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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《 》。",[24,26,27,28,56,29,96,95,94,30,7,60,132,133,134,135,136,137],"房屋","河流","小船","芦苇","村落","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,12,{"id":143,"slug":144,"title":145,"dynasty":51,"author":146,"museum":20,"description":147,"tags":148,"thumbUrl":154,"material":155,"size":156,"collection":41,"collections":157,"showCount":158,"zanCount":159,"manualWeight":11,"mainColor":105},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。",[23,24,26,25,57,28,30,29,149,7,31,150,151,152,34,32,153,33],"仿古","松树","小桥","溪流","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纸本，墨笔","纵101.7厘米，横46.7厘米。",[41,43],549,1,{"id":161,"slug":162,"title":163,"dynasty":51,"author":164,"museum":53,"description":165,"tags":166,"thumbUrl":169,"material":170,"size":171,"collection":41,"collections":172,"showCount":173,"zanCount":174,"manualWeight":11,"mainColor":105},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","文徵明","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。",[23,24,26,57,28,30,80,95,96,167,29,7,150,97,59,151,60,168],"工笔","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","纸本,设色","142.31X40.89cm",[41,66],498,6,{"id":176,"slug":177,"title":178,"dynasty":51,"author":179,"museum":180,"description":181,"tags":182,"thumbUrl":183,"material":184,"size":185,"collection":41,"collections":186,"showCount":187,"zanCount":86,"manualWeight":11,"mainColor":105},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","私人收藏","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。",[23,24,26,30,56,29,57,7,60,80,97,59,61,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","纸本,水墨","101x53cm",[41],484,{"id":189,"slug":190,"title":191,"dynasty":51,"author":192,"museum":53,"description":193,"tags":194,"thumbUrl":195,"material":184,"size":196,"collection":41,"collections":197,"showCount":198,"zanCount":86,"manualWeight":11,"mainColor":105},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。",[23,24,57,30,56,29,7,31,60,34,151,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[41],468,{"id":200,"slug":201,"title":202,"dynasty":18,"author":203,"museum":204,"description":205,"tags":206,"thumbUrl":208,"material":184,"size":209,"collection":41,"collections":210,"showCount":211,"zanCount":212,"manualWeight":11,"mainColor":105},218260,"shui-ge-qing-you-tu-huang-gong-wang-218260","水阁清幽图","黄公望","南京博物院","《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。",[24,26,56,29,57,30,7,31,32,207,132,59],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25bba667d059525d84d5bfdaa9f9e2d.jpg","纵104.5厘米，横67.3厘米",[41],421,5,{"id":214,"slug":215,"title":216,"dynasty":51,"author":52,"museum":53,"description":217,"tags":218,"thumbUrl":219,"material":184,"size":220,"collection":41,"collections":221,"showCount":222,"zanCount":174,"manualWeight":11,"mainColor":105},219522,"ce-zhang-tu-shen-zhou-219522","策杖图","本幅采三段式构图，以河水来分隔画面，前景的树石与远景的山丘相照应，构图简约，显然脱胎于倪瓒之作。",[24,26,57,56,29,30,80,7,60,59,151,61,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa190a0de0a4b64ed7875a8e251871f.jpg","纵159.1公分、横72.2公分",[41],406,{"id":224,"slug":225,"title":226,"dynasty":227,"author":228,"museum":53,"description":229,"tags":230,"thumbUrl":233,"material":234,"size":235,"collection":41,"collections":236,"showCount":237,"zanCount":159,"manualWeight":11,"mainColor":46},219910,"qiu-shan-wen-dao-tu-ju-ran-219910","秋山问道图","五代十国","巨然","《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。",[23,24,25,56,29,57,30,7,60,231,232],"石头","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4122bb46b9b23056909f68c43afe04b.jpg","绢本,设色","横77.2厘米，纵165.2厘米",[41],385,{"id":239,"slug":240,"title":241,"dynasty":51,"author":242,"museum":129,"description":243,"tags":244,"thumbUrl":250,"material":120,"size":120,"collection":41,"collections":251,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,28,245,246,30,7,31,60,247,248,56,249,57,82],"楼阁","古道","房","桥梁","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[41,66],375,{"id":254,"slug":255,"title":256,"dynasty":18,"author":257,"museum":20,"description":258,"tags":259,"thumbUrl":261,"material":262,"size":263,"collection":41,"collections":264,"showCount":265,"zanCount":266,"manualWeight":11,"mainColor":46},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。",[23,25,24,26,27,260,28,167,29,94,96,30,7,31,60,150,151,59,132,115,61,98],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纸本，设色","纵26.5厘米，横111.6厘米",[41,43],368,8,{"id":268,"slug":269,"title":270,"dynasty":73,"author":271,"museum":272,"description":273,"tags":274,"thumbUrl":275,"material":170,"size":276,"collection":41,"collections":277,"showCount":278,"zanCount":212,"manualWeight":11,"mainColor":105},214612,"shan-shui-san-ye-wang-jian-214612","山水散页","王鉴","上海博物馆","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”。",[24,25,26,28,260,29,30,7,31,60,33,168,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879022b3487ec1ad455bfe24af31707a.jpg","纵34.8厘米，横29.9厘米",[41],342,{"id":280,"slug":281,"title":282,"dynasty":51,"author":146,"museum":272,"description":283,"tags":284,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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。",[23,25,24,26,57,29,56,30,7,312,311,245,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[316,41,66],259,{"id":418,"slug":419,"title":420,"dynasty":18,"author":203,"museum":20,"description":421,"tags":422,"thumbUrl":425,"material":82,"size":426,"collection":41,"collections":427,"showCount":428,"zanCount":11,"manualWeight":11,"mainColor":105},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","快雪时晴图","《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》。",[23,24,26,27,56,30,29,94,96,7,312,311,34,423,297,424],"小屋","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg","纵29.7厘米，横104.6厘米",[41,66],250,{"id":430,"slug":431,"title":432,"dynasty":51,"author":146,"museum":20,"description":433,"tags":434,"thumbUrl":436,"material":437,"size":438,"collection":41,"collections":439,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,25,24,26,78,56,29,30,7,60,33,34,435],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[41,66],248,{"id":442,"slug":443,"title":444,"dynasty":51,"author":146,"museum":307,"description":445,"tags":446,"thumbUrl":448,"material":184,"size":449,"collection":41,"collections":450,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,26,56,29,57,30,7,285,352,60,447],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[41,66],{"id":452,"slug":453,"title":454,"dynasty":73,"author":334,"museum":335,"description":336,"tags":455,"thumbUrl":457,"material":170,"size":340,"collection":41,"collections":458,"showCount":459,"zanCount":357,"manualWeight":11,"mainColor":105},219994,"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春",[24,26,56,30,29,7,31,60,151,231,456,96],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg",[41],235,{"id":461,"slug":462,"title":463,"dynasty":51,"author":146,"museum":53,"description":464,"tags":465,"thumbUrl":468,"material":184,"size":469,"collection":41,"collections":470,"showCount":471,"zanCount":357,"manualWeight":11,"mainColor":105},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。",[25,24,56,30,29,78,7,60,466,467,96],"江水","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff107ac474552fe8a646073313322cb10.jpg","28.8x17.7cm",[41],230,{"id":473,"slug":474,"title":475,"dynasty":73,"author":476,"museum":129,"description":477,"tags":478,"thumbUrl":480,"material":155,"size":481,"collection":41,"collections":482,"showCount":483,"zanCount":357,"manualWeight":11,"mainColor":105},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","龚贤","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。",[23,25,24,26,27,56,29,30,7,285,60,479,58,152,97],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[41,66],229,{"id":485,"slug":486,"title":305,"dynasty":110,"author":487,"museum":180,"description":488,"tags":489,"thumbUrl":491,"material":170,"size":120,"collection":41,"collections":492,"showCount":493,"zanCount":86,"manualWeight":11,"mainColor":105},217118,"xue-jing-shan-shui-tu-yi-ming-217118","佚名","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。",[23,24,26,25,490,56,29,30,310,150,7,31],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[41],228,{"id":495,"slug":496,"title":497,"dynasty":18,"author":399,"museum":53,"description":498,"tags":499,"thumbUrl":501,"material":184,"size":502,"collection":41,"collections":503,"showCount":504,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,26,56,29,30,7,31,60,115,97,152,34,500,132,297],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2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厘米",[316,41,66],193,{"id":590,"slug":591,"title":592,"dynasty":51,"author":52,"museum":20,"description":593,"tags":594,"thumbUrl":597,"material":262,"size":598,"collection":120,"collections":599,"showCount":600,"zanCount":159,"manualWeight":11,"mainColor":105},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。",[23,24,26,27,28,30,595,29,95,94,7,31,97,32,168,596,297,80],"文人画","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":602,"slug":603,"title":305,"dynasty":227,"author":604,"museum":323,"description":605,"tags":606,"thumbUrl":607,"material":234,"size":608,"collection":41,"collections":609,"showCount":610,"zanCount":159,"manualWeight":11,"mainColor":46},218624,"xue-jing-shan-shui-tu-jing-hao-218624","荆浩","荆浩专注于真山真水，善于画北方的雄伟山河，在艺术上有所创造和突破。他曾说：吴道子有笔无墨，向荣有墨无笔，我应取二子之长，成一家之体。同时，荆浩也很好地运用了章法，在为自己的画作营造意境方面有独特的天赋。这幅画是一个站立的山形构图，以游动的人物为点缀，山形弯曲，色彩浓重，画上刻有小字 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。",[24,30,29,56,310,7,34,311,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450b815bffc67a9837fae7bb49477ec6.jpg","纵138.3厘米,横75.5厘米",[41],169,{"id":612,"slug":613,"title":614,"dynasty":110,"author":615,"museum":53,"description":616,"tags":617,"thumbUrl":624,"material":63,"size":625,"collection":626,"collections":627,"showCount":628,"zanCount":104,"manualWeight":11,"mainColor":629},221272,"song-feng-ge-shi-huang-ting-jian-221272","松风阁诗","黄庭坚","松风阁在湖北省鄂州市之西的西山灵泉寺附近，海拔160多米，古称樊山，是当年孙权讲武修文、宴饮祭天的地方。宋徽宗崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，听松涛而成韵。",[23,94,95,96,352,447,7,618,619,620,621,622,623,285,245],"川","野僧","寒溪","坡道","夜","雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42961cbb5e0e34b9ca3df7fc4aa599c5.jpg","纵32．8厘米 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书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[23,27,94,95,115,424,114,636,117,7,637,638,639,96],"秋风","花","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[626],{"id":644,"slug":645,"title":646,"dynasty":51,"author":242,"museum":91,"description":647,"tags":648,"thumbUrl":650,"material":651,"size":652,"collection":41,"collections":653,"showCount":654,"zanCount":357,"manualWeight":11,"mainColor":46},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。",[23,24,30,7,31,60,28,27,249,82,649],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纸本设色","纵23厘米，横578.3厘米",[41,43],158,{"id":656,"slug":657,"title":658,"dynasty":18,"author":128,"museum":659,"description":660,"tags":661,"thumbUrl":673,"material":82,"size":674,"collection":626,"collections":675,"showCount":676,"zanCount":86,"manualWeight":11,"mainColor":105},220890,"lou-shi-ming-zhao-meng-fu-220890","陋室铭","广东省博物馆","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[23,94,95,662,663,664,7,31,665,666,667,668,669,670,671,672],"墨迹","笔法圆润","结体秀逸","龙","仙","琴","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纵49厘米、横131厘米",[626],156,{"id":678,"slug":679,"title":680,"dynasty":110,"author":487,"museum":53,"description":681,"tags":682,"thumbUrl":683,"material":684,"size":685,"collection":316,"collections":686,"showCount":687,"zanCount":357,"manualWeight":11,"mainColor":105},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。",[23,24,56,29,30,7,479,32,79,34,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","绢本,水墨","28.9x50.4cm",[316,41],155,{"id":689,"slug":690,"title":691,"dynasty":73,"author":692,"museum":180,"description":693,"tags":694,"thumbUrl":695,"material":170,"size":120,"collection":41,"collections":696,"showCount":687,"zanCount":11,"manualWeight":11,"mainColor":46},214603,"fang-gu-shan-shui-ce-wang-hui-214603","仿古山水册","王翚","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。",[24,56,29,149,30,7,31,60,311,152,58,34,245,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[41],{"id":698,"slug":699,"title":700,"dynasty":110,"author":306,"museum":272,"description":701,"tags":702,"thumbUrl":703,"material":184,"size":120,"collection":316,"collections":704,"showCount":705,"zanCount":11,"manualWeight":11,"mainColor":706},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。",[23,24,29,56,30,7,32,34,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d38b2ea5d8305bc68e3d6e69a76fe72.jpg",[316],153,"37474F",{"id":708,"slug":709,"title":710,"dynasty":18,"author":128,"museum":20,"description":711,"tags":712,"thumbUrl":716,"material":717,"size":718,"collection":41,"collections":719,"showCount":720,"zanCount":357,"manualWeight":11,"mainColor":105},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[23,24,26,27,56,30,95,96,29,7,31,713,32,133,714,715],"村庄","山丘","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纸本，水墨","纵24.9厘米，横120.5厘米。",[41,66],149,{"id":722,"slug":723,"title":724,"dynasty":51,"author":487,"museum":53,"description":725,"tags":726,"thumbUrl":727,"material":728,"size":120,"collection":120,"collections":729,"showCount":730,"zanCount":159,"manualWeight":11,"mainColor":105},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","富春山居图子明卷","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",[23,24,26,27,56,30,29,94,96,296,7,31,32,115,151,59,97,79,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg","绢",[],147,{"id":732,"slug":733,"title":734,"dynasty":51,"author":52,"museum":53,"description":735,"tags":736,"thumbUrl":737,"material":738,"size":739,"collection":41,"collections":740,"showCount":730,"zanCount":357,"manualWeight":11,"mainColor":46},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,24,26,350,56,29,7,479,60,59,168,97,581,98,152,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 2cm",[41,66],{"id":742,"slug":743,"title":744,"dynasty":73,"author":745,"museum":129,"description":746,"tags":747,"thumbUrl":753,"material":120,"size":120,"collection":120,"collections":754,"showCount":755,"zanCount":11,"manualWeight":11,"mainColor":629},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","朱耷","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[23,24,26,94,296,95,56,96,7,748,749,59,750,751,752],"林","竹","天","风","鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],145,{"id":757,"slug":758,"title":759,"dynasty":51,"author":146,"museum":53,"description":760,"tags":761,"thumbUrl":762,"material":184,"size":120,"collection":41,"collections":763,"showCount":755,"zanCount":159,"manualWeight":11,"mainColor":105},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。",[24,26,56,29,296,78,30,7,32,152,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c809d6e5fc35ec243b8d09d730397b.jpg",[41],{"id":765,"slug":766,"title":767,"dynasty":227,"author":228,"museum":768,"description":769,"tags":770,"thumbUrl":773,"material":120,"size":120,"collection":120,"collections":774,"showCount":775,"zanCount":357,"manualWeight":11,"mainColor":46},226703,"xi-shan-lan-re-tu-ju-ran-226703","溪山兰若图","美国克利夫兰艺术博物馆","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。",[23,24,25,57,56,29,30,7,60,168,152,771,772],"寺庙","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18e1550c2f9295b94665ebbfbacce7b.jpg",[],140,{"id":777,"slug":778,"title":779,"dynasty":110,"author":780,"museum":53,"description":781,"tags":782,"thumbUrl":783,"material":326,"size":784,"collection":316,"collections":785,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":46},221619,"mo-fan-kuan-lu-shan-tu-zhou-jiang-can-221619","摹范宽庐山图轴","江参","本幅旧传为江参作，画采全景式构图，中央主峰巍峨耸立，峰顶遍布密林。山坳处，寺宇、亭台错落。\n杂树掩映间，可见泉瀑奔流，淙淙若闻其声。山道上，并绘有行旅策蹇，络绎于途。幅左下方题：「摹范华原庐山图」。《宣和画谱》虽未著录〈庐山图〉，然此作以短笔作皴，呈密集的雨点状，明显由〈溪山行旅图〉演化而来。",[23,24,26,57,296,29,56,30,7,34,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","347.4x131.8",[316,41,66],138,{"id":788,"slug":789,"title":790,"dynasty":110,"author":546,"museum":129,"description":791,"tags":792,"thumbUrl":793,"material":794,"size":795,"collection":120,"collections":796,"showCount":797,"zanCount":357,"manualWeight":11,"mainColor":105},283691,"chun-shan-rui-song-tu-mi-fei-283691","春山瑞松图","《宋米芾春山瑞松图》是宋代书画家米芾创作的一幅纸本画，原存清宫内府斋宫，现为台北故宫博物院藏。图中描绘云雾掩映的山林景色，图中白云满谷，远山耸立云端，近处古松数株隐显于雾气中。松下有亭，空无一人。山峦青绿晕染，再加“米点” (亦称“落茄被”)，松树笔法细致、严密。",[24,350,56,29,7,150,97,33,95,94,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05154bc7bf74f850c5b1be5832c607b.jpg","未知","Xcm*Xcm",[],128,{"id":799,"slug":800,"title":801,"dynasty":110,"author":802,"museum":129,"description":803,"tags":804,"thumbUrl":809,"material":184,"size":810,"collection":120,"collections":811,"showCount":812,"zanCount":159,"manualWeight":11,"mainColor":105},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪","牧溪","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,25,24,26,805,56,249,806,350,7,31,32,312,33,807,808],"宋画","禅画","淡墨","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","29.5X94.4厘米",[],123,{"id":814,"slug":815,"title":816,"dynasty":110,"author":347,"museum":180,"description":817,"tags":818,"thumbUrl":819,"material":234,"size":820,"collection":316,"collections":821,"showCount":812,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,25,24,26,30,56,28,29,7,60,97,33,80,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 x 101.4",[316],{"id":823,"slug":824,"title":825,"dynasty":73,"author":334,"museum":335,"description":336,"tags":826,"thumbUrl":827,"material":170,"size":340,"collection":41,"collections":828,"showCount":812,"zanCount":11,"manualWeight":11,"mainColor":105},219996,"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作",[24,25,30,56,29,7,150,32,132,34,33,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg",[41],{"id":830,"slug":831,"title":322,"dynasty":51,"author":146,"museum":53,"description":832,"tags":833,"thumbUrl":835,"material":326,"size":120,"collection":41,"collections":836,"showCount":837,"zanCount":11,"manualWeight":11,"mainColor":46},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",[23,24,26,57,56,29,30,7,31,60,352,34,97,834],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[41,66],121,{"id":839,"slug":840,"title":841,"dynasty":110,"author":557,"museum":842,"description":843,"tags":844,"thumbUrl":847,"material":234,"size":848,"collection":41,"collections":849,"showCount":837,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,25,57,29,56,28,30,7,312,311,423,115,80,583,285,60,845,58,846],"船","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[41],{"id":851,"slug":852,"title":853,"dynasty":73,"author":854,"museum":855,"description":856,"tags":857,"thumbUrl":858,"material":170,"size":859,"collection":120,"collections":860,"showCount":861,"zanCount":159,"manualWeight":11,"mainColor":105},216257,"jing-fu-si-qi-dong-jing-tu-3-qian-wei-cheng-216257","景敷四气冬景图-3","钱维城","美国大都会艺术博物馆","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",[24,26,30,78,29,28,7,31,311,97,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a2cf71eecc41ef3e7946ed6d498677.jpg","21.9 × 30.2cm",[],120,{"id":863,"slug":864,"title":865,"dynasty":509,"author":487,"museum":53,"description":866,"tags":867,"thumbUrl":869,"material":234,"size":870,"collection":41,"collections":871,"showCount":872,"zanCount":357,"manualWeight":11,"mainColor":46},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。",[23,24,57,28,30,29,310,7,311,132,168,868],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5ca5811dfaa4e9fdb31720f68781.jpg","135.4x69.1",[41,43],119,{"id":874,"slug":875,"title":876,"dynasty":51,"author":52,"museum":20,"description":877,"tags":878,"thumbUrl":879,"material":262,"size":880,"collection":120,"collections":881,"showCount":882,"zanCount":104,"manualWeight":11,"mainColor":105},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云","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。",[24,56,30,78,29,7,479,60,31,168,96,26,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg","纵27.8厘米，横37.3厘米",[],118,{"id":884,"slug":885,"title":886,"dynasty":18,"author":203,"museum":129,"description":887,"tags":888,"thumbUrl":889,"material":120,"size":120,"collection":120,"collections":890,"showCount":891,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[24,26,78,56,29,30,7,32,132,168,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c55781314ada71bf26fe09b31ae6de.jpg",[],115,{"id":893,"slug":894,"title":895,"dynasty":51,"author":146,"museum":20,"description":896,"tags":897,"thumbUrl":898,"material":184,"size":899,"collection":41,"collections":900,"showCount":891,"zanCount":11,"manualWeight":11,"mainColor":105},220096,"fang-ju-ran-shan-shui-tu-dong-qi-chang-220096","仿巨然山水图","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。\u2028　　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。",[23,24,30,56,29,296,94,95,96,7,60,150,596,297,34,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纵101.7厘米，横46.7厘米",[41,66],{"id":902,"slug":903,"title":256,"dynasty":110,"author":487,"museum":53,"description":904,"tags":905,"thumbUrl":906,"material":234,"size":907,"collection":316,"collections":908,"showCount":909,"zanCount":159,"manualWeight":11,"mainColor":105},218814,"shan-ju-tu-yi-ming-218814","这幅画描绘了一个僻静的山间小屋，村子里的一家人正在享受着秋冬季节树上落下的叶子。这幅画表现的是山中民居的一角，没有任何细致的景物，但笔触轻盈，缺乏宋代的气氛。",[23,24,56,30,29,311,7,31,390,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2924421e597798386d1aab5272a02a28.jpg","25.1x26.4",[316],111,{"id":911,"slug":912,"title":913,"dynasty":110,"author":914,"museum":915,"description":916,"tags":917,"thumbUrl":918,"material":184,"size":919,"collection":41,"collections":920,"showCount":909,"zanCount":159,"manualWeight":11,"mainColor":105},218637,"yun-shan-tu-mi-you-ren-218637","云山图","米友仁","费城艺术博物馆","画面上群山耸立，半山腰上云雾缭绕，山脚下隐约可见一排排房屋、一座座小桥和船只，泥泞的平原上有几棵水墨画般的树木，树干细长，枝叶茂密。",[23,24,26,56,29,95,30,479,7,60,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370b493c400d975bccc00e55e62a050b.jpg","27.8x23.5",[41],{"id":922,"slug":923,"title":924,"dynasty":51,"author":146,"museum":20,"description":925,"tags":926,"thumbUrl":927,"material":82,"size":928,"collection":41,"collections":929,"showCount":930,"zanCount":159,"manualWeight":11,"mainColor":105},220918,"shan-shui-ce-dong-qi-chang-220918","山水册","《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。",[23,24,56,29,78,94,95,96,30,7,31,60,285,61,132,479,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[41,66],108,{"id":932,"slug":933,"title":934,"dynasty":51,"author":146,"museum":935,"description":936,"tags":937,"thumbUrl":938,"material":184,"size":939,"collection":41,"collections":940,"showCount":941,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,25,56,29,30,7,59,32,168,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a93410dd73894a96859af7573f0a2.jpg","79.40×105.83cm",[41],107,{"id":943,"slug":944,"title":945,"dynasty":110,"author":487,"museum":180,"description":946,"tags":947,"thumbUrl":948,"material":234,"size":949,"collection":41,"collections":950,"showCount":951,"zanCount":104,"manualWeight":11,"mainColor":46},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[24,26,350,29,28,7,32,151,245,168,80,59,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[4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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。",[23,24,26,27,56,29,94,96,30,479,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[316,626],102,{"id":986,"slug":987,"title":988,"dynasty":989,"author":990,"museum":129,"description":991,"tags":992,"thumbUrl":994,"material":120,"size":120,"collection":120,"collections":995,"showCount":996,"zanCount":11,"manualWeight":11,"mainColor":105},227059,"chen-tian-mu-yun-hai-tu-gu-ye-wang-227059","陈天目云海图","南北朝","顾野王","顾野王(519-581年)，原名顾体伦，字希冯， 南朝梁陈间官员、文字训诂学家、史学家。\n\n因仰慕西汉冯野王，更名为顾野王，希望自己取得冯野王一样在文学方面取得成绩。人称顾亭林。历梁武帝大同四年太学博士、陈国子博士、黄门侍郎、光禄大夫，博通经史，擅长丹青，著有《玉篇》",[24,26,350,28,29,7,993,60,34,35,286],"云海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5ccca982ec419a5b2128d3f72740fd.jpg",[],101,{"id":998,"slug":999,"title":1000,"dynasty":73,"author":1001,"museum":1002,"description":1003,"tags":1004,"thumbUrl":1005,"material":184,"size":1006,"collection":41,"collections":1007,"showCount":1008,"zanCount":11,"manualWeight":11,"mainColor":105},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","弘仁","香港中文大学文物馆","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",[24,26,78,56,29,30,7,285,32,153,33,61,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026f3ed0fcf766add4fd6fec99669fa3.jpg","30.6x20.7cm",[41],99,{"id":1010,"slug":1011,"title":1012,"dynasty":51,"author":1013,"museum":53,"description":1014,"tags":1015,"thumbUrl":1016,"material":170,"size":1017,"collection":41,"collections":1018,"showCount":1019,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,57,28,29,96,30,7,31,60,34,58,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[41],98,{"id":1021,"slug":1022,"title":1023,"dynasty":18,"author":1024,"museum":20,"description":1025,"tags":1026,"thumbUrl":1027,"material":184,"size":1028,"collection":41,"collections":1029,"showCount":1030,"zanCount":357,"manualWeight":11,"mainColor":105},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。",[24,56,30,26,7,31,60,80,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885be14f4847ee54f72c9a387e606e3.jpg","纵30厘米，横50.1厘米",[41],95,{"id":1032,"slug":1033,"title":1034,"dynasty":51,"author":1035,"museum":53,"description":1036,"tags":1037,"thumbUrl":1039,"material":234,"size":1040,"collection":41,"collections":1041,"showCount":1030,"zanCount":104,"manualWeight":11,"mainColor":46},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。",[24,26,30,57,29,56,28,80,151,59,61,79,352,1038,97,7,60],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[41],{"id":1043,"slug":1044,"title":1045,"dynasty":73,"author":1001,"museum":129,"description":1046,"tags":1047,"thumbUrl":1049,"material":120,"size":120,"collection":41,"collections":1050,"showCount":1051,"zanCount":11,"manualWeight":11,"mainColor":105},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》。",[24,26,56,29,78,95,96,30,61,1048,58,7,31,32],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[41,66],94,{"id":1053,"slug":1054,"title":1055,"dynasty":18,"author":1056,"museum":20,"description":1057,"tags":1058,"thumbUrl":1059,"material":184,"size":1060,"collection":41,"collections":1061,"showCount":1062,"zanCount":104,"manualWeight":11,"mainColor":629},218304,"jiang-shan-xue-ji-tu-wu-jin-218304","江山雪霁图","吴瑾","寒江雪霁，天地归于素净。孤峰列峙，覆雪的岩壁透着冷峭；疏林枯木，枝桠苍劲如铁，似在寒风中守着一份清寂。江面上薄雾轻笼，一叶扁舟漾开微澜，舟中隐见人影，独对这空阔山水。笔墨淡润，山石以简皴晕染，留白处尽现雪的洁净；树木勾勒简练却含古意，每一笔都藏着文人的疏阔心境。整幅画无喧嚣，唯有静谧漫溢——雪落的轻响、江风的微痕，都凝在这方天地里，将冬日的清寒与悠远，酿成一杯可饮的孤寂，又透着几分超脱尘俗的淡然。",[24,25,26,56,29,350,7,312,60,115,466,34,310,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc709be6367a49457c47bb2faa4ff5bf3.jpg","30x58.3cm",[41],92,{"id":1064,"slug":1065,"title":1066,"dynasty":73,"author":692,"museum":129,"description":1067,"tags":1068,"thumbUrl":1069,"material":120,"size":120,"collection":41,"collections":1070,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,56,29,296,78,30,7,60,132,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4175456b66ebb696d2bb21cd59305c.jpg",[41],91,{"id":1073,"slug":1074,"title":1075,"dynasty":51,"author":387,"museum":53,"description":1076,"tags":1077,"thumbUrl":1079,"material":234,"size":1080,"collection":41,"collections":1081,"showCount":1082,"zanCount":159,"manualWeight":11,"mainColor":46},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[24,26,30,56,29,312,7,32,311,132,1078,583,34,96,246,133,28],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[41],89,{"id":1084,"slug":1085,"title":1086,"dynasty":51,"author":387,"museum":53,"description":1087,"tags":1088,"thumbUrl":1089,"material":63,"size":1090,"collection":120,"collections":1091,"showCount":1092,"zanCount":357,"manualWeight":11,"mainColor":46},222338,"shan-lu-song-sheng-tu-tang-yin-222338","山路松声图","此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。",[23,24,350,28,29,7,31,150,58,59,151,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","纵194.5厘米，横102.8厘米",[],88,{"id":1094,"slug":1095,"title":1096,"dynasty":18,"author":1097,"museum":272,"description":1098,"tags":1099,"thumbUrl":1100,"material":234,"size":1101,"collection":41,"collections":1102,"showCount":1092,"zanCount":357,"manualWeight":11,"mainColor":46},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。",[24,56,30,80,150,57,29,7,60,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4259c6c43bf240ae46222348c74993e.jpg","纵14.4厘米，横97.1厘米",[41],{"id":1104,"slug":1105,"title":1106,"dynasty":18,"author":1107,"museum":180,"description":1108,"tags":1109,"thumbUrl":1110,"material":170,"size":120,"collection":41,"collections":1111,"showCount":1092,"zanCount":104,"manualWeight":11,"mainColor":46},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。",[24,56,29,94,96,95,30,749,7,58,423,59,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[41],{"id":1113,"slug":1114,"title":1115,"dynasty":110,"author":914,"museum":20,"description":1116,"tags":1117,"thumbUrl":1121,"material":155,"size":1122,"collection":316,"collections":1123,"showCount":1124,"zanCount":159,"manualWeight":11,"mainColor":105},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","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。",[23,24,26,27,56,350,29,1118,95,96,479,7,32,153,1119,1120],"米点皴","近树","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[316,41,66],87,{"id":1126,"slug":1127,"title":1128,"dynasty":110,"author":347,"museum":53,"description":1129,"tags":1130,"thumbUrl":1131,"material":39,"size":1132,"collection":316,"collections":1133,"showCount":1134,"zanCount":11,"manualWeight":11,"mainColor":46},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[23,24,26,350,57,56,29,28,7,285,60,151,80,583,246,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[316,41,66],86,{"id":1136,"slug":1137,"title":1138,"dynasty":73,"author":1139,"museum":20,"description":1140,"tags":1141,"thumbUrl":1142,"material":234,"size":1143,"collection":41,"collections":1144,"showCount":1134,"zanCount":11,"manualWeight":11,"mainColor":46},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历","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。",[23,24,57,56,29,30,7,31,32,132,151,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[41],{"id":1146,"slug":1147,"title":1148,"dynasty":18,"author":1149,"museum":53,"description":1150,"tags":1151,"thumbUrl":1154,"material":1155,"size":1156,"collection":41,"collections":1157,"showCount":1158,"zanCount":159,"manualWeight":11,"mainColor":46},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","高克恭","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[23,24,350,57,56,28,29,479,7,1152,32,152,168,33,1153],"岭","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[41,66],85,{"id":1160,"slug":1161,"title":1055,"dynasty":110,"author":1162,"museum":53,"description":1163,"tags":1164,"thumbUrl":1167,"material":234,"size":1168,"collection":316,"collections":1169,"showCount":1170,"zanCount":11,"manualWeight":11,"mainColor":706},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,25,24,350,490,28,29,7,312,466,132,32,1165,168,245,1166,310],"寒林","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[316,41],84,{"id":1172,"slug":1173,"title":1174,"dynasty":110,"author":487,"museum":53,"description":1175,"tags":1176,"thumbUrl":1177,"material":326,"size":1178,"collection":316,"collections":1179,"showCount":1180,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,26,57,28,30,29,7,312,353,79,32,97,132,34,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[316,41,66],83,{"id":1182,"slug":1183,"title":1184,"dynasty":110,"author":347,"museum":180,"description":1185,"tags":1186,"thumbUrl":1187,"material":684,"size":120,"collection":1188,"collections":1189,"showCount":1180,"zanCount":159,"manualWeight":11,"mainColor":706},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。",[23,24,98,30,7,31,60,56,249,57,326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg","花鸟画精选",[1188,41],{"id":1191,"slug":1192,"title":1193,"dynasty":73,"author