[{"data":1,"prerenderedAt":508},["ShallowReactive",2],{"subject-shui-an":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},395,"shui-an","水岸","水岸画高清赏析","精选中国历代水岸题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040f31f4496aa2260112af0caa45ff39.jpg",0,32,[14,44,74,95,122,139,162,179,195,207,221,230,242,250,260,271,290,299,309,321,337,349,361,384,395,407,424,437,448,458,478,492],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},222392,"si-ji-hua-niao-tu-xia-lv-ji-222392","四季花鸟图-夏","明","吕纪","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,25,26,27,28,29,30,31,32,33,7,34],"高清","国画","名画","花鸟画","工笔","设色","黄莺","野鸭","芙蓉","杜鹃","山石","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","绢本设色","176.0×100.8","花鸟画精选",[38,40],"设色画精选",358,7,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":67,"material":68,"size":69,"collection":70,"collections":71,"showCount":72,"zanCount":73,"manualWeight":11,"mainColor":43},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","元","佚名","藏地不详","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,53,54,55,56,27,57,58,59,60,61,62,63,64,65,66,7],"书画","长卷","界画","白描","龙","楼阁","桥","船","人物","旗帜","水","宫殿式建筑","舟楫","龙舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg","未知","Xcm*Xcm","",[],108,2,{"id":75,"slug":76,"title":77,"dynasty":78,"author":79,"museum":50,"description":80,"tags":81,"thumbUrl":92,"material":68,"size":69,"collection":70,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":43},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","五代十国","董源","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,25,24,53,54,82,83,84,85,86,87,88,89,90,7,91],"山水画","水墨","皴法","湖泊","山峦","林木","孤舟","渔舟","沙洲","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg",[],48,{"id":96,"slug":97,"title":98,"dynasty":99,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":115,"material":116,"size":117,"collection":118,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},220431,"dan-shan-bi-shu-tu-wang-yuan-qi-220431","丹山碧树图","清","王原祁","台北故宫博物院","以其典型的笔法、墨迹与构图，描绘北方山川的自然景致，上部远景绘峰峦连绵、云霭轻飘；中景绘平湖水岸、苇草繁茂，湖岸边建有数间水榭，平坡和山顶筑有茅屋草舍，一派人与自然和谐的画面；近景绘坡角横陈，其上杂树竞秀、错落有致，江上渔舟停岸。全图使用典雅的“四王皴法”和青绿、赭石、朱红颜色，层林浸染、万木缤纷，完美展现出秋林远黛的深邃意境，观后有提神醒目之效。",[25,24,82,104,105,28,84,106,107,7,108,109,110,111,89,112,113,114],"立轴","青绿","峰峦","云霭","水榭","茅屋","苇草","杂树","流水","秋景","和谐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf797e0643207dbeedf01646f8127d12.jpg","绢本,设色","111.7x49.3","山水画精选",[118,40],42,"BDBDBD",{"id":123,"slug":124,"title":125,"dynasty":126,"author":127,"museum":50,"description":128,"tags":129,"thumbUrl":135,"material":68,"size":69,"collection":136,"collections":137,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":43},225734,"de-aflader-in-arles-fan-gao-225734","De aflader in Arles","不详","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[130,131,132,133,134,61,7],"油画","后印象派","夕阳","河流","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc05bc40c64fbdae3b6f88794c13f1fd.jpg","油画精选",[136],37,{"id":140,"slug":141,"title":142,"dynasty":18,"author":143,"museum":101,"description":144,"tags":145,"thumbUrl":157,"material":158,"size":159,"collection":118,"collections":160,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":121},219467,"shan-shui-tu-tian-xiang-shu-wu-xiang-sheng-mo-219467","山水图-天香书屋","项圣谟","此作用笔清简淡逸，近景茅庐临于水岸，屋中文士凭窗凝思，耽于林泉清寂。两株高木挺秀疏朗，枝桠间细叶轻展，旁侧垂柳柔丝拂水，石矶错落浅滩之上。远景江天空蒙，远山以淡墨轻扫，留白尽显寥廓幽远。