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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。",[24,49,105,25,27,26,7,106,107,108,109],"山水画","古松","孤舟","河流","隐寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feefa0c49568056df7a5e749eaca47808.jpg","未知","Xcm*Xcm",[],58,{"id":116,"slug":117,"title":118,"dynasty":18,"author":119,"museum":120,"description":121,"tags":122,"thumbUrl":126,"material":127,"size":128,"collection":93,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":97},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745","丹崖玉树图轴","黄公望","北京故宫博物院","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。",[24,86,50,26,25,27,7,29,123,28,124,125],"松树","山峦","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg","纸本，设色","纵101.3厘米，横43.8厘米",[],46,{"id":132,"slug":133,"title":134,"dynasty":45,"author":135,"museum":20,"description":136,"tags":137,"thumbUrl":159,"material":55,"size":160,"collection":93,"collections":161,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":40},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","风雨归舟图","戴进","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[23,24,105,138,25,139,27,140,141,142,143,144,29,7,145,146,147,148,149,150,151,152,153,154,155,156,157,158],"兼工带写","浅设色","大斧劈皴","夹叶法","点叶法","高山","归舟","芦苇","枯树","溪桥","村舍","竹林","远山","岩石","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","纵143 厘米，横81.8 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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。",[24,86,87,202,27,173,26,203,29,7,52,172],"设色","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2d3809eadb6e757b646a89b366f1d6.jpg",[],32,{"id":208,"slug":209,"title":210,"dynasty":81,"author":211,"museum":83,"description":212,"tags":213,"thumbUrl":216,"material":93,"size":93,"collection":93,"collections":217,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":40},227543,"guan-chao-tu-ye-guo-xi-227543","观潮图页","郭熙","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,24,86,26,25,27,87,7,214,215],"树","潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd2704c889b3485019347aec338e950.jpg",[],26,{"id":220,"slug":221,"title":222,"dynasty":81,"author":223,"museum":83,"description":224,"tags":225,"thumbUrl":227,"material":93,"size":93,"collection":93,"collections":228,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":40},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","江参","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。",[23,49,24,86,50,25,27,26,71,7,29,226],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],23,{"id":231,"slug":232,"title":233,"dynasty":166,"author":234,"museum":235,"description":236,"tags":237,"thumbUrl":243,"material":244,"size":245,"collection":36,"collections":246,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":97},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞","浙江省博物馆","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》。",[24,26,25,27,50,238,28,53,29,7,70,32,239,240,125,241,242],"小桥","苔点","书法题跋","枯笔","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纸本，水墨","纵：136厘米，横：56.7厘米",[36,247],"水墨画精选",20,{"id":250,"slug":251,"title":252,"dynasty":166,"author":199,"museum":120,"description":253,"tags":254,"thumbUrl":255,"material":256,"size":257,"collection":93,"collections":258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":97},235004,"yuan-ji-shan-shui-tu-ce-shi-tao-235004","原济山水图册","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。",[49,24,86,25,202,27,87,172,125,26,52,146,70,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1d5969137e19a3568085176acf242b.jpg","纸本 ，设色","纵33.2cm，横22.8cm",[],14,{"id":261,"slug":262,"title":263,"dynasty":166,"author":199,"museum":83,"description":200,"tags":264,"thumbUrl":266,"material":93,"size":93,"collection":93,"collections":267,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":97},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图",[24,86,87,202,26,173,172,125,27,7,265,29,52],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg",[],13,{"id":270,"slug":271,"title":222,"dynasty":81,"author":223,"museum":83,"description":272,"tags":273,"thumbUrl":275,"material":93,"size":93,"collection":93,"collections":276,"showCount":277,"zanCount":11,"manualWeight":11,"mainColor":97},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。",[23,24,86,49,50,26,27,7,274,29,28,25,202],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],12,{"id":279,"slug":280,"title":281,"dynasty":45,"author":282,"museum":83,"description":283,"tags":284,"thumbUrl":289,"material":111,"size":112,"collection":93,"collections":290,"showCount":291,"zanCount":11,"manualWeight":11,"mainColor":40},288012,"shan-shui-ren-wu-tu-li-zhou-chen-ji-he-288012","山水人物图立轴","陈济和","明朝史学家。字伯载，武进（今属常州）人，陈洽兄。他博学强记，读书过目能诵。口诵手钞，经史百家无不贯通，时称两脚书橱。永乐元年（1403年），明成祖诏修《文献大成》（后改称《永乐大典》），朝廷以布衣召他担任编纂总裁，他却推荐姚广孝及胡严为总裁，自任副手。藩秘库书达数百万卷，浩无端倪。陈济与姚广孝等确定了编写体例，组织了文人学士2000余人参与编写。编写过程中，执笔者凡遇到疑难问题就请教陈济，他应口为之条辩缕析。永乐六年（1408）书成，总辑成22877卷，凡例、目录60卷。陈济被授于左春坊右赞善。陈济任职谨慎无过。帝甚礼重之，凡稽古纂集之事，皆交陈济处置。他在职15年，永乐二十二年（1424年）病逝，享年62岁。陈济学问渊博；平时却十分谦虚，终身危坐手不释卷，他常说：知识和布帛粮食一样贵重，有益于社会。平生著述有：《书传补》、《元史举要》、《通鉴纲目集览正误》《思斋集》等。",[23,24,50,202,26,7,53,285,286,287,288,52,27],"红叶","松林","流水","渡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e150f1bd53592f17e61c25f0a634f6.jpg",[],11,{"id":293,"slug":294,"title":295,"dynasty":81,"author":182,"museum":20,"description":296,"tags":297,"thumbUrl":300,"material":301,"size":302,"collection":93,"collections":303,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":40},223498,"mu-mo-gu-ting-tu-yi-ming-223498","木末孤亭图","以半边构图铺展秋江暮色，危崖拔地而起，亭台凌于木末，枝叶染秋红暗递清寂。崖下二人曳杖徐行，抬眼望向烟水浩渺的平湖，远汀渔舟隐现，萧散悠然。\n\n笔墨清润简淡，斧劈皴勾勒山石棱骨，晕染轻敷出秋岚空蒙。咫尺纨扇载起林丘烟水，将登高骋怀的幽逸散淡融在留白间，以小见大铺展出无尽江湖意趣，萧瑟秋意里漫溢出林泉高致的悠然闲情。",[23,24,86,298,26,25,27,51,7,29,52,299],"扇面","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1bc261b54c40fc795c794e91aa014b9.jpg","绢本设色","23.3厘米横24.6厘米",[],10,{"id":306,"slug":307,"title":308,"dynasty":166,"author":309,"museum":310,"description":311,"tags":312,"thumbUrl":315,"material":93,"size":93,"collection":93,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":318},202657,"feng-hou-yin-bo-tu-zhou-shen-quan-202657","封侯荫伯图轴","沈铨","上海博物馆","画面以陡峭山崖为背景，古松盘曲虬劲，枝干间两只猴子灵动嬉戏，崖边母猴怀拥幼崽，神情温婉眺望，情态毕肖。工笔技法细腻入微，猴毛纤毫可见，松针苍劲挺拔，山石皴法自然流畅，设色雅致和谐，既显野趣生机，又含“封侯荫伯”的吉祥寓意，于静谧中传递出对家族荣荫的美好期盼。",[24,68,202,27,313,187,7,314,23],"猴","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ebc0b979a517366b7cd1f2880fda3f.jpg",[],5,"c39872",{"id":320,"slug":321,"title":322,"dynasty":45,"author":323,"museum":120,"description":324,"tags":325,"thumbUrl":327,"material":256,"size":328,"collection":93,"collections":329,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":97},236902,"shan-shui-ce-song-xu-236902","山水册","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。",[24,86,25,27,87,26,107,7,29,326],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57846266aeca8a1bf2590b28560221d.jpg","纵31cm，横42cm",[],4,{"id":332,"slug":333,"title":334,"dynasty":166,"author":335,"museum":120,"description":336,"tags":337,"thumbUrl":341,"material":127,"size":342,"collection":93,"collections":343,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":97},233932,"dai-lu-fang-bei-tu-ce-huang-yi-233932","岱麓访碑图册","黄易","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,86,87,25,27,26,69,51,28,171,29,31,338,7,339,340,125],"山路","屋舍","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2d2053a509af5611c3ba9d2d607dd6.jpg","纵17.4厘米，横50.8厘米",[],{"id":345,"slug":346,"title"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