":74,"museum":75,"description":76,"tags":1194,"thumbUrl":1195,"material":82,"size":83,"collection":120,"collections":1196,"showCount":1180,"zanCount":11,"manualWeight":11,"mainColor":46},214346,"san-jue-shan-shui-ce-17-hua-yan-214346","三绝山水册-17",[23,24,78,28,30,7,60,97,31,479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c80597d2f71227e356f687abf8c999.jpg",[],{"id":1198,"slug":1199,"title":1200,"dynasty":18,"author":1201,"museum":180,"description":1202,"tags":1203,"thumbUrl":1204,"material":184,"size":1205,"collection":41,"collections":1206,"showCount":1207,"zanCount":357,"manualWeight":11,"mainColor":105},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","吴镇","《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。",[23,24,26,27,56,30,29,94,95,96,7,31,60,151,115,749,135,153,33,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[41],82,{"id":1209,"slug":1210,"title":1211,"dynasty":73,"author":1212,"museum":129,"description":1213,"tags":1214,"thumbUrl":1216,"material":120,"size":120,"collection":120,"collections":1217,"showCount":1218,"zanCount":159,"manualWeight":11,"mainColor":46},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","石涛","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。",[23,24,26,27,28,30,29,94,95,96,7,31,151,245,32,34,232,1215,80],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],81,{"id":1220,"slug":1221,"title":1222,"dynasty":73,"author":334,"museum":20,"description":1223,"tags":1224,"thumbUrl":1225,"material":184,"size":1226,"collection":41,"collections":1227,"showCount":1218,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,25,24,26,57,56,29,595,30,7,32,132,33,59,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[41],{"id":1229,"slug":1230,"title":1231,"dynasty":73,"author":334,"museum":204,"description":1232,"tags":1233,"thumbUrl":1234,"material":184,"size":1235,"collection":41,"collections":1236,"showCount":1218,"zanCount":11,"manualWeight":11,"mainColor":105},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”。",[24,26,57,56,29,30,7,58,152,32,390,34,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[41],{"id":1238,"slug":1239,"title":1240,"dynasty":110,"author":1241,"museum":180,"description":1242,"tags":1243,"thumbUrl":1245,"material":234,"size":120,"collection":41,"collections":1246,"showCount":1218,"zanCount":159,"manualWeight":11,"mainColor":46},214826,"gui-zhuang-tu-li-xi-cheng-214826","归庄图","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。",[23,24,26,1244,30,28,29,7,31,80,132,60,96],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[41],{"id":1248,"slug":1249,"title":1250,"dynasty":51,"author":164,"museum":53,"description":1251,"tags":1252,"thumbUrl":1256,"material":184,"size":1257,"collection":626,"collections":1258,"showCount":1218,"zanCount":159,"manualWeight":11,"mainColor":46},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[23,26,94,57,95,56,96,312,7,60,1253,596,1254,1255],"野水","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2",[626],{"id":1260,"slug":1261,"title":895,"dynasty":73,"author":271,"museum":307,"description":1262,"tags":1263,"thumbUrl":1264,"material":184,"size":1265,"collection":41,"collections":1266,"showCount":1267,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,30,7,31,60,247,56,249,57,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472899d1492e7cb68ad1e494ac1c01e3.jpg","纵130.3横49.7厘米",[41],80,{"id":1269,"slug":1270,"title":1271,"dynasty":18,"author":399,"museum":768,"description":1272,"tags":1273,"thumbUrl":1274,"material":170,"size":1275,"collection":1276,"collections":1277,"showCount":1278,"zanCount":357,"manualWeight":11,"mainColor":46},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。",[23,24,26,56,29,30,7,150,98,132,151,59,61,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm","人物画精选",[1276,43],79,{"id":1280,"slug":1281,"title":1282,"dynasty":110,"author":347,"museum":75,"description":1283,"tags":1284,"thumbUrl":1286,"material":234,"size":120,"collection":41,"collections":1287,"showCount":1278,"zanCount":159,"manualWeight":11,"mainColor":46},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”。",[23,24,26,27,56,28,29,30,7,31,32,245,97,115,79,153,1285,34],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[41],{"id":1289,"slug":1290,"title":1291,"dynasty":73,"author":1292,"museum":1293,"description":1294,"tags":1295,"thumbUrl":1300,"material":170,"size":1301,"collection":41,"collections":1302,"showCount":1278,"zanCount":11,"manualWeight":11,"mainColor":46},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","仿黄公望山水图","王原祁","香港艺术馆","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。",[23,24,26,57,56,29,30,7,60,352,151,59,132,33,168,1296,136,152,1297,1298,1299,807],"古木","层岩","苔点","干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895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“花池深桃”的构想。",[23,24,56,57,30,29,7,58,60,479,34,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","绢本，水墨","54x188.6cm",[41,66],78,{"id":1317,"slug":1318,"title":1319,"dynasty":51,"author":487,"museum":129,"description":1320,"tags":1321,"thumbUrl":1322,"material":794,"size":795,"collection":41,"collections":1323,"showCount":1324,"zanCount":11,"manualWeight":11,"mainColor":105},234924,"dong-qi-chang-shan-shui-ce-yi-ming-234924","董其昌山水册","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。",[24,26,78,56,30,7,60,479,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd808de803d791f66197ab19d95eb2ca7.jpg",[41],77,{"id":1326,"slug":1327,"title":1328,"dynasty":51,"author":242,"museum":335,"description":1329,"tags":1330,"thumbUrl":1331,"material":651,"size":1332,"collection":1188,"collections":1333,"showCount":1324,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,30,7,31,60,28,249,57,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c92706428937b31f81e452f3db90dc6.jpg","纵71cm，横35cm",[1188,43],{"id":1335,"slug":1336,"title":1337,"dynasty":18,"author":128,"museum":272,"description":1338,"tags":1339,"thumbUrl":1345,"material":82,"size":1346,"collection":626,"collections":1347,"showCount":1348,"zanCount":357,"manualWeight":11,"mainColor":105},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,26,94,27,95,1340,1341,352,1342,479,1343,7,1344],"孤松","舟","菊","鸟","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米",[626],76,{"id":1350,"slug":1351,"title":1352,"dynasty":18,"author":1353,"museum":53,"description":1354,"tags":1355,"thumbUrl":1356,"material":184,"size":1357,"collection":41,"collections":1358,"showCount":1348,"zanCount":357,"manualWeight":11,"mainColor":105},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。",[23,24,26,57,56,29,96,94,95,30,7,479,312,60,58,168,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[41],{"id":1360,"slug":1361,"title":1362,"dynasty":110,"author":487,"museum":53,"description":1363,"tags":1364,"thumbUrl":1365,"material":234,"size":1366,"collection":41,"collections":1367,"showCount":1348,"zanCount":357,"manualWeight":11,"mainColor":105},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。",[23,24,25,26,78,29,56,30,7,98,246,80,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8b5a6304e7640a65792a19ed547c98.jpg","25.2x26.3",[41],{"id":1369,"slug":1370,"title":1371,"dynasty":110,"author":1372,"museum":129,"description":1373,"tags":1374,"thumbUrl":1377,"material":120,"size":120,"collection":120,"collections":1378,"showCount":1379,"zanCount":159,"manualWeight":11,"mainColor":46},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕","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。",[23,25,24,26,27,260,28,167,30,7,31,32,245,97,151,115,1375,1376],"岛屿","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],75,{"id":1381,"slug":1382,"title":1383,"dynasty":51,"author":1384,"museum":20,"description":1385,"tags":1386,"thumbUrl":1388,"material":234,"size":1389,"collection":41,"collections":1390,"showCount":1379,"zanCount":159,"manualWeight":11,"mainColor":46},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。”",[23,24,26,27,56,28,30,29,7,34,32,33,59,232,1387],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[41,43],{"id":1392,"slug":1393,"title":305,"dynasty":1394,"author":1395,"museum":768,"description":1396,"tags":1397,"thumbUrl":1398,"material":234,"size":1399,"collection":41,"collections":1400,"showCount":1379,"zanCount":11,"manualWeight":11,"mainColor":46},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","不详","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。",[23,24,57,56,29,30,312,7,31,32,132,115,231,152,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[41],{"id":1402,"slug":1403,"title":1404,"dynasty":73,"author":1405,"museum":129,"description":1406,"tags":1407,"thumbUrl":1408,"material":120,"size":120,"collection":41,"collections":1409,"showCount":1410,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,78,28,30,29,296,151,59,98,7,79,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[41,43],74,{"id":1412,"slug":1413,"title":1414,"dynasty":51,"author":146,"museum":91,"description":1415,"tags":1416,"thumbUrl":1417,"material":1418,"size":1419,"collection":41,"collections":1420,"showCount":1410,"zanCount":11,"manualWeight":11,"mainColor":105},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","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。",[23,24,26,27,56,95,29,7,479,32,132,136,152,153,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[41,66],{"id":1422,"slug":1423,"title":1424,"dynasty":18,"author":399,"museum":53,"description":1425,"tags":1426,"thumbUrl":1427,"material":82,"size":1428,"collection":41,"collections":1429,"showCount":1410,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[23,24,25,30,56,57,29,7,31,32,58,596,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[41,66],{"id":1431,"slug":1432,"title":1433,"dynasty":227,"author":228,"museum":129,"description":1434,"tags":1435,"thumbUrl":1437,"material":120,"size":120,"collection":120,"collections":1438,"showCount":1439,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,25,24,26,57,56,28,29,1436,30,7,31,33,34,150,32,152,390,80],"披麻皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],72,{"id":1441,"slug":1442,"title":1443,"dynasty":73,"author":271,"museum":272,"description":1444,"tags":1445,"thumbUrl":1447,"material":234,"size":120,"collection":41,"collections":1448,"showCount":1439,"zanCount":159,"manualWeight":11,"mainColor":105},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[24,26,57,28,29,94,96,30,7,31,32,34,152,297,1446,33],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[41],{"id":1450,"slug":1451,"title":1452,"dynasty":51,"author":487,"museum":53,"description":1453,"tags":1454,"thumbUrl":1455,"material":56,"size":120,"collection":66,"collections":1456,"showCount":1457,"zanCount":11,"manualWeight":11,"mainColor":46},219345,"shan-shui-zhou-yi-ming-219345","山水轴","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。",[24,26,57,56,29,30,7,150,132,151,32,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07f8a98cf77e3944329d1fc96a3eb6.jpg",[66],71,{"id":1459,"slug":1460,"title":767,"dynasty":227,"author":228,"museum":768,"description":1461,"tags":1462,"thumbUrl":1463,"material":120,"size":120,"collection":120,"collections":1464,"showCount":1465,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,56,30,57,29,7,31,60,456,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284d1d8ee4ace39214acee2790ee85be.jpg",[],70,{"id":1467,"slug":1468,"title":1469,"dynasty":73,"author":1292,"museum":91,"description":1470,"tags":1471,"thumbUrl":1472,"material":651,"size":1473,"collection":41,"collections":1474,"showCount":1475,"zanCount":159,"manualWeight":11,"mainColor":105},224388,"shan-zhong-zao-chun-tu-wang-yuan-qi-224388","山中早春图","此画写重山复岭，纵向逶迤，松溪水榭，亭桥山居，错落其间，层次深远。构图平中带险，笔法秀劲，气韵苍润，色调沉着凝重，不失为晚年之佳作。",[23,24,350,28,29,7,31,32,150,34,456,152,153,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb20b6bf1f9e17cdf68c0ce52a990f7.jpg","纵100cm，横44.7cm",[41],68,{"id":1477,"slug":1478,"title":1479,"dynasty":110,"author":1480,"museum":20,"description":1481,"tags":1482,"thumbUrl":1484,"material":326,"size":1485,"collection":316,"collections":1486,"showCount":1475,"zanCount":11,"manualWeight":11,"mainColor":46},221426,"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃","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。",[23,24,26,30,29,28,1483,7,60,151,59,97,96],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[316,41,66],{"id":1488,"slug":1489,"title":1490,"dynasty":51,"author":146,"museum":53,"description":1491,"tags":1492,"thumbUrl":1494,"material":170,"size":1495,"collection":41,"collections":1496,"showCount":1497,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,78,56,29,30,1493,7,60,33,168],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","31.9x17.5cm",[41],67,{"id":1499,"slug":1500,"title":1501,"dynasty":73,"author":1139,"museum":53,"description":1502,"tags":1503,"thumbUrl":1505,"material":63,"size":1506,"collection":41,"collections":1507,"showCount":1508,"zanCount":357,"manualWeight":11,"mainColor":46},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。",[23,24,27,260,28,30,7,479,60,79,456,297,58,168,846,132,338,1504,152],"雾气","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",[41],66,{"id":1510,"slug":1511,"title":1512,"dynasty":51,"author":242,"museum":53,"description":1513,"tags":1514,"thumbUrl":1516,"material":326,"size":1517,"collection":41,"collections":1518,"showCount":1508,"zanCount":104,"manualWeight":11,"mainColor":105},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。",[23,24,30,7,31,60,247,248,649,28,1515,249,27,82],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb9da20bb028a48cc761920595df3e9.jpg","166 X 31.5cm",[41,43],{"id":1520,"slug":1521,"title":924,"dynasty":73,"author":476,"museum":20,"description":1522,"tags":1523,"thumbUrl":1525,"material":155,"size":1526,"collection":41,"collections":1527,"showCount":1528,"zanCount":159,"manualWeight":11,"mainColor":46},233970,"shan-shui-ce-gong-xian-233970","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,56,30,29,78,7,60,132,33,98,1524],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fe2dfc70ed8a77ffac3d0fb8c75a90.jpg","纵22.2厘米，横33.2厘米",[41],65,{"id":1530,"slug":1531,"title":1532,"dynasty":51,"author":242,"museum":91,"description":1533,"tags":1534,"thumbUrl":1535,"material":651,"size":1536,"collection":41,"collections":1537,"showCount":1528,"zanCount":159,"manualWeight":11,"mainColor":46},221981,"shan-zhuang-ke-zhi-tu-wen-zheng-ming-221981","山庄客至图","描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。整幅作品以S型构图，山石皴然兼施，多有抬点，笔致气魄洋溢。是典型的文人画作，淡于仕进，优游林下，以诗文书画自娱，表现自己的品格情怀。此画描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。",[23,24,245,30,7,31,60,247,28,57,249,82,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677782faafd32968920256e48cddfb04.jpg","纵87.5厘米，横27.3厘米",[41,43],{"id":1539,"slug":1540,"title":1541,"dynasty":18,"author":1149,"museum":53,"description":1542,"tags":1543,"thumbUrl":1544,"material":1545,"size":1546,"collection":41,"collections":1547,"showCount":1528,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,57,56,28,29,30,7,479,60,150,59,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","绢本浅设色","125.1 x 99.7cm.",[41,66],{"id":1549,"slug":1550,"title":1551,"dynasty":509,"author":1552,"museum":129,"description":1553,"tags":1554,"thumbUrl":1555,"material":120,"size":120,"collection":120,"collections":1556,"showCount":1557,"zanCount":159,"manualWeight":11,"mainColor":46},230931,"song-yin-tu-li-zhao-dao-230931","松荫图","李昭道","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。",[24,28,30,29,7,31,60,583,959,80,151,59,168,97,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2028546aabb46cc23747564a9c5f49d.jpg",[],64,{"id":1559,"slug":1560,"title":1561,"dynasty":110,"author":347,"museum":180,"description":1562,"tags":1563,"thumbUrl":1564,"material":234,"size":1565,"collection":120,"collections":1566,"showCount":1557,"zanCount":11,"manualWeight":11,"mainColor":105},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)","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。",[23,24,26,78,28,350,7,245,32,33,153,456,96,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg","纵28厘米、横27厘米",[],{"id":1568,"slug":1569,"title":1570,"dynasty":18,"author":1571,"museum":53,"description":1572,"tags":1573,"thumbUrl":1580,"material":82,"size":1581,"collection":120,"collections":1582,"showCount":1583,"zanCount":159,"manualWeight":11,"mainColor":105},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","倪瓒","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。",[24,56,30,29,95,96,7,60,1574,132,61,1575,1576,1577,807,1578,1579,152,34],"竹子","平远构图","题款","枯笔","疏林","草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 厘米",[],63,{"id":1585,"slug":1586,"title":1587,"dynasty":73,"author":1212,"museum":129,"description":1588,"tags":1589,"thumbUrl":1590,"material":120,"size":120,"collection":120,"collections":1591,"showCount":1583,"zanCount":159,"manualWeight":11,"mainColor":46},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",[24,56,28,29,78,30,7,31,32,132,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a1d8a7dff20448467a31c175199486.jpg",[],{"id":1593,"slug":1594,"title":1595,"dynasty":73,"author":1139,"museum":20,"description":1596,"tags":1597,"thumbUrl":1600,"material":184,"size":1601,"collection":41,"collections":1602,"showCount":1583,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,56,30,57,29,1598,60,79,80,583,1599,7,31],"柳","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12ddaee3bf0639e8563322f28ebc8fb.jpg","纵67.7厘米，横26.5厘米",[41,66],{"id":1604,"slug":1605,"title":305,"dynasty":73,"author":1606,"museum":180,"description":1607,"tags":1608,"thumbUrl":1609,"material":234,"size":1610,"collection":41,"collections":1611,"showCount":1612,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[24,26,30,28,29,310,7,312,151,311,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[41],62,{"id":1614,"slug":1615,"title":1616,"dynasty":73,"author":1212,"museum":129,"description":1617,"tags":1618,"thumbUrl":1619,"material":120,"size":120,"collection":41,"collections":1620,"showCount":1621,"zanCount":159,"manualWeight":11,"mainColor":105},237470,"yuan-ji-tao-shi-cai-ju-tu-zhou-shi-tao-237470","原济陶诗采菊图轴","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,56,57,30,29,7,150,311,34,596,1298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3235b3438219ed07d2bd0482e005116.jpg",[41,66],61,{"id":1623,"slug":1624,"title":1625,"dynasty":18,"author":257,"museum":53,"description":1626,"tags":1627,"thumbUrl":1631,"material":39,"size":1632,"collection":120,"collections":1633,"showCount":1621,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[25,24,26,27,28,260,167,30,96,94,95,1628,7,31,115,32,153,1629,80,133,33,1630,338],"篆书","渡口","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],{"id":1635,"slug":1636,"title":1637,"dynasty":73,"author":1638,"museum":272,"description":1639,"tags":1640,"thumbUrl":1641,"material":1642,"size":1643,"collection":41,"collections":1644,"showCount":1621,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,26,27,56,28,29,30,7,31,32,168,132,115,59,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","设色纸本","26×455",[41,66],{"id":1646,"slug":1647,"title":1648,"dynasty":73,"author":334,"museum":335,"description":336,"tags":1649,"thumbUrl":1650,"material":170,"size":340,"collection":41,"collections":1651,"showCount":1621,"zanCount":11,"manualWeight":11,"mainColor":105},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[24,26,56,296,30,7,31,32,33,456,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[41],{"id":1653,"slug":1654,"title":924,"dynasty":51,"author":146,"museum":20,"description":1655,"tags":1656,"thumbUrl":1657,"material":262,"size":438,"collection":41,"collections":1658,"showCount":1659,"zanCount":11,"manualWeight":11,"mainColor":105},233800,"shan-shui-ce-dong-qi-chang-233800","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。",[24,26,78,56,28,30,29,7,31,32,1574,168,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[41],60,{"id":1661,"slug":1662,"title":1663,"dynasty":110,"author":487,"museum":53,"description":1664,"tags":1665,"thumbUrl":1667,"material":28,"size":1668,"collection":316,"collections":1669,"showCount":1659,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,25,57,30,29,56,7,312,32,152,1666,115,423],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[316,41,66],{"id":1671,"slug":1672,"title":1673,"dynasty":73,"author":1674,"museum":855,"description":1675,"tags":1676,"thumbUrl":1678,"material":1679,"size":1680,"collection":41,"collections":1681,"showCount":1659,"zanCount":11,"manualWeight":11,"mainColor":46},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","山水图卷","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。",[23,24,26,27,56,28,30,29,7,31,133,115,150,132,34,153,1677],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[41,66],{"id":1683,"slug":1684,"title":1685,"dynasty":110,"author":487,"museum":323,"description":1686,"tags":1687,"thumbUrl":1689,"material":82,"size":1690,"collection":316,"collections":1691,"showCount":1659,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,26,27,56,29,30,32,34,33,1688,7,31,61,246,97,79,581,98],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[316,41,66],{"id":1693,"slug":1694,"title":1695,"dynasty":51,"author":146,"museum":129,"description":1696,"tags":1697,"thumbUrl":1704,"material":1705,"size":1706,"collection":626,"collections":1707,"showCount":1659,"zanCount":159,"manualWeight":11,"mainColor":105},220966,"tao-yuan-ming-yin-jiu-shi-si-shou-juan-dong-qi-chang-220966","陶渊明饮酒诗四首卷","陶渊明对于后世书法家的影响不可谓不深远。明代的书陶者以“吴中三家”祝允明、文徵明、王宠的成就为最高，但在现存的针对“吴中三家”的研究文献中，对于王宠的研究为最少，论及陶渊明于王宠之影响者更少。在笔者看来，王宠书法承祝、文二家而自出机杼，书法中的禅趣古意实则为三家中最高者，实则获陶渊明之精髓。而随后的董其昌更是在理论的高度吸收了陶渊明的思想，提倡平淡率真的书法品格，对后世产生了巨大影响。但以往对董其昌与陶渊明关系的分析又多浮于表面，多数仅就意象、风格之相似或文辞用典的使用做文章。笔者旨在通过考查王宠、董其昌二人的书法、书论，来进一步阐述陶渊明对于中国文化的巨大影响。",[23,94,95,27,1342,7,1343,352,1698,1699,1700,1701,748,1702,1344,1703],"草","霜","日夕","杯","酒","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa855cec2eb1d059b8471f7fba71c89f4.jpg","行草","25x269厘米",[626],{"id":1709,"slug":1710,"title":1711,"dynasty":51,"author":1712,"museum":129,"description":1713,"tags":1714,"thumbUrl":1715,"material":120,"size":120,"collection":120,"collections":1716,"showCount":1717,"zanCount":104,"manualWeight":11,"mainColor":105},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","孙枝","《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 前言 一夏昶 墨竹图轴 二戴进 归舟图 三沈贞吉 秋林观瀑图轴 四刘珏 烟水微茫图 五沈周 花鸟册 六沈周 岸波图卷 七文徵明 三绝图卷 八文徵明 五月江深图幅 九唐寅 农训图轴 一○唐寅 灌木丛篠图轴 一一陈淳 牡丹湖石图轴 一二王宠 春山图 一三陆治 溪山访友图轴 一四陆治 唐人诗意山水册 一五王问 雪景山水轴 一六王问 赏月图金面扇页 一七文彭、文嘉草书卢仝饮茶诗、为壶梁作山水卷 一八文嘉 垂虹亭图卷 一九文伯仁 为怀谷作山水轴 二○陈焕 重岩飞瀑图幅 二一文伯仁 石湖草堂图 二二钱谷 临流独坐图扇页 二三钱谷 摹吴镇、倪云林山水卷 二四周天球 兰花图金面扇页 二五孙克弘 墨竹图 二六陈嘉言 水仙梅雀图轴 二七丁云鹏 秋山远眺图幅 二八董其昌 绿溪清嶂图 二九陈裸 野屋寒水图扇页 三○米万钟 三一归昌世 竹石图轴 三二李流芳 仿宋元各家山水 三三顾凝远 吴中名胜十景图 三四张宏等 八家送寇慎去官图册 三五蓝瑛 松岩观瀑图轴 三六蓝瑛 仿大痴山轴 三七伍瑞隆 墨牡丹图轴 三八吴彬 仙楼飞撷图轴 三九何适 林中草亭图轴 四○孙枝 踏雪访友图轴 四一唐志 契门泊渔舟图轴 四二濮桓 芝石图 四三周之冕 杏花锦鸡图轴 四四周臣 桃花源图 四五陈章侯、 胡华鬟山水梅花合册 四六江必名 白雪高风图 四七侯懋功 为秦山作山水扇页 四八李士达 西园雅集图卷 四九王翘 花蝶草虫卷 五○尤求 白描饮中八仙图卷 五一钱贡 福源寺图卷 五二恽向 仿古山水册 五三袁尚统 迎春图轴 五四项圣谟 山水兰竹图 五五郑元勋 临石田山水幅 五六陈洪绶扑蝶图扇面 五七陈洪绶何天章行乐图卷 五八万寿祺 五九王时敏端阳墨花轴 六○王时敏山水轴 六一王时敏秋山晓霁图 六二王鉴虞山十景册 六三程遂为烟翁作山水轴 六四黄向坚万里寻亲图轴 六五龚贤墨笔山水册 六六龚贤山水卷 六七朱轩山水册 六八徐枋北苑山水 六九罗牧山水轴 七○王犟仿范宽山水轴 七一王犟山水册 七二王武水仙湖石图轴 七三恽寿平山水、花卉册 七四上睿为梅作行乐图册 七五原济广陵茱萸湾图扇页 七六原济六君子图幅 七七王原祁仿大痴山水幅 七八王原祁仿梅道人秋山图幅 七九王原祁仿赵大年江乡春晓图轴 八○王啄祁仿大痴富春大岭图轴 八一查士标溪山佳处图轴 八二华邑、许滨桃柳双鸭图幅 八三华嵒宋儒诗意图轴 八四沈铨碧梧栖凤图 八五高凤翰甘菊图 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",[23,24,26,25,57,28,167,29,30,80,583,97,581,98,352,312,7,34,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],59,{"id":1719,"slug":1720,"title":1721,"dynasty":73,"author":334,"museum":53,"description":1722,"tags":1723,"thumbUrl":1724,"material":63,"size":1725,"collection":41,"collections":1726,"showCount":1717,"zanCount":357,"manualWeight":11,"mainColor":105},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",[24,28,30,296,29,57,96,7,312,60,151,59,132,34,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[41],{"id":1728,"slug":1729,"title":1730,"dynasty":110,"author":487,"museum":129,"description":1731,"tags":1732,"thumbUrl":1734,"material":234,"size":1735,"collection":1276,"collections":1736,"showCount":1717,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[23,24,1733,30,7,31,60,28,167,57,326],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cdd3ff23c4835631b4aef170505acb.jpg","88x49",[1276],{"id":1738,"slug":1739,"title":1740,"dynasty":51,"author":1741,"museum":129,"description":1742,"tags":1743,"thumbUrl":1745,"material":120,"size":120,"collection":41,"collections":1746,"showCount":1747,"zanCount":11,"manualWeight":11,"mainColor":46},239193,"shan-chuan-ming-sheng-ce-song-xu-239193","山川名胜册","宋旭","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。",[24,28,30,29,78,7,31,60,297,80,152,1744],"峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518b2ae9119abeee9db28c3ed23d5e41.jpg",[41,43],58,{"id":1749,"slug":1750,"title":924,"dynasty":73,"author":74,"museum":1751,"description":1752,"tags":1753,"thumbUrl":1754,"material":120,"size":120,"collection":41,"collections":1755,"showCount":1747,"zanCount":11,"manualWeight":11,"mainColor":105},236728,"shan-shui-ce-hua-yan-236728","美国弗瑞尔美术馆","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。",[24,28,78,56,29,7,31,97,749,151,79,61,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[41,43],{"id":1757,"slug":1758,"title":1759,"dynasty":51,"author":146,"museum":53,"description":1760,"tags":1761,"thumbUrl":1764,"material":63,"size":1765,"collection":41,"collections":1766,"showCount":1747,"zanCount":11,"manualWeight":11,"mainColor":105},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",[23,24,26,57,56,29,30,1762,1763,7,60,231,59],"烟树","茆堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c95aa5cb46913f3d622bdcbc5a0246.jpg","107.6x37.4公分、全幅 61公分",[41,66],{"id":1768,"slug":1769,"title":1770,"dynasty":51,"author":1771,"museum":1772,"description":1773,"tags":1774,"thumbUrl":1775,"material":184,"size":120,"collection":41,"collections":1776,"showCount":1747,"zanCount":11,"manualWeight":11,"mainColor":105},219705,"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","日本大阪市立美术馆","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。",[23,24,56,27,29,30,479,7,31,32,115,97,79,33,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[41,66],{"id":1778,"slug":1779,"title":1780,"dynasty":18,"author":1353,"museum":53,"description":1781,"tags":1782,"thumbUrl":1784,"material":184,"size":1785,"collection":41,"collections":1786,"showCount":1747,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[23,24,56,29,26,30,7,97,60,479,1783,1048,96],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8948b78b7c41e70b03f086f6137a9.jpg","62.1x27.9厘米",[41],{"id":1788,"slug":1789,"title":1790,"dynasty":73,"author":1791,"museum":272,"description":1792,"tags":1793,"thumbUrl":1796,"material":82,"size":1797,"collection":1276,"collections":1798,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":105},219832,"ren-wu-ce-ye-ren-xiong-219832","人物册页","任熊","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,28,78,80,98,1794,7,31,1343,1795],"儿童","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4150ff29e9c640b589400940438db8.jpg","27.2x34.3厘米",[1276],56,{"id":1801,"slug":1802,"title":1803,"dynasty":73,"author":271,"museum":20,"description":1804,"tags":1805,"thumbUrl":1806,"material":184,"size":1807,"collection":41,"collections":1808,"showCount":1799,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,56,30,29,296,7,31,97,60,61,59,311,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[41],{"id":1810,"slug":1811,"title":1812,"dynasty":73,"author":74,"museum":129,"description":1813,"tags":1814,"thumbUrl":1816,"material":120,"size":120,"collection":120,"collections":1817,"showCount":1818,"zanCount":159,"manualWeight":11,"mainColor":105},224171,"tian-shan-ji-xue-tu-hua-yan-224171","天山积雪图","名画家说名画：李燕说华喦是河北美术出版社出版的一部作品。\n《名画家说名画:李燕说华喦》包括：天山积雪图、金屋春深图、松下观流图、苏米对书图、钟馗赏竹图、竹林七贤图、隔水吟窗图、曹松堂肖像、春宴图、钟馗嫁妹图、关山勒马图、渔家乐图、梅鹤图、渔夫晚归图内容。\n天山积雪图 金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 渔夫晚归图",[23,24,25,26,57,28,56,167,80,1815,7,312,79,1733],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d7fd76d8b44ae76dbc675b8ffbd77.jpg",[],55,{"id":1820,"slug":1821,"title":1822,"dynasty":73,"author":1212,"museum":1772,"description":1823,"tags":1824,"thumbUrl":1825,"material":170,"size":120,"collection":41,"collections":1826,"showCount":1818,"zanCount":11,"manualWeight":11,"mainColor":105},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,24,78,28,56,30,94,95,29,249,7,31,60,132,97,151,59,80,61,98,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[41],{"id":1828,"slug":1829,"title":1830,"dynasty":73,"author":1001,"museum":129,"description":1831,"tags":1832,"thumbUrl":1833,"material":794,"size":795,"collection":120,"collections":1834,"showCount":1835,"zanCount":11,"manualWeight":11,"mainColor":105},237962,"hong-ren-shan-shui-ye-hong-ren-237962","弘仁山水页","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[24,56,29,78,30,7,285,60,61,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3848dc7a70e5c11a9d7c7ea91e38be.jpg",[],54,{"id":1837,"slug":1838,"title":1839,"dynasty":73,"author":487,"museum":129,"description":1840,"tags":1841,"thumbUrl":1842,"material":120,"size":120,"collection":120,"collections":1843,"showCount":1835,"zanCount":11,"manualWeight":11,"mainColor":105},235610,"hong-ren-xi-yan-song-xue-tu-zhou-yi-ming-235610","弘仁西岩松雪图轴","以淡墨勾勒皴擦，笔致清劲洗练，将冬日萧寒山境铺陈眼前。危崖层叠凌然耸立，石壁方折硬挺如刀削斧劈，尽显山石孤高嶙峋之态。留白晕染出漫山积雪，素净莹洁，与虬曲枯松相映，愈添荒寒清寂之意。\n\n山间石阶、崖顶幽居藏于苍茫雪景中，似隔绝尘寰烟火，恍若世外幽境。画作以极简笔墨营造出空灵淡远的禅意，清冷孤高的意境直透纸背，尽显静穆萧散的山水逸趣，将冬日山居的幽寂出尘之美尽数铺陈开来。",[24,57,56,30,29,352,312,34,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febca332b4a42388ea31a1981cf2e1c04.jpg",[],{"id":1845,"slug":1846,"title":1847,"dynasty":110,"author":1480,"museum":53,"description":1848,"tags":1849,"thumbUrl":1850,"material":184,"size":1851,"collection":41,"collections":1852,"showCount":1835,"zanCount":11,"manualWeight":11,"mainColor":46},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”。",[23,25,24,26,30,56,29,7,1483,151,59,97,311,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdf1b23bd716de35f8b6425cecd63c.jpg","136.3x64",[41],{"id":1854,"slug":1855,"title":1856,"dynasty":110,"author":487,"museum":53,"description":1857,"tags":1858,"thumbUrl":1859,"material":184,"size":1860,"collection":316,"collections":1861,"showCount":1835,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,25,24,26,56,29,30,7,1744,32,34,153,1119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[316],{"id":1863,"slug":1864,"title":1865,"dynasty":227,"author":1866,"museum":53,"description":1867,"tags":1868,"thumbUrl":1870,"material":684,"size":1871,"collection":41,"collections":1872,"showCount":1873,"zanCount":11,"manualWeight":11,"mainColor":46},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","董源","《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",[24,26,30,57,56,28,29,7,479,1869,352,32,97,285,151,59],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[41],53,{"id":1875,"slug":1876,"title":1877,"dynasty":51,"author":146,"museum":768,"description":1878,"tags":1879,"thumbUrl":1880,"material":717,"size":1881,"collection":41,"collections":1882,"showCount":1873,"zanCount":159,"manualWeight":11,"mainColor":105},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。",[23,25,24,26,27,56,29,30,7,31,32,96,94,95,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[41,43],{"id":1884,"slug":1885,"title":1886,"dynasty":51,"author":146,"museum":20,"description":1887,"tags":1888,"thumbUrl":1889,"material":155,"size":1890,"collection":626,"collections":1891,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,57,56,29,25,30,7,60,132,133,134,231,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg","纵101.5厘米，横46.3厘米",[626],52,{"id":1894,"slug":1895,"title":1896,"dynasty":110,"author":1897,"museum":1898,"description":1899,"tags":1900,"thumbUrl":1901,"material":82,"size":1902,"collection":120,"collections":1903,"showCount":1892,"zanCount":159,"manualWeight":11,"mainColor":46},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","李唐","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。",[23,25,24,26,27,28,30,29,167,7,31,115,60,97,79,151,59,500,80,61,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":1905,"slug":1906,"title":1907,"dynasty":51,"author":52,"museum":1908,"description":1909,"tags":1910,"thumbUrl":1911,"material":82,"size":1912,"collection":120,"collections":1913,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":105},220060,"hu-qiu-shi-er-jing-tu-ce-7-shen-zhou-220060","虎丘十二景图册-7","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。",[24,26,78,56,28,595,29,30,7,31,97,245,32,168,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372d7b5a499063934477af06b28b00c6.jpg","31.1×40.2cmx12",[],{"id":1915,"slug":1916,"title":1917,"dynasty":51,"author":1918,"museum":1293,"description":1919,"tags":1920,"thumbUrl":1922,"material":170,"size":1923,"collection":41,"collections":1924,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":105},219929,"fang-wang-meng-shan-shui-tu-lu-zhi-219929","仿王蒙山水图","陆治","陆治，生于明弘治九年（1496）。