,"dynasty":177,"author":178,"museum":119,"description":82124,"tags":82125,"thumbUrl":82126,"material":169,"size":127,"collection":127,"collections":82127,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215595,"tian-xia-ming-shan-tu-27-yi-ming-215595","天下名山图-27","笔墨勾勒层峦叠嶂，峰岫间飞瀑流泉倾泻而下，汇入蜿蜒溪流。岸边草木扶疏，几间屋舍隐于林麓，似有人家栖居。水面波纹细密，与山石线条相映，尽显山水清幽雅致。构图疏密有致，远近层次分明，自然之趣与人文之境相融。虽无色彩渲染，却以线条韵律传递山川静谧生机，恍若置身其间，听泉声、观云起，得一份尘外之闲。",[24,25,164,123,65,7,61,60,199,34,64,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d5c6121a4d69b45f219c480c48ac97.jpg",[],{"id":82129,"slug":82130,"title":82131,"dynasty":177,"author":178,"museum":119,"description":82132,"tags":82133,"thumbUrl":82134,"material":169,"size":127,"collection":127,"collections":82135,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215593,"tian-xia-ming-shan-tu-29-yi-ming-215593","天下名山图-29","墨线勾勒的山水间，峰峦层叠如浪涌，或峭拔入云，或缓坡延绵，皴擦细腻见骨力。山间亭台藏于林麓，依岩傍水，似有幽径通幽。溪流如带蜿蜒，串起几处洲屿：其上草木扶疏，小筑错落，偶见人影往来，添了烟火气却不失清雅。远景云雾轻笼，山影朦胧若幻；近景笔触精到，石纹、松枝皆细致入微。构图虚实相生，远近层次分明，墨色虽简却意境深远——仿佛能闻涧水潺潺，听松风阵阵，尽展古人寄情山水的诗意与哲思，于尺幅间藏纳天地之阔。",[24,25,123,304,59,7,104,63,34,31,3763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ad24d600c153d1accb837e9c82f778.jpg",[],{"id":82137,"slug":82138,"title":82139,"dynasty":177,"author":178,"museum":119,"description":82140,"tags":82141,"thumbUrl":82142,"material":169,"size":127,"collection":127,"collections":82143,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215592,"tian-xia-ming-shan-tu-31-yi-ming-215592","天下名山图-31","墨线勾勒的水波层层叠叠，似有风掠过水面，漾起细碎涟漪。几叶扁舟散落在烟波里，或行或泊，添了几分灵动；左侧岸边旗帜轻扬，隐约可见屋舍轮廓，似是渡口人家，烟火气与水韵相融。右侧山峦起伏，松枝虬劲，林间隐现屋宇，飞檐翘角藏于绿荫中，似有幽人栖居，静穆里藏着生活的暖意。整幅画以细腻线条铺陈，构图疏密有致，水域的开阔与山峦的静谧相映成趣，古雅韵味漫溢纸间，仿佛能听见水波轻响、松风低语，引人步入这清幽淡远的山水世界。",[24,59,123,164,7,62,34,104,166,2845,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee1f737c0b639876b03fcb656e4ec6d.jpg",[],{"id":82145,"slug":82146,"title":82147,"dynasty":177,"author":178,"museum":119,"description":82148,"tags":82149,"thumbUrl":82150,"material":169,"size":127,"collection":127,"collections":82151,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215591,"tian-xia-ming-shan-tu-35-yi-ming-215591","天下名山图-35","峭壁以劲挺线条勾勒，层叠峰峦似攒剑列戟，尽显山川雄奇之势。几处亭台楼阁隐于岩岫间，或踞高崖俯瞰深谷，或倚苍松半遮半露，与疏密错落的林木、蜿蜒隐现的小径相映成趣。下方平坡缓涧，林木疏朗，似有溪流漱石之声。整幅以线为骨，无墨渲染却见山水精神：皴擦寥寥而嶙峋毕现，布局疏密得宜暗藏章法。于简淡勾勒中藏万千丘壑，既有自然山川的壮阔之美，又含人文栖居的雅致之趣，仿佛可踏入画中寻幽探胜，听山风穿林，感天地悠然。",[24,25,123,7,104,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbce7c5f2bd586a3ccf7226a3c1310b7.jpg",[],{"id":82153,"slug":82154,"title":82155,"dynasty":177,"author":178,"museum":119,"description":82156,"tags":82157,"thumbUrl":82158,"material":169,"size":127,"collection":127,"collections":82159,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215590,"tian-xia-ming-shan-tu-33-yi-ming-215590","天下名山图-33","这幅山水图以水墨勾勒铺陈，山峦层叠绵延，远近错落间尽显章法。墨线或轻或重，勾勒出峰峦的轮廓与肌理，淡墨晕染处似有云雾氤氲，添了几分空濛。山间林木以简笔点染，疏密有致，仿佛能闻得松风轻吟。画面中几处题字标注峰名，与山水相映成趣，更添古雅之韵。整体构图舒展，笔墨古朴苍劲，虽无浓艳色彩，却以黑白灰的层次变化，营造出悠远静谧的山林意境，尽显传统山水的笔墨意趣与自然之美。",[24,25,164,7,59,65,318,319,34,30,31,10875,238,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c78dda31f83ddbcaa9c31a4bdeb156.jpg",[],{"id":82161,"slug":82162,"title":82163,"dynasty":177,"author":178,"museum":119,"description":82164,"tags":82165,"thumbUrl":82166,"material":169,"size":127,"collection":127,"collections":82167,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215589,"tian-xia-ming-shan-tu-32-yi-ming-215589","天下名山图-32","线条勾勒出嶙峋山石的肌理，层叠山峦间，河流如练蜿蜒。一径通幽处，隐见亭台小筑，似与草木山石相融，藏着尘外清宁。远处峰峦渐淡，留白若云雾轻笼，拓开悠远意境。笔意清疏却含匠心，水面波纹灵动，山间路径隐约，处处透着山水的静谧深邃。仿佛能闻涧水潺潺，听松风拂过，引人踏入那片远离喧嚣的幽境，感受自然与人文交织的恬淡之趣。整幅画以简驭繁，将山水的秀逸与隐逸的情怀凝于笔端，尽显传统山水的空灵之美。",[123,7,64,31,60,63,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6f7224d0a6ff605b99985586fa52ba.jpg",[],{"id":82169,"slug":82170,"title":82171,"dynasty":177,"author":178,"museum":119,"description":82172,"tags":82173,"thumbUrl":82174,"material":169,"size":127,"collection":127,"collections":82175,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":75},215588,"tian-xia-ming-shan-tu-34-yi-ming-215588","天下名山图-34","线描为骨，勾勒层峦叠嶂的奇崛之势。峰岫错落间，古洞隐于深崖，飞檐亭阁嵌于山坳，似藏仙踪。山间小径蜿蜒，樵夫行旅缓步，添几分人间烟火；溪上石拱桥横跨，流水潺潺隐于林麓，藏几许清寂幽趣。树木或苍劲或疏朗，与山石线条的转折相映，虚实相生间，山川雄秀与隐逸清幽交织。笔墨简练却含细腻，仿佛能闻松风穿谷，见云气绕峰，将名山胜景的灵韵凝于尺幅，引人遐想那谷中岁月、洞外春秋。",[24,25,164,123,7,104,60,103,34,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7a13f541d4c36b9e36b0e1e1884dcf.jpg",[],{"id":82177,"slug":82178,"title":82179,"dynasty":177,"author":178,"museum":119,"description":82180,"tags":82181,"thumbUrl":82182,"material":169,"size":127,"collection":127,"collections":82183,"showCount":48,"z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