\n\n画面虚实相生，水墨清润素雅，将幽居林下的闲淡雅趣晕染开来，尽显文人遁迹丘山、寄情林泉的隐逸襟怀，淡远静穆的意境里，藏着独有的萧散简远之美。",[24,83,146,147,7,148,149,150,151,152,153,154,155,156],"山水","茅庐","文士","垂柳","石矶","远山","隐逸","幽居","清简淡逸","萧散简远","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee538d72e1ee98a98295250c90f3f28f.jpg","纸本,水墨","74.1x31.7厘米",[118],35,{"id":163,"slug":164,"title":165,"dynasty":166,"author":167,"museum":50,"description":168,"tags":169,"thumbUrl":176,"material":68,"size":69,"collection":70,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":43},288348,"dong-yan-tu-song-ren-288348","冬雁图","宋","宋人","画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念",[24,27,170,171,172,7,173,174,175],"花鸟","雁","芦苇","冬季","萧瑟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa761cc5e3009b435f9f18dc03c7e3b9a.jpg",[],31,{"id":180,"slug":181,"title":182,"dynasty":99,"author":183,"museum":101,"description":184,"tags":185,"thumbUrl":191,"material":192,"size":70,"collection":118,"collections":193,"showCount":178,"zanCount":194,"manualWeight":11,"mainColor":121},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,53,25,104,28,84,146,86,186,187,188,189,190,7],"溪流","树木","松树","竹子","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg","纸本",[118],1,{"id":196,"slug":197,"title":198,"dynasty":166,"author":199,"museum":50,"description":200,"tags":201,"thumbUrl":204,"material":68,"size":69,"collection":70,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":43},288551,"xiao-xiang-ba-jing-tu-juan-yi-wang-hong-288551","潇湘八景图卷一","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[24,25,53,54,83,146,187,7,202,203,89],"飞鸟","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf6f310da9c7a8a88cdef72a9fb5139.jpg",[],30,{"id":208,"slug":209,"title":210,"dynasty":166,"author":211,"museum":50,"description":212,"tags":213,"thumbUrl":218,"material":68,"size":69,"collection":70,"collections":219,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":121},289373,"ze-pan-xing-yin-tu-liang-kai-289373","泽畔行吟图","梁楷","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[214,24,83,146,88,61,215,216,7,217],"扇面","孤寂","行吟","朦胧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0eebe565286429967e39cefabcf52c2.jpg",[],26,{"id":222,"slug":223,"title":224,"dynasty":166,"author":199,"museum":50,"description":200,"tags":225,"thumbUrl":228,"material":68,"size":69,"collection":70,"collections":229,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":43},288945,"xiao-xiang-ba-jing-ping-sha-luo-yan-wang-hong-288945","潇湘八景-平沙落雁",[24,25,54,83,82,226,90,202,7,227],"老树","平沙落雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13cd89090be5aaafbe4eced628d317f.jpg",[],{"id":231,"slug":232,"title":233,"dynasty":48,"author":49,"museum":50,"description":234,"tags":235,"thumbUrl":239,"material":68,"size":69,"collection":70,"collections":240,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":43},290404,"hu-zhuang-xiao-xia-tu-yi-ming-290404","湖庄消夏图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[25,24,82,28,236,58,187,112,33,7,61,237,238],"亭","消夏","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb576252f9e30b64717f3be53b9d92f1.jpg",[],25,{"id":243,"slug":244,"title":245,"dynasty":166,"author":199,"museum":50,"description":200,"tags":246,"thumbUrl":248,"material":68,"size":69,"collection":70,"collections":249,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":43},288943,"xiao-xiang-ba-jing-dong-ting-qiu-yue-wang-hong-288943","潇湘八景-洞庭秋月",[24,54,83,82,88,187,85,151,7,247],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa807359ab7054