先世河南开封人。高祖父陆定，遁眷来吴门，宅于包山。父陆铭，字汝新，号有竹。受《易》于文洪，学养冠于郡诸生。纯孝笃义，综博工文，弟子黄省等多为名士。陆治居家为长子，家学渊源，又为祝允明、文徵明弟子，以诸生为名士。倜傥嗜义，以孝友著称。少喜游历，晚年隐居，种菊于文硎山。万历四年（1576年）卒。",[24,26,57,28,29,30,7,31,58,32,168,97,80,1921,456,297],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4a5d49c35fa8d620e4d5c40c0a0ba0.jpg","122.5x35.5",[41],{"id":1926,"slug":1927,"title":913,"dynasty":110,"author":487,"museum":53,"description":1928,"tags":1929,"thumbUrl":1930,"material":184,"size":1931,"collection":66,"collections":1932,"showCount":1892,"zanCount":11,"manualWeight":11,"mainColor":105},218986,"yun-shan-tu-yi-ming-218986","这幅画描绘了一位科学家在山区雨后拜访一位朋友的情景，当时烟云尚未散去，清澈的溪水升起。这幅画采用了米氏的云山法，使云烟变幻莫测，消失不见。",[23,24,56,350,29,7,479,31,60,97,231,80,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cc7d830dfbd686250666d42029b9ac.jpg","24.3x53.1",[66],{"id":1934,"slug":1935,"title":1936,"dynasty":51,"author":52,"museum":20,"description":1937,"tags":1938,"thumbUrl":1939,"material":82,"size":1940,"collection":120,"collections":1941,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":105},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094","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”。",[24,26,78,56,30,95,96,29,94,151,59,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg","28.5*25.5cm",[],51,{"id":1944,"slug":1945,"title":1946,"dynasty":18,"author":1201,"museum":53,"description":1947,"tags":1948,"thumbUrl":1949,"material":1950,"size":1951,"collection":120,"collections":1952,"showCount":1942,"zanCount":357,"manualWeight":11,"mainColor":46},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。",[24,26,56,30,29,7,1744,32,150,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75ab4b46854a6856c1d08010e0d4333.jpg","纸本 墨笔","26.4cmx90.7cm",[],{"id":1954,"slug":1955,"title":1138,"dynasty":73,"author":334,"museum":20,"description":1956,"tags":1957,"thumbUrl":1958,"material":82,"size":1959,"collection":41,"collections":1960,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":105},220349,"shan-shui-tu-zhou-wang-shi-min-220349","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。",[24,26,57,56,29,30,7,31,32,132,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a2667da6534125cad061d2aa34ff5d.jpg","纵135厘米,横63厘米",[41],{"id":1962,"slug":1963,"title":924,"dynasty":73,"author":1964,"museum":129,"description":1965,"tags":1966,"thumbUrl":1967,"material":794,"size":795,"collection":41,"collections":1968,"showCount":1969,"zanCount":11,"manualWeight":11,"mainColor":105},235509,"shan-shui-ce-cha-shi-biao-235509","查士标","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。",[24,26,78,56,30,7,479,60,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4280bacbc5da11ddb8e014095b837d.jpg",[41],50,{"id":1971,"slug":1972,"title":1973,"dynasty":51,"author":52,"museum":20,"description":1974,"tags":1975,"thumbUrl":1976,"material":1977,"size":1978,"collection":120,"collections":1979,"showCount":1969,"zanCount":11,"manualWeight":11,"mainColor":105},234971,"yun-shan-tu-zhou-shen-zhou-234971","云山图轴","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”。",[24,57,56,30,29,7,479,32,97,133,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63fbcf4ecea4aec65a5d0eb188770189.jpg","纸本 ，局部淡设色","纵155.2cm，横73cm",[],{"id":1981,"slug":1982,"title":1983,"dynasty":18,"author":487,"museum":180,"description":1984,"tags":1985,"thumbUrl":1986,"material":234,"size":120,"collection":41,"collections":1987,"showCount":1969,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[24,26,30,56,29,7,60,581,98,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ad62fdde2984f5c83ea59ddf31b1f0.jpg",[41],{"id":1989,"slug":1990,"title":1991,"dynasty":51,"author":52,"museum":20,"description":1992,"tags":1993,"thumbUrl":1995,"material":155,"size":1996,"collection":120,"collections":1997,"showCount":1998,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,57,56,29,296,30,7,31,60,352,1994,97,152,34,297,132],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],49,{"id":2000,"slug":2001,"title":2002,"dynasty":51,"author":2003,"museum":129,"description":2004,"tags":2005,"thumbUrl":2007,"material":2008,"size":2009,"collection":41,"collections":2010,"showCount":1998,"zanCount":11,"manualWeight":11,"mainColor":105},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！”",[23,24,26,27,56,29,30,7,31,32,132,136,1599,153,2006,33],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[41,66],{"id":2012,"slug":2013,"title":2014,"dynasty":110,"author":914,"museum":129,"description":2015,"tags":2016,"thumbUrl":2017,"material":28,"size":2018,"collection":316,"collections":2019,"showCount":1998,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,25,24,26,27,56,29,94,96,30,7,479,31,115,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[316,41,66],{"id":2021,"slug":2022,"title":2023,"dynasty":51,"author":2024,"museum":20,"description":2025,"tags":2026,"thumbUrl":2029,"material":684,"size":2030,"collection":41,"collections":2031,"showCount":1998,"zanCount":11,"manualWeight":11,"mainColor":46},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","吴伟","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,24,26,57,2027,249,29,30,352,353,115,2028,59,7,285,500,32],"水墨画","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[41,1276],{"id":2033,"slug":2034,"title":2035,"dynasty":110,"author":487,"museum":53,"description":2036,"tags":2037,"thumbUrl":2039,"material":56,"size":2040,"collection":66,"collections":2041,"showCount":2042,"zanCount":11,"manualWeight":11,"mainColor":46},219335,"bu-hua-shan-shui-zhou-yi-ming-219335","布画山水轴","层峦叠嶂间烟岚轻笼，山川晕染出深浅有致的层次。屋宇错落隐于林泉，与苍松翠柏相映成趣，溪流蜿蜒穿石而过，似有潺潺水声入耳。笔墨皴擦点染，既勾勒出山石的嶙峋肌理，又晕染出草木的丰茂姿态，线条劲挺中藏柔婉，墨色浓淡间见章法。画面兼具深远与平远之妙，雄浑处显山川气象，清幽处露林泉雅致，尽现宋代山水对自然意趣的深刻捕捉。观者仿佛踏入画中，静谧间感受天地悠然，细节处品味笔墨匠心，沉醉于这融情于景的古典意境里。",[24,151,59,30,7,31,60,245,56,57,167,326,2038,649],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c9b0b1bac61df1c2e78bb1a666c33c.jpg","155x136.2",[66],48,{"id":2044,"slug":2045,"title":2046,"dynasty":110,"author":487,"museum":272,"description":2047,"tags":2048,"thumbUrl":2049,"material":234,"size":2050,"collection":41,"collections":2051,"showCount":2042,"zanCount":159,"manualWeight":11,"mainColor":706},219185,"qiu-shan-xiao-si-tu-yi-ming-219185","秋山萧寺图","本图开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致，诗意盎人。",[23,24,26,27,30,56,29,28,7,32,133,134,456,771,33,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1a563b0831e9d4722ca61818753b6.jpg","41.7x237.2",[41],{"id":2053,"slug":2054,"title":2055,"dynasty":73,"author":2056,"museum":20,"description":2057,"tags":2058,"thumbUrl":2060,"material":234,"size":2061,"collection":41,"collections":2062,"showCount":2042,"zanCount":159,"manualWeight":11,"mainColor":46},219142,"yang-zhou-si-jing-tu-wan-song-die-cui-yuan-yao-219142","扬州四景图-万松叠翠","袁耀","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “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” 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，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[24,28,2038,167,30,7,150,245,2059,134,33,32,97],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[41],{"id":2064,"slug":2065,"title":2066,"dynasty":73,"author":692,"museum":335,"description":2067,"tags":2068,"thumbUrl":2069,"material":2070,"size":2071,"collection":41,"collections":2072,"showCount":2073,"zanCount":11,"manualWeight":11,"mainColor":105},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",[23,24,30,29,56,28,207,7,60,59,58,34,150,297,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e27b235c5ee9ec6af8ea24552f3e55.jpg","纸本、设色","纵25cm，横236cm",[41,66],47,{"id":2075,"slug":2076,"title":2077,"dynasty":110,"author":487,"museum":53,"description":2078,"tags":2079,"thumbUrl":2080,"material":234,"size":2081,"collection":316,"collections":2082,"showCount":2073,"zanCount":11,"manualWeight":11,"mainColor":105},218852,"kong-shan-guan-pu-tu-yi-ming-218852","空山观瀑图","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。",[23,24,26,25,56,29,30,58,150,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[316],{"id":2084,"slug":2085,"title":2086,"dynasty":227,"author":228,"museum":53,"description":2087,"tags":2088,"thumbUrl":2089,"material":684,"size":2090,"collection":41,"collections":2091,"showCount":2073,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,26,56,28,30,97,7,32,34,33,29,1436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[41],{"id":2093,"slug":2094,"title":1291,"dynasty":51,"author":2095,"museum":180,"description":2096,"tags":2097,"thumbUrl":2098,"material":234,"size":2099,"collection":41,"collections":2100,"showCount":2073,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[25,24,26,30,296,28,29,56,7,32,132,59,34,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[41],{"id":2102,"slug":2103,"title":2104,"dynasty":1394,"author":487,"museum":129,"description":2105,"tags":2106,"thumbUrl":2107,"material":794,"size":795,"collection":120,"collections":2108,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,26,28,260,30,60,80,583,132,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86e9104c686a6523976541b0b99df0c.jpg",[],46,{"id":2111,"slug":2112,"title":2113,"dynasty":110,"author":306,"museum":129,"description":2114,"tags":2115,"thumbUrl":2116,"material":120,"size":120,"collection":120,"collections":2117,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":46},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","雪山楼阁图","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,25,24,26,57,29,56,30,7,312,245,32,168,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":2119,"slug":2120,"title":2121,"dynasty":73,"author":1139,"museum":272,"description":2122,"tags":2123,"thumbUrl":2124,"material":82,"size":2125,"collection":41,"collections":2126,"showCount":2109,"zanCount":159,"manualWeight":11,"mainColor":46},224493,"huai-rong-tang-tu-wu-li-224493","槐荣堂图","此画设色清丽，右侧题“夫山高阳氏槐荣堂图”， 左下角书“虞山吴历画”，没有年代落款，卷首处有王时敏所题“公槐瑞应”，卷后有尤侗《槐荣堂记》与李楷《槐荣堂赋》，以及宋实颖、陆贻典、王奕鸿、吴伟业题跋。\n画面近景处 树石围绕，是为槐荣堂，槐荣堂背后峰峦数重，烟云缥缈，两峰之间一条小径隐于林间。\n槐荣堂右下方的近景处，有田野树林，左侧隐约可见远处的村舍。槐荣堂正中有一棵高大挺拔的槐 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。",[23,24,26,28,30,29,7,31,60,245,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[41,43],{"id":2128,"slug":2129,"title":2130,"dynasty":73,"author":692,"museum":768,"description":2131,"tags":2132,"thumbUrl":2133,"material":2134,"size":2071,"collection":41,"collections":2135,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":105},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！",[23,24,26,27,56,28,30,29,94,95,96,7,31,150,245,32,61,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纸本，淡设色",[41,66],{"id":2137,"slug":2138,"title":2139,"dynasty":51,"author":2140,"museum":2141,"description":2142,"tags":2143,"thumbUrl":2145,"material":39,"size":2146,"collection":120,"collections":2147,"showCount":2109,"zanCount":159,"manualWeight":11,"mainColor":46},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","蓝瑛","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。",[23,24,57,30,29,28,7,31,115,32,245,168,133,2144,1688],"秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":2149,"slug":2150,"title":2151,"dynasty":51,"author":2152,"museum":53,"description":2153,"tags":2154,"thumbUrl":2155,"material":234,"size":120,"collection":41,"collections":2156,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":46},219472,"si-hao-tu-xie-shi-chen-219472","四皓图","谢时臣","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。",[24,246,30,7,31,247,60,479,249,57,326,28,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[41],{"id":2158,"slug":2159,"title":521,"dynasty":51,"author":2160,"museum":2161,"description":2162,"tags":2163,"thumbUrl":2164,"material":2165,"size":120,"collection":41,"collections":2166,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":105},219099,"shan-shui-tu-zhang-hong-219099","张宏","昆仑堂美术馆","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。",[23,25,24,26,57,56,29,30,7,31,32,132,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[41],{"id":2168,"slug":2169,"title":2170,"dynasty":51,"author":487,"museum":180,"description":2171,"tags":2172,"thumbUrl":2173,"material":234,"size":2174,"collection":41,"collections":2175,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":46},217194,"han-shan-tu-yi-ming-217194","寒山图","寒山图是一幅来自明朝的中国山水画，作者不详。这幅画描绘了寒山寺的景象。寒山寺是位于浙江省杭州市的一座古刹，据说是由印度佛教徒达摩在公元7世纪传入中国时建立的。\n\n寒山图呈现了寒山寺庙宇及其周围的山林风光。画中可以看到寺庙的精巧建筑，以及周围的峰峦叠嶂、清澈的溪流和葱郁的树木。寒山图还描绘了几个小人物，可以想象出当时僧人在寺庙里修行的情景。\n\n寒山图的画风典雅，线条流畅，色彩和谐。整幅画充满了宁静、平和的氛围，令人心旷神怡。这幅画反映了明朝时期对佛教文化和自然风光的热爱，是一件具有深刻文化意义的艺术珍品。",[24,26,56,30,29,7,311,245,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d10bba28441129d6c7c5a8126dd416.jpg","33.5x23cm",[41],{"id":2177,"slug":2178,"title":2179,"dynasty":51,"author":146,"museum":272,"description":283,"tags":2180,"thumbUrl":2181,"material":170,"size":120,"collection":120,"collections":2182,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":105},214654,"qiu-xing-ba-jing-tu-ce-4-dong-qi-chang-214654","秋兴八景图册-4",[24,26,78,28,30,95,94,29,7,60,59,33,1921,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b9afae4d988c47bfbafeba3b68c40.jpg",[],{"id":2184,"slug":2185,"title":2186,"dynasty":51,"author":146,"museum":272,"description":283,"tags":2187,"thumbUrl":2188,"material":170,"size":120,"collection":120,"collections":2189,"showCount":2109,"zanCount":159,"manualWeight":11,"mainColor":105},214653,"qiu-xing-ba-jing-tu-ce-5-dong-qi-chang-214653","秋兴八景图册-5",[24,26,78,28,260,56,29,95,94,30,7,31,32,150,424,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893b7c0fa8f94f84a419b7b87e6439e.jpg",[],{"id":2191,"slug":2192,"title":521,"dynasty":110,"author":306,"museum":53,"description":308,"tags":2193,"thumbUrl":2194,"material":326,"size":2195,"collection":120,"collections":2196,"showCount":2197,"zanCount":11,"manualWeight":11,"mainColor":105},221388,"shan-shui-tu-fan-kuan-221388",[23,24,25,26,30,29,28,7,32,132,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c64cfa9031857b41416378a5e4b8cc.jpg","24.6x25.6",[],45,{"id":2199,"slug":2200,"title":2201,"dynasty":509,"author":1552,"museum":53,"description":2202,"tags":2203,"thumbUrl":2205,"material":63,"size":2206,"collection":41,"collections":2207,"showCount":2197,"zanCount":11,"manualWeight":11,"mainColor":46},221094,"ming-huang-xing-shu-tu-li-zhao-dao-221094","明皇幸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》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[23,57,94,95,2280,96,2281,2282,2283,2284,2285,958,61,2286,2287,2288,479,1598,7,312,2289,2290,2291,2292],"篆刻","孤鹤","瘦骨","苍林","荷","芙蓉","轩","僧","茶烟","门","馆","鹤","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纵62.9cm，横23.3cm",[626],{"id":2297,"slug":2298,"title":521,"dynasty":18,"author":1353,"museum":75,"description":2299,"tags":2300,"thumbUrl":2301,"material":184,"size":2302,"collection":41,"collections":2303,"showCount":2273,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,26,57,56,29,30,7,285,32,152,132,153,33,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[41],{"id":2305,"slug":2306,"title":2307,"dynasty":18,"author":2308,"museum":53,"description":2309,"tags":2310,"thumbUrl":2311,"material":234,"size":2312,"collection":41,"collections":2313,"showCount":2273,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[23,24,26,30,56,29,28,7,31,60,150,151,59,97,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa2acf84548c365b1717352065375a2.jpg","纵129厘米 横52.7厘米",[41],{"id":2315,"slug":2316,"title":2317,"dynasty":73,"author":2318,"museum":20,"description":2319,"tags":2320,"thumbUrl":2321,"material":120,"size":2322,"collection":41,"collections":2323,"showCount":2324,"zanCount":159,"manualWeight":11,"mainColor":46},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷","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。",[23,25,24,26,27,28,29,30,7,31,33,32,132,134,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[41,43],42,{"id":2326,"slug":2327,"title":2328,"dynasty":51,"author":2003,"museum":20,"description":2329,"tags":2330,"thumbUrl":2331,"material":2332,"size":2333,"collection":41,"collections":2334,"showCount":2324,"zanCount":159,"manualWeight":11,"mainColor":46},237094,"tan-yuan-mo-xi-tu-zhou-li-liu-fang-237094","檀园墨戏图轴","本幅近景画空亭嘉木，溪岸渚石，远景为峰峦重叠，林木苍郁，笔法多变，墨气淋漓，意境清旷。近景的布局和树木的画法主要仿自倪瓒，只是笔墨远比倪瓒湿润，树干用意笔勾出，树叶用笔率意点写，笔法含蓄内敛。山石运用或平行或交叉的披麻皴绘画技法，用笔苍劲迅疾，并以饱含水分的淡墨晕染，颇得吴镇笔墨之神韵。",[24,56,29,57,30,7,31,98,97,61,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccf78efb544c49d098289d1cfa0ed9b.jpg","绫本，墨笔","纵129厘米，横57.5厘米",[41,66],{"id":2336,"slug":2337,"title":2338,"dynasty":73,"author":692,"museum":129,"description":2339,"tags":2340,"thumbUrl":2341,"material":794,"size":795,"collection":120,"collections":2342,"showCount":2324,"zanCount":11,"manualWeight":11,"mainColor":105},235229,"fang-dong-ju-song-yue-tu-zhou-wang-hui-235229","仿董巨嵩岳图轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,350,57,56,29,296,7,34,150,32,58,152,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],{"id":2344,"slug":2345,"title":2346,"dynasty":110,"author":546,"museum":129,"description":2347,"tags":2348,"thumbUrl":2349,"material":120,"size":120,"collection":120,"collections":2350,"showCount":2324,"zanCount":11,"manualWeight":11,"mainColor":46},230968,"yun-shan-die-cui-tu-zhou-mi-fei-230968","云山叠翠图轴","此作用水墨晕染摹写江南烟峦，以米点皴晕出山麓林泽的苍润郁茂。层叠峰岫在流荡的云雾中半隐半现，虚实交错间晕开空濛幽远的氤氲之气，将江南烟雨的朦胧柔婉尽显。\n下方平林村居，屋舍错落清溪蜿蜒，林木苍黑如黛，山野的静谧闲适扑面而来。全画脱却工细刻画，笔墨简淡随性，以氤氲水墨营造出如梦似幻的烟岚世界，将自然山水的灵秀与文人写意的雅趣相融，传递出悠然淡远的山居意趣，尽显水墨山水空濛雅致的独特风韵。",[23,25,24,26,57,56,29,30,479,7,97,32,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a45a3b012870db385d33969b86cdc64.jpg",[],{"id":2352,"slug":2353,"title":2354,"dynasty":73,"author":334,"museum":129,"description":2355,"tags":2356,"thumbUrl":2357,"material":120,"size":120,"collection":120,"collections":2358,"showCount":2324,"zanCount":159,"manualWeight":11,"mainColor":105},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,25,30,28,29,78,7,31,58,152,32,168,33,423,80,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":2360,"slug":2361,"title":2362,"dynasty":73,"author":271,"museum":129,"description":2363,"tags":2364,"thumbUrl":2365,"material":120,"size":120,"collection":41,"collections":2366,"showCount":2367,"zanCount":11,"manualWeight":11,"mainColor":105},235336,"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[24,26,78,56,28,30,296,95,96,7,60,151,59,132,150,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[41,43],41,{"id":2369,"slug":2370,"title":2371,"dynasty":73,"author":2372,"museum":53,"description":2373,"tags":2374,"thumbUrl":2375,"material":2376,"size":2377,"collection":41,"collections":2378,"showCount":2367,"zanCount":11,"manualWeight":11,"mainColor":105},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》",[23,24,26,30,78,56,29,7,352,97,285,60,58,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","浅设色","34.7x29厘米",[41,66],{"id":2380,"slug":2381,"title":2382,"dynasty":51,"author":1741,"museum":2383,"description":2384,"tags":2385,"thumbUrl":2386,"material":184,"size":2387,"collection":41,"collections":2388,"showCount":2367,"zanCount":159,"manualWeight":11,"mainColor":706},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","耶鲁大学艺术博物馆","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。",[24,56,29,57,30,312,7,60,311,151,59,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[41],{"id":2390,"slug":2391,"title":2392,"dynasty":18,"author":487,"museum":915,"description":2393,"tags":2394,"thumbUrl":2395,"material":234,"size":2396,"collection":41,"collections":2397,"showCount":2367,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[24,25,26,30,28,29,310,59,7,246,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddf65cbaf189045f36b411463d3189b.jpg","22.5x24.7cm",[41],{"id":2399,"slug":2400,"title":913,"dynasty":18,"author":1353,"museum":2383,"description":2401,"tags":2402,"thumbUrl":2403,"material":170,"size":2404,"collection":41,"collections":2405,"showCount":2367,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,1244,56,29,30,479,7,60,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027831a0ebcaf82168a5a483608c7ea1.jpg","22.9x25.1cm",[41],{"id":2407,"slug":2408,"title":2409,"dynasty":51,"author":2410,"museum":272,"description":2411,"tags":2412,"thumbUrl":2413,"material":170,"size":2414,"collection":120,"collections":2415,"showCount":2367,"zanCount":357,"manualWeight":11,"mainColor":105},214669,"san-jue-tu-5-yao-shou-214669","三绝图-5","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。",[24,26,28,30,29,78,7,60,132,134,59,80,96,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623804a452b8a760df0fe03f12280c68.jpg","纵31.2 厘米 横48.3 厘米",[],{"id":2417,"slug":2418,"title":2419,"dynasty":73,"author":2420,"museum":129,"description":2421,"tags":2422,"thumbUrl":2423,"material":120,"size":120,"collection":41,"collections":2424,"showCount":2425,"zanCount":11,"manualWeight":11,"mainColor":46},239026,"gao-jian-hu-xiang-qiu-lu-tu-zhou-gao-jian-239026","高简湖乡秋露图轴","高简","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》",[24,26,57,56,29,30,7,31,97,115,151,98,231,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57d860f9cf257f2f01248ac8831f242.jpg",[41,43],40,{"id":2427,"slug":2428,"title":924,"dynasty":18,"author":2429,"museum":20,"description":2430,"tags":2431,"thumbUrl":2432,"material":262,"size":2433,"collection":41,"collections":2434,"showCount":2425,"zanCount":11,"manualWeight":11,"mainColor":46},233170,"shan-shui-ce-cao-zhi-bai-233170","曹知白","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,26,78,56,29,30,7,31,60,97,151,150,168,94,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[41,626],{"id":2436,"slug":2437,"title":2438,"dynasty":51,"author":242,"museum":20,"description":2439,"tags":2440,"thumbUrl":2441,"material":155,"size":2442,"collection":41,"collections":2443,"showCount":2425,"zanCount":11,"manualWeight":11,"mainColor":105},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[23,24,151,59,30,7,31,60,248,56,249,57,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[41,66],{"id":2445,"slug":2446,"title":2447,"dynasty":51,"author":146,"museum":20,"description":925,"tags":2448,"thumbUrl":2449,"material":437,"size":438,"collection":120,"collections":2450,"showCount":2425,"zanCount":11,"manualWeight":11,"mainColor":105},220912,"shan-shui-ce-6-dong-qi-chang-220912","山水册6",[23,24,56,29,78,30,7,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d454b71b8d54a070f37dccb8b6aedc.jpg",[],{"id":2452,"slug":2453,"title":691,"dynasty":51,"author":2454,"museum":75,"description":2455,"tags":2456,"thumbUrl":2457,"material":170,"size":2458,"collection":41,"collections":2459,"showCount":2425,"zanCount":159,"manualWeight":11,"mainColor":105},219677,"fang-gu-shan-shui-ce-yun-xiang-219677","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[78,28,95,96,29,30,7,98,115,59,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9216d1ebee0a965f0c8cc37df5f44c.jpg","26x15.2",[41],{"id":2461,"slug":2462,"title":2463,"dynasty":18,"author":487,"museum":2464,"description":2465,"tags":2466,"thumbUrl":2469,"material":234,"size":2470,"collection":43,"collections":2471,"showCount":2425,"zanCount":11,"manualWeight":11,"mainColor":46},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","四川博物馆","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[23,25,24,26,28,167,2467,1733,60,748,2468,1698,7],"羊","原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[43],{"id":2473,"slug":2474,"title":913,"dynasty":51,"author":2475,"museum":2383,"description":2476,"tags":2477,"thumbUrl":2478,"material":234,"size":2479,"collection":41,"collections":2480,"showCount":2425,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[24,26,57,56,30,479,7,31,32,61,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[41],{"id":2482,"slug":2483,"title":1936,"dynasty":51,"author":52,"museum":20,"description":1937,"tags":2484,"thumbUrl":2485,"material":82,"size":1940,"collection":120,"collections":2486,"showCount":2487,"zanCount":11,"manualWeight":11,"mainColor":105},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089",[24,26,78,56,95,29,30,7,31,60,98,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd47a46f6ca498fde781cc73a947eca.jpg",[],39,{"id":2489,"slug":2490,"title":2491,"dynasty":51,"author":1013,"museum":53,"description":2492,"tags":2493,"thumbUrl":2494,"material":170,"size":2495,"collection":41,"collections":2496,"showCount":2487,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,28,167,96,30,479,7,31,456,32,1375,1994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[41],{"id":2498,"slug":2499,"title":2500,"dynasty":51,"author":2501,"museum":129,"description":2502,"tags":2503,"thumbUrl":2504,"material":120,"size":120,"collection":120,"collections":2505,"showCount":2487,"zanCount":11,"manualWeight":11,"mainColor":105},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","徐贲","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。",[23,24,26,27,56,30,29,94,95,7,31,32,151,59,97,79,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":2507,"slug":2508,"title":767,"dynasty":227,"author":228,"museum":768,"description":1461,"tags":2509,"thumbUrl":2510,"material":120,"size":120,"collection":120,"collections":2511,"showCount":2487,"zanCount":11,"manualWeight":11,"mainColor":46},227597,"xi-shan-lan-re-tu-ju-ran-227597",[23,24,26,30,57,56,29,7,32,771,152,456,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":2513,"slug":2514,"title":2515,"dynasty":51,"author":387,"museum":20,"description":2516,"tags":2517,"thumbUrl":2518,"material":39,"size":2519,"collection":41,"collections":2520,"showCount":2487,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,57,30,29,28,7,34,32,132,245,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0060a0b4d927625dc12f0a07bf48c8c6.jpg","纵71.4厘米，横37.2厘米",[41,66],{"id":2522,"slug":2523,"title":2524,"dynasty":51,"author":146,"museum":1002,"description":2525,"tags":2526,"thumbUrl":2527,"material":78,"size":2528,"collection":120,"collections":2529,"showCount":2487,"zanCount":11,"manualWeight":11,"mainColor":120},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。",[23,24,26,56,29,30,7,31,60,285,58,390,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg","30.5 × 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摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,25,24,350,296,29,56,28,57,7,31,32,151,132,152,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg","纵91厘米，横46厘米",[41],{"id":2616,"slug":2617,"title":2618,"dynasty":51,"author":242,"museum":129,"description":2619,"tags":2620,"thumbUrl":2621,"material":2622,"size":2623,"collection":41,"collections":2624,"showCount":2606,"zanCount":11,"manualWeight":11,"mainColor":46},221982,"shan-shui-juan-wen-zheng-ming-221982","山水卷","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。",[23,24,30,7,31,60,247,56,249,27,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[41,66],{"id":2626,"slug":2627,"title":2628,"dynasty":73,"author":1139,"museum":20,"description":2629,"tags":2630,"thumbUrl":2631,"material":184,"size":2632,"collection":41,"collections":2633,"showCount":2606,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,56,29,30,59,150,7,151,34,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdf71ac6b48f01aaabe84b1e9f192c8.jpg","纵64.8厘米 横38厘米",[41],{"id":2635,"slug":2636,"title":2637,"dynasty":73,"author":1292,"museum":20,"description":2638,"tags":2639,"thumbUrl":2640,"material":234,"size":2641,"collection":41,"collections":2642,"showCount":2606,"zanCount":159,"manualWeight":11,"mainColor":46},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,24,26,57,30,29,28,7,60,59,151,132,168,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[41],{"id":2644,"slug":2645,"title":2646,"dynasty":73,"author":1001,"museum":129,"description":2647,"tags":2648,"thumbUrl":2649,"material":120,"size":120,"collection":120,"collections":2650,"showCount":2651,"zanCount":11,"manualWeight":11,"mainColor":105},235935,"tao-an-tu-zhou-hong-ren-235935","陶庵图轴","《弘仁陶庵图轴》是清代 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。",[25,24,26,57,56,29,30,7,60,97,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],36,{"id":2653,"slug":2654,"title":2655,"dynasty":18,"author":2656,"museum":129,"description":2657,"tags":2658,"thumbUrl":2659,"material":82,"size":2660,"collection":120,"collections":2661,"showCount":2651,"zanCount":159,"manualWeight":11,"mainColor":105},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","赵原","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。",[23,25,24,26,27,296,56,29,30,7,33,59,32,133,1375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":2663,"slug":2664,"title":2665,"dynasty":51,"author":242,"museum":129,"description":243,"tags":2666,"thumbUrl":2667,"material":82,"size":2668,"collection":41,"collections":2669,"showCount":2651,"zanCount":159,"manualWeight":11,"mainColor":46},221989,"shou-juan-quan-juan-wen-zheng-ming-221989","手卷全卷",[23,24,94,30,7,31,285,60,247,56,249,27,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cc0fc779d8f58a62155659cdff9839.jpg","27×637cm",[41,66],{"id":2671,"slug":2672,"title":2673,"dynasty":51,"author":487,"museum":75,"description":2674,"tags":2675,"thumbUrl":2679,"material":234,"size":2680,"collection":1188,"collections":2681,"showCount":2651,"zanCount":159,"manualWeight":11,"mainColor":46},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[24,26,56,28,167,29,2676,311,581,7,34,58,59,2677,61,2678],"鹰","树枝","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[1188],{"id":2683,"slug":2684,"title":2685,"dynasty":73,"author":2686,"museum":20,"description":2687,"tags":2688,"thumbUrl":2690,"material":717,"size":2691,"collection":41,"collections":2692,"showCount":2693,"zanCount":11,"manualWeight":11,"mainColor":105},238302,"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","董邦达","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[24,56,28,29,30,352,7,285,97,32,80,456,297,34,2689],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[41,43],35,{"id":2695,"slug":2696,"title":2697,"dynasty":73,"author":1292,"museum":20,"description":2698,"tags":2699,"thumbUrl":2700,"material":2701,"size":2702,"collection":41,"collections":2703,"showCount":2693,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,78,28,30,29,7,31,60,456,96,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16167bc107fdf43a3be3d557727deba3.jpg","纸本，墨笔或设色","纵29厘米，横29.5厘米",[41,43],{"id":2705,"slug":2706,"title":2707,"dynasty":110,"author":2708,"museum":129,"description":2709,"tags":2710,"thumbUrl":2711,"material":120,"size":120,"collection":120,"collections":2712,"showCount":2693,"zanCount":159,"manualWeight":11,"mainColor":46},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","刘松年","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。",[23,24,26,27,30,167,56,29,7,31,32,61,98,59,132,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":2714,"slug":2715,"title":2716,"dynasty":51,"author":242,"museum":53,"description":2717,"tags":2718,"thumbUrl":2719,"material":63,"size":2720,"collection":1276,"collections":2721,"showCount":2693,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,30,7,31,60,56,249,57,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 84.1x26.4公分、全幅 51公分",[1276,66],{"id":2723,"slug":2724,"title":2725,"dynasty":73,"author":1292,"museum":53,"description":2726,"tags":2727,"thumbUrl":2728,"material":184,"size":2729,"collection":41,"collections":2730,"showCount":2693,"zanCount":11,"manualWeight":11,"mainColor":105},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.",[24,56,30,296,29,7,31,60,749,97,34,311,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79ceab6892c3b9c5f6fc7105fc63ef6.jpg","111.5x48.1",[41],{"id":2732,"slug":2733,"title":2734,"dynasty":51,"author":146,"museum":180,"description":2735,"tags":2736,"thumbUrl":2737,"material":170,"size":120,"collection":120,"collections":2738,"showCount":2693,"zanCount":11,"manualWeight":11,"mainColor":105},217031,"fang-gu-shan-shui-ce-liu-kai-4-dong-qi-chang-217031","仿古山水册六开-4","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。",[23,24,26,78,56,30,29,7,60,97,59,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058f786e47ba6cf40da75011cdde6f41.jpg",[],{"id":2740,"slug":2741,"title":2742,"dynasty":51,"author":146,"museum":129,"description":2743,"tags":2744,"thumbUrl":2745,"material":794,"size":795,"collection":120,"collections":2746,"showCount":2747,"zanCount":11,"manualWeight":11,"mainColor":105},283737,"qiu-xing-ba-jing-tu-ce-ba-kai-dong-qi-chang-283737","秋兴八景图册（八开）","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。",[24,26,78,350,28,95,94,96,30,7,60,59,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bc40c5e2273545f34270f3d8b5316c.jpg",[],34,{"id":2749,"slug":2750,"title":2751,"dynasty":73,"author":692,"museum":129,"description":2752,"tags":2753,"thumbUrl":2756,"material":120,"size":120,"collection":120,"collections":2757,"showCount":2747,"zanCount":11,"manualWeight":11,"mainColor":105},237583,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237583","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》。",[24,56,26,580,149,296,29,96,7,285,60,352,2754,152,2755],"竹林","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d20d5d72ffbd6c3dd89af475576be0.jpg",[],{"id":2759,"slug":2760,"title":2761,"dynasty":73,"author":271,"museum":20,"description":2762,"tags":2763,"thumbUrl":2764,"material":155,"size":2765,"collection":41,"collections":2766,"showCount":2747,"zanCount":11,"manualWeight":11,"mainColor":105},236364,"fu-shui-yan-tu-zhou-wang-jian-236364","拂水岩图轴","本幅图的右上有王鉴题字：「癸巳二月访牧斋宗伯于虞山，放舟拂水岩写所见。」