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》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[25,24,28,122,123,124,7,125,126,127],"飞鸟","枯柳","池塘","雾霭","秋意","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0e139577d1c0981134a129ca84c66.jpg","未知","Xcm*Xcm",[],46,"795548",{"id":135,"slug":136,"title":46,"dynasty":18,"author":137,"museum":66,"description":138,"tags":139,"thumbUrl":140,"material":37,"size":141,"collection":39,"collections":142,"showCount":132,"zanCount":77,"manualWeight":11,"mainColor":42},219964,"shu-lin-yuan-shan-tu-wu-zhen-219964","吴镇","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[23,25,24,26,51,28,29,52,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[39],{"id":144,"slug":145,"title":146,"dynasty":18,"author":137,"museum":119,"description":147,"tags":148,"thumbUrl":151,"material":129,"size":130,"collection":74,"collections":152,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":42},290822,"yuan-shu-lin-yuan-shan-wu-zhen-290822","元疎林远山","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。",[25,24,26,28,51,7,53,32,149,29,56,150],"屋舍","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeb34e136ba53cca7ce0b9820edabe6.jpg",[],25,{"id":155,"slug":156,"title":157,"dynasty":102,"author":103,"museum":48,"description":158,"tags":159,"thumbUrl":175,"material":176,"size":177,"collection":74,"collections":178,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":42},234056,"shan-shui-ce-dong-qi-chang-234056","山水册","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[25,26,160,51,161,28,162,163,29,164,165,166,167,87,7,168,169,170,150,56,171,172,173,174],"册","设色","青绿","临摹","峰峦","秋树","青山","瀑布","坡石","烟雨","松涧","云树","水阁","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],{"id":180,"slug":181,"title":182,"dynasty":102,"author":183,"museum":66,"description":184,"tags":185,"thumbUrl":189,"material":190,"size":191,"collection":74,"collections":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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[25,28,51,27,163,150,56,228,33,7],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad3e85835ca1b452c5ebd01bb0bc60c.jpg",[],15,{"id":233,"slug":234,"title":235,"dynasty":198,"author":199,"museum":119,"description":200,"tags":236,"thumbUrl":237,"material":74,"size":74,"collection":205,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":42},237578,"shu-lin-yuan-xiu-tu-zhou-wang-hui-237578","疏林远岫图轴",[25,26,27,28,29,51,7,52,32,31,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf382cd81be335613edb73fdca9e2f4.jpg",[205],13,{"id":241,"slug":242,"title":243,"dynasty":198,"author":199,"museum":119,"description":244,"tags":245,"thumbUrl":249,"material":74,"size":74,"collection":74,"collections":250,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":42},224462,"liu-an-jiang-zhou-tu-wang-hui-224462","柳岸江洲图","《柳岸江洲图》 是清代王翚作品，尺寸为95.5cm×41cm。\n现藏于天津市艺术博物馆藏。\n近景以浓重墨色画稀疏柳林。\n枝干参差，富于变化，远处群山，波状起伏，湖上轻舟，张帆而行。\n笔墨简练，干脆利落。",[23,24,25,28,51,246,247,7,248],"孤舟","柳树","群山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc47787a2a429be37b4a2e87319051f3.jpg",[],{"id":252,"slug":253,"title":254,"dynasty":198,"author":255,"museum":48,"description":256,"tags":257,"thumbUrl":259,"material":72,"size":260,"collection":39,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":42},238982,"shan-shui-ce-huang-ye-shu-lin-wang-chen-238982","山水册－黄叶疏林","王宸","在册的画幅都比较小，从作者题语也可知道，很大程度上不是为明确目标而作，只是闲暇时自己借之寓意寄兴，因此画面气氛淡雅怡然。",[25,26,160,28,29,51,31,87,32,258,7],"黄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aec73df248ea44cc1cf255cfafe4c4e.jpg","纵21厘米，横28.2厘米",[39],11,{"id":264,"slug":265,"title":266,"dynasty":102,"author":267,"museum":119,"description":268,"tags":269,"thumbUrl":270,"material":129,"size":130,"collection":74,"collections":271,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":42},236468,"shu-lin-yuan-xiu-tu-shan-li-liu-fang-236468","疏林远岫图扇","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。",[25,26,186,28,29,51,7,52,32,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc791df25ce09c2286320730928d3f4.jpg",[],8,{"id":274,"slug":275,"title":276,"dynasty":102,"author":277,"museum":278,"description":279,"tags":280,"thumbUrl":284,"material":74,"size":74,"collection":39,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":287},203026,"shan-shui-tu-ce-liu-du-203026","山水图册","刘度","上海博物馆","笔墨清润雅致，设色淡逸天成。近景枯树疏枝间错落村落人家，平坡浅渚与墨色山石相映；中景水面开阔，远山以淡墨晕染，层峦含烟，尽显平远之致。水畔疏林偶缀丹红几点，烟波浩渺处淡峰隐现，意境空濛悠远，蕴藉文人山水的宁静意趣，于简淡笔触间见深致。",[25,51,160,161,228,52,281,282,283,28,7,23],"平坡","村落","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf652d94a13de19b2028f4e44bb9958c.jpg",[39],4,"d4c0a7",{"id":289,"slug":290,"title":291,"dynasty":198,"author":292,"museum":278,"description":293,"tags":294,"thumbUrl":295,"material":74,"size":74,"collection":39,"collections":296,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":297},201440,"fang-ni-chun-lin-shan-ying-tu-zhou-wang-shi-min-201440","仿倪春林山影图轴","王时敏","这幅画作笔墨疏淡空灵，近景孤石倚岸，几株疏林枝干挺秀，墨色清润；中景湖面平阔如镜，渺无人踪；远景山峦以简淡皴法勾勒，轮廓柔和，隐现于烟霭之中。整体意境萧散简远，既得倪春林山水的清幽神韵，又融入自身苍劲古拙的笔意，于仿古中见匠心，尽显文人山水画的超逸雅致与静谧深远之趣。",[28,51,29,163,35,7,27,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0899d7b62fc6baafe2c0cbd127a4d9df.jpg",[39],"c2bfb8",{"id":299,"slug":300,"title":301,"dynasty":198,"author":302,"museum":278,"description":303,"tags":304,"thumbUrl":306,"material":74,"size":74,"collection":74,"collections":307,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":308},202538,"fang-ni-zan-shan-shui-zhou-shen-feng-202538","仿倪瓒山水轴","沈凤","笔墨萧散清疏，得倪瓒山水之逸韵。近景疏树几株，枝桠简劲，竹丛掩映茅舍一间；中景平滩浅渚，水波不兴；远景山峦以淡墨勾勒，皴法简淡，留白处漾出空濛之气。构图空灵极简，不饰繁缛，以淡远之境传递文人画的静谧悠远，尽显宋元山水的雅致风骨。",[25,51,28,29,7,305,23],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa838edb29d19045542bc9434864b4ae5.jpg",[],"9f8c74",1777535720327]