471f13478c28203b3ee.jpg",[],{"id":251,"slug":252,"title":253,"dynasty":166,"author":254,"museum":101,"description":255,"tags":256,"thumbUrl":257,"material":68,"size":69,"collection":70,"collections":258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":43},289983,"lu-yan-tu-cui-bai-289983","芦雁图","崔白","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[23,25,24,214,28,27,170,172,171,7,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2977e53530733292bf2afc1fd715202.jpg",[],22,{"id":261,"slug":262,"title":263,"dynasty":99,"author":183,"museum":50,"description":264,"tags":265,"thumbUrl":269,"material":68,"size":69,"collection":70,"collections":270,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":121},287766,"lin-ni-yun-lin-shan-shui-wang-jian-287766","临倪云林山水","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,25,24,83,146,104,266,267,268,151,7,175,84],"临摹","枯树","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6176eb91d0b5026fde9245d39c7a0089.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":48,"author":275,"museum":276,"description":277,"tags":278,"thumbUrl":285,"material":286,"size":287,"collection":70,"collections":288,"showCount":289,"zanCount":194,"manualWeight":11,"mainColor":121},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","辽宁省博物馆","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,24,53,25,104,83,28,279,280,202,7,281,282,283,146,284],"禽鸟","柳树","孤石","树枝","草丛","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","纸本，设色","画心纵128，横66.5厘米",[],21,{"id":291,"slug":292,"title":293,"dynasty":166,"author":199,"museum":50,"description":200,"tags":294,"thumbUrl":296,"material":68,"size":69,"collection":70,"collections":297,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":43},288941,"xiao-xiang-ba-jing-xiao-xiang-ye-yu-wang-hong-288941","潇湘八景-潇湘夜雨",[24,25,54,82,83,88,187,33,112,295,7],"夜雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6093aecdc950d466806200dcb2a959.jpg",[],20,{"id":300,"slug":301,"title":302,"dynasty":166,"author":303,"museum":50,"description":304,"tags":305,"thumbUrl":306,"material":68,"size":69,"collection":70,"collections":307,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":43},289327,"shui-mo-gu-ting-tu-li-song-289327","水末孤亭图","李嵩","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,214,24,82,236,112,61,187,7,83,84,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F044dd4c6f19319af7bf49dcf1dfd5a75.jpg",[],18,{"id":310,"slug":311,"title":312,"dynasty":166,"author":313,"museum":50,"description":314,"tags":315,"thumbUrl":319,"material":68,"size":69,"collection":70,"collections":320,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":43},289119,"han-pu-yu-zeng-tu-yan-wen-gui-289119","寒浦渔罾图","燕文贵","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[24,25,104,83,146,202,7,172,316,317,318],"渔网","寒景","渔事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2864b177f9fc2b991dd18fe3a5830f.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":48,"author":325,"museum":50,"description":326,"tags":327,"thumbUrl":335,"material":68,"size":69,"collection":70,"collections":336,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":121},288158,"qiu-jiang-dai-du-qian-xuan-288158","秋江待渡","钱选","画面中间部分是辽阔的江面，空阔邈远，远处乃是绵延不绝的群山。近处，红树一簇，树下有几人引颈眺望，而江面上隐隐约约有一叶小舟，那就是待渡者的希望。江面空阔，小舟缓缓，似渺然难见，它和人急迫的等待之间构成强大的情绪张力。