因此知道这幅画是在描绘虞山。虽然本图没有细致的描绘实景，但却有突出拂水岩幽静偏远的特点，是王鉴中年时的佳作。",[24,350,56,57,29,7,31,32,34,456,33,2755,152,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纵67.8厘米，横31.3厘米",[41,66,626],{"id":2768,"slug":2769,"title":2770,"dynasty":18,"author":128,"museum":129,"description":2771,"tags":2772,"thumbUrl":2773,"material":326,"size":2774,"collection":120,"collections":2775,"showCount":2747,"zanCount":11,"manualWeight":11,"mainColor":46},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",[23,25,24,27,28,29,30,7,32,80,583,1733,79,34,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":2777,"slug":2778,"title":2779,"dynasty":110,"author":306,"museum":129,"description":2780,"tags":2781,"thumbUrl":2782,"material":120,"size":120,"collection":120,"collections":2783,"showCount":2747,"zanCount":11,"manualWeight":11,"mainColor":46},227495,"qiu-she-tu-ye-fan-kuan-227495","秋涉图页","范宽（950-1032）宋代杰出画家。字仲立，一说中立。华原（今陕西耀县）人。北宋山水画家，生活于北宋前期，名列北宋山水画三大名家之一。因为他性情宽厚，不拘成礼，时人呼之为“宽”，遂以范宽自名。据《宣和画谱》记载，他风仪峭古，进止疏野，性嗜酒，落魄不拘世故。",[23,24,26,30,29,28,98,581,80,583,59,7,285,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3f20715eb8a0623d5ede94214d8517.jpg",[],{"id":2785,"slug":2786,"title":2787,"dynasty":73,"author":692,"museum":129,"description":2788,"tags":2789,"thumbUrl":2790,"material":120,"size":120,"collection":120,"collections":2791,"showCount":2747,"zanCount":357,"manualWeight":11,"mainColor":105},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。",[23,24,26,57,56,29,296,30,7,353,32,33,34,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":2793,"slug":2794,"title":2795,"dynasty":73,"author":2796,"museum":53,"description":2797,"tags":2798,"thumbUrl":2799,"material":28,"size":2800,"collection":120,"collections":2801,"showCount":2747,"zanCount":11,"manualWeight":11,"mainColor":105},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","仿王蒙山水轴","唐岱","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。",[23,24,30,57,296,29,28,7,31,150,456,151,34,32,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":2803,"slug":2804,"title":2805,"dynasty":73,"author":2806,"museum":129,"description":2807,"tags":2808,"thumbUrl":2809,"material":717,"size":120,"collection":41,"collections":2810,"showCount":2747,"zanCount":11,"manualWeight":11,"mainColor":105},222711,"mo-bi-shan-shui-zhong-tang-zheng-min-222711","墨笔山水中堂","郑旼","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。",[23,24,26,30,57,56,29,7,60,61,59,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7d2495e8028e35e34df00482f874b8.jpg",[41,66],{"id":2812,"slug":2813,"title":2814,"dynasty":51,"author":2815,"museum":53,"description":2816,"tags":2817,"thumbUrl":2819,"material":234,"size":2820,"collection":43,"collections":2821,"showCount":2747,"zanCount":159,"manualWeight":11,"mainColor":105},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。",[24,26,30,167,28,29,96,7,312,150,311,132,133,151,2818],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[43],{"id":2823,"slug":2824,"title":2825,"dynasty":73,"author":2806,"museum":1002,"description":1003,"tags":2826,"thumbUrl":2827,"material":184,"size":1006,"collection":41,"collections":2828,"showCount":2747,"zanCount":11,"manualWeight":11,"mainColor":105},218099,"xin-an-yi-yun-ce-zheng-min-shan-shui-zheng-min-218099","新安逸韵册(郑旼山水)",[23,24,26,78,56,95,96,30,7,60,29,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e97b172d0eb3c9c22236592b7cdd2a.jpg",[41],{"id":2830,"slug":2831,"title":2832,"dynasty":51,"author":146,"museum":272,"description":283,"tags":2833,"thumbUrl":2834,"material":170,"size":120,"collection":120,"collections":2835,"showCount":2747,"zanCount":11,"manualWeight":11,"mainColor":105},214652,"qiu-xing-ba-jing-tu-ce-6-dong-qi-chang-214652","秋兴八景图册-6",[24,26,78,56,260,28,30,7,60,33,96,94,95,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff817eee9f0599f9ebafe594d2a16d4ab.jpg",[],{"id":2837,"slug":2838,"title":924,"dynasty":73,"author":1292,"museum":129,"description":2839,"tags":2840,"thumbUrl":2841,"material":794,"size":795,"collection":41,"collections":2842,"showCount":2843,"zanCount":11,"manualWeight":11,"mainColor":105},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」",[24,26,78,56,29,30,7,32,390,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e761a3d5bcf48ddf7d44981a19a3513.jpg",[41,626],33,{"id":2845,"slug":2846,"title":2847,"dynasty":73,"author":692,"museum":20,"description":2848,"tags":2849,"thumbUrl":2850,"material":2851,"size":2852,"collection":41,"collections":2853,"showCount":2843,"zanCount":11,"manualWeight":11,"mainColor":105},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴","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。",[24,57,56,29,30,7,58,32,132,152,34,338,2755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纸本 ，设色","纵184.8cm，横79.4cm",[41,66],{"id":2855,"slug":2856,"title":2618,"dynasty":51,"author":1013,"museum":129,"description":2857,"tags":2858,"thumbUrl":2859,"material":120,"size":120,"collection":120,"collections":2860,"showCount":2843,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,27,56,29,26,30,7,31,98,151,59,115,97,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":2862,"slug":2863,"title":2864,"dynasty":18,"author":257,"museum":20,"description":2865,"tags":2866,"thumbUrl":2867,"material":262,"size":2868,"collection":120,"collections":2869,"showCount":2843,"zanCount":11,"manualWeight":11,"mainColor":46},233219,"you-ju-tu-juan-qian-xuan-233219","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。",[24,26,27,260,28,167,29,30,7,31,60,97,151,59,115,80,132,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg","纵27厘米, 横115.9厘米",[],{"id":2871,"slug":2872,"title":2873,"dynasty":51,"author":2554,"museum":129,"description":2874,"tags":2875,"thumbUrl":2876,"material":120,"size":120,"collection":120,"collections":2877,"showCount":2843,"zanCount":11,"manualWeight":11,"mainColor":105},228309,"xi-hu-xue-jing-tu-ye-xiang-sheng-mo-228309","西湖雪景图页","此作用平远视角铺展冬湖雪景，以留白衬出天地间皑皑素色，淡墨晕染远山，如笼薄纱，隐于空濛水雾之中。湖面浩渺空寂，偶有汀岸错落，几株枯木虬枝遒劲，疏朗挺立，暗合冬日萧寒之气，岸边渔村屋舍星点，愈显荒寒清寂。\n\n笔墨简澹克制，以淡墨轻皴轻染，将雪意融于留白与浅墨之间，意境幽远孤清。四周题跋环绕，诗画相生，文人雅趣盎然，将冬雪西湖的静穆萧疏尽数铺陈，尽显幽澹雅致的画中深意，寄寓着画者清雅出尘的襟怀。",[24,56,30,78,29,7,31,311,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd439ec8a7babbccd8ad0d1aaed0089f3.jpg",[],{"id":2879,"slug":2880,"title":2881,"dynasty":73,"author":2882,"museum":53,"description":2883,"tags":2884,"thumbUrl":2885,"material":2886,"size":2887,"collection":41,"collections":2888,"showCount":2843,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,57,30,56,28,29,7,479,150,151,59,132,168,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[41,43],{"id":2890,"slug":2891,"title":2892,"dynasty":51,"author":52,"museum":53,"description":2893,"tags":2894,"thumbUrl":2896,"material":82,"size":2897,"collection":120,"collections":2898,"showCount":2843,"zanCount":11,"manualWeight":11,"mainColor":105},222105,"xie-mi-jia-shan-shen-zhou-222105","写米家山","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。",[23,24,26,56,30,2895,78,7,60,31,33,61],"点染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82c8db68a8b575954749b6f85eccdfc.jpg","34.8×56.5厘米",[],{"id":2900,"slug":2901,"title":2902,"dynasty":18,"author":2308,"museum":768,"description":2903,"tags":2904,"thumbUrl":2905,"material":326,"size":2906,"collection":41,"collections":2907,"showCount":2843,"zanCount":159,"manualWeight":11,"mainColor":105},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,26,56,29,57,7,58,152,34,32,59,168,313,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[41,66],{"id":2909,"slug":2910,"title":2911,"dynasty":51,"author":2912,"museum":53,"description":2913,"tags":2914,"thumbUrl":2915,"material":234,"size":2916,"collection":41,"collections":2917,"showCount":2843,"zanCount":11,"manualWeight":11,"mainColor":46},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","王谔","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[23,24,350,28,167,2038,7,312,32,245,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 91.5厘米",[41],{"id":2919,"slug":2920,"title":2921,"dynasty":73,"author":2922,"museum":129,"description":2923,"tags":2924,"thumbUrl":2925,"material":120,"size":120,"collection":120,"collections":2926,"showCount":2927,"zanCount":159,"manualWeight":11,"mainColor":105},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。",[24,26,27,30,56,28,7,479,150,34,94,95,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],32,{"id":2929,"slug":2930,"title":2931,"dynasty":73,"author":2932,"museum":20,"description":2933,"tags":2934,"thumbUrl":2935,"material":2936,"size":2937,"collection":41,"collections":2938,"showCount":2927,"zanCount":11,"manualWeight":11,"mainColor":46},236384,"huang-shan-tu-zhou-mei-qing-236384","黄山图轴","梅清","此图绘黄山的莲花峰。作者以超绝的想象力，运用夸张的手法将莲花峰描绘成秀出天半的青莲，它巍峨不失俏丽，高贵而典雅。山岩的石面以浓淡墨交织的线条混皴，纹理繁密，气象峥嵘，与石上灵动的苔点相交融，显示了作者对黄山景物善于摹写、精于刻画的深厚功力。",[25,24,26,57,56,29,30,7,285,60,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d0b5065c8022b488432001bfb86239.jpg","绫本，设色","纵186.8厘米，横57厘米",[41],{"id":2940,"slug":2941,"title":2942,"dynasty":73,"author":1638,"museum":129,"description":2943,"tags":2944,"thumbUrl":2946,"material":120,"size":120,"collection":120,"collections":2947,"showCount":2927,"zanCount":159,"manualWeight":11,"mainColor":46},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》、《 》。",[25,24,26,57,28,29,30,7,31,60,352,132,115,311,33,136,168,2945,2059],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":2949,"slug":2950,"title":2951,"dynasty":18,"author":1149,"museum":129,"description":2952,"tags":2953,"thumbUrl":2955,"material":120,"size":120,"collection":120,"collections":2956,"showCount":2927,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[23,25,24,26,27,56,29,30,7,32,33,2954,1630],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":2958,"slug":2959,"title":2960,"dynasty":73,"author":854,"museum":53,"description":2961,"tags":2962,"thumbUrl":2963,"material":82,"size":2964,"collection":41,"collections":2965,"showCount":2927,"zanCount":11,"manualWeight":11,"mainColor":105},222692,"han-lin-yu-xue-zhou-qian-wei-cheng-222692","寒林欲雪轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,26,57,56,30,29,7,312,311,151,59,79,132,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953c5244342d2500e4e5d93df3d1491f.jpg","80*180cm",[41,66],{"id":2967,"slug":2968,"title":2969,"dynasty":18,"author":1149,"museum":20,"description":2970,"tags":2971,"thumbUrl":2972,"material":651,"size":2973,"collection":316,"collections":2974,"showCount":2927,"zanCount":11,"manualWeight":11,"mainColor":46},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[23,24,350,57,29,28,7,479,60,390,151,59,79,2818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[316,41,43],{"id":2976,"slug":2977,"title":2978,"dynasty":73,"author":2979,"museum":129,"description":2980,"tags":2981,"thumbUrl":2985,"material":120,"size":120,"collection":41,"collections":2986,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":105},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","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。",[24,28,30,29,149,7,60,97,80,232,168,150,2982,96,151,246,132,2983,1446,2984,260,56,57],"枫树","行人","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[41,43],31,{"id":2989,"slug":2990,"title":2751,"dynasty":73,"author":692,"museum":129,"description":2752,"tags":2991,"thumbUrl":2992,"material":120,"size":120,"collection":120,"collections":2993,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":105},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585",[26,24,56,29,580,149,30,7,31,60,311,151,132,231,33,297,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":2995,"slug":2996,"title":2997,"dynasty":73,"author":2806,"museum":129,"description":2998,"tags":2999,"thumbUrl":3000,"material":120,"size":120,"collection":41,"collections":3001,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,57,56,29,30,7,60,115,31,34,311,35,2059,834,845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[41,66],{"id":3003,"slug":3004,"title":3005,"dynasty":73,"author":3006,"museum":20,"description":3007,"tags":3008,"thumbUrl":3009,"material":120,"size":120,"collection":41,"collections":3010,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":105},236184,"shan-shui-shan-mian-dong-gao-236184","山水扇面","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，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”。",[24,1244,30,28,29,56,7,31,32,34,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[41],{"id":3012,"slug":3013,"title":3014,"dynasty":73,"author":3015,"museum":129,"description":3016,"tags":3017,"thumbUrl":3018,"material":120,"size":120,"collection":120,"collections":3019,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,1244,56,28,29,30,7,60,34,96,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":3021,"slug":3022,"title":3023,"dynasty":51,"author":3024,"museum":129,"description":3025,"tags":3026,"thumbUrl":3029,"material":120,"size":120,"collection":120,"collections":3030,"showCount":2987,"zanCount":104,"manualWeight":11,"mainColor":46},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。",[23,24,28,30,29,7,60,98,581,31,115,34,3027,3028,117,845,132],"村舍","风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":3032,"slug":3033,"title":3034,"dynasty":51,"author":3035,"museum":129,"description":3036,"tags":3037,"thumbUrl":3038,"material":120,"size":120,"collection":120,"collections":3039,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":46},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","卞文瑜","《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。",[23,24,26,27,56,29,95,94,96,30,7,32,132,152,33,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":3041,"slug":3042,"title":3043,"dynasty":73,"author":334,"museum":20,"description":1956,"tags":3044,"thumbUrl":3045,"material":155,"size":3046,"collection":41,"collections":3047,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":105},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1",[23,24,26,57,56,29,30,7,31,32,34,151,59,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg","纵135厘米，横63厘米",[41],{"id":3049,"slug":3050,"title":3051,"dynasty":51,"author":2140,"museum":53,"description":3052,"tags":3053,"thumbUrl":3055,"material":120,"size":3056,"collection":41,"collections":3057,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":46},222585,"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏","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。",[23,24,26,78,28,30,296,29,7,60,31,2284,3054],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg","72.6x60.8厘米",[41,66],{"id":3059,"slug":3060,"title":3061,"dynasty":51,"author":3035,"museum":855,"description":3062,"tags":3063,"thumbUrl":3064,"material":82,"size":3065,"collection":41,"collections":3066,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":105},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","秋窗读易图","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,26,27,56,29,30,7,31,32,132,94,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[41,66],{"id":3068,"slug":3069,"title":3070,"dynasty":18,"author":1353,"museum":1772,"description":3071,"tags":3072,"thumbUrl":3073,"material":184,"size":3074,"collection":66,"collections":3075,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,56,57,30,29,7,32,59,132,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178ff5a5c7e7663f1940e96e2b60d742.jpg","纵105.6厘米，横46.1厘米",[66],{"id":3077,"slug":3078,"title":3079,"dynasty":73,"author":2796,"museum":53,"description":3080,"tags":3081,"thumbUrl":3082,"material":184,"size":3083,"collection":41,"collections":3084,"showCount":2987,"zanCount":11,"manualWeight":11,"mainColor":105},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”。",[25,24,26,57,56,29,30,7,285,32,151,152,132,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[41],{"id":3086,"slug":3087,"title":3088,"dynasty":51,"author":2554,"museum":20,"description":3089,"tags":3090,"thumbUrl":3091,"material":155,"size":3092,"collection":41,"collections":3093,"showCount":3094,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,57,56,29,30,7,60,98,58,59,151,168,97,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[41],30,{"id":3096,"slug":3097,"title":3098,"dynasty":73,"author":3099,"museum":20,"description":3100,"tags":3101,"thumbUrl":3102,"material":39,"size":120,"collection":41,"collections":3103,"showCount":3094,"zanCount":11,"manualWeight":11,"mainColor":105},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”",[24,28,30,29,57,7,353,1341,60,97,34,59,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[41,43],{"id":3105,"slug":3106,"title":3107,"dynasty":51,"author":3108,"museum":129,"description":3109,"tags":3110,"thumbUrl":3111,"material":120,"size":120,"collection":120,"collections":3112,"showCount":3094,"zanCount":11,"manualWeight":11,"mainColor":105},235220,"xue-cun-fang-you-zhou-zhou-chen-235220","雪村访友轴","周臣","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。",[24,26,57,56,29,30,312,7,60,80,423,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a0cc2f32f7248830263c39900a75c6.jpg",[],{"id":3114,"slug":3115,"title":3116,"dynasty":110,"author":914,"museum":129,"description":979,"tags":3117,"thumbUrl":3118,"material":120,"size":120,"collection":120,"collections":3119,"showCount":3094,"zanCount":11,"manualWeight":11,"mainColor":105},227294,"yun-shan-de-yi-tu-juan-mi-you-ren-227294","云山得意图卷",[24,26,27,56,29,479,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6696c7db63fd91413ad5ba48a8e1e.jpg",[],{"id":3121,"slug":3122,"title":3123,"dynasty":18,"author":2308,"museum":53,"description":3124,"tags":3125,"thumbUrl":3126,"material":170,"size":3127,"collection":41,"collections":3128,"showCount":3094,"zanCount":159,"manualWeight":11,"mainColor":46},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》。",[24,26,27,56,29,30,7,33,32,132,96,338,59,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 24.3×65.4",[41],{"id":3130,"slug":3131,"title":924,"dynasty":73,"author":1292,"museum":129,"description":3132,"tags":3133,"thumbUrl":3134,"material":120,"size":120,"collection":41,"collections":3135,"showCount":3136,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,56,30,29,7,31,32,132,297,33,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ace5a04ef1b790993d87a46972baec6.jpg",[41],29,{"id":3138,"slug":3139,"title":3140,"dynasty":73,"author":1212,"museum":129,"description":3141,"tags":3142,"thumbUrl":3143,"material":120,"size":120,"collection":120,"collections":3144,"showCount":3136,"zanCount":357,"manualWeight":11,"mainColor":105},224515,"shan-shui-tu-ce-8-kai-4-shi-tao-224515","山水图册8开-4","淡墨晕染出山峦肌理，远山隐在烟岚之中，如笼轻绡。左崖飞瀑垂落，为静寂山林注入灵动生机。坡上苍松错落虬劲，撑起山野清寂风骨，茅舍静立平坡，素朴安然，似藏幽人栖居之趣。\n\n此作用干淡笔墨皴擦山体，湿墨点染松针，简淡见苍润。留白烘衬出空濛云烟，寥寥数笔铺陈开林泉幽寂，笔意松秀清脱，尽显萧散淡远的林下意趣，观之便如踏入幽僻山居，尘俗烟火尽涤。",[23,24,56,28,78,29,30,7,58,150,596,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ad686bc962b57eed356778454ad1df.jpg",[],{"id":3146,"slug":3147,"title":3148,"dynasty":51,"author":242,"museum":53,"description":3149,"tags":3150,"thumbUrl":3151,"material":63,"size":3152,"collection":120,"collections":3153,"showCount":3136,"zanCount":11,"manualWeight":11,"mainColor":105},222008,"cha-shi-tu-zhou-wen-zheng-ming-222008","茶事图轴","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。\n本幅上方自题“茶具十咏”五言律诗十首，分别为茶坞、茶人、茶笋、茶籝、茶舍、茶灶、茶焙、茶鼎、茶瓯、煮茶。后款署：“嘉靖十三年岁在甲午，谷雨前三日，天池、虎丘茶事最盛，余方抱疾偃息一室，弗能往与好事者同为品试之会。佳友念我走惠二三种，乃汲泉吹火烹啜之，辄自第其高下，以适其幽闲之趣。偶忆唐贤皮陆辈‘茶具十咏’，因追次焉，非敢窃附于二贤后，聊以寄一时之兴耳。漫为小图，遂录其上。衡山文徵明识。”钤“徵”“明”朱方联珠印。嘉靖十三年即1534年，文徵明时年65岁。右下钤“徵仲父印”白文方印、“衡山”朱文方印。",[23,24,28,94,30,7,31,60,247,56,249,57,82,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","纵136.1cm，横26.8cm",[],{"id":3155,"slug":3156,"title":3157,"dynasty":362,"author":3158,"museum":3159,"description":3160,"tags":3161,"thumbUrl":3162,"material":120,"size":120,"collection":120,"collections":3163,"showCount":3136,"zanCount":11,"manualWeight":11,"mainColor":105},220486,"qiu-tian-de-feng-jing-lin-feng-mian-220486","秋天的风景","林风眠","Hong Kong Museum of Art","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[24,28,30,7,60,132,33,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfade6bcbd19b6de8e2bb0e680d9ab09.jpg",[],{"id":3165,"slug":3166,"title":3167,"dynasty":51,"author":146,"museum":53,"description":3168,"tags":3169,"thumbUrl":3171,"material":684,"size":3172,"collection":41,"collections":3173,"showCount":3136,"zanCount":11,"manualWeight":11,"mainColor":46},220371,"fang-mi-xiao-xiang-bai-yun-tu-dong-qi-chang-220371","仿米潇湘白云图","本图仿米芾笔意，以墨韵幽雅，意境深邃取胜。用略为夸张的笔法去捕捉流动的大气，描绘多变莫测的云烟雨，使得绮丽多姿的山水更富有直观表现的色彩。",[23,24,56,350,57,29,1118,7,31,32,33,153,1119,3170,79],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662a33e92c15e39c6775698df13687f8.jpg","123.2x51.9",[41],{"id":3175,"slug":3176,"title":3177,"dynasty":51,"author":3178,"museum":129,"description":3179,"tags":3180,"thumbUrl":3182,"material":794,"size":795,"collection":120,"collections":3183,"showCount":3184,"zanCount":357,"manualWeight":11,"mainColor":105},228740,"tong-ling-guan-tie-chuan-ge-juan-wang-shou-ren-228740","铜陵观铁船歌卷","王守仁","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[23,94,95,27,56,82,3181,7,285,479],"铁船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1411d7dfebd52277f93e0eef00d69aa.jpg",[],28,{"id":3186,"slug":3187,"title":3188,"dynasty":73,"author":334,"museum":129,"description":3189,"tags":3190,"thumbUrl":3191,"material":120,"size":120,"collection":120,"collections":3192,"showCount":3184,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[23,24,26,57,28,30,29,7,479,60,352,285,59,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":3194,"slug":3195,"title":3196,"dynasty":110,"author":487,"museum":3197,"description":3198,"tags":3199,"thumbUrl":3200,"material":234,"size":3201,"collection":41,"collections":3202,"showCount":3184,"zanCount":159,"manualWeight":11,"mainColor":46},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[23,24,27,28,350,29,1483,7,31,311,150,79,115,34,132,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg","纵28.8厘米，横449.3厘米",[41],{"id":3204,"slug":3205,"title":3206,"dynasty":51,"author":3207,"museum":307,"description":3208,"tags":3209,"thumbUrl":3211,"material":234,"size":3212,"collection":41,"collections":3213,"showCount":3184,"zanCount":11,"manualWeight":11,"mainColor":46},219735,"shi-hu-mu-se-tu-sheng-mao-ye-219735","石湖暮色图","盛茂烨","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。",[23,24,28,30,29,57,7,2818,32,2059,33,3210],"暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7485dfc0e033834ef6aef1379c333e4e.jpg","纵113.5横48厘米",[41],{"id":3215,"slug":3216,"title":3217,"dynasty":51,"author":487,"museum":75,"description":3218,"tags":3219,"thumbUrl":3220,"material":684,"size":120,"collection":41,"collections":3221,"showCount":3184,"zanCount":11,"manualWeight":11,"mainColor":46},219713,"song-yin-guan-quan-tu-yi-ming-219713","松阴观泉图","此作用虚实相生的水墨铺陈幽境，左上危岩虬松如铁，浓墨晕出山石峭拔之势，留白晕开水色山岚，将清远秋意漫开。\n\n崖畔高士凭石凝睇，白衣飘然似与林泉相融，童子垂立水滨，一静一动衬出空山寂廖。笔墨简淡苍劲，寥寥数笔勾出人物悠然神态，淡墨扫就远岫烟波，将文人林下幽居的雅趣藏进山水褶皱里。似可耳闻松涛漱石，静览间涤净尘俗，尽显尚简重意的文人画风骨。",[24,350,57,56,28,352,168,447,59,80,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105a2d6cc74d001858f9036141b65313.jpg",[41],{"id":3223,"slug":3224,"title":3225,"dynasty":51,"author":3226,"museum":129,"description":3227,"tags":3228,"thumbUrl":3231,"material":120,"size":120,"collection":41,"collections":3232,"showCount":3233,"zanCount":11,"manualWeight":11,"mainColor":46},239459,"qian-gu-jiu-long-shan-tu-zhou-qian-gu-239459","钱穀九龙山图轴","钱毂","此作以全景式铺陈山川灵秀，主峰巍峨雄峙，层岩峻壑以细密披麻皴写就，笔致苍润松灵，尽现山石肌理的沉厚质感。近景松林蓊郁，古木虬枝俯仰生姿，掩映间梵宇茅舍错落，行旅缓行其间，为清寂山林晕染烟火意趣。\n\n远景烟波空蒙，屿渚如螺点染水天，留白铺就悠远虚灵的诗性意境。笔墨兼取元人山水的空灵雅致与北宋山水的苍浑丘壑，将林泉幽致与隐逸禅思融于一卷，既绘就九龙山的磅礴生机，又暗合文人寄情烟霞的林下襟怀，是气韵悠长的山水佳构。",[24,26,57,56,28,29,30,7,60,352,97,79,59,168,3229,3230],"林间建筑","山间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77f7d990ba45fa42fb050c3a5d5b05.jpg",[41],27,{"id":3235,"slug":3236,"title":3237,"dynasty":18,"author":3238,"museum":129,"description":3239,"tags":3240,"thumbUrl":3241,"material":120,"size":120,"collection":120,"collections":3242,"showCount":3233,"zanCount":11,"manualWeight":11,"mainColor":105},228045,"qiu-shan-xing-lv-tu-sheng-mao-228045","秋山行旅图","盛懋","此作用淡墨皴染山峦，层层铺展出秋日山林的萧疏苍润，飞泉自崖间垂落，点活了幽寂山境。坡岸松林苍劲错落，细笔勾勒枝叶，兼具挺秀与萧散之致。山径行旅人影点缀其间，衬出林山空阔辽远。\n\n画作以淡赭轻敷，晕染出秋高气清的氛围感，笔法兼得院体精工与文人雅致，将秋日山野的静谧悠远与行旅意趣相融，尺幅间铺展出声色俱寂却暗蕴生趣的山水诗境，尽显元代山水尚简淡、重意境的风神。",[23,24,26,25,30,56,29,28,7,60,59,58,1688,168,96,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957c8bac516a56247b6613d7daeb6e4e.jpg",[],{"id":3244,"slug":3245,"title":3246,"dynasty":73,"author":2686,"museum":53,"description":3247,"tags":3248,"thumbUrl":3250,"material":28,"size":3251,"collection":41,"collections":3252,"showCount":3233,"zanCount":11,"manualWeight":11,"mainColor":105},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","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。",[23,24,26,57,56,29,30,7,285,479,97,32,152,94,96,1744,2945,33,3249],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[41,66],{"id":3254,"slug":3255,"title":3256,"dynasty":51,"author":2003,"museum":129,"description":3257,"tags":3258,"thumbUrl":3259,"material":56,"size":3260,"collection":41,"collections":3261,"showCount":3233,"zanCount":11,"manualWeight":11,"mainColor":629},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。",[23,24,27,56,29,30,7,60,132,33,136,35,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[41,66],{"id":3263,"slug":3264,"title":3265,"dynasty":110,"author":487,"museum":53,"description":3266,"tags":3267,"thumbUrl":3268,"material":234,"size":3269,"collection":41,"collections":3270,"showCount":3233,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,25,24,28,30,1244,29,1598,2284,3054,60,7,31,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[41],{"id":3272,"slug":3273,"title":3274,"dynasty":73,"author":2686,"museum":53,"description":3247,"tags":3275,"thumbUrl":3276,"material":3277,"size":3278,"collection":41,"collections":3279,"showCount":3280,"zanCount":11,"manualWeight":11,"mainColor":46},223117,"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴",[23,24,26,25,57,350,29,28,7,31,479,424,32,34,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[41,66],26,{"id":3282,"slug":3283,"title":3284,"dynasty":362,"author":3285,"museum":3286,"description":3287,"tags":3288,"thumbUrl":3289,"material":3290,"size":120,"collection":120,"collections":3291,"showCount":3280,"zanCount":11,"manualWeight":11,"mainColor":105},220511,"jing-guan-pu-xin-she-220511","景观","溥心畬","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。",[23,26,24,30,57,56,28,29,7,285,60,1048,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg","Ink and color on paper",[],{"id":3293,"slug":3294,"title":3295,"dynasty":51,"author":3296,"museum":3297,"description":3298,"tags":3299,"thumbUrl":3300,"material":234,"size":3301,"collection":41,"collections":3302,"showCount":3280,"zanCount":11,"manualWeight":11,"mainColor":46},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","旅顺博物馆","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。",[23,25,24,26,27,56,30,29,7,58,353,32,456,33,34,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[41],{"id":3304,"slug":3305,"title":3306,"dynasty":73,"author":3307,"museum":2383,"description":3308,"tags":3309,"thumbUrl":3312,"material":684,"size":3313,"collection":41,"collections":3314,"showCount":3280,"zanCount":11,"manualWeight":11,"mainColor":46},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,24,350,56,29,7,97,151,59,32,132,80,168,3310,3311,57],"清代","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","189.9x85.7cm",[41],{"id":3316,"slug":3317,"title":924,"dynasty":73,"author":2318,"museum":129,"description":3318,"tags":3319,"thumbUrl":3320,"material":120,"size":120,"collection":41,"collections":3321,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":105},238148,"shan-shui-ce-yun-xi-238148","此作用淡墨晕染出清寂湖山，近岸坡石虬松错落，幽居隐于林木间，远山澹澹衔着烟水，飞泉垂落打破岑寂，将山林幽居的闲逸禅意融于尺幅。笔墨简淡秀雅，不事浓丽雕琢，尽显空灵悠远之致。题诗与画意相映，诗画合璧，把寄情林泉的出世襟怀藏在留白之中，尽显文人山水静穆萧散的雅趣。",[24,26,78,56,29,30,7,31,60,285,58,115,94,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d49518b2e5f38132c3ad663c86af5e3.jpg",[41,43],25,{"id":3324,"slug":3325,"title":3326,"dynasty":73,"author":1212,"museum":20,"description":3327,"tags":3328,"thumbUrl":3329,"material":3330,"size":3331,"collection":120,"collections":3332,"showCount":3322,"zanCount":159,"manualWeight":11,"mainColor":105},233422,"yuan-ji-shan-shui-ce-shi-tao-233422","原济山水册","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。",[24,26,78,56,30,29,7,60,297,96,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e990046d184cb379e8605e984086c1.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":3334,"slug":3335,"title":3336,"dynasty":73,"author":1964,"museum":20,"description":3337,"tags":3338,"thumbUrl":3339,"material":2134,"size":3340,"collection":120,"collections":3341,"showCount":3322,"zanCount":159,"manualWeight":11,"mainColor":105},233217,"kong-shan-jie-wu-tu-zhou-cha-shi-biao-233217","空山结屋图轴","查士标作为明代的遗民画家，持消极遁世的人生观。他在怡情于山水间结交了许多隐士。此图是他68岁时画赠好友玉峰道长的精心之作。构图注重远、中、近三景间物象聚、散的呼应统一关系。近、中景因表现杂木、小桥、独舟、孤亭等细碎物象而为“散状”。远景厚实的山体聚成石壁，它的整体性凝聚了散落的近、中景；而散落的近、中景又打破了远景的平整、呆板，活跃了画面。山石的形体，先以直线勾出轮廓，再以侧锋作疏朗而清晰的竖式皴擦，然后以清淡古朴的赭石等色晕染。树叶的表现方法丰富，或以长短线条表现，或以笔尖戳点，其灵活多变的形态，令本为点景的树木成为全画中不可或缺的一部分。",[24,25,57,56,28,30,29,7,132,32,231,151,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4469afa6f7c931f51956a8040ea8a7.jpg","纵98.7厘米，横53.3厘米",[],{"id":3343,"slug":3344,"title":521,"dynasty":227,"author":3345,"museum":129,"description":3346,"tags":3347,"thumbUrl":3348,"material":794,"size":795,"collection":120,"collections":3349,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":46},230841,"shan-shui-tu-gui-guan-230841","珪观","珪观，唐代画家，代表作有《山水图》。",[25,24,26,1244,29,28,30,7,150,80,583,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa92278b55313173802c39eb57a8cf6.jpg",[],{"id":3351,"slug":3352,"title":3353,"dynasty":110,"author":3354,"museum":129,"description":3355,"tags":3356,"thumbUrl":3357,"material":120,"size":120,"collection":120,"collections":3358,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":46},227415,"pan-che-tu-jiang-guan-dao-227415","盘车图","江贯道","江贯道是北宋时期的画家，他名叫江参，贯道是他的字。 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。",[24,25,26,30,28,29,581,98,959,1078,80,7,246,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],{"id":3360,"slug":3361,"title":3362,"dynasty":51,"author":487,"museum":3363,"description":3364,"tags":3365,"thumbUrl":3368,"material":3366,"size":120,"collection":120,"collections":3369,"showCount":3322,"zanCount":159,"manualWeight":11,"mainColor":46},222151,"fu-hui-xi-yi-ming-222151","赴会西","法海寺","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。",[23,24,25,3366,772,28,167,80,479,7,32,151,3367],"壁画","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20a2dd14f9b984c9282b1e6b580095f.jpg",[],{"id":3371,"slug":3372,"title":3373,"dynasty":51,"author":242,"museum":53,"description":3374,"tags":3375,"thumbUrl":3376,"material":63,"size":3377,"collection":41,"collections":3378,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":105},222006,"lv-yin-cao-tang-wen-zheng-ming-222006","绿荫草堂","《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。",[23,24,245,59,30,7,31,60,247,479,28,249,57,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4007e2b20e82443bd2644ea7ebe072f.jpg","纵80.5厘米，横29厘米",[41,43],{"id":3380,"slug":3381,"title":3382,"dynasty":18,"author":1353,"museum":855,"description":3383,"tags":3384,"thumbUrl":3385,"material":651,"size":3386,"collection":120,"collections":3387,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":105},221726,"yun-shan-tu-juan-fang-cong-yi-221726","云山图卷","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。\n美国大都会艺术博物馆藏方从义《云山图》卷的风格与北京故宫博物院藏《 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。",[23,24,26,27,56,30,29,7,479,60,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e14e9fbcbc029dd475988a0493766d.jpg","纵27厘米，横144.5厘米",[],{"id":3389,"slug":3390,"title":3391,"dynasty":73,"author":1001,"museum":20,"description":2222,"tags":3392,"thumbUrl":3394,"material":82,"size":2225,"collection":120,"collections":3395,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":105},220319,"huang-shan-tu-ce-10-hong-ren-220319","黄山图册-10",[23,25,24,26,350,56,29,78,7,3393,168,32,132,152],"峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03bb8ba29fd6124cedfd526b6e0c2c30.jpg",[],{"id":3397,"slug":3398,"title":3399,"dynasty":51,"author":487,"museum":307,"description":3400,"tags":3401,"thumbUrl":3402,"material":170,"size":120,"collection":120,"collections":3403,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":105},217947,"ming-ren-shan-shui-hua-ce-ba-yi-ming-217947","明人山水画册(八)","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。",[23,24,56,30,29,78,7,312,60,34,151,59,97,311,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2356510e2a70855153eec32a2869937b.jpg",[],{"id":3405,"slug":3406,"title":3407,"dynasty":73,"author":487,"museum":129,"description":3408,"tags":3409,"thumbUrl":3411,"material":184,"size":120,"collection":41,"collections":3412,"showCount":3322,"zanCount":11,"manualWeight":11,"mainColor":105},215618,"tian-xia-ming-shan-tu-ce-yi-ming-215618","天下名山图册","层峦叠嶂间，墨线勾勒出山脊嶙峋之势，皴擦点染晕开草木苍劲生机。几株古松挺立于峰巅，枝干虬曲如铁，似与流云低语。山间小径蜿蜒，行人三两成簇，或行或驻，为静谧山林添几分烟火气。右侧山谷隐现亭台楼阁，飞檐翘角藏于茂林修竹间，与山石流水相映成趣。画面布局疏密有致，留白处似有云雾流转，虚实相生尽显山川悠远意境。笔墨虽简，却将自然雄浑与人文雅致融于一纸，仿佛能闻松涛阵阵、涧水潺潺，叫人沉醉于这方清幽天地。",[24,26,78,3410,56,29,30,7,32,97,245,151,59,845,168],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd70bb88931916c051d525147647bc23.jpg",[41],{"id":3414,"slug":3415,"title":1452,"dynasty":73,"author":3416,"museum":20,"description":3417,"tags":3418,"thumbUrl":3419,"material":155,"size":3420,"collection":41,"collections":3421,"showCount":3422,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,30,56,29,57,7,32,132,152,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aea53b6cd918a5d89fec19f2000ba36.jpg","纵64.6厘米，横29.4厘米",[41],24,{"id":3424,"slug":3425,"title":3426,"dynasty":73,"author":3427,"museum":129,"description":3428,"tags":3429,"thumbUrl":3430,"material":82,"size":120,"collection":41,"collections":3431,"showCount":3432,"zanCount":11,"manualWeight":11,"mainColor":105},240887,"tang-ren-qi-lv-shi-ye-qi-zhi-jia-240887","唐人七律诗页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启 明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[24,26,56,29,30,7,31,60,132,168,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[41],23,{"id":3434,"slug":3435,"title":3436,"dynasty":73,"author":3437,"museum":129,"description":3438,"tags":3439,"thumbUrl":3441,"material":120,"size":120,"collection":41,"collections":3442,"showCount":3432,"zanCount":11,"manualWeight":11,"mainColor":105},238243,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238243","塞山二十四景册","张若澄","以淡墨勾勒皴擦，写尽峰峦层叠之态，危岩高耸，林木依石而生，留白处似云气萦回山谷，将幽寂的山巅清景铺展开来。笔致苍秀细腻，山石纹理尽显嶙峋质感，枯松错落萧疏，带着塞地萧寒之气，仿佛可闻山风穿林而过。\n\n右侧大片留白与左侧繁密山景形成强烈虚实对照，朱红鉴藏印点缀素纸，墨色丹印相映成趣，既有荒寒山境的冷逸清寂，又添古雅金石意趣，将塞上山川的静穆荒寒凝于尺幅，悠悠古意扑面而来。",[24,26,56,167,29,78,30,7,150,168,3440,33],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3004413fb4a3a4c945a56f3045298730.jpg",[41],{"id":3444,"slug":3445,"title":3446,"dynasty":73,"author":692,"museum":129,"description":3447,"tags":3448,"thumbUrl":3449,"material":120,"size":120,"collection":626,"collections":3450,"showCount":3432,"zanCount":159,"manualWeight":11,"mainColor":105},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。",[24,56,57,29,94,96,30,7,31,33,32,132,115,58,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[626],{"id":3452,"slug":3453,"title":1452,"dynasty":73,"author":334,"museum":20,"description":1956,"tags":3454,"thumbUrl":3455,"material":155,"size":3046,"collection":120,"collections":3456,"showCount":3432,"zanCount":11,"manualWeight":11,"mainColor":105},234845,"shan-shui-zhou-wang-shi-min-234845",[25,24,56,57,30,29,7,60,150,132,152,34,58,313,2945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg",[],{"id":3458,"slug":3459,"title":3326,"dynasty":73,"author":1212,"museum":20,"description":3327,"tags":3460,"thumbUrl":3461,"material":3330,"size":3331,"collection":120,"collections":3462,"showCount":3432,"zanCount":159,"manualWeight":11,"mainColor":105},233424,"yuan-ji-shan-shui-ce-shi-tao-233424",[25,24,26,78,56,29,96,30,7,33,32,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b281a289ed6ab616f64e10b152cd89.jpg",[],{"id":3464,"slug":3465,"title":3466,"dynasty":73,"author":2932,"museum":129,"description":3467,"tags":3468,"thumbUrl":3469,"material":120,"size":120,"collection":41,"collections":3470,"showCount":3432,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,26,57,28,30,59,7,60,80,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af8d90ec82816cfa1ccb2770015b814.jpg",[41],{"id":3472,"slug":3473,"title":3474,"dynasty":51,"author":3475,"museum":53,"description":3476,"tags":3477,"thumbUrl":3478,"material":651,"size":3479,"collection":120,"collections":3480,"showCount":3432,"zanCount":11,"manualWeight":11,"mainColor":105},222183,"fang-fan-kuan-shan-shui-zhao-zuo-222183","仿范宽山水","赵左","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。",[23,24,26,296,29,28,78,30,7,60,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53718b9f1aaaa21bae715bc637496395.jpg","23x21.5.",[],{"id":3482,"slug":3483,"title":3484,"dynasty":51,"author":146,"museum":1002,"description":3485,"tags":3486,"thumbUrl":3487,"material":78,"size":2528,"collection":120,"collections":3488,"showCount":3432,"zanCount":11,"manualWeight":11,"mainColor":120},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。",[23,24,26,56,29,296,30,7,60,97,34,96,94,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg",[],{"id":3490,"slug":3491,"title":3492,"dynasty":73,"author":1001,"museum":20,"description":2222,"tags":3493,"thumbUrl":3494,"material":82,"size":2225,"collection":120,"collections":3495,"showCount":3432,"zanCount":11,"manualWeight":11,"mainColor":105},220318,"huang-shan-tu-ce-11-hong-ren-220318","黄山图册-11",[23,24,26,78,56,29,30,7,151,59,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8da9dac501fd5659eee07e6c4e5d31.jpg",[],{"id":3497,"slug":3498,"title":3499,"dynasty":51,"author":487,"museum":307,"description":3400,"tags":3500,"thum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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。",[24,26,78,56,29,95,30,7,60,34,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb34c32d893f22e763f30d2b17213649.jpg",[41,66],{"id":3538,"slug":3539,"title":3540,"dynasty":73,"author":376,"museum":20,"description":3541,"tags":3542,"thumbUrl":3543,"material":3544,"size":3545,"collection":120,"collections":3546,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,27,56,30,29,94,95,96,7,31,352,60,285,58,297,132,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":3548,"slug":3549,"title":3550,"dynasty":73,"author":334,"museum":129,"description":3551,"tags":3552,"thumbUrl":3553,"material":120,"size":120,"collection":120,"collections":3554,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,26,25,57,56,29,30,7,31,60,245,151,596,168,33,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":3556,"slug":3557,"title":3558,"dynasty":51,"author":3559,"museum":129,"description":3560,"tags":3561,"thumbUrl":3565,"material":120,"size":120,"collection":120,"collections":3566,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":46},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","戴进","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。",[23,24,26,25,56,30,29,7,150,245,151,583,132,310,59,3562,3563,3564],"旅人","山路","飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":3568,"slug":3569,"title":3570,"dynasty":51,"author":387,"museum":75,"description":3571,"tags":3572,"thumbUrl":3574,"material":120,"size":120,"collection":120,"collections":3575,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,26,27,30,28,56,95,3573,96,29,7,31,97,60,34,479],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":3577,"slug":3578,"title":3579,"dynasty":18,"author":3238,"museum":129,"description":3580,"tags":3581,"thumbUrl":3582,"material":120,"size":120,"collection":120,"collections":3583,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,26,27,28,30,29,7,31,115,32,80,59,97,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":3585,"slug":3586,"title":3587,"dynasty":73,"author":3588,"museum":129,"description":3589,"tags":3590,"thumbUrl":3591,"material":120,"size":120,"collection":120,"collections":3592,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":46},224594,"qiu-she-tu-yuan-jiang-224594","秋涉图","袁江","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。",[23,25,24,26,57,28,30,29,7,31,32,80,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5727adba9d3c7f163dd3a83df59fa6a.jpg",[],{"id":3594,"slug":3595,"title":3596,"dynasty":51,"author":1013,"museum":3597,"description":3598,"tags":3599,"thumbUrl":3600,"material":3601,"size":3602,"collection":120,"collections":3603,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":105},222226,"si-wan-shan-shui-tu-4-wan-shan-fei-xue-wen-bo-ren-222226","四万山水图4-万山飞雪","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,350,25,26,57,56,29,167,7,312,32,133,34,97,311,310,1483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg","纸本墨笔","48X123cm",[],{"id":3605,"slug":3606,"title":3607,"dynasty":51,"author":242,"museum":129,"description":243,"tags":3608,"thumbUrl":3609,"material":717,"size":3610,"collection":41,"collections":3611,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":105},221995,"shui-ting-shi-si-tu-wen-zheng-ming-221995","水亭诗思图",[23,24,30,7,31,60,247,56,249,57,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4c5da43adfb3612de6ee83625cd7e2.jpg","73.3x28cm",[41,43],{"id":3613,"slug":3614,"title":3615,"dynasty":110,"author":3616,"museum":915,"description":3617,"tags":3618,"thumbUrl":3620,"material":184,"size":120,"collection":41,"collections":3621,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":46},219860,"xue-shan-tu-song-di-219860","雪山图","宋迪","中国的山水画在肇始之初就承载着文人和士大夫的精神情愫，不论是“天人合一”“明心见性”还是“逍遥隐逸”都与山水画的发生发展过从甚密。并且，中国社会的每一次大变革或者说社会动荡也都映射到影响到山水画的形态之中，成为其转变的重要诱因。先秦的“百家争鸣”奠定了中国画的哲学依据，以线表达的造型方式和魏晋的“畅神”思想又构建了中国画“写意”的整体旨趣。中国人不是不追求“再现物象”的写实主义，而是在追求的过程中没有抛弃“精神性”的哲学依据。所以，中国画一直就是在写实和写意的文化间性上不断求索，自我觉醒。直到两宋，这种现象达到高峰也宣告终结。究其缘由，重点有四：其一，唐代山水画理和山水田园诗高度发达的“理论先行”现象为五代和宋初的画家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！",[24,26,27,56,29,30,3619,7,60,94,95],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef06665fc5cec6884293eb85a3b2e69.jpg",[41],{"id":3623,"slug":3624,"title":3625,"dynasty":73,"author":3626,"museum":1002,"description":1003,"tags":3627,"thumbUrl":3628,"material":184,"size":1006,"collection":41,"collections":3629,"showCount":3520,"zanCount":11,"manualWeight":11,"mainColor":105},218106,"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218106","新安逸韵册(黄吕山水)","黄吕",[23,24,26,78,56,29,30,60,7,80,97,153,1119,3170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ae8e14ea491b022c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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”。",[24,26,78,56,28,29,30,7,60,132,33,2954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a1147384ebec720ae9dfe5d6b1add9.jpg",[41,43],21,{"id":3651,"slug":3652,"title":375,"dynasty":73,"author":3653,"museum":129,"description":3654,"tags":3655,"thumbUrl":3656,"material":794,"size":795,"collection":41,"collections":3657,"showCount":3649,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,78,56,30,29,95,96,7,31,60,151,132,97,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[41],{"id":3659,"slug":3660,"title":924,"dynasty":73,"author":1964,"museum":129,"description":3661,"tags":3662,"thumbUrl":3663,"material":120,"size":120,"collection":41,"collections":3664,"showCount":3649,"zanCount":11,"manualWeight":11,"mainColor":105},237099,"shan-shui-ce-cha-shi-biao-237099","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”。",[24,26,78,56,29,30,7,31,60,97,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168aeb0486c41328f6e24fb32764dd3a.jpg",[41],{"id":3666,"slug":3667,"title":3668,"dynasty":73,"author":692,"museum":129,"description":3669,"tags":3670,"thumbUrl":3671,"material":120,"size":120,"collection":120,"collections":3672,"showCount":3649,"zanCount":357,"manualWeight":11,"mainColor":105},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。",[23,24,26,57,56,29,30,7,58,59,151,98,97,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":3674,"slug":3675,"title":3676,"dynasty":73,"author":854,"museum":53,"description":3677,"tags":3678,"thumbUrl":3679,"material":651,"size":3680,"collection":41,"collections":3681,"showCount":3649,"zanCount":11,"manualWeight":11,"mainColor":105},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,26,57,30,29,28,7,31,32,132,152,153,96,168,1599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg","63.7x31.8",[41,43],{"id":3683,"slug":3684,"title":3685,"dynasty":18,"author":3686,"museum":522,"description":3687,"tags":3688,"thumbUrl":3691,"material":1312,"size":3692,"collection":120,"collections":3693,"showCount":3649,"zanCount":11,"manualWeight":11,"mainColor":46},221719,"bo-tu-yan-hui-221719","波图","颜辉","颜辉，字秋月，生卒年不详，庐陵（今江西吉安）人，一作浙江江山人。宋末元初时人物画家，擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣，在画法上喜作水墨粗笔，用笔劲健豪放，笔法粗犷，有梁楷遗法。元代由于山水画、文人画兴起，作为人物画家的颜辉在中国画史埋没无闻，由于其作品流传日本较多，颜辉在日本受评甚高，对日本室町时代的绘画有较大影响。传世代表作有《钟馗雨夜出游图》，《蛤蟆仙人像》，《李仙像》，《猿图》。",[23,24,25,56,28,29,3689,3690,7],"水波","太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19116ef77f0b81a05d3b56d3f1454408.jpg","24.7×23.9cm",[],{"id":3695,"slug":3696,"title":3697,"dynasty":51,"author":487,"museum":129,"description":3698,"tags":3699,"thumbUrl":3700,"material":120,"size":120,"collection":120,"collections":3701,"showCount":3702,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,78,28,30,7,285,32,59,97,94,95,96,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],20,{"id":3704,"slug":3705,"title":2139,"dynasty":73,"author":2796,"museum":20,"description":3080,"tags":3706,"thumbUrl":3707,"material":262,"size":120,"collection":120,"collections":3708,"showCount":3702,"zanCount":11,"manualWeight":11,"mainColor":105},234364,"qiu-shan-xing-lv-tu-zhou-tang-dai-234364",[24,26,57,28,29,30,7,32,1446,3562,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9a2dd40266c2c72c70a5c569f827d5.jpg",[],{"id":3710,"slug":3711,"title":3712,"dynasty":73,"author":1964,"museum":129,"description":3713,"tags":3714,"thumbUrl":3715,"material":120,"size":120,"collection":120,"collections":3716,"showCount":3702,"zanCount":11,"manualWeight":11,"mainColor":105},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","仿米友仁云山图卷","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。",[23,24,56,27,296,30,7,479,60,151,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":3718,"slug":3719,"title":3720,"dynasty":110,"author":3721,"museum":20,"description":3722,"tags":3723,"thumbUrl":3726,"material":3727,"size":3728,"collection":120,"collections":3729,"showCount":3702,"zanCount":11,"manualWeight":11,"mainColor":46},233212,"yan-xiu-lin-ju-tu-ye-xia-gui-233212","烟岫林居图页","夏圭","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。",[24,25,26,30,56,29,580,7,60,748,3724,3725,168],"居处","烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73197fa365d71fb00c132cb41deb0b52.jpg","绢本 ，墨笔","纵25cm，横26.1cm",[],{"id":3731,"slug":3732,"title":3733,"dynasty":110,"author":3734,"museum":3735,"description":3736,"tags":3737,"thumbUrl":3739,"material":684,"size":3740,"collection":1188,"collections":3741,"showCount":3702,"zanCount":159,"manualWeight":11,"mainColor":105},218930,"shan-yuan-ye-zhang-tu-yi-yuan-ji-218930","山猿野麞图","易元吉","上海龙美术馆","此图构图简洁而野趣盎然，卷末有二麞尤佳。树作点叶，石法略具北宋意趣。",[23,25,24,26,27,167,28,29,7,748,3738,1733,32,168,96],"猿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919a264d0f1a26f0fbb04a3eac5b8bd0.jpg","25x73cm",[1188],{"id":3743,"slug":3744,"title":3745,"dynasty":73,"author":271,"museum":272,"description":3746,"tags":3747,"thumbUrl":3748,"material":184,"size":3749,"collection":120,"collections":3750,"showCount":3702,"zanCount":11,"manualWeight":11,"mainColor":105},216987,"fang-song-yuan-shan-shui-ce-4-wang-jian-216987","仿宋元山水册-4","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[25,24,26,30,296,29,56,310,7,60,150,34,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8a6e4e3c8f721685a6e5d0aeeef07a.jpg","纵55.4厘米，横36.0厘米",[],{"id":3752,"slug":3753,"title":3754,"dynasty":18,"author":3755,"museum":129,"description":3756,"tags":3757,"thumbUrl":3759,"material":794,"size":795,"collection":120,"collections":3760,"showCount":3761,"zanCount":159,"manualWeight":11,"mainColor":46},291031,"yu-shan-xuan-pu-zhou-zhu-de-run-291031","雨山喧瀑轴","朱德润","这一幅描绘两名士人带着一名童子，在松林漫步悠游。远方是重叠的山峦，山谷中有楼阁隐约可见。一道山泉从山峰高处顺流而下，且穿通松林，使整幅画能上下一气相连急。用笔稳重沉着，山石，丛林的写形和用墨有圆浑厚重的惑觉。",[25,24,26,30,57,56,29,7,32,58,3758],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F383c7c073b810b6b165400aa7faf0336.jpg",[],19,{"id":3763,"slug":3764,"title":3765,"dynasty":51,"author":1918,"museum":129,"description":3766,"tags":3767,"thumbUrl":3768,"material":794,"size":795,"collection":120,"collections":3769,"showCount":3761,"zanCount":159,"manualWeight":11,"mainColor":105},237418,"shan-shui-shan-lu-zhi-237418","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。",[24,26,1244,30,29,28,7,60,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc2286a29440d23512f2e1af77a0ce.jpg",[],{"id":3771,"slug":3772,"title":375,"dynasty":73,"author":3773,"museum":129,"description":3774,"tags":3775,"thumbUrl":3777,"material":794,"size":795,"collection":41,"collections":3778,"showCount":3761,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,28,78,30,7,31,60,134,3776,313,1630,638],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6087b7a29c377aafef71cea9d8bd43f7.jpg",[41],{"id":3780,"slug":3781,"title":3782,"dynasty":73,"author":2565,"museum":20,"description":3783,"tags":3784,"thumbUrl":3786,"material":262,"size":3787,"collection":120,"collections":3788,"showCount":3761,"zanCount":11,"manualWeight":11,"mainColor":105},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,25,24,26,27,56,29,95,3785,94,96,30,7,31,60,97,132,151,59],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":3790,"slug":3791,"title":3792,"dynasty":18,"author":487,"museum":53,"description":3793,"tags":3794,"thumbUrl":3795,"material":3796,"size":3797,"collection":120,"collections":3798,"showCount":3761,"zanCount":11,"manualWeight":11,"mainColor":46},231399,"qiu-shan-tu-yi-ming-231399","秋山图","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。",[24,26,30,29,56,28,7,60,59,168,1446,34,2945,152,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","绢本 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其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[24,26,57,56,29,7,479,285,79,1574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8320ab5ca362924ab59d1050aabcc8c.jpg",[41],{"id":3825,"slug":3826,"title":2751,"dynasty":73,"author":487,"museum":129,"description":3827,"tags":3828,"thumbUrl":3829,"material":120,"size":120,"collection":41,"collections":3830,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},236056,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236056","此作以水墨晕染铺就冬日丘林雪色，山峦皆素雪覆身，轮廓圆柔温润，尽数褪去嶙峋锐气，好似天地初敛锋芒的清寂时刻。枯木错落挺劲，枝桠疏朗，屋舍山居藏于林麓溪谷间，板桥跨溪，山道盘桓，将幽居烟火融于清寂雪景。\n\n浅皴轻擦勾勒山石肌理，以留白尽显雪意空濛，无繁复设色，只以水墨层次烘托萧寒清旷。冷寂的山野间藏着隐世悠然的栖居意趣，简淡笔墨里晕开悠长的文人山水情致，将冬日山林的幽宁静穆娓娓铺陈。",[24,26,78,28,29,296,30,7,60,151,59,132,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0c42948774d9c91db514caf3db0343.jpg",[41],{"id":3832,"slug":3833,"title":3834,"dynasty":51,"author":3835,"museum":20,"description":3836,"tags":3837,"thumbUrl":3838,"material":262,"size":3839,"collection":120,"collections":3840,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},234813,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-qi-bao-quan-tu-ye-wen-jia-234813","吴门诸家寿袁方斋三绝册-文嘉七宝泉图页","文嘉","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,26,78,28,30,29,7,31,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8510ca52467ad2e0007a4cae545cd54c.jpg","22.2*26.7cm",[],{"id":3842,"slug":3843,"title":3844,"dynasty":73,"author":3845,"museum":129,"description":3846,"tags":3847,"thumbUrl":3848,"material":120,"size":120,"collection":120,"collections":3849,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},234515,"hua-shan-shui-ce-ye-yu-zhi-ding-234515","画山水册页","禹之鼎","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[24,78,28,29,30,80,115,98,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf271cd92d9806cb7d3dc662afcf2b1.jpg",[],{"id":3851,"slug":3852,"title":3853,"dynasty":18,"author":967,"museum":20,"description":3854,"tags":3855,"thumbUrl":3857,"material":3858,"size":3859,"collection":120,"collections":3860,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":706},233879,"xue-gang-du-guan-tu-zhou-ma-wan-233879","雪岗渡关图轴","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[24,350,57,29,56,312,7,1048,32,150,168,3856,232,34,310],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","绢本，墨笔","纵：125.4厘米，横：57.2厘米",[],{"id":3862,"slug":3863,"title":1086,"dynasty":51,"author":387,"museum":53,"description":3864,"tags":3865,"thumbUrl":3866,"material":326,"size":1090,"collection":120,"collections":3867,"showCount":68,"zanCount":159,"manualWeight":11,"mainColor":46},232667,"shan-lu-song-sheng-tu-tang-yin-232667","唐寅此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。\n图绘一山高耸，有一泉水自山腰拾级而上，汇入河中。山脚有一小桥跨泉连接山路，桥上两人，老者仰首侧耳，似听泉流松声，一童携琴随后。泉畔是茂密的松林，枝干虬曲，藤蔓缠身。一条崎岖不平的野路，蜿蜒通向山间。\n唐寅16岁中秀才，29岁在乡试中获第一名“解元”，30岁赴京赶考，大好的前途指日可待。岂料一同赶考的大地主徐经暗中贿赂主考官家的仆人从而得到试题，事情败落后，倒霉的唐寅也遭受牵连，甚至经受刑拷凌辱。一向恃才傲物的他经受如此大的打击后，对官场产生了强烈的反感，从此放荡不羁。失意后的唐寅游遍名山大川，千山万水了然于心，因此他的山水画中充满了吴地山水的景象，《山路松声图》就是他山水画的代表作。\n图中描绘了一座高耸的山峰，一汪泉水从山腰处流下，汇入清澈见底的河中。泉水边是葱郁的松林，藤蔓环绕在曲曲折折的枝干上。山脚下有一座小桥横跨河水，桥上一老人仰着头，似乎在倾听泉声，又好像在欣赏阵阵松涛，其后有一少年抱着琴跟随。唐伯虎在画上题诗道：“女几山前野路横，松声偏解合泉声。试从静里闲倾耳，便觉冲然道气生。”表达了他向往与世无争、闲淡自然生活的理想。\n图中松树枝叶的画法，从夏圭中来，但远比之繁盛、写实。以细劲的中锋勾勒，转折顿挫，不乏法度。山石硬朗，棱角分明，显然是李、郭的画法，但不师郭熙的卷云皴，也不施马、夏的斧劈皴，而是一种带有唐寅个人风格的线皴，较之许道宁的直线皴更为随意、疏松。勾笔较浓，而皴笔较淡，以浓点分出石的构成和层次，墨色通透而儒雅。用笔顿挫转折，遒劲飞舞，巧妙地点出了松声之意境。山的结体，错落盘桓，层次清晰，景致优美，而且真实感很强，有北宋全景山水的韵致。背景的处理极为简括，炕炕洛藩，给人以空旷萧瑟、冷漠寂寥的感受。\n此画构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。",[24,350,57,56,29,28,7,352,59,58,61,246,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9b8101070ee6720dcb0d5f2a0f287e.jpg",[],{"id":3869,"slug":3870,"title":913,"dynasty":18,"author":1149,"museum":129,"description":3871,"tags":3872,"thumbUrl":3873,"material":82,"size":3874,"collection":120,"collections":3875,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":46},231593,"yun-shan-tu-gao-ke-gong-231593","在元六家中，高克恭虽不算家喻户晓，但许多人认为其作品无论是用墨还是笔法，都体现着元代绘画极高的艺术水准。虽带有异域血统，但他却凭借自己对汉文化的刻苦钻研，成为一代大师。\n高克恭是色目人，色目是当时对少数民族的统称，他与父辈在元朝时迁居至燕京。相传他生于哈萨克斯坦，异域血统让他连长相都有些与众不同。好友朱德润评价其为“高侯回纥长髯客，唾洒冰纨作秋色”。从后世流传的画像中，我们也能看到他卷发虬须、五官深邃，带有几分外国人的模样。\n作为古代少有的几位少数民族书画大师之一，高克恭在山水画方面造诣极高，包括董其昌、张大千在内的艺术家纷纷模仿其画作。其创作的《仿米氏山水手卷》以299万人民币的价格在2012年的北京春拍中成交，创下其个人作品最高成交纪录。\n“国朝名笔谁第一，尚书醉后妙无敌。”是人们评价高克恭的溢美之词。能被冠以如此高的评价不仅仅是因他对后世书画创作的影响，其在为人处世方面的成就让他在世人心中的形象进一步升华。\n高克恭从小就在父亲的引导下发奋学习，潜心研究各家经典。对他而言，书画创作从不是独取一家所长，而是在融会贯通中诞生出全新内涵。\n他初学米芾、米友仁的画风，后又吸收了董源、巨然作品中的用笔，将“点”的运用发挥到了极致。但在创作一段时间后，他发现这种画风只是一味地模仿前人，并不能真正地表达自己心目中的山水形象。\n在多次钻研且不断尝试后，高克恭发现画家李成笔下的山水是有“骨架”的。他选择引线入点，将三位大师的创作融合起来。这种表现手法既能凸显出江南云山烟树的朦胧缥缈，又能不失山川的挺峻硬朗之感。\n对当时的大多数书画家来说，米芾、董源、巨然等人是可望不可及的书画名家。人们争相学习，将其绘画手法奉为圭臬，又有几个人能提出反对意见？像高克恭这样，在发现问题后并加以改进的画家更是少之又少。有时，大师只比我们多了一份质疑。\n除了融合多家技法特点，高克恭的画作中还有几分西方画法的韵味。他的创作绝不仅仅是单凭印象，而是在仔细观察后动笔。在写实方面，西方画作凭借色彩变化、光影明暗表现画面，而中国山水画则靠用墨浓淡展现层次。\n高克恭便是山水画用墨的佼佼者。其开创“积点法”，以墨色渲染层次，表现山水意境。近代画家黄宾虹的积墨山水就是在此基础上发展而成。",[23,25,24,26,56,30,29,7,479,60,132,31,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":3877,"slug":3878,"title":3879,"dynasty":51,"author":146,"museum":20,"description":3880,"tags":3881,"thumbUrl":3883,"material":184,"size":3884,"collection":120,"collections":3885,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},231373,"xia-mu-chui-yin-tu-dong-qi-chang-231373","夏木垂阴图","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。",[24,350,56,57,26,29,32,168,59,33,97,150,7,338,3882],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],{"id":3887,"slug":3888,"title":3889,"dynasty":73,"author":271,"museum":129,"description":3890,"tags":3891,"thumbUrl":3893,"material":120,"size":120,"collection":120,"collections":3894,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[25,24,26,57,350,28,29,296,7,153,3892,150,3776,58,59,132,34],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":3896,"slug":3897,"title":3898,"dynasty":73,"author":3899,"museum":129,"description":3900,"tags":3901,"thumbUrl":3902,"material":120,"size":120,"collection":41,"collections":3903,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},223248,"shan-shui-1-pu-hua-223248","山水1","蒲华","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,26,57,56,28,29,30,7,60,150,34,33,80,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[41,66],{"id":3905,"slug":3906,"title":3907,"dynasty":51,"author":3908,"museum":20,"description":3909,"tags":3910,"thumbUrl":3911,"material":3912,"size":3913,"collection":120,"collections":3914,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},222318,"li-bai-gu-feng-shi-juan-wang-chong-222318","李白古风诗卷","王宠","本幅款署“雅宜山人王宠书”。钤“王履吉印”、“韡韡斋”，迎首钤“大雅堂”。收藏印钤“侯宝璋心赏”、“玉华堂绝品”、“玉华堂紫箫客”、“青萝山馆”、“披肝沥胆”。卷后有裘曰修、侯宝璋题跋。\n《李白古风诗》共8首，用金粟山藏经纸书写。此纸质地硬，纸面光滑，故笔墨线条清晰可辨，用笔转折历历在目。书法体势宽博疏拓，笔法丰沉圆遒，字形婉转结势，姿态奇特。王世贞曾评王宠书：“虽结法小疏，而天骨烂然，姿态横出，有威风千仞之势。”卷后裘曰修言：“雅宜山人书法大令，天骨秀拔，风神疏朗，名重一时。”",[23,3785,27,94,56,96,114,118,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67be2d310bcf7052aa6cc69f361390e3.jpg","纸本，手卷","纵26.8厘米, 横771厘米",[],{"id":3916,"slug":3917,"title":3918,"dynasty":51,"author":242,"museum":53,"description":3919,"tags":3920,"thumbUrl":3921,"material":3922,"size":3923,"collection":41,"collections":3924,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,59,30,7,31,60,247,56,249,27,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b650b4925f0f0747575859ea9d269c6.jpg","纸本长卷","纵15.8厘米，横129.7厘米",[41,66],{"id":3926,"slug":3927,"title":3928,"dynasty":110,"author":3929,"museum":20,"description":3930,"tags":3931,"thumbUrl":3938,"material":82,"size":3939,"collection":626,"collections":3940,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,95,94,27,662,96,7,31,479,312,3932,97,285,748,1342,3933,3934,117,3935,3936,2285,1341,352,751,3937,353,749,1038],"月","兰","桂","秋","冬","海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[626],{"id":3942,"slug":3943,"title":3944,"dynasty":110,"author":487,"museum":53,"description":3945,"tags":3946,"thumbUrl":3947,"material":234,"size":3948,"collection":41,"collections":3949,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":105},218976,"xue-tang-chui-diao-tu-yi-ming-218976","雪塘垂钓图","这是一幅柳宗元诗歌《江雪》的画作，画中的渔夫带着嘀嗒声在江雪的天空中独自捕鱼。心情是空虚和冷漠的，笔触是清晰和减少的。虽然不一定是宋代，但可以追溯到元代。",[23,24,26,78,56,28,167,29,312,30,311,115,537,80,2059,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60d2b0f61e8804c3f763b7d1d90dc6.jpg","23.8x25.5",[41],{"id":3951,"slug":3952,"title":3953,"dynasty":51,"author":3954,"museum":3955,"description":3956,"tags":3957,"thumbUrl":3958,"material":82,"size":120,"collection":626,"collections":3959,"showCount":3960,"zanCount":11,"manualWeight":11,"mainColor":105},240050,"shi-gao-ce-cheng-jia-sui-240050","诗稿册","程嘉燧","湖南省博物馆","程嘉燧（1565～1643）明代書畫家、詩人。字孟陽，號松圓、偈庵，又號松圓老人、松圓道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，釋名海能。南直隸徽州府休寧縣（今安徽休寧）人，應試無所得，僑居嘉定，折節讀書，工詩善畫，通曉音律，與同裏婁堅、唐時升，並稱“練川三老”。謝三賓合三人及李流芳詩文，刻為《嘉定四先生集》，有《浪淘集》。",[26,78,95,96,1038,2291,7,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c210a8ad98f709920c7948536772e2.jpg",[626],17,{"id":3962,"slug":3963,"title":3964,"dynasty":73,"author":1212,"museum":20,"description":3965,"tags":3966,"thumbUrl":3970,"material":120,"size":120,"collection":626,"collections":3971,"showCount":3960,"zanCount":11,"manualWeight":11,"mainColor":105},240036,"yuan-ji-shu-guang-ling-shu-xia-zuo-shi-shi-tao-240036","原济书广陵树下作诗","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。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。对后来扬州画派和近代画风，影响极大。",[94,95,31,479,3967,97,7,3968,3969,60,2291,96],"孤云","崖","烟岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15ca7091459c0f80d077ebe7c568a8b.jpg",[626],{"id":3973,"slug":3974,"title":1973,"dynasty":73,"author":271,"museum":129,"description":1262,"tags":3975,"thumbUrl":3976,"material":120,"size":120,"collection":41,"collections":3977,"showCount":3960,"zanCount":11,"manualWeight":11,"mainColor":105},237872,"yun-shan-tu-zhou-wang-jian-237872",[24,26,57,56,29,30,479,7,60,151,59,97,456,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4f86feecf65a9d018a086dddca5822.jpg",[41,66],{"id":3979,"slug":3980,"title":2751,"dynasty":73,"author":692,"museum":129,"description":2752,"tags":3981,"thumbUrl":3983,"material":120,"size":120,"collection":120,"collections":3984,"showCount":3960,"zanCount":11,"manualWeight":11,"mainColor":105},237586,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237586",[24,56,29,296,78,30,7,31,60,749,153,1119,3982,96],"平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45599eac91929665304e792add47aaa3.jpg",[],{"id":3986,"slug":3987,"title":3988,"dynasty":73,"author":1212,"museum":129,"description":3989,"tags":3990,"thumbUrl":3991,"material":120,"size":120,"collection":120,"collections":3992,"showCount":3960,"zanCount":11,"manualWeight":11,"mainColor":105},235891,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235891","原济黄山游图册","这幅山水以水墨晕染烟岚，春山隐在翻涌云气间，虚实掩映晕出空山新雨的湿润。近景茅庐藏于芦荻深处，水牛静卧溪头，田畴青苗含露。\n以枯湿浓淡的多变笔墨绘就山峦苔点，苍劲朴拙，烟霭则以淡墨留白晕染，铺展出山野初春的空蒙柔润。