正是眼前渺渺秋江阔，隔岸扁舟发棹迟。",[23,25,24,54,53,146,28,27,328,88,329,202,7,330,113,331,332,333,175,334,238],"秋江","丹枫","村居","斜阳","寒林","行书","待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ea90e2472344b5a66a2202ee6516b3.jpg",[],{"id":338,"slug":339,"title":340,"dynasty":126,"author":341,"museum":50,"description":342,"tags":343,"thumbUrl":347,"material":68,"size":69,"collection":136,"collections":348,"showCount":308,"zanCount":194,"manualWeight":11,"mainColor":43},226136,"the-willows-1885-mo-nai-226136","The Willows, 1885","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[130,344,280,345,7,346],"印象派","树林","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb71dfd54e7a3c5c760dc2a63173ef565.jpg",[136],{"id":350,"slug":351,"title":352,"dynasty":166,"author":313,"museum":101,"description":314,"tags":353,"thumbUrl":356,"material":357,"size":358,"collection":70,"collections":359,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":43},290988,"han-pu-yu-zeng-zhou-yan-wen-gui-290988","寒浦鱼罾轴",[25,24,53,104,83,28,146,202,354,355,187,7],"寒浦","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c120e2383661e5ef1fc212341dcb0.jpg","绢本","143.1x75.4",[],15,{"id":362,"slug":363,"title":364,"dynasty":18,"author":49,"museum":365,"description":366,"tags":367,"thumbUrl":380,"material":70,"size":70,"collection":38,"collections":381,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":383},203448,"liao-an-fu-yi-tu-zhou-yi-ming-203448","蓼岸凫鹥图轴","上海博物馆","画面绘水岸一隅，两只凫鸟或卧或立，羽色以墨线勾勒后晕染，层次分明，神态闲适。旁侧芙蓉花叶舒展，嫣红花瓣点缀翠叶间，笔触细腻写实。坡岸肌理自然，设色清雅温润。整体工笔技法与淡彩晕染结合，尽显明代花鸟画的温婉意趣，于静谧中藏生机，仿佛能闻水畔风轻，观禽鸟闲憩，传递出自然恬淡之美。",[23,24,27,28,170,368,369,370,371,372,373,374,375,376,377,378,279,379,7],"鸭子","蓼草","岸边","植物","花卉","水波纹","明代风格","写实","细腻线条","色彩淡雅","自然景物","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa612682152b5052e292541a9c8ca0d.jpg",[38],14,"877054",{"id":385,"slug":386,"title":387,"dynasty":166,"author":49,"museum":50,"description":388,"tags":389,"thumbUrl":392,"material":68,"size":69,"collection":70,"collections":393,"showCount":394,"zanCount":11,"manualWeight":11,"mainColor":43},290285,"song-ke-si-fu-rong-shuang-yan-zhou-yi-ming-290285","宋缂丝芙蓉双雁轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[25,24,53,104,390,27,170,28,31,171,391,372,33,7],"缂丝","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a025cf588be896839360d31e85cb74.jpg",[],12,{"id":396,"slug":397,"title":398,"dynasty":18,"author":399,"museum":50,"description":400,"tags":401,"thumbUrl":404,"material":68,"size":69,"collection":70,"collections":405,"showCount":406,"zanCount":11,"manualWeight":11,"mainColor":121},290923,"yuan-ye-wu-bin-290923","元夜","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[24,54,28,27,61,402,7,58,187,403,175],"舟船","节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafdccf43a1a80c361ca71e3b7e0bb31b.jpg",[],11,{"id":408,"slug":409,"title":410,"dynasty":126,"author":49,"museum":50,"description":411,"tags":412,"thumbUrl":421,"material":70,"size":70,"collection":70,"collections":422,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":121},231694,"jiang-hu-shi-qi-ying-yi-die-shi-er-yue-tu-juan-yi-ming-231694","江户时期 英一蝶十二月图卷","这幅长卷铺陈出鲜活的市井浮生，水岸舟楫往来摇荡，市肆街巷串联起岁时日常。茶寮酒幌招展，宾客围坐言笑晏晏；贩夫走卒穿行长街，挑担叫卖的身影生动鲜活。亭台掩映在松柳浓荫，屋舍错落间见邻里闲话的松弛意趣。\n\n淡墨轻敷晕染出水色天光，线条细腻灵动勾勒众生百态，将岁时里的烟火温热与雅致闲情尽数揉入长卷，把日常俗事绘成温柔的时代剪影，让百年前的俗世风物宛在眼前。",[23,24,54,28,83,61,65,7,413,414,415,416,417,187,418,419,420],"市肆","街巷","茶寮","屋舍","亭台","市井生活","烟火气","闲情雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F169b830ee82cd17c77c2038154101eb1.jpg",[],10,{"id":425,"slug":426,"title":427,"dynasty":166,"author":428,"museum":50,"description":429,"tags":430,"thumbUrl":434,"material":68,"size":69,"collection":70,"collections":435,"showCount":436,"zanCount":11,"manualWeight":11,"mainColor":43},289130,"xue-an-han-ya-tu-li-an-zhong-289130","雪岸寒鸦图","李安忠","画中，几棵古木参天，树木虬屈，乱藤攀援。