题诗与画境相融，将山农冒雨春耕的野趣藏在淡烟疏柳里，揉合田园闲逸与山野生机，笔底兼具自然意趣与文人气韵，寄寓着隐逸耕读的林下雅情。",[24,56,29,249,25,30,7,33,1698,959,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a1219c43d19b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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。",[23,24,26,27,56,30,29,94,95,96,7,31,32,97,151,59,115,34,132,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":4122,"slug":4123,"title":4124,"dynasty":73,"author":1964,"museum":20,"description":4125,"tags":4126,"thumbUrl":4127,"material":155,"size":4128,"collection":120,"collections":4129,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":105},233871,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233871","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》。",[24,56,350,78,29,7,31,97,150,311,34,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445edf7b1c27c418f24ac44e35eb046f.jpg","纵32.8cm，横52.8cm",[],{"id":4131,"slug":4132,"title":4133,"dynasty":73,"author":2806,"museum":129,"description":4134,"tags":4135,"thumbUrl":4136,"material":1642,"size":4137,"collection":120,"collections":4138,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,56,78,95,94,96,29,30,7,60,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da6b0639be05e6bfd10cc0a42e975a6.jpg","172.5×46.8cm",[],{"id":4140,"slug":4141,"title":4142,"dynasty":73,"author":4143,"museum":129,"description":4144,"tags":4145,"thumbUrl":4146,"material":120,"size":120,"collection":120,"collections":4147,"showCount":45,"zanCount":159,"manualWeight":11,"mainColor":46},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。",[23,24,26,57,56,29,30,513,80,583,7,285,60,58,246,245,59,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adb14969e212e22fafe642e5a5551c7.jpg",[],{"id":4149,"slug":4150,"title":4151,"dynasty":1394,"author":487,"museum":129,"description":4152,"tags":4153,"thumbUrl":4156,"material":794,"size":795,"collection":120,"collections":4157,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},230543,"shi-ting-shi-dai-ri-yue-shan-shui-tu-ping-feng-yue-ping-yi-ming-230543","室町时代 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亦善画花鸟。",[23,24,350,296,29,28,7,31,58,97,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26a62e98db18f4a08c75656b156a81a.jpg","绢本 设色","31x37.1",[],{"id":4320,"slug":4321,"title":4322,"dynasty":51,"author":4323,"museum":272,"description":4324,"tags":4325,"thumbUrl":4326,"material":120,"size":120,"collection":120,"collections":4327,"showCount":4244,"zanCount":159,"manualWeight":11,"mainColor":105},222511,"shen-xian-tu-ce-17-zhang-lu-222511","神仙图册17","张路","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。",[23,24,26,25,78,56,29,30,7,60,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4155c124771e5c6b11017748e7f7dd8e.jpg",[],{"id":4329,"slug":4330,"title":4331,"dynasty":51,"author":2454,"museum":75,"description":2455,"tags":4332,"thumbUrl":4333,"material":170,"size":2458,"collection":120,"collections":4334,"showCount":4244,"zanCount":159,"manualWeight":11,"mainColor":105},219668,"fang-gu-shan-shui-ce-10-yun-xiang-219668","仿古山水册-10",[24,26,78,28,30,7,31,115,97,79,59,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc65869df66acee4b37c2efa671cbf9.jpg",[],{"id":4336,"slug":4337,"title":1452,"dynasty":73,"author":4338,"museum":129,"description":4339,"tags":4340,"thumbUrl":4341,"material":120,"size":120,"collection":41,"collections":4342,"showCount":4343,"zanCount":11,"manualWeight":11,"mainColor":105},237145,"shan-shui-zhou-wu-ding-237145","吴定","吴定[清]，字立人，一字维时，号稜翁，云南晋宁人，出生于1744年。\n康熙五十二年（一七一三）举人，雍正五年（一七二七）大挑一等，出宰广东博罗、清远二县。工书，行、草最妙。著稜翁诗钞。《云南通志稿》、《晋宁州志》、《李氏诗存》但犹专力经学，深求义理。定论文严于法，姚鼐有所作，必以示商。著有《黑石泉山房文集》十二卷，《诗集》六卷，及《周易集注》十卷，均《清史列传》并行于世。",[24,26,57,56,29,30,7,31,60,58,97,151,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fa5b431c0a88e245a20daa5e84af6d.jpg",[41],14,{"id":4345,"slug":4346,"title":924,"dynasty":73,"author":1964,"museum":129,"description":4347,"tags":4348,"thumbUrl":4349,"material":120,"size":120,"collection":120,"collections":4350,"showCount":4343,"zanCount":11,"manualWeight":11,"mainColor":105},234275,"shan-shui-ce-cha-shi-biao-234275","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。",[24,26,78,56,30,60,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3081eba6012e76f1db4406bd622364d3.jpg",[],{"id":4352,"slug":4353,"title":924,"dynasty":18,"author":2429,"museum":20,"description":2430,"tags":4354,"thumbUrl":4355,"material":262,"size":2433,"collection":120,"collections":4356,"showCount":4343,"zanCount":11,"manualWeight":11,"mainColor":46},233177,"shan-shui-ce-cao-zhi-bai-233177",[24,26,78,56,29,30,7,60,456,153,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c56a42fde601ecf5f7dd11e23e93b3.jpg",[],{"id":4358,"slug":4359,"title":4360,"dynasty":51,"author":487,"museum":53,"description":4361,"tags":4362,"thumbUrl":4363,"material":4364,"size":4365,"collection":120,"collections":4366,"showCount":4343,"zanCount":11,"manualWeight":11,"mainColor":46},231358,"yuan-ren-hua-lie-qi-tu-zhou-yi-ming-231358","元人画猎骑图轴","一队人马行进於秋林之中，人物之衣冠，马匹之鞍具，与李唐、陈居中文姬归汉图之胡骑甚相似。但此幅用笔较为纤秀，旧传为元人之作。",[24,26,57,28,167,80,583,7,60,96,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad70a4cebe3d61e2604c96263c616d7.jpg","轴","39.4x60.1公分",[],{"id":4368,"slug":4369,"title":4370,"dynasty":73,"author":1292,"museum":129,"description":4371,"tags":4372,"thumbUrl":4373,"material":120,"size":120,"collection":120,"collections":4374,"showCount":4343,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,26,30,28,29,958,7,31,32,596,151,59,96,95,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":4376,"slug":4377,"title":4378,"dynasty":73,"author":1791,"museum":129,"description":4379,"tags":4380,"thumbUrl":4381,"material":82,"size":120,"collection":120,"collections":4382,"showCount":4343,"zanCount":159,"manualWeight":11,"mainColor":105},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。",[23,24,1244,56,29,30,7,285,749,151,456,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff813e453a30df81524c4b73358b23be.jpg",[],{"id":4384,"slug":4385,"title":1452,"dynasty":73,"author":3015,"museum":129,"description":4386,"tags":4387,"thumbUrl":4388,"material":82,"size":4389,"collection":120,"collections":4390,"showCount":4343,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,56,29,57,30,7,31,60,150,58,132,152,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5830d888db626572c39148425b0144.jpg","68x35",[],{"id":4392,"slug":4393,"title":4394,"dynasty":51,"author":4395,"museum":53,"description":4396,"tags":4397,"thumbUrl":4398,"material":82,"size":4399,"collection":120,"collections":4400,"showCount":4343,"zanCount":11,"manualWeight":11,"mainColor":4401},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成趣，悠悠漾着旧时文人幽居林泉的雅致风流。",[23,1244,24,26,56,29,30,352,7,97,60,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7fa4de35468ed5eb700e3883fbf8cc.jpg","17.8x46.8厘米",[],"FFFFFF",{"id":4403,"slug":4404,"title":4405,"dynasty":51,"author":4406,"museum":53,"description":4407,"tags":4408,"thumbUrl":4409,"material":326,"size":4410,"collection":120,"collections":4411,"showCount":4343,"zanCount":11,"manualWeight":11,"mainColor":46},222159,"shan-zhuang-gao-yi-zhou-li-zai-222159","山庄高逸轴","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,350,57,56,29,7,31,151,59,115,97,245,581,98,80,58,2818,390,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9606b6f97673ebd0ca6b1996030ab49.jpg","纵188.8cm、横109.1cm",[],{"id":4413,"slug":4414,"title":4415,"dynas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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",[23,24,26,4154,28,167,583,80,60,7,1795,31,4508],"牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],{"id":4512,"slug":4513,"title":4514,"dynasty":73,"author":2686,"museum":129,"description":4515,"tags":4516,"thumbUrl":4517,"material":120,"size":120,"collection":120,"collections":4518,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":46},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","夏山欲雨图","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,24,26,27,56,30,7,479,60,58,79,152,153,1119,168,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":4520,"slug":4521,"title":4522,"dynasty":73,"author":334,"museum":129,"description":4523,"tags":4524,"thumbUrl":4525,"material":120,"size":120,"collection":120,"collections":4526,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,26,57,30,296,29,1436,32,59,132,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":4528,"slug":4529,"title":4530,"dynasty":73,"author":4531,"museum":129,"description":4532,"tags":4533,"thumbUrl":4534,"material":120,"size":120,"collection":120,"collections":4535,"showCount":123,"zanCount":159,"manualWeight":11,"mainColor":105},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","关槐","《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”。",[23,24,26,57,28,30,29,7,60,133,1795,1921,338,96,94,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":4537,"slug":4538,"title":4539,"dynasty":110,"author":487,"museum":129,"description":4540,"tags":4541,"thumbUrl":4542,"material":82,"size":4543,"collection":120,"collections":4544,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,24,25,57,28,29,30,7,312,58,32,151,59,245,80,583,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":4546,"slug":4547,"title":691,"dynasty":51,"author":146,"museum":272,"description":4548,"tags":4549,"thumbUrl":4550,"material":120,"size":120,"collection":41,"collections":4551,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":4552},203456,"fang-gu-shan-shui-ce-dong-qi-chang-203456","这幅册页书画相映，笔墨间流淌着古雅清韵。山水构图简远空灵，山峦以淡墨皴擦出深浅层次，线条如书法般灵动婉转，树木疏朗有致，几间小屋隐于林麓水畔，似藏幽居之趣。墨色清润虚实相生，尽显“平淡天真”的文人意趣，师法宋元而自出机杼，于仿古中见个人笔意。左侧书法笔势流畅，与山水气韵相契，书画互衬更添雅致。整体画面疏秀旷远，仿佛可感林泉之静，尽得文人画逸致风骨。",[23,78,56,29,94,96,30,7,285,60,132,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d5fb0f235db2ee56340f47f4db6f0.jpg",[41],"9e927d",{"id":4554,"slug":4555,"title":4556,"dynasty":73,"author":1292,"museum":272,"description":4557,"tags":4558,"thumbUrl":4561,"material":120,"size":120,"collection":41,"collections":4562,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":4563},203438,"du-fu-shi-yi-tu-zhou-wang-yuan-qi-203438","杜甫诗意图轴","笔墨苍劲浑厚，层层皴染间尽显丘壑深度。峰峦叠嶂如聚，云雾缭绕似带，将远山推向幽深；近处松石挺秀，溪流蜿蜒穿涧，山间屋舍隐于林麓，动静相宜。既承北宗山水的雄健骨力，又融南宗笔墨的温润韵致，把杜诗中的沉郁意境凝于尺幅，在严谨构图中藏生机流动，足见画家对传统山水的精研与创新。",[23,57,28,29,30,7,150,168,33,59,32,232,338,1744,4559,1298,2945,4560,3563,4477],"沟壑","溪涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d2bf256a8bbab7a17077134edcdbbc.jpg",[41],"96724d",{"id":4565,"slug":4566,"title":4567,"dynasty":18,"author":4568,"museum":20,"description":4569,"tags":4570,"thumbUrl":4571,"material":82,"size":4572,"collection":626,"collections":4573,"showCount":141,"zanCount":159,"manualWeight":11,"mainColor":105},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","赵雍","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,27,26,94,95,56,96,1038,312,7,31,114,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[626],{"id":4575,"slug":4576,"title":924,"dynasty":51,"author":2600,"museum":129,"description":4577,"tags":4578,"thumbUrl":4579,"material":120,"size":120,"collection":120,"collections":4580,"showCount":141,"zanCount":159,"manualWeight":11,"mainColor":105},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。",[24,26,78,56,29,30,7,60,297,80,61,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5f5f8405bde5b52b15b6edd3558efa.jpg",[],{"id":4582,"slug":4583,"title":4584,"dynasty":73,"author":2796,"museum":129,"description":4585,"tags":4586,"thumbUrl":4587,"material":120,"size":120,"collection":120,"collections":4588,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":105},239337,"xue-jing-shan-shui-zhou-tang-dai-239337","雪景山水轴","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。",[24,26,57,56,28,29,30,7,31,312,311,132,34,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57adb7a240be0b5f75cfe5857e8c0fde.jpg",[],{"id":4590,"slug":4591,"title":4592,"dynasty":73,"author":4593,"museum":129,"description":4594,"tags":4595,"thumbUrl":4596,"material":120,"size":120,"collection":120,"collections":4597,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":105},238273,"song-he-ming-quan-tu-zhou-lu-zun-shu-238273","松鹤鸣泉图轴","陆遵书","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。",[24,57,56,29,30,352,7,59,456,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21312d10a315f6756d858f716f06e8a2.jpg",[],{"id":4599,"slug":4600,"title":4601,"dynasty":73,"author":4312,"museum":129,"description":4602,"tags":4603,"thumbUrl":4604,"material":120,"size":120,"collection":120,"collections":4605,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":105},238240,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238240","山静日长图册","张雨霖，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。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,28,56,30,29,78,7,31,3776,596,80,115,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6c5a108e9c64dea7e1e7ec17100c74.jpg",[],{"id":4607,"slug":4608,"title":4601,"dynasty":73,"author":4312,"museum":129,"description":4602,"tags":4609,"thumbUrl":4612,"material":120,"size":120,"collection":120,"collections":4613,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":105},238232,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238232",[25,24,26,78,28,29,30,7,31,4610,32,749,4611,33,513,168],"茅舍","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18dd9df66367d82542672b8b337dc484.jpg",[],{"id":4615,"slug":4616,"title":924,"dynasty":73,"author":4449,"museum":20,"description":4450,"tags":4617,"thumbUrl":4618,"material":262,"size":120,"collection":120,"collections":4619,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":105},237191,"shan-shui-ce-sun-yi-237191",[24,30,78,28,29,7,285,352,60,31,97,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed226bcb7451e0855a0e8ac8e024d137.jpg",[],{"id":4621,"slug":4622,"title":924,"dynasty":51,"author":4623,"museum":129,"description":4624,"tags":4625,"thumbUrl":4627,"material":120,"size":20,"collection":41,"collections":4628,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":105},236603,"shan-shui-ce-ye-xiang-rong-236603","叶向荣","此作用一角取景，主峰高拔奇崛，干笔皴擦勾勒山石肌理，苍朴厚重的质感尽显。山间苍木错落遒劲，茅舍隐于林麓之间，暗合幽居寄怀的雅趣。近岸汀渚星罗，浅波澹澹，留白铺就清远空寂的余韵。\n笔墨简淡松秀，以水墨晕染出山峦氤氲之态，将文人林泉高致寄于尺幅间，尽显平淡天真的意趣，晕开静谧清旷的隐逸氛围，藏着独属于传统山水的悠然禅意。",[4626,24,26,56,29,78,30,7,60,285,35],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee02916708781e551032b579ae9e6eae.jpg",[41,66],{"id":4630,"slug":4631,"title":1045,"dynasty":73,"author":1001,"museum":129,"description":1831,"tags":4632,"thumbUrl":4635,"material":794,"size":795,"collection":120,"collections":4636,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":105},235614,"hong-ren-shan-shui-ce-hong-ren-235614",[25,24,26,580,56,1577,807,29,4633,4634,30,7,285,60,132,297,1630,136],"简约","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786ec573adabfb43ca01bf811898821a.jpg",[],{"id":4638,"slug":4639,"title":1319,"dynasty":51,"author":487,"museum":129,"description":4640,"tags":4641,"thumbUrl":4642,"material":794,"size":795,"collection":120,"collections":4643,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":105},234928,"dong-qi-chang-shan-shui-ce-yi-ming-234928","此作用淡墨晕染铺就烟岚空濛之境，主峰以浓墨积染，浑朴厚重，与周遭浅墨晕开的云气虚实相映。近中景林木以焦墨点簇，错落苍润，坡岸留白代水，尽显江南山水氤氲迷离之态。\n\n题字与印章错落排布，书画印相映成趣，笔墨简淡却意韵悠长。以极简的水墨层次，勾勒出山川幽寂淡远之致，尽显文人画尚意重韵的特质，将山水的空灵沉静融于尺幅之间，观之如身临烟林丘壑，静享林泉雅趣。",[24,26,78,56,30,7,60,96],"https:\u002F\u002Foss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用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[24,26,78,56,30,7,31,32,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cd3f26706df799876961b0f36ef221.jpg",[],{"id":4834,"slug":4835,"title":924,"dynasty":73,"author":1292,"museum":129,"description":4836,"tags":4837,"thumbUrl":4838,"material":120,"size":120,"collection":120,"collections":4839,"showCount":4805,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[25,24,26,78,28,29,30,7,31,151,32,132,168,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f307ac5b06d1d91c7c226dd735337.jpg",[],{"id":4841,"slug":4842,"title":4843,"dynasty":73,"author":4844,"museum":129,"description":4845,"tags":4846,"thumbUrl":4848,"material":794,"size":795,"collection":120,"collections":4849,"showCount":4805,"zanCount":159,"manualWeight":11,"mainColor":105},235789,"shan-shui-tu-shan-ye-wu-wei-ye-235789","山水图扇页","吴伟业","吴伟业（1609年6月21日—1672年1月23日），字骏公，号梅村，别署鹿樵生、灌隐主人、大云道人，汉族，江苏太仓人。\n生于明万历三十七年，明崇祯四年（1631）进士，曾任翰林院编修、左庶子等职。清顺治十年（1653）被迫应诏北上，次年被授予秘书院侍讲，后升国子监祭酒。顺治十三年底，以奉嗣母之丧为由乞假南归，此后不复出仕。 [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”。",[24,1244,30,29,56,7,60,132,59,4476,4847],"近林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc92477073469b42ac6c7ee701b34fa5.jpg",[],{"id":4851,"slug":4852,"title":4853,"dynasty":51,"author":4854,"museum":129,"description":4855,"tags":4856,"thumbUrl":4857,"material":120,"size":120,"collection":120,"collections":4858,"showCount":4805,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[24,27,56,29,30,7,285,60,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf3165f1773a184dc5208aeba3af1a9.jpg",[],{"id":4860,"slug":4861,"title":4415,"dynasty":51,"author":2140,"museum":129,"description":4862,"tags":4863,"thumbUrl":4864,"material":120,"size":120,"collection":120,"collections":4865,"showCount":4805,"zanCount":11,"manualWeight":11,"mainColor":105},234636,"shan-shui-shan-ye-lan-ying-234636","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。",[24,26,1244,56,29,30,7,60,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a448f7356b9dea489ff04bc13fe9bc.jpg",[],{"id":4867,"slug":4868,"title":4869,"dynasty":51,"author":2140,"museum":129,"description":4862,"tags":4870,"thumbUrl":4871,"material":120,"size":120,"collection":120,"collections":4872,"showCount":4805,"zanCount":11,"manualWeight":11,"mainColor":105},234630,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234630","仿黄公望山水扇页",[24,26,1244,30,56,29,296,7,60,132,153,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581d8b3fe9cac690ab9750926dfbb899.jpg",[],{"id":4874,"slug":4875,"title":4876,"dynasty":51,"author":4877,"museum":20,"description":4878,"tags":4879,"thumbUrl":4880,"material":120,"size":120,"collection":120,"collections":4881,"showCount":4805,"zanCount":159,"manualWeight":11,"mainColor":105},234200,"xue-ting-tu-juan-zhao-han-234200","雪亭图卷","赵汉","此作以淡墨晕染出群峰雪意，素净浑茫间，山坳雪亭幽然独立，枯木覆雪点染出清寂萧寒的冬日意境。整卷书画合璧，数段题书风格各异，行书秀逸苍劲，草书纵逸跌宕，擘窠大字雄健厚重。题诗文笔清隽，尽数铺展出林泉高致，将冬日幽居的清冷旷达与归隐忘俗的雅趣相融，笔墨间呼应画中逸韵，尽显诗画同源、以书入画的文人审美意趣。",[23,24,26,27,56,30,95,29,97,7,60,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc873cb1136ddbd79b8abebe8260093.jpg",[],{"id":4883,"slug":4884,"title":4885,"dynasty":73,"author":692,"museum":129,"description":4886,"tags":4887,"thumbUrl":4888,"material":120,"size":120,"collection":120,"collections":4889,"showCount":4805,"zanCount":11,"manualWeight":11,"mainColor":46},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",[23,24,26,57,56,28,29,30,7,32,59,97,33,1493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],{"id":4891,"slug":4892,"title":4893,"dynasty":110,"author":4894,"museum":53,"description":4895,"tags":4896,"thumbUrl":4897,"material":326,"size":120,"collection":120,"collections":4898,"showCount":4805,"zanCount":11,"manualWeight":11,"mainColor":46},218674,"xi-hu-shi-jing-tu-duan-qiao-can-xue-ye-xiao-yan-218674","西湖十景图-断桥残雪","叶肖岩","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。",[23,24,26,78,28,30,29,7,60,151,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2cae48ac35dd4101f07a41be498b1dd.jpg",[],{"id":4900,"slug":4901,"title":4902,"dynasty":73,"author":2806,"museum":180,"description":4903,"tags":4904,"thumbUrl":4905,"material":184,"size":120,"collection":120,"collections":4906,"showCount":4805,"zanCount":11,"manualWeight":11,"mainColor":105},214513,"shui-mo-tu-ce-5-zheng-min-214513","水墨图册-5","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。",[24,26,78,56,95,29,30,7,60,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc0141316cc60b4a71f2c1adb54b234.jpg",[],{"id":4908,"slug":4909,"title":4910,"dynasty":73,"author":2806,"museum":180,"description":4903,"tags":4911,"thumbUrl":4912,"material":184,"size":120,"collection":120,"collections":4913,"showCount":4805,"zanCount":11,"manualWeight":11,"mainColor":105},214495,"shui-mo-tu-ce-8-zheng-min-214495","水墨图册-8",[23,24,26,78,56,95,29,30,7,32,136,456,133,153,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7b6c70420fc5555a1206f12d623238.jpg",[],{"id":4915,"slug":4916,"title":4917,"dynasty":73,"author":4918,"museum":129,"description":4919,"tags":4920,"thumbUrl":4926,"material":794,"size":795,"collection":120,"collections":4927,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":46},241565,"xing-kai-qi-jue-ping-zhou-yuan-li-zhun-241565","行楷七绝屏轴","袁励凖","字珏生，别署恐高寒斋主，江苏武进人，光绪进士，翰林编修，会试同考官。民国清史馆编纂，辅仁大学教授。工书画。行楷宗米元章，篆习李阳冰，文静典雅，画学马远，藏墨名于世。",[24,26,94,57,95,3573,4921,4922,7,4923,31,4924,4925,958],"行楷","白雪","碧嶂","落日","红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc067fb6ea8549d5c048fba931fc299a.jpg",[],9,{"id":4930,"slug":4931,"title":4932,"dynasty":73,"author":4933,"museum":129,"description":4934,"tags":4935,"thumbUrl":4943,"material":794,"size":795,"collection":120,"collections":4944,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},241390,"xing-kai-shi-er-shou-zhou-chen-yuan-long-241390","行楷诗二首轴","陈元龙","陈元龙（1652—1736）字广陵，号乾斋，浙江海宁人，清朝大臣。康熙二十四年一甲二名进士，授编修，直南书房。五十七年，擢工部尚书。六十年，调礼部。乙丑科会试开始施行殿试十本进呈之制。此前，进士无十本进呈之例，这一科会试总裁官是刑部尚书张士甄，开始以前十本恭呈皇帝钦定。康熙帝拔陆肯堂进士第一人，进士第二人就是陈元龙。",[26,94,4921,96,4936,4937,4938,32,1341,4939,7,3935,4940,31,479,4941,4942],"海门","津门","园林","田舍","菊花","城","丹丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bcce9a43123efbbaf561503896286f.jpg",[],{"id":4946,"slug":4947,"title":4948,"dynasty":51,"author":4949,"museum":129,"description":4950,"tags":4951,"thumbUrl":4953,"material":794,"size":795,"collection":120,"collections":4954,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},241149,"xin-chun-deng-shi-han-zhu-zhan-ji-241149","新春等诗翰","朱瞻基","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”，书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,94,95,27,96,312,3932,751,637,7,31,750,479,4083,4952],"地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be7a94c8a0c1162eee63a9d2c0330ac.jpg",[],{"id":4956,"slug":4957,"title":4958,"dynasty":73,"author":4959,"museum":129,"description":4960,"tags":4961,"thumbUrl":4962,"material":120,"size":120,"collection":626,"collections":4963,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},240312,"jie-lin-dong-qi-chang-lan-ting-xu-ye-li-shang-lin-240312","节临董其昌兰亭序页","李上林","李上林，江南如皋（今江蘇省如皋市）人。監生，明萬曆年間（1573年～1620年）以德州同知委署新泰。\n愛民如子，當時正值歲歉，請求賑濟，先向鄰縣借來粟米，新泰縣民賴以保全性命。不久對本縣進行改革：“除無名之費，定徵輸之條，嚴治左右，寬恤裏甲，修築石城，杜絕開採。”又置公學田地三頃八十二畝。李在任五年間，“桑麻遍野，邑無逃亡。”本縣士民為之立生祠祀之。祀《名宦》。李工詩，其步高如山韻所作《秋日登新甫山有感》詩刻於蓮花山雲孤寺正殿西溪摩崖之上，至今清晰可見",[94,95,296,96,7,748,749,31,285,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069cf3c2e28e5b843e3ea77d2e4b3a7.jpg",[626],{"id":4965,"slug":4966,"title":4415,"dynasty":51,"author":1712,"museum":129,"description":4967,"tags":4968,"thumbUrl":4969,"material":794,"size":795,"collection":120,"collections":4970,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},237967,"shan-shui-shan-ye-sun-zhi-237967","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。",[24,26,1244,30,56,29,7,31,60,311,151,115,231,59,456,153,2006],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],{"id":4972,"slug":4973,"title":4974,"dynasty":51,"author":4975,"museum":129,"description":4976,"tags":4977,"thumbUrl":4978,"material":120,"size":120,"collection":120,"collections":4979,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":46},237904,"zhi-shan-shui-shan-mian-zhang-zhen-237904","之山水扇面","张震","这幅山水以浅绛晕染，借扇面弧势铺展丘壑。主峰层叠耸峙，以披麻皴写山石肌理，苔点错落，衬出苍莽浑厚的质感。近坡虬松林立，浓荫下隐有策杖行旅，寥寥数笔便点出林泉雅游之趣。远景平岗澹墨轻扫，水色空濛，将山林幽寂的余韵缓缓铺陈。画面虚实相生，把高远、深远二境收拢于盈尺扇面，笔墨简净却意致悠长。题识朱印错落排布，与山水景致融为一体，尽显文人山水的清逸雅致，恍如铺开一卷可居可游的林泉之梦。",[24,1244,30,28,29,7,31,32,150,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f363044a14a43d44463eea09649abc4.jpg",[],{"id":4981,"slug":4982,"title":375,"dynasty":73,"author":3653,"museum":129,"description":3654,"tags":4983,"thumbUrl":4984,"material":794,"size":795,"collection":120,"collections":4985,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},237490,"shan-shui-tu-ce-yao-song-237490",[24,26,78,28,95,29,7,285,60,245,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a227ab991caac1a9cf1943ec96dae.jpg",[],{"id":4987,"slug":4988,"title":924,"dynasty":51,"author":4989,"museum":53,"description":4990,"tags":4991,"thumbUrl":4992,"material":82,"size":120,"collection":41,"collections":4993,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":46},237432,"shan-shui-ce-jiang-qian-237432","蒋乾","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。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，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」。",[24,28,30,78,80,150,245,151,479,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29fe2b50889a5b1d4e8f2b7c75fef4c.jpg",[41,43],{"id":4995,"slug":4996,"title":4415,"dynasty":51,"author":4770,"museum":129,"description":4997,"tags":4998,"thumbUrl":4999,"material":794,"size":795,"collection":120,"collections":5000,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},237403,"shan-shui-shan-ye-ding-yun-peng-237403","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,26,1244,56,30,311,7,423,29,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e166761ecc75bb66a219308be29751.jpg",[],{"id":5002,"slug":5003,"title":5004,"dynasty":73,"author":5005,"museum":129,"description":5006,"tags":5007,"thumbUrl":5008,"material":120,"size":120,"collection":41,"collections":5009,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},236507,"sun-shan-shui-ce-wang-ji-236507","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[25,24,26,78,56,28,30,7,31,32,132,61,153,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c33fe3c63a07639da94923c962c0cc.jpg",[41,43],{"id":5011,"slug":5012,"title":5013,"dynasty":51,"author":5014,"museum":129,"description":5015,"tags":5016,"thumbUrl":5017,"material":120,"size":120,"collection":120,"collections":5018,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},235844,"jin-shan-tu-ye-wang-gu-xiang-235844","金山图页","王谷祥","此作用笔极简，右侧设色清浅柔润，以青绿轻染江心孤丘，苍松错落覆于山巅，寥寥数笔点出江中片帆、汀渚小石，大幅留白铺陈出扬子江的空阔辽远，将金山浮于江心的缥缈灵秀尽数展现。\n\n左侧行书题跋笔意隽秀挺劲，文辞详述金山形胜，书画合璧，以文衬景，把江南名刹的烟水诗意娓娓道来，淡墨轻岚间藏着悠远清宁的山水逸情，尽显淡雅疏朗的文人审美意趣。",[24,26,580,56,28,95,94,30,7,32,97,31,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c3a799516fa8158ff1c5f6ac466aec.jpg",[],{"id":5020,"slug":5021,"title":375,"dynasty":73,"author":1139,"museum":129,"description":5022,"tags":5023,"thumbUrl":5024,"material":120,"size":120,"collection":120,"collections":5025,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},235641,"shan-shui-tu-ce-wu-li-235641","这幅山水以淡墨晕染出空濛烟雨之境，层叠远山隐在烟霭间，虚实相生，将江南雨后的山岚雾气尽数铺展。近景村居错落依偎松林修竹，屋舍俨然，带着悠然野逸的田园意趣。笔墨松秀苍润，以留白衬出烟林清润的朦胧质感，既有元人山水的萧散简淡，又晕染出温润的烟火暖意。边角题诗与笔墨意境呼应，诗画交融，将文人幽居林泉的理想铺陈开来，整体清和淡远，藏着静穆安宁的山居诗意，尽显江南山林雨后的静谧清润之美。",[24,26,78,56,30,7,60,132,97,33,29,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9887841a41a50cb5eb71badbb3c5ccfe.jpg",[],{"id":5027,"slug":5028,"title":1138,"dynasty":73,"author":5029,"museum":129,"description":5030,"tags":5031,"thumbUrl":5032,"material":120,"size":120,"collection":120,"collections":5033,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},235555,"shan-shui-tu-zhou-fang-shi-shu-235555","方士庶","此作用笔苍秀，以干笔皴擦铺陈山峦肌理，淡墨晕染出山岚清润，层层峰岭自远及近次第铺展，留白处云烟萦绕，将高远、平远之境相融，尽显山川浑厚华滋之态。\n\n近取景致生动，溪桥村舍错落林间，田埂蜿蜒、林木扶苏，带着江南乡野的温润烟火，隐见山居幽闲之趣。右上角题诗入画，诗境呼应山色，文气糅合笔情墨韵，将文人耽恋林泉的隐逸襟怀藏入苍林烟霭，清寂淡远，尽显山水间的静穆诗意。",[24,26,57,56,28,30,7,31,32,132,151,232,35,286,150,713,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3983639ac95ee53718e2c68a08aeaa3f.jpg",[],{"id":5035,"slug":5036,"title":5037,"dynasty":73,"author":487,"museum":129,"description":5038,"tags":5039,"thumbUrl":5040,"material":120,"size":120,"collection":120,"collections":5041,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":46},235301,"gao-feng-han-xue-jing-shan-shui-tu-zhou-yi-ming-235301","高凤翰雪景山水图轴","此作用浅绛设色铺就雪冬胜景，以平远视角层层铺陈。近岸枯松虬劲、茅舍隐于坡坳，寒溪曲折穿绕山涧，将视线引向遥岑。山峦皆以淡墨晕染，留白托出覆雪，赭石轻敷坡麓，晕开雪后初霁的温润暖意。枯笔勾勒寒木，萧疏间尽显冬意萧寒。\n\n画面题诗与绘境相融，文气浸润山水，把冬日山野的辽远空寂，幽居的静穆淡远尽数铺展。简淡笔法写尽冷逸雅致，将文人幽栖林下的安然意趣，藏进这片素裹山河之中，尽显清旷出尘的冬日诗意。",[24,26,57,28,30,310,7,31,150,3776,132,80,133,868,311,34,4041,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc86f7786a0e780b5ff66b2cd24fe16.jpg",[],{"id":5043,"slug":5044,"title":5045,"dynasty":51,"author":2140,"museum":129,"description":5046,"tags":5047,"thumbUrl":5048,"material":794,"size":795,"collection":120,"collections":5049,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},234840,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234840","仿北苑山水扇页","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。",[1244,24,350,29,28,7,60,168,59,153,2006,98,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f39de867eab103772580eacab4813bc.jpg",[],{"id":5051,"slug":5052,"title":5053,"dynasty":1394,"author":5054,"museum":129,"description":5055,"tags":5056,"thumbUrl":5058,"material":794,"size":795,"collection":120,"collections":5059,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":46},231625,"shi-ting-shi-dai-shan-yue-song-lin-tu-shou-ye-yuan-xin-231625","室町时代 山岳松林图","狩野元信","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。",[23,24,26,56,28,29,30,7,150,5057,435],"山岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cae223afb7683f359816c689e347ba.jpg",[],{"id":5061,"slug":5062,"title":145,"dynasty":73,"author":5063,"museum":129,"description":5064,"tags":5065,"thumbUrl":5066,"material":120,"size":120,"collection":120,"collections":5067,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,56,29,149,30,7,31,58,32,168,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8830d376ba0de9a0803b19592cb0df.jpg",[],{"id":5069,"slug":5070,"title":5071,"dynasty":1394,"author":5072,"museum":129,"description":5073,"tags":5074,"thumbUrl":5075,"material":794,"size":795,"collection":120,"collections":5076,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":46},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,26,25,57,29,56,28,30,7,60,34,456,153,1285,297,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":5078,"slug":5079,"title":5080,"dynasty":51,"author":5081,"museum":129,"description":5082,"tags":5083,"thumbUrl":5085,"material":120,"size":120,"collection":120,"collections":5086,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,26,580,28,56,95,96,94,30,7,312,60,132,5084,29,2059],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":5088,"slug":5089,"title":5090,"dynasty":73,"author":1001,"museum":20,"description":2222,"tags":5091,"thumbUrl":5092,"material":82,"size":2225,"collection":120,"collections":5093,"showCount":4928,"zanCount":11,"manualWeight":11,"mainColor":105},220295,"huang-shan-tu-ce-31-hong-ren-220295","黄山图册-31",[23,24,56,30,78,29,7,150,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a243b562970f929e8db32bb0662953.jpg",[],{"id":5095,"slug":5096,"title":5097,"dynasty":73,"author":745,"museum":180,"description":5098,"tags":5099,"thumbUrl":5100,"material":170,"size":120,"collection":120,"collections":5101,"showCount":4928,"zanCount":159,"manualWeight":11,"mainColor":105},214375,"tian-guang-yun-jing-tu-ce-3-zhu-da-214375","天光云景图册-3","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。",[23,24,56,29,78,96,30,7,60,132,97,479,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705bd5dffcc371cdd75a36c158966065.jpg",[],{"id":5103,"slug":5104,"title":5105,"dynasty":73,"author":5106,"museum":129,"description":5107,"tags":5108,"thumbUrl":5109,"material":794,"size":795,"collection":120,"collections":5110,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":105},240504,"wang-duo-e-mei-shan-ji-you-shi-juan-wang-duo-240504","王铎峨嵋山记游诗卷","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[23,94,95,3785,27,96,56,7,31,479,3932,285,352,1038,749,1342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb42eaa858f60f4db13931247b16798.jpg",[],{"id":5112,"slug":5113,"title":5114,"dynasty":51,"author":5115,"museum":129,"description":5116,"tags":5117,"thumbUrl":5119,"material":82,"size":5120,"collection":41,"collections":5121,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":105},240245,"wu-lv-shi-zhou-chen-hong-shou-240245","五律诗轴","陈洪绶","释文：\n“剪落入城市，拙岁隐者伦。亲朋虽传舌，景物最伤神。老病锦官府，还山愧野人。往来轻似叶，幸不厌清员。洪绶似玄濬道盟兄正之，二十余年不见，重为作书乐甚。”\n款钤“陈洪绶印”、“章侯氏”印2方。\n本轴书五言律诗一首，从落款处称僧人玄濬为“道盟兄”，可知此诗是陈洪绶晚年为僧时所作。\n陈洪绶的书法与绘画均显现共同而鲜明的特色，即奇异、怪诞。此轴书法结构修长，字形呈欹峭之势，用笔紧密而细腻，简洁而质朴，姿态夸张，富于变化，线条潇洒俊健，颇有风姿，表现了作者独特的书风。",[26,57,94,95,56,96,7,5118],"市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24d443d8c38b222178f604a0751cdec.jpg","纵141厘米，横57.5厘米",[41],{"id":5123,"slug":5124,"title":5125,"dynasty":73,"author":5126,"museum":129,"description":5127,"tags":5128,"thumbUrl":5129,"material":794,"size":795,"collection":1276,"collections":5130,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":105},238469,"lie-qi-tu-ce-mian-yi-238469","猎骑图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,26,78,28,80,79,7,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde758dfed88a204ea027eb9005083c4a.jpg",[1276,43],{"id":5132,"slug":5133,"title":5134,"dynasty":73,"author":3437,"museum":129,"description":5135,"tags":5136,"thumbUrl":5137,"material":120,"size":120,"collection":120,"collections":5138,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":105},238257,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238257","燕山八景图册","此作以诗画合璧之形呈现胜景。左侧绘关山之景，危岩层叠巍峨，细笔勾勒皴擦尽显山石肌理，淡赭晕染出峰峦苍润气色。河谷烟波澹澹，岸边村舍戍楼错落，藏于林泉之间，既绘出雄奇关隘形胜，又晕染出山野闲淡意趣。\n\n右侧行书题诗笔致清劲舒展，诗意与画境呼应凭添怀古幽思。整幅册页清雅隽秀，将实景纪实与文人笔墨意趣相融，于尺幅之间尽揽关隘灵秀与雄浑，尽显实景山水的精妙意韵。",[24,28,30,29,78,94,95,96,7,31,32,456,151,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eabbee580fde46912ec31bc46f9834.jpg",[],{"id":5140,"slug":5141,"title":924,"dynasty":73,"author":2318,"museum":129,"description":2319,"tags":5142,"thumbUrl":5143,"material":120,"size":120,"collection":120,"collections":5144,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":105},238163,"shan-shui-ce-yun-xi-238163",[24,26,78,28,95,96,29,30,7,31,32,151,58,34,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40745d9a471ce441393f4b4751514414.jpg",[],{"id":5146,"slug":5147,"title":5148,"dynasty":73,"author":2882,"museum":129,"description":5149,"tags":5150,"thumbUrl":515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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。",[24,56,29,94,96,78,30,7,59,97,79,98,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea702a0b848736e7d8aabe7965edd89.jpg",[],{"id":5154,"slug":5155,"title":924,"dynasty":73,"author":5156,"museum":20,"description":5157,"tags":5158,"thumbUrl":5159,"material":120,"size":120,"collection":120,"collections":5160,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":105},237560,"shan-shui-ce-wen-dian-237560","文点","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。 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、人屋、道朗等，汉族，江西南昌人。\n他是明太祖朱元璋第十七子朱权的九世孙，本是皇家世孙。明亡后削发为僧，成了亡命之徒，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少，还提了一首诗‘’墨点无多，泪点多‘’来抒发自己对满清王朝的憎恨。\n八大山人是我国明末清初书画双绝的艺术大师。在他的一生中，创作了大量“怪伟豪雄、淋漓奇古、苍劲圆”的作品，使之成为中国画史上的一颗璀璨的巨星，其独特的艺术风格，也熠熠在世界艺坛。八大山人的花鸟画、山水画、书法艺术所取得的成就，近三百年来，影响着一代又一代的杰出艺术家",[24,26,78,56,29,30,98,7,285,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff808906f8c483b68e4a5e764e6a7cedd.jpg",[],{"id":5242,"slug":5243,"title":5244,"dynasty":1394,"author":5072,"museum":129,"description":5073,"tags":5245,"thumbUrl":5247,"material":794,"size":795,"collection":120,"collections":5248,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":105},231584,"shi-ting-shi-dai-po-mo-shan-shui-tu-xue-zhou-231584","室町时代 破墨山水图",[23,24,25,57,5246,56,29,26,95,94,96,30,115,60,7,31,97],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":5250,"slug":5251,"title":5252,"dynasty":73,"author":2686,"museum":53,"description":5253,"tags":5254,"thumbUrl":5255,"material":82,"size":5256,"collection":120,"collections":5257,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":46},231528,"fan-zhao-gui-yun-tu-dong-bang-da-231528","返照归云图","董邦达(1699-1769)清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[24,350,29,28,7,31,479,424,60,34,1341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f125d5afb06632e727c6826a0b7fadd.jpg","251.1cmX158.6cm",[],{"id":5259,"slug":5260,"title":5261,"dynasty":18,"author":487,"museum":129,"description":5262,"tags":5263,"thumbUrl":5264,"material":120,"size":120,"collection":120,"collections":5265,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":46},231498,"fang-yan-ci-ping-qiu-shan-yan-ai-tu-yi-ming-231498","仿阎次平秋山烟霭图","作品采用水墨绘淡墨远山，烟霭朦朦，若隐若现。下部作山坡秋树，山坡处用笔勾出染色，画树枝用劲硬笔法，但整幅画面以水墨渲染为主，以墨色的浓淡分出层次，有“岚顶柔和”的风格，近乎秀润清真。",[24,56,30,296,29,150,7,3892,132,1446,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb15a715752a8a2d45a46006977cceaf.jpg",[],{"id":5267,"slug":5268,"title":5269,"dynasty":51,"author":387,"museum":53,"description":5270,"tags":5271,"thumbUrl":5272,"material":63,"size":5273,"collection":120,"collections":5274,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":4401},222342,"hua-kan-shan-tu-bing-zi-shu-qi-yan-jue-ju-cheng-shan-tang-yin-222342","画看山图并自书七言绝句成扇","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。",[24,26,1244,56,29,28,30,7,60,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08762db3758031108dc836b87e1b6d4d.jpg","31.7x49.5",[],{"id":5276,"slug":5277,"title":5278,"dynasty":73,"author":271,"museum":180,"description":5279,"tags":5280,"thumbUrl":5281,"material":170,"size":120,"collection":120,"collections":5282,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":46},215024,"fang-gu-shan-shui-ce-6-wang-jian-215024","仿古山水册-6","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。",[24,56,30,29,7,60,151,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ba1b67e300dd1a9f8df0ed1482d390.jpg",[],{"id":5284,"slug":5285,"title":5286,"dynasty":73,"author":745,"museum":180,"description":5098,"tags":5287,"thumbUrl":5288,"material":170,"size":120,"collection":120,"collections":5289,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":105},214369,"tian-guang-yun-jing-tu-ce-8-zhu-da-214369","天光云景图册-8",[23,24,26,78,56,29,30,7,479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee8ef4bd34254ba4c55f65f8a0df80f.jpg",[],{"id":5291,"slug":5292,"title":5293,"dynasty":73,"author":5294,"museum":129,"description":5295,"tags":5296,"thumbUrl":5297,"material":794,"size":795,"collection":120,"collections":5298,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":5300},241399,"bai-hua-zhou-chun-qing-qi-jue-zhou-ruan-yuan-241399","白花洲春晴七绝轴","阮元","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[94,95,57,96,28,117,4941,751,31,4814,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc7ecaab75e3b90d8efb1dc2be883d5.jpg",[],7,"FF9800",{"id":5302,"slug":5303,"title":5304,"dynasty":73,"author":5305,"museum":20,"description":5306,"tags":5307,"thumbUrl":5312,"material":82,"size":5313,"collection":626,"collections":5314,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":46},241088,"meng-hao-ran-shi-zhou-yang-shou-jing-241088","孟浩然诗轴","杨守敬","释文：\n山寺鸣钟昼已昏，鱼梁度头争度喧。人随沙岸向江村，予亦乘舟归鹿门。鹿门月照开烟树，忽到庞公栖隐处。岩扉松径长寂寥，唯有幽人自来去。录孟襄阳诗。宣统庚戌九月邻苏老人书于鄂城菊湾，时年七十有二。\n本幅行书录唐代诗人孟浩然“夜归鹿门山歌”诗一首，末自识云：“录孟襄阳诗，宣统庚戌九月邻苏老人书于鄂城菊湾，时年七十有二。”下钤“杨守敬”、“惺吾七十以后书”印二方。本幅无藏印。“宣统庚戌”为宣统二年（1910年）。\n此轴书法淳雅朴厚，能陶铸碑帖，寓汉隶之韵，法魏碑风规，行笔略带滞涩之势，峭拔古劲，复具信本书韵。结字秀丽，行笔洒脱，又具姿肆跳宕之势，代表了杨守敬晚年书法的艺术水平。",[94,95,57,96,7,5308,5309,3210,3932,352,5310,5311],"寺","钟","禅房","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6907331ebc6468c451435f0aac5bb0e8.jpg","纵165.1厘米，横35.7厘米",[626],{"id":5316,"slug":5317,"title":5318,"dynasty":73,"author":5319,"museum":129,"description":5320,"tags":5321,"thumbUrl":5322,"material":794,"size":795,"collection":41,"collections":5323,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,78,56,30,29,7,31,98,115,95,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e148bed07c3295c76c3c1c3fd874cf.jpg",[41,43],{"id":5325,"slug":5326,"title":5327,"dynasty":73,"author":1292,"museum":129,"description":5328,"tags":5329,"thumbUrl":5330,"material":120,"size":120,"collection":120,"collections":5331,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[24,26,78,28,29,30,7,59,151,60,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b08c3e176452e8260dd64640da9e37.jpg",[],{"id":5333,"slug":5334,"title":2978,"dynasty":73,"author":2979,"museum":129,"description":5335,"tags":5336,"thumbUrl":5337,"material":120,"size":120,"collection":120,"collections":5338,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":105},239416,"fang-gu-shan-shui-ping-qin-zu-yong-239416","此作用淡墨晕染山峦，似覆薄雪，浅赭留白铺就清寒山野底色。枯木虬劲萧疏，错落村居隐于山石林麓间，行旅身影点缀溪桥山道，让空寂冬景暗蕴烟火生机。\n\n笔墨简淡秀润，以干笔皴擦勾勒山石肌理，脱却繁缛雕琢，尽显文人画雅逸格调。题诗与雪景画意呼应，以仿古笔法写冬日山居，既有古雅意趣，又自出机杼，将清寒冷寂的山野氛围与悠然乡居意趣相融，意境清寂出尘。",[24,28,29,149,57,30,7,31,97,60,132,297,583,80,311,231,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],{"id":5340,"slug":5341,"title":1740,"dynasty":51,"author":1741,"museum":129,"description":1742,"tags":5342,"thumbUrl":5343,"material":120,"size":120,"collection":120,"collections":5344,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":46},239187,"shan-chuan-ming-sheng-ce-song-xu-239187",[24,26,30,78,56,28,7,479,32,150,245,29,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686af50486fe6bd899e83bbac8282dea.jpg",[],{"id":5346,"slug":5347,"title":5348,"dynasty":51,"author":487,"museum":129,"description":5349,"tags":5350,"thumbUrl":5351,"material":794,"size":795,"collection":120,"collections":5352,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":105},238570,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238570","明人升平翊赞图并书赞册","此作为工笔重彩宗教绘事，佛道同构，气象浑融。云端诸佛身覆头光，衣袂翩跹，宝相端严；世俗神祇冠服整肃，列阵云间，威仪自生。下方江海翻涌，白虬破水腾挪，浪涛皴擦细腻灵动。青赭施色古雅沉厚，石青石朱晕染出华贵质感，线条细劲流转，勾画出神佛仙真的超脱之态与山海灵秀。画面将宗教神性与世俗意趣交织一处，尽显宗教绘画的典型风貌，是佛道合流审美之下的精工佳制。",[24,28,167,80,30,665,479,4083,3932,7,31,32,772,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c5a52ce8ee0710cef5ecea7fd5b37c.jpg",[],{"id":5354,"slug":5355,"title":924,"dynasty":73,"author":2796,"museum":129,"description":5356,"tags":5357,"thumbUrl":5358,"material":120,"size":120,"collection":120,"collections":5359,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":105},238205,"shan-shui-ce-tang-dai-238205","此作为青绿设色的江南夏景，山峦层叠以石青、石绿晕染，间以赭石提点坡岸，草木蓊郁的盛夏之意呼之欲出。近岸林木扶疏，屋舍隐于浓荫之下，开阔水面映着淡晕远山，将山居清旷闲适铺陈开来。\n\n搭配题诗书画合璧，诗句与画境两两呼应，把江南夏日水村的安谧悠然尽数定格。笔致秀雅清润，兼具院体画的精致妍丽与文人山水的澹远意趣，观之如沐熏风，恍若踏入这幽寂又充满生机的世外洲渚，尽览水乡闲逸之致。",[24,28,260,29,78,30,7,60,31,97,33,168,59,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e8ef9ddf63f7acbc3c067569205b9a.jpg",[],{"id":5361,"slug":5362,"title":924,"dynasty":73,"author":2318,"museum":129,"description":2319,"tags":5363,"thumbUrl":5365,"material":120,"size":120,"collection":120,"collections":5366,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":105},238139,"shan-shui-ce-yun-xi-238139",[24,28,29,78,30,7,31,97,151,60,1921,5364,285,456,232],"黄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u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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。",[24,26,57,56,29,96,94,95,30,7,32,132,133,34,150,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":5478,"slug":5479,"title":5480,"dynasty":73,"author":1292,"museum":129,"description":5481,"tags":5482,"thumbUrl":5483,"material":120,"size":120,"collection":120,"collections":5484,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,24,26,30,57,28,29,7,31,32,150,34,151,152,33,2755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":5486,"slug":5487,"title":5488,"dynasty":73,"author":5489,"museum":1002,"description":5490,"tags":5491,"thumbUrl":5493,"material":380,"size":5494,"collection":120,"collections":5495,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":120},220756,"shan-xia-chu-quan-tu-su-ren-shan-220756","山下出泉图","苏仁山","此作用笔清劲洗练，纯以白描淡墨写尽丘壑林泉。奇峭山石层叠错落，以勾勒皴擦带出嶙峋肌理，不着艳色却尽显山石清刚之态。山间古松斜逸虬曲，错落排布，为冷寂山景添几分清拔气韵。\n\n画面疏密相衬，高远山势间藏出深远意境，流泉隐于谷中，汀洲人家三两点缀，衬出林泉幽寂之致。整体萧散淡远，将文人隐逸的清冷意趣融于笔墨间，极简笔触晕染出超脱世俗的静穆氛围，尽显水墨留白的悠远意韵。",[23,24,56,350,29,7,59,32,61,5492,297],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178e99fe3c7ea1e6c456cc9ec449bd94.jpg","349 × 137.5 厘米",[],{"id":5497,"slug":5498,"title":5499,"dynasty":73,"author":5500,"museum":1002,"description":5501,"tags":5502,"thumbUrl":5503,"material":5504,"size":5505,"collection":120,"collections":5506,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":120},220744,"shan-shui-ji-3-wang-shi-min-weng-ling-wu-hong-deng-220744","山水集3","王時敏,翁陵,吳宏等","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。",[24,56,29,78,30,7,60,132,59,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaae731b9dae7bc42a3658c425546d3d.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[],{"id":5508,"slug":5509,"title":5510,"dynasty":73,"author":1001,"museum":20,"description":2222,"tags":5511,"thumbUrl":5512,"material":82,"size":2225,"collection":120,"collections":5513,"showCount":5299,"zanCount":11,"manualWeight":11,"mainColor":105},220268,"huang-shan-tu-ce-55-hong-ren-220268","黄山图册-55",[23,24,25,26,78,56,29,30,7,58,152,311,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e8d7ae05bf959121243bd3db7d7d49.jpg",[],{"id":5515,"slug":5516,"title":5517,"dynasty":73,"author":5518,"museum":129,"description":5519,"tags":5520,"thumbUrl":5522,"material":794,"size":795,"collection":120,"collections":5523,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},240822,"qi-yan-lian-fei-dan-xu-240822","七言联","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。",[94,95,5521,749,97,7,31],"对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfdc67f964f63eb8718cd5e0dd3488a.jpg",[],{"id":5525,"slug":5526,"title":5527,"dynasty":73,"author":1292,"museum":129,"description":5528,"tags":5529,"thumbUrl":5530,"material":120,"size":120,"collection":120,"collections":5531,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},239462,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-yuan-qi-239462","清初六大家集册-山水页","此作用笔苍劲老辣，以干笔积墨反复皴擦，山峦层叠间尽显丘壑幽深。高远山势裹挟飞泉垂落，平远水畔山居错落，林木扶苏掩映村居，咫尺画幅铺展出萧散淡远的山居清景。墨色干湿浓淡相济，苍润浑厚间带着元人山水的简淡意趣，却又自具沉雄苍莽的厚重质感，将江南山水的温润灵秀与文人画的书卷静气相融，笔底元气淋漓，于细碎皴染中见整饬章法，静穆雅致中藏着自然生机，尽显正统山水画的隽永风神。",[25,24,26,78,56,29,30,7,285,60,749,132,152,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb1160b0f5169ea7571f4877751466b.jpg",[],{"id":5533,"slug":5534,"title":5535,"dynasty":73,"author":487,"museum":129,"description":5536,"tags":5537,"thumbUrl":5538,"material":120,"size":120,"collection":120,"collections":5539,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},238814,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238814","董诰律宣韶景册","此作以淡墨晕染铺就寒山雪境，远山层叠留白覆雪，岩岫苔点簇簇，暗衬积雪清润空寂。近岸枯木虬枝错落，寒林萧疏却暗含待春的生机，山坳隐见茅舍寺塔，曲水沿山逶迤，悠悠漾开山野空寂意趣。\n\n画师以勾勒皴擦写就山石肌理，淡墨晕染区分雪色虚实，留白见巧，不着艳色，全凭水墨层次拉开远近景深，将空山初雪的静谧清寒尽数铺展，晕出冬雪将过、春信悄临的澹澹诗意，尽显文人山水寄情林泉，静悟岁序轮转的清雅意韵。",[24,26,56,29,78,96,30,310,7,60,311,231,1783,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2501cf60e869162a2c68158d198d7d86.jpg",[],{"id":5541,"slug":5542,"title":924,"dynasty":73,"author":2796,"museum":129,"description":5543,"tags":5544,"thumbUrl":5545,"material":120,"size":120,"collection":120,"collections":5546,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},238206,"shan-shui-ce-tang-dai-238206","此页以淡墨皴擦绘就，远山迤逦含烟，以干笔披麻皴勾勒山石肌理，苍朴厚重。坡岸林木攒簇，浓淡墨色拉开远近层次，将郊野幽寂之境铺陈开来。\n\n诗画一体，题诗尽述水村闲意，画里孤舟泛于浅波，野意横生，尽显林泉高致。墨色清润雅致，笔意沉稳秀逸，于尺幅间揽尽山光水色，将幽居野客疏离尘嚣的林下襟怀融于笔墨，淡远空濛，尽显文人山水的萧散意趣。",[24,26,78,56,29,30,7,60,31,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c15854ee2832b0754c3be0fd59fad9a.jpg",[],{"id":5548,"slug":5549,"title":924,"dynasty":73,"author":2318,"museum":129,"description":2319,"tags":5550,"thumbUrl":5551,"material":120,"size":120,"collection":120,"collections":5552,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":46},238143,"shan-shui-ce-yun-xi-238143",[24,56,28,29,78,30,312,7,31,311,132,168,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc339c6de087e38704a500ba1e8ac0145.jpg",[],{"id":5554,"slug":5555,"title":691,"dynasty":73,"author":5556,"museum":20,"description":5557,"tags":5558,"thumbUrl":5563,"material":262,"size":120,"collection":120,"collections":5564,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":46},236828,"fang-gu-shan-shui-ce-zhao-cheng-236828","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,149,30,28,29,7,285,32,33,245,456,338,313,3440,297,5559,5560,5561,5562],"平台","枝叶","云气","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0183adf33d938618193370ec0d4adcb1.jpg",[],{"id":5566,"slug":5567,"title":691,"dynasty":73,"author":5556,"museum":20,"description":5557,"tags":5568,"thumbUrl":5569,"material":262,"size":120,"collection":120,"collections":5570,"showCount":174,"zanCount":159,"manualWeight":11,"mainColor":46},236820,"fang-gu-shan-shui-ce-zhao-cheng-236820",[24,26,78,28,30,7,479,31,115,60,390,1921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a30aa2fa945692c7adc8c743f499f66.jpg",[],{"id":5572,"slug":5573,"title":924,"dynasty":51,"author":2003,"museum":129,"description":5574,"tags":5575,"thumbUrl":5576,"material":120,"size":120,"collection":120,"collections":5577,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[25,24,26,78,56,30,7,60,132,31,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c930a53074b4f73f98b23eeeb0df25.jpg",[],{"id":5579,"slug":5580,"title":924,"dynasty":51,"author":2600,"museum":129,"description":5581,"tags":5582,"thumbUrl":5583,"material":120,"size":120,"collection":120,"collections":5584,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},235292,"shan-shui-ce-shen-hao-235292","此作用笔清简苍劲，以干笔皴擦勾勒峰峦肌理，淡墨晕染铺就山川层次。近岸乱石错落间疏植林木，中远景峰峦层叠渐次淡去，留白延展出水色空阔，烘托出清寂幽淡的江南山水之境。\n\n画面左上角题字与山水相映，诗画相融尽显文人雅致意趣。全幅未做浓艳敷色，仅以水墨浓淡变化写尽林泉隐逸之思，萧散淡远的气韵之中，藏着寄情山水的文人襟怀。",[24,56,30,29,7,285,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e5d5ffa64da080ee406df366256c744.jpg",[],{"id":5586,"slug":5587,"title":5588,"dynasty":73,"author":1292,"museum":129,"description":5589,"tags":5590,"thumbUrl":5591,"material":82,"size":5592,"collection":120,"collections":5593,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},234891,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234891","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。",[149,28,29,95,96,30,7,285,60,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9008f59216e7f132cb809ba7a4207ec.jpg","纵21厘米，横27厘米",[],{"id":5595,"slug":5596,"title":4495,"dynasty":73,"author":5408,"museum":20,"description":5409,"tags":5597,"thumbUrl":5598,"material":262,"size":120,"collection":120,"collections":5599,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},234757,"huang-shan-tu-ce-jiang-zhu-234757",[24,26,78,56,28,95,94,29,30,7,285,60,33,1387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be6bbf7f5a59544ae1e4a3e17092d5.jpg",[],{"id":5601,"slug":5602,"title":924,"dynasty":18,"author":2429,"museum":20,"description":2430,"tags":5603,"thumbUrl":5604,"material":262,"size":2433,"collection":120,"collections":5605,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":46},233175,"shan-shui-ce-cao-zhi-bai-233175",[24,56,29,78,95,94,30,7,31,32,34,153,33,2954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1665cd980e58c01dcfcbc88ae1e167d9.jpg",[],{"id":5607,"slug":5608,"title":5609,"dynasty":73,"author":487,"museum":20,"description":5610,"tags":5611,"thumbUrl":5612,"material":82,"size":5613,"collection":120,"collections":5614,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},233072,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233072","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[25,24,26,78,28,167,80,583,30,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052a21e0eecb680d2c451e6b327189c.jpg","纵55.4cm，横90.8cm",[],{"id":5616,"slug":5617,"title":5618,"dynasty":1394,"author":5619,"museum":129,"description":5620,"tags":5621,"thumbUrl":5623,"material":120,"size":120,"collection":120,"collections":5624,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},231672,"lu-ao-qi-sheng-tu-juan-chi-da-ya-231672","陆奥奇胜图卷","池大雅","此作用淡墨晕染铺陈平远山水，汀渚山峦随卷舒展，留白托出氤氲水汽，空濛幽寂。点染的林木村居朴拙灵动，将胜景的清旷雅致尽数铺展。\n卷中配行书题跋，笔墨萧散率性，纪游文辞与山水意境相融相生，尽显文人雅趣。整卷以极简水墨，晕开东方山水的禅意侘寂，把漫游揽胜的闲情藏在尺幅长卷里，淡远空灵，是诗书画一体的文人佳构。",[23,5622,595,56,28,27,29,94,96,30,7,31,115,79,97,32,245,33,151],"南画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f2e4305253da5ba56be20454445e88.jpg",[],{"id":5626,"slug":5627,"title":924,"dynasty":73,"author":5628,"museum":129,"description":5629,"tags":5630,"thumbUrl":5631,"material":120,"size":120,"collection":120,"collections":5632,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":105},230151,"shan-shui-ce-liu-yu-230151","刘宇","此幅以深山古刹为景，淡墨勾皴山石，盘桓石阶如练，在陡崖间蜿蜒穿梭，串起山脚村居与山巅梵宇。苍松错落布于崖畔坡头，古拙苍劲，晕染出山林清寂高远的氛围。\n\n画家以墨色浓淡区分阴阳向背，笔意萧散秀雅，舍去繁复皴法，却将山峦险峻幽深铺陈尽致。画面以留白晕出山峦空灵之气，淡绘山居古刹的幽寂禅意，带着文人画的简淡余韵，寄寓静穆出尘的山林雅趣，将出世栖隐的悠然意趣藏于简淡笔墨之中。",[24,26,56,78,29,30,7,245,150,846,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e204ecbc005648e2a467048d918209.jpg",[],{"id":5634,"slug":5635,"title":5636,"dynasty":5637,"author":487,"museum":129,"description":5638,"tags":5639,"thumbUrl":5643,"material":794,"size":795,"collection":120,"collections":5644,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":46},227007,"chong-shan-qun-shou-wen-hu-yi-ming-227007","崇山群兽纹壶","汉","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[5640,5641,5642,1733,7,2537],"汉代","铜制","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d348ab65db7299befa2f95b65a082d2.jpg",[],{"id":5646,"slug":5647,"title":5648,"dynasty":73,"author":1292,"museum":129,"description":5649,"tags":5650,"thumbUrl":5652,"material":120,"size":120,"collection":120,"collections":5653,"showCount":174,"zanCount":11,"manualWeight":11,"mainColor":46},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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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。",[24,26,78,56,30,29,96,7,60,132,297,352,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F814c6c822e532304dd3b9f3a1c18071e.jpg",[],{"id":5848,"slug":5849,"title":4843,"dynasty":51,"author":3475,"museum":129,"description":5850,"tags":5851,"thumbUrl":5852,"material":794,"size":795,"collection":120,"collections":5853,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},235578,"shan-shui-tu-shan-ye-zhao-zuo-235578","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。",[24,1244,56,28,30,60,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd189094003a77b7c2c9b0169311cfa5.jpg",[],{"id":5855,"slug":5856,"title":375,"dynasty":51,"author":5857,"museum":129,"description":5858,"tags":5859,"thumbUrl":5860,"material":120,"size":120,"collection":120,"collections":5861,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},235452,"shan-shui-tu-ce-pan-zheng-235452","潘徵","此作用干笔淡墨写就，近岸苍松挺劲，坡石以短披麻皴绘出朴拙质感，留白作汀洲水色，烟水空濛间远林隐隐澹澹。山岩盘桓而上，矾头堆叠出嶙峋山势，山腰幽居藏于葱郁林木间，暗合文人幽栖寄怀之趣。\n\n笔墨层次清雅秀润，勾勒皴擦间兼具元人山水的萧散简远，又带着温润整饬的意韵，将平远、深远景致相融，缓缓铺展山野幽寂的林下之趣，观之如身临幽栖林泉，心神自可沉潜于这静穆淡远的意境之中。",[25,24,26,78,56,29,30,7,31,60,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf82c4fd6630bb7f02cf054c62233f0.jpg",[],{"id":5863,"slug":5864,"title":5588,"dynasty":73,"author":1292,"museum":129,"description":5589,"tags":5865,"thumbUrl":5866,"material":82,"size":5592,"collection":120,"collections":5867,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},234885,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234885",[24,26,78,56,29,30,7,60,34,246,94,96,95,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9073c04adacda2ea064849fa4a8e4b9d.jpg",[],{"id":5869,"slug":5870,"title":924,"dynasty":51,"author":5871,"museum":129,"description":5872,"tags":5873,"thumbUrl":5874,"material":120,"size":120,"collection":120,"collections":5875,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},234867,"shan-shui-ce-zhao-pu-234867","赵璞","此作用淡墨轻皴主峰，陡拔苍劲间带着秋日萧寒，坡岸枯木错落、顽石点苔，晕染出空山岑寂之态。留白隐去云霭山岚，衬出山野疏旷清寒。\n左侧题诗笔墨清隽，书画合璧。画境呼应题中禅心自安之意，将秋山冷疏与林下幽寂禅趣相融，笔致萧散简淡，以山水为心神归处，淡墨轻岚间尽显空灵静穆的文人雅韵，把林泉隐逸的襟怀藏在淡远景致之中，诗画相映，尽显文人寄情山水的静穆襟怀。",[24,56,78,29,30,7,61,32,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccdd34e87d7472dfcb2b797cf448022.jpg",[],{"id":5877,"slug":5878,"title":924,"dynasty":73,"author":2686,"museum":20,"description":5879,"tags":5880,"thumbUrl":5881,"material":120,"size":120,"collection":120,"collections":5882,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},234792,"shan-shui-ce-dong-bang-da-234792","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,26,78,56,29,30,7,31,32,33,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F236be7196d6ef9cf365f8f88faac5787.jpg",[],{"id":5884,"slug":5885,"title":4415,"dynasty":51,"author":5886,"museum":129,"description":5887,"tags":5888,"thumbUrl":5889,"material":794,"size":795,"collection":120,"collections":5890,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":46},234710,"shan-shui-shan-ye-jiang-song-234710","蒋嵩","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。",[24,56,29,1244,30,60,7,132,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac4bb7b697b3d9731b05ee283046707.jpg",[],{"id":5892,"slug":5893,"title":5894,"dynasty":1394,"author":5895,"museum":129,"description":5896,"tags":5897,"thumbUrl":5898,"material":794,"size":795,"collection":120,"collections":5899,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},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。",[23,4154,56,28,29,4279,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce6136ac3abe35cf6a8933992871d3c.jpg",[],{"id":5901,"slug":5902,"title":5903,"dynasty":110,"author":487,"museum":129,"description":5904,"tags":5905,"thumbUrl":5908,"material":120,"size":120,"collection":120,"collections":5909,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","秋江瞑泊图","宋 佚名 秋江暝泊图 纨扇 绢本设色 23.7×24.3cm 北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[23,25,24,26,326,56,28,350,29,96,7,31,32,115,5906,467,3210,34,5907,1703],"停泊","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":5911,"slug":5912,"title":5913,"dynasty":509,"author":487,"museum":129,"description":5914,"tags":5915,"thumbUrl":5916,"material":794,"size":795,"collection":120,"collections":5917,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[28,30,167,7,31,32,2755,2537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6d8d9f78003218873fad34b454f55c.jpg",[],{"id":5919,"slug":5920,"title":5921,"dynasty":1394,"author":487,"museum":129,"description":5922,"tags":5923,"thumbUrl":5924,"material":120,"size":120,"collection":120,"collections":5925,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},225320,"fu-shi-hui-62-yi-ming-225320","浮世绘62","寒波漾着清蓝，木桥曲折如带牵起两岸雪色。旅人戴笠踏霜，牵驮货的瘦马缓行桥上，肩头落雪未掸，羁途匆匆。右侧茅庐雪压檐角，孤松疏枝擎着碎雪，静看行旅。远山素裹银装，暖调淡霞晕开在雪巅，冷暖撞色晕开清寂氛围。\n\n画面将冬日行旅的萧索，融在雪国水乡的静穆里，笔调雅致温婉，把冬郊羁愁与初雪诗意揉作一处，铺展出让人沉醉的雪国侘寂之美。",[4279,28,4280,310,1994,583,132,32,31,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd748d6b44a119d42d7ca22eda0f7f54f.jpg",[],{"id":5927,"slug":5928,"title":5929,"dynasty":1394,"author":487,"museum":129,"description":5930,"tags":5931,"thumbUrl":5935,"material":120,"size":120,"collection":120,"collections":5936,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},225319,"fu-shi-hui-60-yi-ming-225319","浮世绘60","高拱木桥横跨水泽，桥上行人摩肩接踵，铺陈开江户市井的鲜活烟火。浅青长天晕开柔淡底色，远处富士山覆着素白雪顶，为热闹市景晕开一抹清寂闲雅。桥下滩湾错落，茶摊凉伞散落其间，黛瓦屋舍依水而建，晕染出水乡的温婉日常。\n\n构图舒展雅致，明快柔和的配色将俗世喧嚣与远山静穆相融，把江户浮生的鲜活日常同东瀛山水意趣揉为一体，尽显浮世绘独有的市井诗意，让观者窥见旧日东瀛鲜活的人间暖意，于烟火中静赏山水闲情。",[4279,4280,28,1994,133,7,3619,32,132,80,5932,5933,5934],"云朵","伞","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d8cdb469b69f6af8a32c5f6cd26751.jpg",[],{"id":5938,"slug":5939,"title":5940,"dynasty":73,"author":1292,"museum":129,"description":5941,"tags":5942,"thumbUrl":5943,"material":120,"size":120,"collection":120,"collections":5944,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","仿一峰山水","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。",[23,24,26,57,30,28,29,7,31,151,32,97,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":5946,"slug":5947,"title":5948,"dynasty":73,"author":1606,"museum":129,"description":5949,"tags":5950,"thumbUrl":5952,"material":120,"size":120,"collection":120,"collections":5953,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":46},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。",[23,25,24,26,57,30,28,29,7,312,1078,60,132,34,152,80,1815,311,5951],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":5955,"slug":5956,"title":5957,"dynasty":73,"author":5958,"museum":129,"description":5959,"tags":5960,"thumbUrl":5961,"material":794,"size":795,"collection":120,"collections":5962,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":105},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 辱，有愧于，常用作谦辞：忝在知交。忝属知己。忝列门墙（愧在师门）。",[23,24,26,1244,30,56,29,7,60,34,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd23abd32e524767448b47b66f8b4a9a.jpg",[],{"id":5964,"slug":5965,"title":5966,"dynasty":73,"author":487,"museum":129,"description":5967,"tags":5968,"thumbUrl":5971,"material":794,"size":795,"collection":120,"collections":5972,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":706},224047,"qing-jin-shi-xiao-shan-zi-yi-ming-224047","青金石小山子","青金石（英文：lazurite或Lapis lazuli，来源于拉丁语）在中国古代称为璆琳、金精、瑾瑜，青黛等。佛教称为吠努离或璧琉璃，是古代东西方文化交流的见证之一。资料显示，青金石是通过“丝绸之路”从阿富汗传入中国。其通常为集合体产出，呈致密块状、粒状结构。颜色为深蓝色、紫蓝色、天蓝色、绿蓝色等。青金石还是天然蓝色颜料的主要原料。\n青金石在选择上以色泽均匀无裂纹，质地细腻无金星为佳，无白洒金次之，洒金指金星均匀分布如果黄铁矿含量较低，在表面不出现金星也不影响质量。但是如果金星色泽发黑、发暗，或者方解石含量过多在表面形成大面积的白斑，则价值大大降低。\n青金石与绿松石、锆石同为十二月的生辰石。",[3310,5969,5642,7,60,1733,79,168,5970],"青金石","石雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341752f635d05478b24ce8602ecc807d.jpg",[],{"id":5974,"slug":5975,"title":5976,"dynasty":73,"author":692,"museum":272,"description":5977,"tags":5978,"thumbUrl":5981,"material":120,"size":120,"collection":120,"collections":5982,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":5983},202376,"qun-feng-chun-ai-tu-juan-wang-hui-202376","群峰春霭图卷","春霭氤氲，漫过山峦叠嶂，晕染出朦胧诗意。群峰错落，或浓墨勾勒，或淡彩晕染，皴法细腻处见山石肌理，设色清雅间显草木生机。林木扶疏，枝干虬劲，新芽初绽；溪流蜿蜒，小桥横跨，亭台隐现于林麓间，一派春日山乡的静谧悠远。笔墨兼具南北宗之长，融古意于自然，既得山川雄浑之态，又含江南秀润之韵，尽显春日山水的灵动与生机。",[24,350,27,28,29,5979,5980,2945,152,2755,7],"群峰","春霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7573718e4085c673aa362d42b452111.jpg",[],"967f51",{"id":5985,"slug":5986,"title":5987,"dynasty":73,"author":5988,"museum":272,"description":5989,"tags":5990,"thumbUrl":5991,"material":120,"size":120,"collection":120,"collections":5992,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":5993},201588,"guan-shan-xing-lv-tu-zhou-lu-wei-201588","关山行旅图轴","陆㬙","画面中山峦起伏，云雾轻笼，意境悠远。遒劲老树盘根于峭壁，枝干虬曲苍劲，尽显生命力。下方河流潺潺，小桥横跨河面，隐约行人，暗合行旅之意。山石以皴法写就，笔墨浓淡交错，设色淡雅温润。林间树木疏密有致，远近层次分明，笔墨韵味醇厚。整体构图虚实相生，空灵清寂，尽显传统山水画的笔墨功力与意境营造之妙。",[24,26,30,56,28,29,98,151,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a9c45e19bc36de86547cd3719d02b6.jpg",[],"bf9d66",{"id":5995,"slug":5996,"title":5997,"dynasty":73,"author":5998,"museum":129,"description":5999,"tags":6000,"thumbUrl":6013,"material":794,"size":795,"collection":120,"collections":6014,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},241359,"shi-ping-wang-chun-ling-241359","诗屏","王春龄","此作用红格缠枝花边笺纸书写，格调雅致。小楷清隽端秀，点画工稳匀净，排布舒朗利落，墨色妍润沉静，尽显扎实笔墨功底。\n内容为题咏古玉与暮春感怀的自作绝句，将文士摩挲古物的幽然心曲、伤春惜景的缱绻清愁落于毫端，书文相融，笔底自带冲淡娴雅的书卷气。方寸之间藏尽清儒的审美意趣，是一件书文俱佳的小品佳作。",[3573,94,96,114,424,958,6001,637,4813,7,6002,6003,751,3932,1598,6004,5742,6005,6006,31,6007,6008,6009,6010,6011,6012],"杨柳","桐","鸦","陌","晓莺","晴日","金","细花","露","土","荆山","古玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb452b73b016f82b7badd8b2556069.jpg",[],{"id":6016,"slug":6017,"title":6018,"dynasty":51,"author":4854,"museum":129,"description":6019,"tags":6020,"thumbUrl":6021,"material":82,"size":120,"collection":626,"collections":6022,"showCount":86,"zanCount":159,"manualWeight":11,"mainColor":105},241087,"you-chong-hua-si-shi-juan-chen-yi-241087","游崇化寺诗卷","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。\n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。",[51,95,94,27,1038,7,479,31,5308,637,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[626],{"id":6024,"slug":6025,"title":2978,"dynasty":73,"author":2979,"museum":129,"description":6026,"tags":6027,"thumbUrl":6028,"material":120,"size":120,"collection":120,"collections":6029,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},239413,"fang-gu-shan-shui-ping-qin-zu-yong-239413","此作用青绿浅绛晕染桃源春涧之景，层叠山峦以披麻皴勾勒，苔点错落晕出山峦苍润生机。山坳水畔村居错落排布，板桥飞泉萦纡林间，桃松杂木各含清姿，将世外山居的幽寂闲雅铺陈眼前。\n\n右上角题诗自叙追仿元人笔意，以笔墨复刻林泉雅趣，丘壑间既承古法意韵，又自含萧散出尘的静穆意境，尽显传统山水画里寄情山水的文人逸致。",[24,26,57,28,29,149,30,151,59,32,58,132,352,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31d7174efa971295b9e6bc389b44049.jpg",[],{"id":6031,"slug":6032,"title":924,"dynasty":73,"author":2796,"museum":129,"description":6033,"tags":6034,"thumbUrl":6037,"material":120,"size":120,"collection":120,"collections":6038,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},238202,"shan-shui-ce-tang-dai-238202","此帧以干笔淡墨绘就平远溪山，近岸村居错落隐于茂林，清溪萦回脉脉，远山以披麻皴写出，淡墨晕染出空濛烟岚，尽显温润秀雅的静谧意境。题诗呼应画中幽居之趣，笔致清隽端雅，诗画相融，将林泉高致寄于尺幅之中。以极简墨色铺陈，勾勒出尘嚣尽褪的山居雅境，淡而不薄，简而愈远，藏着寄情丘壑的隐逸襟怀，尽显传统山水以画载道的文人意趣。",[24,26,78,56,29,95,94,30,7,32,132,152,1744,6035,6036],"沙","涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668eb5906780377193669be9a7fe4a69.jpg",[],{"id":6040,"slug":6041,"title":924,"dynasty":73,"author":2796,"museum":129,"description":6042,"tags":6043,"thumbUrl":6044,"material":120,"size":120,"collection":120,"collections":6045,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},238198,"shan-shui-ce-tang-dai-238198","此作以干笔皴擦写寒林丘壑，嶙峋山石间枯木萧疏，淡墨晕染远山如笼薄烟，与混茫天色相融，将冬日山野的荒寂清冷铺陈开来。边角取景，愈显天地空阔、幽绝尘寰。\n\n左侧题诗与画境相契，山空人绝、孤鸟独飞，把世外幽隐的清苦禅意晕开，朱红古印沉朴雅致，与水墨冷调相映成趣。尺幅之间藏林泉高致，将文人幽居寄情山水的意趣尽显无余，笔底皆是沉静淡远的林下之风。",[24,26,78,56,28,29,94,96,7,312,60,168,151,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d955d2c00347e29d254ec2a2f46329b.jpg",[],{"id":6047,"slug":6048,"title":924,"dynasty":73,"author":5786,"museum":129,"description":5787,"tags":6049,"thumbUrl":6051,"material":120,"size":120,"collection":120,"collections":6052,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},237983,"shan-shui-ce-zhang-geng-237983",[24,56,29,30,7,60,2954,61,6050],"茅棚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69353596057afc784bba572a188fc10.jpg",[],{"id":6054,"slug":6055,"title":924,"dynasty":73,"author":5786,"museum":129,"description":5787,"tags":6056,"thumbUrl":6057,"material":120,"size":120,"collection":120,"collections":6058,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},237982,"shan-shui-ce-zhang-geng-237982",[24,56,29,96,30,7,150,423,33,32,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0661c14b15c4358c732e089e57b0a05a.jpg",[],{"id":6060,"slug":6061,"title":6062,"dynasty":51,"author":487,"museum":129,"description":6063,"tags":6064,"thumbUrl":6065,"material":794,"size":795,"collection":120,"collections":6066,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},237546,"shi-dao-shan-shui-shan-ye-yi-ming-237546","适道山水扇页","泥金底色温润古雅，晕开淡墨山水的清逸意趣。画面以高远起势，左侧峰崖崚嶒，皴笔苍劲利落，勾勒山石的硬朗肌理；右侧浅峦迤逦铺展，水岸平阔，漾出平远之境。近景虬木错落、枝桠疏朗，掩映着茅亭村舍，田畴横陈，将郊野幽居的闲适日常铺陈开来。淡墨轻施、设色简淡，萧散的文人意趣盈满尺幅之间，题款小字清雅安和，与画面浑然相融，把林泉高致藏于盈握扇面，尽显古雅悠然的山水情怀。",[1244,24,30,29,56,28,7,60,132,715,153,2006],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c5841dc93a7b567b976371d8e6ad907.jpg",[],{"id":6068,"slug":6069,"title":2599,"dynasty":51,"author":2600,"museum":272,"description":2601,"tags":6070,"thumbUrl":6071,"material":651,"size":2604,"collection":120,"collections":6072,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},237267,"shen-hao-shan-shui-tu-ce-shen-hao-237267",[24,26,25,78,56,29,30,7,60,151,31,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dd60538f0f673a1a97b9f647aa6e14.jpg",[],{"id":6074,"slug":6075,"title":924,"dynasty":73,"author":1964,"museum":129,"description":3661,"tags":6076,"thumbUrl":6077,"material":120,"size":120,"collection":120,"collections":6078,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},237101,"shan-shui-ce-cha-shi-biao-237101",[24,26,78,56,29,96,30,311,80,583,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec67ce600a8c63aeb36d198de39d77b.jpg",[],{"id":6080,"slug":6081,"title":6082,"dynasty":73,"author":6083,"museum":129,"description":6084,"tags":6085,"thumbUrl":6086,"material":82,"size":120,"collection":120,"collections":6087,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},237065,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237065","补景古臣松梅观鹤图像并附山水册","徐佐","此作以淡墨皴擦山石，层峦清润悠远，几株古松虬劲挺拔，松针攒簇间尽显苍然古意。林麓间村居隐现，茅舍错落，晕染出幽寂平和的山居之境。左侧题诗与画作相映，诗书画印浑然一体，尽显文人雅趣。整体构图虚实相生，笔致秀雅内敛，将林下隐逸的栖居意趣融于尺幅之间，静穆雅致晕染出清代文人山水特有的淡远审美，藏着文人心中幽居林泉的理想图景。",[24,26,78,28,30,29,150,7,168,132,32,153,96,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0b758499f628aec8605fa563b12c73.jpg",[],{"id":6089,"slug":6090,"title":924,"dynasty":73,"author":6091,"museum":129,"description":6092,"tags":6093,"thumbUrl":6094,"material":794,"size":795,"collection":120,"collections":6095,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},236990,"shan-shui-ce-zhang-xi-236990","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,26,78,56,95,96,29,30,352,58,97,33,7,285,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f199c1ef3dfe5efda921fbdd3f59a5.jpg",[],{"id":6097,"slug":6098,"title":924,"dynasty":73,"author":5188,"museum":129,"description":6099,"tags":6100,"thumbUrl":6101,"material":120,"size":120,"collection":120,"collections":6102,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},236078,"shan-shui-ce-shen-zong-jing-236078","此作用淡墨铺陈平远之境，近岸林木错落，苍松虬劲、杂木清疏，枝叶以细笔勾勒，尽显萧疏清挺之姿。草亭依水傍树，孑然独立，晕染出幽寂空疏的林下氛围。远景以浅墨轻描汀洲远山，留白化作浩渺烟波，铺就水天寥阔的空濛诗意。\n\n全作用笔松秀简淡，干笔皴擦写就山石肌理，墨色层次浅淡雅致，将江畔清秋的旷远幽寂尽数铺陈，带着文人画独有的闲散静穆意趣，以极简笔墨寄寓林泉雅兴，尽显淡远清空的山水诗意。",[24,26,78,56,29,30,60,97,7,285,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc539533c0934aef926a7927754144c86.jpg",[],{"id":6104,"slug":6105,"title":6106,"dynasty":73,"author":6107,"museum":129,"description":6108,"tags":6109,"thumbUrl":6110,"material":120,"size":120,"collection":120,"collections":6111,"showCount":86,"zanCount":159,"manualWeight":11,"mainColor":105},235930,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235930","湖山梵刹图册","潘恭寿","此作以浅绛晕染湖山，远景山峦淡赭轻敷，烟岚清濛间透着秀润雅致。中景洲渚林木葱郁，朱红梵刹隐于苍林，黛瓦朱栏点破翠色，暗合梵刹主题。近景湖面空阔无波，几叶扁舟悠然浮于水面，留白铺就湖天寥廓意境。\n\n右上题诗与景致相得益彰，诗画交融尽显文人雅趣。笔墨柔隽清逸，铺展出江南湖山的静穆禅境，将山水灵秀与古刹幽宁融为一体，淡远空灵中饱含出尘之致，尽显清丽简淡的幽远意韵。",[24,26,78,28,30,29,7,31,245,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a4467cb30a9dd1383768899c6102bd.jpg",[],{"id":6113,"slug":6114,"title":924,"dynasty":73,"author":6115,"museum":129,"description":6116,"tags":6117,"thumbUrl":6118,"material":794,"size":795,"collection":120,"collections":6119,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},235549,"shan-shui-ce-zhu-chang-235549","祝昌","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[24,25,26,78,56,29,30,7,749,61,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac044037aab56993b260bc938b97f33b.jpg",[],{"id":6121,"slug":6122,"title":924,"dynasty":51,"author":2003,"museum":129,"description":6123,"tags":6124,"thumbUrl":6125,"material":120,"size":120,"collection":120,"collections":6126,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},235149,"shan-shui-ce-li-liu-fang-235149","此作以元人笔意为宗，淡墨晕染远山，枯笔轻擦出山峦肌理，空灵淡远，尽显简淡萧散的古意。近岸林木错落舒展，茅舍隐于林泽汀洲之间，留白代水，晕染出空濛的江南水岸意趣。\n\n笔墨干湿互用，墨色柔缓过渡层次分明，带着文人画的书卷清气，将幽居山水间的静谧诗意缓缓铺陈，仿若可见林下幽人与烟霞相伴的隐逸日常，尽显晚明文人山水画的抒情特质，藏着平淡天真的林下襟怀。",[24,56,30,29,78,7,31,60,132,749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4ae7ce33de72aca2dd40054d3c1555c.jpg",[],{"id":6128,"slug":6129,"title":5588,"dynasty":73,"author":1292,"museum":129,"description":5589,"tags":6130,"thumbUrl":6131,"material":82,"size":5592,"collection":120,"collections":6132,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},234879,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234879",[24,26,78,28,29,30,60,97,7,31,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e86b2137d8f1e282e2b15d223ad0ab.jpg",[],{"id":6134,"slug":6135,"title":4495,"dynasty":73,"author":5408,"museum":20,"description":5409,"tags":6136,"thumbUrl":6137,"material":262,"size":120,"collection":120,"collections":6138,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},234750,"huang-shan-tu-ce-jiang-zhu-234750",[24,26,78,56,29,95,96,30,7,97,60,285,3440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e9b9c3c9203fe957f25772430a0170.jpg",[],{"id":6140,"slug":6141,"title":2544,"dynasty":73,"author":6142,"museum":129,"description":6143,"tags":6144,"thumbUrl":6145,"material":120,"size":120,"collection":120,"collections":6146,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":105},234482,"shan-shui-ce-ye-wu-ji-shan-234482","吴继善","吴继善，字志衍,明朝官员。南直隶太仓人，中崇祯十年（1637年）进士，崇祯十六年（1643年）任成都知县。",[24,56,29,78,30,7,31,60,132,58,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034cfd87efdd9e44e6e9b42529d07c9d.jpg",[],{"id":6148,"slug":6149,"title":6150,"dynasty":110,"author":487,"museum":129,"description":6151,"tags":6152,"thumbUrl":6153,"material":120,"size":120,"collection":120,"collections":6154,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":46},227869,"song-gang-mu-se-tu-yi-ming-227869","松岗暮色图","此作以暮色晕染开山野幽趣，近坡苍松虬劲挺秀，枝叶攒聚如团墨，在昏暝里凝出深黛苍古的质感。远景山峦浸在烟霭中，轮廓晕成浅淡剪影，薄纱似的暮色漫过天地，以墨色浓淡铺陈出虚实层次，晕染出远近景致的朦胧分界。\n\n全幅未着光影刻画，只以水墨晕沉敛出四合静谧。坡岸蜿蜒隐入暗霭，松涛仿佛随暮色沉凝，将黄昏山野的恬寂安然藏在氤氲烟岚里，于尺幅间尽显林泉暮色的幽远空寂，尽显小品山水以简驭繁的雅致意韵。",[23,24,26,1244,56,28,29,352,7,424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979fdeb79fb61cf20eb69d1377c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—1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。",[24,26,78,56,29,95,96,30,7,60,456,31,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2967f9df280250d20a4f968899ad17ab.jpg",[],{"id":6251,"slug":6252,"title":6253,"dynasty":73,"author":6254,"museum":129,"description":6255,"tags":6256,"thumbUrl":6257,"material":794,"size":795,"collection":120,"collections":6258,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},239130,"shan-shui-he-hui-ce-zhang-zong-cang-239130","山水合绘册","张宗苍","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[24,26,78,56,29,30,7,60,132,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d5b33731f86301ee63d106dee88a3c.jpg",[],{"id":6260,"slug":6261,"title":924,"dynasty":73,"author":1405,"museum":129,"description":1406,"tags":6262,"thumbUrl":6263,"material":120,"size":120,"collection":120,"collections":6264,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},238990,"shan-shui-ce-yang-jin-238990",[24,56,29,78,30,7,31,115,32,132,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b30ca62fb56b0c204076deceecb4e2.jpg",[],{"id":6266,"slug":6267,"title":5134,"dynasty":73,"author":3437,"museum":129,"description":6268,"tags":6269,"thumbUrl":6270,"material":120,"size":120,"collection":120,"collections":6271,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},238251,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238251","淡墨晕开远近层叠的山峦，烟岚轻笼林麓村居，田埂蜿蜒铺展在浅淡春色里，平远山水的空濛写意尽显无余。简淡清润的笔墨，未作繁复皴擦，却将郊野朝暮的闲逸野趣勾勒入微，仿佛晨雾漫过松梢，裹着浅淡烟火漫溢故城荒台。\n\n右侧题诗与画作相映成趣，诗画合璧间，把此间的幽远清旷藏在留白之中，观之便好似身临其间，静赏烟霭浮沉，漫品古意澹泊的悠然况味。",[24,26,78,56,95,29,28,30,7,32,132,297,35,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c560aa45220e40da3bd29e71e8298a.jpg",[],{"id":6273,"slug":6274,"title":924,"dynasty":73,"author":2796,"museum":129,"description":6275,"tags":6276,"thumbUrl":6277,"material":120,"size":120,"collection":120,"collections":6278,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},238201,"shan-shui-ce-tang-dai-238201","此帧取晨霁之景，青峰叠翠浸润晓雾，烟岚轻笼溪山，山脚林木蓊郁，水榭藏于幽居，汀洲隐现渡头，一派清润空寂的山居气象。设色雅致柔和，石青石绿晕染山峦，兼青绿之明妍与浅绛之温润，笔墨糅合元人萧散简远与院体精整工致。左侧题诗与画境呼应，将辋川闲意融于笔端，写尽朝露沐山、凉风穿榭的幽居意趣，诗画一体，淡远清和，尽显静穆高逸的林下之风，铺陈出烟雨初歇的溪山雅态。",[24,26,28,30,3573,29,7,31,32,245,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cce957f30ebbf222781052b82b587e1.jpg",[],{"id":6280,"slug":6281,"title":924,"dynasty":73,"author":2796,"museum":129,"description":6282,"tags":6283,"thumbUrl":6284,"material":120,"size":120,"collection":120,"collections":6285,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},238199,"shan-shui-ce-tang-dai-238199","浅绛皴擦出岩壑肌理，重林沉凝在清霭之间，风神疏旷悠然。飞瀑高悬如匹练垂空，将春山的生机揉进空蒙雾气中。浓荫深掩孤村柴扉，静锁山居闲逸意趣。峰腰苔痕青润，危崖草亭孑立，似候访客寻幽踏春，探问山灵私语。\n\n诗画相映成趣，笔致苍秀兼备，淡设晕染出春日山乡的清和幽寂，将林泉高致藏于尺幅间，观之恍若步入云深之处，揽烟霞、听流泉，尽得林泉雅韵。",[24,26,28,29,78,30,7,285,32,132,151,59,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dcc4abf16f05eceec82252ed998da1.jpg",[],{"id":6287,"slug":6288,"title":924,"dynasty":73,"author":6289,"museum":129,"description":6290,"tags":6291,"thumbUrl":6292,"material":794,"size":795,"collection":120,"collections":6293,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},238085,"shan-shui-ce-lu-yao-238085","陆耀","陆耀，字朗甫，一字朗夫，号青来，吴县人，工诗文，兼长书、画，精分隶书，水墨山水，落落有自家风。",[24,26,78,56,29,30,7,60,58,34,79,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97829d1c103e01de892370a3cdff2830.jpg",[],{"id":6295,"slug":6296,"title":924,"dynasty":73,"author":6297,"museum":129,"description":6298,"tags":6299,"thumbUrl":6300,"material":794,"size":795,"collection":120,"collections":6301,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":46},237919,"shan-shui-ce-cheng-ming-237919","程鸣","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[24,56,29,78,96,94,30,60,7,1994,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7d2fc757ea7d087ed5a40dcf9f1701.jpg",[],{"id":6303,"slug":6304,"title":6305,"dynasty":51,"author":487,"museum":129,"description":6306,"tags":6307,"thumbUrl":6308,"material":794,"size":795,"collection":120,"collections":6309,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":46},237788,"wen-shi-shan-shui-shan-ye-yi-ming-237788","文石山水扇页","此作为典型吴门意趣文人山水，以扇面咫尺形制铺展丘壑。近林木蓊郁苍润，点叶错落灵动，茅庐隐于树石隐处，暗合幽居野逸之致。水墨皴擦写就山石肌理，浓淡墨色晕染出草木层叠，留白虚处暗引溪径通连远山，萧散空寂间尽显林下雅致。右上角题款极简融于画面，暗寄文人寄情林泉、归心丘园的隐逸心绪。虽无署名，却深得明季山水画简淡清和的神韵，将山野闲居的幽寂之美凝于盈握之间，以小品见大境，尽显文人山水的空逸意趣。",[24,26,1244,56,29,30,7,285,60,132,151,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102baf5086a7eb075c2298524451c22b.jpg",[],{"id":6311,"slug":6312,"title":6313,"dynasty":73,"author":6314,"museum":129,"description":6315,"tags":6316,"thumbUrl":6317,"material":794,"size":795,"collection":120,"collections":6318,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},237786,"fang-wang-meng-shan-shui-shan-ye-ding-peng-237786","仿王蒙山水扇页","丁澎","丁澎（1622～1686），字飞涛，号药园，仁和（今浙江省杭州市）人，清初著名回族诗人。\n其祖父丁鹤年是明朝（1368～1644）著名诗人。与同乡吴百朋、陆圻、紫绍炳、陈廷会、孙治、沈谦、毛先舒、虞黄吴、张纲孙合称为“西岸十子”、“西泠十子”。",[24,26,1244,56,29,296,30,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[清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[25,24,26,78,56,29,296,30,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b76071a1fbca33497e17e4fb4022b09.jpg",[],{"id":6381,"slug":6382,"title":6383,"dynasty":51,"author":6384,"museum":129,"description":6385,"tags":6386,"thumbUrl":6387,"material":794,"size":795,"collection":120,"collections":6388,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},235766,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-tian-chi-shan-tu-ye-chen-chun-235766","吴门诸家寿袁方斋三绝册-天池山图页","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[24,26,78,56,28,30,7,60,61,94,96,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88ed34264a705b2ce16bac1657e9992.jpg",[],{"id":6390,"slug":6391,"title":691,"dynasty":73,"author":3773,"museum":129,"description":3774,"tags":6392,"thumbUrl":6393,"material":794,"size":795,"collection":120,"collections":6394,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},235746,"fang-gu-shan-shui-ce-xue-xuan-235746",[24,26,78,28,30,29,7,31,60,151,245,3776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9127db220887743e618c9aa6952259f.jpg",[],{"id":6396,"slug":6397,"title":691,"dynasty":51,"author":2600,"museum":129,"description":6398,"tags":6399,"thumbUrl":6400,"material":120,"size":120,"collection":120,"collections":6401,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},235622,"fang-gu-shan-shui-ce-shen-hao-235622","此作淡墨轻岚，意韵萧疏清旷。近滩石矶错落，策杖行人徐行水畔，野趣自生。左岸篱舍山居静立，一人凭檐远望，衬出林间幽寂。远山以干笔淡墨皴擦晕染，层叠朦胧，烟岚轻笼如诗。枯木疏枝虬曲，笔墨松灵简淡，以极简皴擦写出山石肌理，晕染间尽显空濛悠远的林下意境。题跋小字清雅悠然，与山水景致浑然相融，尽显文人画崇尚的平淡天真，悠悠隐逸之思浸透纸面，藏着独有的萧散简远之美。",[24,26,78,56,296,29,30,7,31,61,581,98,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec495cb138b4f1daaa7eeafb820a626e.jpg",[],{"id":6403,"slug":6404,"title":924,"dynasty":73,"author":6405,"museum":129,"description":6406,"tags":6407,"thumbUrl":6408,"material":794,"size":795,"collection":120,"collections":6409,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},235498,"shan-shui-ce-liu-yu-235498","柳堉","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。",[24,26,78,56,29,30,7,60,456,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e8cf51c1f68dffe5f9e8b82face608.jpg",[],{"id":6411,"slug":6412,"title":6413,"dynasty":51,"author":3035,"museum":129,"description":6414,"tags":6415,"thumbUrl":6416,"material":794,"size":795,"collection":120,"collections":6417,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},235315,"ba-jia-shan-shui-ce-shan-yu-zhong-quan-tu-ce-ye-bian-wen-yu-235315","八家山水册-山雨重泉图册页","字孟硕，吴江（今江苏吴江）人。工画，见赏于董思白（其昌）、陈眉公（继儒）。明亡佯狂卒，年三十二。",[24,26,78,56,30,7,447,32,34,94,96,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba90ceeeaf9083886b4041d1961704a1.jpg",[],{"id":6419,"slug":6420,"title":924,"dynasty":51,"author":2600,"museum":129,"description":6421,"tags":6422,"thumbUrl":6423,"material":120,"size":120,"collection":120,"collections":6424,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},235289,"shan-shui-ce-shen-hao-235289","此作用笔简淡松灵，以浅绛设色晕染层叠峰峦，山石以干笔皴擦勾勒肌理，棱角隐现间兼具雄浑朴拙与秀雅之态。古松虬曲挺立，松针攒簇苍劲，为幽寂山林添一重清刚生气。\n\n画面留白疏密相宜，铺陈出林泉空濛悠远之境，右上角题款与景致浑然相融，尽显文人画萧疏淡远的意趣，暗合著画者寄迹林泉、超然物外的林下襟怀。",[24,26,25,78,56,28,29,30,7,150,98,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a42f428252821636d93a148896f295b.jpg",[],{"id":6426,"slug":6427,"title":4495,"dynasty":73,"author":5408,"museum":20,"description":5409,"tags":6428,"thumbUrl":6429,"material":262,"size":120,"collection":120,"collections":6430,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},234763,"huang-shan-tu-ce-jiang-zhu-234763",[24,56,29,78,94,96,30,7,479,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4fc2e5892fec283641d67a980854605.jpg",[],{"id":6432,"slug":6433,"title":4495,"dynasty":73,"author":5408,"museum":20,"description":5409,"tags":6434,"thumbUrl":6435,"material":262,"size":120,"collection":120,"collections":6436,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},234761,"huang-shan-tu-ce-jiang-zhu-234761",[24,56,29,78,95,96,30,7,58,32,231,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15de5c14cfee2513bb6859d3c8b3a998.jpg",[],{"id":6438,"slug":6439,"title":4495,"dynasty":73,"author":5408,"museum":20,"description":5409,"tags":6440,"thumbUrl":6441,"material":262,"size":120,"collection":120,"collections":6442,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},234753,"huang-shan-tu-ce-jiang-zhu-234753",[24,26,78,3410,95,30,7,60,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97394b73bfded6f474eaccac6187120a.jpg",[],{"id":6444,"slug":6445,"title":4495,"dynasty":73,"author":5408,"museum":20,"description":5409,"tags":6446,"thumbUrl":6447,"material":262,"size":120,"collection":120,"collections":6448,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},234740,"huang-shan-tu-ce-jiang-zhu-234740",[24,26,78,56,94,95,30,310,7,32,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0784c595e270eb7061be53568d00ae2.jpg",[],{"id":6450,"slug":6451,"title":4495,"dynasty":73,"author":5408,"museum":20,"description":5409,"tags":6452,"thumbUrl":6453,"material":262,"size":120,"collection":120,"collections":6454,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},234727,"huang-shan-tu-ce-jiang-zhu-234727",[24,26,78,56,30,29,95,96,7,150,456,231,80,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b81180db610e9dfeceedc52f9b19832.jpg",[],{"id":6456,"slug":6457,"title":6458,"dynasty":73,"author":6459,"museum":20,"description":6460,"tags":6461,"thumbUrl":6462,"material":262,"size":6463,"collection":120,"collections":6464,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},234499,"bai-ying-lou-tu-ce-ye-shi-er-zhi-234499","拜影楼图册页","史尔祉","《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。",[24,26,78,56,30,7,60,132,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F606478c7dda13ae2089d32b26200ba31.jpg","纵19.5厘米 横16.0厘米",[],{"id":6466,"slug":6467,"title":4415,"dynasty":73,"author":3427,"museum":129,"description":6468,"tags":6469,"thumbUrl":6470,"material":120,"size":120,"collection":120,"collections":6471,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},234487,"shan-shui-shan-ye-qi-zhi-jia-234487","祁豸佳（1594-1683），字止群，号雪瓢，山阴（今浙江绍兴）人。彪佳弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董玚、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。书学董其昌，而乏其秀韵。山水宗董源、惠崇、沈周等，善仿诸家山水，尤爱用巨然法，气势淋漓，笔力挺拔。间作花卉，亦多逸致，诗文词皆有致，至于歌、弈、图章，百戏俱善。",[24,26,1244,30,56,29,7,60,132,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8457ee10726267d3b4cba5be0ae9fae4.jpg",[],{"id":6473,"slug":6474,"title":6475,"dynasty":73,"author":6476,"museum":20,"description":6477,"tags":6478,"thumbUrl":6479,"material":262,"size":6480,"collection":120,"collections":6481,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},233940,"dai-lu-fang-bei-tu-ce-huang-yi-233940","岱麓访碑图册","黄易","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,26,78,56,29,30,7,97,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95191587472e9469146deae864f7234.jpg","纵17.4厘米，横50.8厘米",[],{"id":6483,"slug":6484,"title":4495,"dynasty":73,"author":2932,"museum":20,"description":4496,"tags":6485,"thumbUrl":6486,"material":262,"size":4499,"collection":120,"collections":6487,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":105},233158,"huang-shan-tu-ce-mei-qing-233158",[24,56,29,78,94,96,30,7,150,97,33,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe552749b978d50ac06c592811531b053.jpg",[],{"id":6489,"slug":6490,"title":6491,"dynasty":51,"author":487,"museum":129,"description":6492,"tags":6493,"thumbUrl":6495,"material":120,"size":120,"collection":120,"collections":6496,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":46},228810,"su-li-qi-bie-tu-yi-ming-228810","苏李泣别图","朔风卷雪，枯木枝桠凝霜，荒野孤寒萧索。执手二人垂眸泫然，指尖相抵，千言哽在喉间，将故知诀别、家国相隔的沉恸藏于相拥之间。侧立侍从掩袖黯然，身畔麋鹿亦似感知悲戚，垂首静立。苍劲线条勾勒出人物怆然神态，淡墨晕染开漫天荒寒，将乱世里身不由己的离愁别绪尽数铺展，把这一段千古伤怀的诀别凝于绢素，凄清沉郁的悲情漫溢画面，余韵悠长。",[23,25,24,26,57,3410,80,311,7,6494],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe38fb74702a85c2f0bce08ba0330270.jpg",[],{"id":6498,"slug":6499,"title":6500,"dynasty":73,"author":6501,"museum":1002,"description":6502,"tags":6503,"thumbUrl":6504,"material":6505,"size":6506,"collection":120,"collections":6507,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":120},220704,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220704","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。",[23,24,26,78,30,56,28,7,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451b3a2ed669c82159c7ba554485e4fd.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":6509,"slug":6510,"title":6511,"dynasty":73,"author":1307,"museum":272,"description":6512,"tags":6513,"thumbUrl":10,"material":120,"size":120,"collection":120,"collections":6514,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":6515},203102,"zeng-mao-qing-shan-shui-tu-ce-dai-ben-xiao-203102","赠冒青山水图册","画面中山峦层叠，以干笔淡墨皴擦出岩石苍劲肌理，线条简劲却暗含浑朴之气。山间林木疏朗错落，墨色浓淡交织，尽显自然野趣。近岸孤舟静泊，水面轻漾，似有幽人隐于舟中，传递出清寂悠远的意境。整幅画弃浓艳设色，以水墨素净勾勒山水空灵，笔墨间藏着文人对自然的深挚体悟，尽显林下之风的恬淡与超脱。",[24,56,30,29,115,78,32,7],[],"9e887a",{"id":6517,"slug":6518,"title":6519,"dynasty":73,"author":6520,"museum":272,"description":6521,"tags":6522,"thumbUrl":6524,"material":120,"size":120,"collection":120,"collections":6525,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":6526},202369,"ce-jian-xun-shi-tu-zhou-lan-meng-202369","策蹇寻诗图轴","蓝孟","山峦叠嶂间，枯木疏枝交错，茅舍隐于林麓，瀑布自岩间垂落，溪畔小桥轻架。笔墨皴染结合，山石轮廓以劲挺线条勾勒，树木枝干虬曲有致，淡彩晕染出古雅色调，尽显文人山水的清寂悠远。策蹇寻诗的意趣虽未直白绘出，却于静谧景致中暗蕴寻访幽境、求索诗意的文人雅怀，引人入胜。",[24,30,28,29,151,58,4610,6523,7],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d133a06510b536fd689de9acd2aeac.jpg",[],"785b33",{"id":6528,"slug":6529,"title":6530,"dynasty":73,"author":6531,"museum":272,"description":6532,"tags":6533,"thumbUrl":6534,"material":120,"size":120,"collection":120,"collections":6535,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":6536},202298,"san-shi-tu-zhou-shen-quan-202298","三狮图轴","沈铨","画面中山石错落，雪痕隐约，母狮与幼狮亲昵依偎，另一只幼狮俯身石边，姿态憨然。以工笔细绘狮身毛发，丝缕毕现，设色温润雅致；山石则以皴法勾勒，笔墨苍劲，与走兽的柔腻质感形成鲜明对比。整体构图疏密有致，情态生动传神，于自然野趣中流露脉脉温情，尽显工笔走兽之精妙。",[167,28,1733,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bcb72904f6bfed23c161184ff847d27.jpg",[],"b6a087",{"id":6538,"slug":6539,"title":6540,"dynasty":73,"author":2932,"museum":272,"description":6541,"tags":6542,"thumbUrl":6543,"material":120,"size":120,"collection":120,"collections":6544,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":6545},201522,"shi-zi-feng-tu-zhou-mei-qing-201522","狮子峰图轴","画面中山峦层叠耸峙，峰脊线条硬朗灵动，墨色浓淡交错间，尽显山石苍劲质感。云雾如缕缠绕峰谷，虚实相生，营造深远空间意境。山腰隐现的亭阁，为雄奇山水添几分人文意趣，似可闻隐士凭栏之声。笔触兼用皴擦渲染，干湿互济，既勾山骨，又晕云柔，尽显黄山狮子峰的奇险秀美。画风洒脱自然，雄浑中见雅致，是文人山水的典型之作。",[24,30,56,28,29,97,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb1879db814abd741cb56fbd330929.jpg",[],"ae9e89",{"id":6547,"slug":6548,"title":6549,"dynasty":73,"author":487,"museum":129,"description":6550,"tags":6551,"thumbUrl":6553,"material":794,"size":795,"collection":120,"collections":6554,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":46},250940,"qing-yu-lu-he-tong-chun-song-shan-ru-yi-yi-ming-250940","青玉鹿鹤同春松山如意","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[6552,5642,6494,2291,352,7,2537],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23172b5fe34ba297e7124c5cd148fea.jpg",[],{"id":6556,"slug":6557,"title":6558,"dynasty":73,"author":5294,"museum":129,"description":5295,"tags":6559,"thumbUrl":6562,"material":794,"size":795,"collection":120,"collections":6563,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":105},241360,"ti-hua-shi-zhou-ruan-yuan-241360","题画诗轴",[26,57,95,56,96,1038,2291,7,637,6560,6561],"阁","院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf51e02c7b1de75d4deb62ba52ddefff.jpg",[],{"id":6565,"slug":6566,"title":6567,"dynasty":73,"author":6568,"museum":129,"description":6569,"tags":6570,"thumbUrl":6579,"material":794,"size":795,"collection":120,"collections":6580,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":105},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","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。",[94,57,95,96,31,749,637,3932,1343,285,6009,1342,7,751,6571,3933,1598,6572,5464,1994,117,1341,312,424,3967,60,6573,6574,6575,6576,6577,6578],"木","杜","苔","黄","绿","钩","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":6582,"slug":6583,"title":6584,"dynasty":73,"author":6585,"museum":129,"description":6586,"tags":6587,"thumbUrl":6591,"material":794,"size":795,"collection":120,"collections":6592,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":105},240888,"shi-zhou-tang-ying-240888","诗轴","唐英","唐英（1682-1756年），清代陶瓷艺术家，能文善画，兼书法篆刻且又精通制瓷。沈阳人，隶属汉军正白旗，雍正六年（1728年）奉命任景德镇御窑厂协理官，乾隆元年（1736年）起先后管理淮安关及九江关并兼理窑务，直至二十一年（其中十五、十六两年一度中止）。",[26,94,57,95,96,3932,7,750,2754,6588,352,637,3937,6589,6590],"雲","青山","鐘磬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd423859685711d326acb32c007d9b8.jpg",[],{"id":6594,"slug":6595,"title":6596,"dynasty":73,"author":6597,"museum":129,"description":6598,"tags":6599,"thumbUrl":6603,"material":794,"size":795,"collection":120,"collections":6604,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":105},240884,"zhou-liang-gong-qi-lv-shi-zhou-zhou-liang-gong-240884","周亮工七律诗轴","周亮工","周亮工（1612年—1672年），字元亮，又有陶庵、减斋、缄斋、适园、栎园等别号，学者称栎园先生、栎下先生。河南祥符（今河南开封祥符区）人，明末清初官员、文学家、篆刻家、收藏家。\n周亮工于明崇祯十三年（1640年）进士及第，曾任山东潍县知县，迁浙江道监察御史。入清后，任两淮盐法道、淮扬兵备道、福建布政使、都察院左副都御史、户部右侍郎等。后屡次被弹劾判死刑，又遇赦免。康熙元年（1662年），起复为青州海道、江安储粮道。康熙十一年（1672年），逝世于江宁，享年六十一岁。\n周亮工博学多才，诗文、金石、书画皆有很深造诣。古文宗法唐宋八大家，推崇严羽诗论。著有《赖古堂集》《读画录》等。",[94,95,57,96,1342,7,583,6600,6601,6602,3937],"书","帷","堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ae57aec5d72a56413c9d534f985754.jpg",[],{"id":6606,"slug":6607,"title":6608,"dynasty":73,"author":6609,"museum":129,"description":6610,"tags":6611,"thumbUrl":6613,"material":794,"size":795,"collection":120,"collections":6614,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":105},240670,"ti-cang-sang-xian-yi-tu-juan-qian-qian-yi-240670","题沧桑仙奕图卷","钱谦益","钱谦益（1582年10月22日—1664年6月17日），字受之，号牧斋，晚号蒙叟，东涧老人。学者称虞山先生。清初诗坛的盟主之一。苏州府常熟县鹿苑奚浦（今张家港市塘桥镇鹿苑奚浦）人。\n钱谦益是明万历三十八年（1610年）探花（一甲三名进士），后为东林党的领袖之一，官至礼部侍郎，因与温体仁争权失败而被革职。明亡后，马士英、阮大铖在南京拥立福王，建立南明弘光政权，钱谦益依附之，为礼部尚书。后降清，为礼部侍郎。\n钱谦益的评价富于争议，尤其是降清、仕清之举成为其道德症结，清乾隆帝将之视作失节者，删禁其著作；但也有学者指出，入清后钱谦益仍多次私下策反降清武将、暗中资助郑成功反清等等。若就文学地位而言，则钱谦益仍应得到肯定。",[94,95,27,96,7,3937,80,6612,56],"棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11806b03ac02295de1494fb79076c8c.jpg",[],{"id":6616,"slug":6617,"title":5724,"dynasty":51,"author":6618,"museum":129,"description":6619,"tags":6620,"thumbUrl":6621,"material":794,"size":795,"collection":120,"collections":6622,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":46},240629,"shi-juan-wu-wei-yi-240629","吴惟一","此作以草书挥就，整卷行气贯通，字势顾盼牵丝萦绕，尽得草书抒情之妙。笔墨枯湿浓淡交叠变幻，提按顿挫间带着肆意放达的意气，线条飞动缠绕却不失章法，字字相衔、行行呼应，如行云流水般舒卷自如。\n\n既有狂草的颠逸遗韵，又自出机杼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婡明朝洎頭人筿，生平不详，史籍中对诸氏并无明确记载。从文献和他现存的少量书画作品中可以大致勾勒其生平行迹。",[24,26,1244,56,29,30,7,60,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b87ce4955ebc9918e1fc4147c15ed.jpg",[],{"id":7216,"slug":7217,"title":924,"dynasty":51,"author":4755,"museum":129,"description":6814,"tags":7218,"thumbUrl":7219,"material":794,"size":795,"collection":120,"collections":7220,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":105},237004,"shan-shui-ce-sun-ri-shao-237004",[24,26,78,56,3410,95,7,31,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4acdfb95abf370a91eee90b63348a4.jpg",[],{"id":7222,"slug":7223,"title":4415,"dynasty":73,"author":7224,"museum":129,"description":7225,"tags":7226,"thumbUrl":7228,"material":794,"size":795,"collection":120,"collections":7229,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":46},236954,"shan-shui-shan-ye-cao-you-guang-236954","曹有光","曹有光 （生卒年不详），吴县（今江苏苏州）人。工书，善画山水、花卉。",[1244,24,30,56,28,29,7,31,60,285,37,4476,7227,2059,338],"近岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef854c1188bba4c5b7d7ba3e0b16df8a.jpg",[],{"id":7231,"slug":7232,"title":7233,"dynasty":73,"author":487,"museum":129,"description":7234,"tags":7235,"thumbUrl":7236,"material":794,"size":795,"collection":120,"collections":7237,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":46},236238,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236238","避暑山庄图励宗万书诗成扇","此扇以泥金为底，自带雍容华贵的底色，山水景致铺陈其上。山峦以披麻皴写就，层叠逶迤，苍松茂木错落点染，屋庐隐于林泉之间，晕染出幽寂空凉的山居意趣。淡赭轻敷山岩，墨色勾勒林麓，笔墨清润秀雅，将夏山翠色与静穆凉意融于盈尺扇面。书画合璧，山水与题诗相互呼应，把林泉高致藏于开合之间，抬手便可将山野幽意携于袖中，尽显悠然雅致的赏玩意趣。",[24,26,1244,28,30,29,94,7,60,4155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f5c9e0d646867a23d17ffde919391e.jpg",[],{"id":7239,"slug":7240,"title":924,"dynasty":73,"author":3427,"museum":129,"description":7241,"tags":7242,"thumbUrl":7243,"material":120,"size":120,"collection":120,"collections":7244,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":46},235941,"shan-shui-ce-qi-zhi-jia-235941","此作以淡墨晕染出空濛山居之景，近岸林木蓊郁，板桥通幽，山舍错落隐于林间野径，远山层叠烟岚轻笼，笔墨秀润苍雅，尽显林泉幽寂之致。淡赭轻施衬出山石肌理，草木丰茂间藏着隐逸闲趣。对页行书笔致清逸流畅，书画合璧文气交融，将文人林下幽居的澹远意趣融于尺幅间，观之如临静穆山居，仿佛能聆山风穿林、涧水漱石，尽显文人画的清雅逸韵。",[25,24,26,78,56,30,95,96,29,7,60,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62444a7b0ad901c5e5a68c5d10153a23.jpg",[],{"id":7246,"slug":7247,"title":691,"dynasty":73,"author":3773,"museum":129,"description":3774,"tags":7248,"thumbUrl":7249,"material":794,"size":795,"collection":120,"collections":7250,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":105},235747,"fang-gu-shan-shui-ce-xue-xuan-235747",[24,26,78,56,30,7,60,149,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0dab84e20eda7f87a68988b7e86d4b.jpg",[],{"id":7252,"slug":7253,"title":924,"dynasty":73,"author":487,"museum":129,"description":7254,"tags":7255,"thumbUrl":7256,"material":794,"size":795,"collection":120,"collections":7257,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":105},235399,"shan-shui-ce-yi-ming-235399","此作用笔松灵萧散，以淡渴墨勾勒皴擦山体，以披麻皴意写山峦肌理，线条舒缓柔润，弱化山石棱角，尽显丘壑的温润空濛。仅以少许赭石轻染岩穴，淡墨点染山巅与坡脚的杂木，简笔错落间晕开山野生机。\n\n画面留白肆意，将山岚云气、浅滩空阔藏于其中，舍去繁复景致，以清简笔意写尽林泉幽寂，尽显文人画简淡天真的意趣。似是闲中寄兴随手点染，把空山松风、悠然丘壑藏在淡墨浅彩之间，观之如临幽寂林泉，静享山野清宁。",[24,26,78,56,28,29,30,7,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec47f448ae79517daff81e3a5bc18b4.jpg",[],{"id":7259,"slug":7260,"title":4495,"dynasty":73,"author":5408,"museum":20,"description":5409,"tags":7261,"thumbUrl":7262,"material":262,"size":120,"collection":120,"collections":7263,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":105},234731,"huang-shan-tu-ce-jiang-zhu-234731",[24,26,78,56,95,29,30,94,96,7,285,32,151,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8195fb39ae85c54dc2445b7729fbd.jpg",[],{"id":7265,"slug":7266,"title":7267,"dynasty":51,"author":7268,"museum":129,"description":7269,"tags":7270,"thumbUrl":7271,"material":120,"size":120,"collection":120,"collections":7272,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":105},233597,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233597","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。",[51,78,28,3410,30,60,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cad9723383e88011447b54f2fb212a7.jpg",[],{"id":7274,"slug":7275,"title":4495,"dynasty":73,"author":2932,"museum":20,"description":4496,"tags":7276,"thumbUrl":7277,"material":262,"size":4499,"collection":120,"collections":7278,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":105},233438,"huang-shan-tu-ce-mei-qing-233438",[24,56,28,30,7,479,3393,61,96,78,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd50f9bb50f598e131c06a4c2f36415c.jpg",[],{"id":7280,"slug":7281,"title":7282,"dynasty":1394,"author":7283,"museum":129,"description":7284,"tags":7285,"thumbUrl":7288,"material":794,"size":795,"collection":120,"collections":7289,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":46},232121,"de-jia-62-de-jia-232121","德加62","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis 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。",[7286,7287,28,30,7,1795,5934,808],"油画","印象派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941bc05dfcea3de6db94b3eca10ddc5f.jpg",[],{"id":7291,"slug":7292,"title":7293,"dynasty":73,"author":487,"museum":129,"description":7294,"tags":7295,"thumbUrl":7299,"material":794,"size":795,"collection":120,"collections":7300,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":105},229690,"shi-ba-shi-ji-mi-la-song-lu-chang-chun-yan-shan-yi-ming-229690","十八世纪 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