坡石苍润，主峰凸兀，气整伟峻。土坡用笔卷动如风，枯木则中峰勾勒，寒木风骨，平正势奇，枯枝多变，壮如屈铁，气韵深厚。悬崖旷野间，寒鸦或枝头落，或成群飞舞，空中盘旋。仿佛寒鸦群的呜鸣声在山谷间回荡着，忽远忽近。气象萧疏，烟林清旷，峰峦深厚，势伏雄强。",[23,25,24,104,27,170,202,267,431,432,7,433],"雪景","寒鸦","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac83e55ae0a4db7c4acc2daacf9038dd.jpg",[],9,{"id":438,"slug":439,"title":440,"dynasty":99,"author":441,"museum":365,"description":442,"tags":443,"thumbUrl":10,"material":70,"size":70,"collection":118,"collections":446,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":447},203418,"shan-shui-ce-wen-dian-203418","山水册","文点","两帧册页各蕴清境，左幅松荫覆地，老松枝干虬劲，松下一人抱膝静坐，笔墨苍润间尽显幽寂；右幅平远水景，烟波浩渺中远山淡抹，近岸疏树旁二人对语，线条简逸里藏着淡远。以水墨为底，皴染结合，于方寸册页间凝文人雅趣，禅意悠然，观之如入林泉之境，心随画境渐远。",[24,83,84,146,188,61,444,7,151,445,23],"册","疏树",[118],"b4aba4",{"id":449,"slug":450,"title":451,"dynasty":166,"author":49,"museum":50,"description":452,"tags":453,"thumbUrl":455,"material":68,"size":69,"collection":70,"collections":456,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":43},290243,"shan-lou-yuan-tiao-tu-yi-ming-290243","山楼远眺图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,24,214,146,58,454,151,7,28,84],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59f5282e9e32bc6fa6dd8d8e269c0360.jpg",[],5,{"id":459,"slug":460,"title":461,"dynasty":126,"author":462,"museum":50,"description":463,"tags":464,"thumbUrl":475,"material":68,"size":69,"collection":70,"collections":476,"showCount":477,"zanCount":11,"manualWeight":11,"mainColor":121},231714,"lian-cang-shi-dai-hua-juan-nan-qin-san-lang-231714","镰仓时代 画卷","男衾三郎","此作是典型的和歌物语绘卷，叙事与绘写相融共生。左侧深宅雅室间，贵族闲坐叙谈，格子棂门与廊阶形制考究，细腻复刻古日本宅邸风貌，尽显平安贵族的优渥日常。\n\n中段平假名题跋铺陈故事脉络，与画面呼应成趣。右侧郊野水岸梅林绽花，远林覆绿，旅人策马于汀岸，将视野从深宅拓向天地。\n\n整体设色浅淡清隽，柔婉细线勾勒人物景致，晕染出古雅侘寂的和风意趣，让文字与丹青交织，缓缓铺展开一卷流动的古典叙事，藏着旧时光里的幽玄情致。",[23,54,28,61,465,466,7,467,468,469,470,471,472,473,474],"宅邸","梅林","马","和风","侘寂","书法","绘卷物","贵族生活","叙事画","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58bbf6f7a1584b88c6311ebab6647383.jpg",[],3,{"id":479,"slug":480,"title":481,"dynasty":99,"author":49,"museum":50,"description":482,"tags":483,"thumbUrl":490,"material":68,"size":69,"collection":70,"collections":491,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":43},272986,"hei-qi-bian-hui-chou-di-dong-yang-xiu-shan-shui-tu-wei-ping-yi-ming-272986","黑漆边灰绸地东洋绣山水图围屏","整体色调清雅沉静，灰绸底色晕染出如雾的水色长空。左畔浅渚生翠，草木含露，野趣悠然。中景单舟扬白帆，破开细浪，带着江海行旅的清寂诗意。远岫如黛，淡晕出的山影静立水天尽头，两艘小帆遥遥点缀，拉阔出悠远空蒙的意境。\n\n绣作针脚细腻，以绣代笔，将水波柔态、草木清润与风帆挺括晕染入微，揉合空灵意趣与中式雅致，暗合东方禅意留白美学。淡而不寡，静中藏动，将烟江渡头的闲澹景致定格屏间，观之便觉襟怀舒展，尘俗尽消。",[484,485,146,88,486,151,7,487,488,489],"围屏","刺绣","帆船","漆器","布料","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f5cadc1388978cd467ad16a8839f91.jpg",[],{"id":493,"slug":494,"title":495,"dynasty":126,"author":49,"museum":50,"description":496,"tags":497,"thumbUrl":506,"material":68,"size":69,"collection":70,"collections":507,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":121},289477,"canaletto-lagoon-capriccio-recto-architectural-scene-yi-ming-289477","Canaletto--Lagoon Capriccio (recto); Architectural Scene","这幅水彩以淡彩晕染铺就水泽氛围，右侧临水旧居爬满苍藤，斑驳钟楼孑然矗立，断壁残垣刻着岁月剥蚀的痕迹。左侧石桥横跨水面，坍塌古堡静立河畔，水面停泊木舟，船工、纤夫的身影点缀其间，将烟火气揉入荒颓景致。\n画家以精细线条勾勒建筑筋骨，淡墨晕开厚重云层，干湿水彩交织出水汽氤氲的朦胧质感。虚构的水泽秘境糅合水乡风貌，鲜活的日常剪影相伴废墟萧索，将逝去年华的寂寥藏进波光与残墙之间，在写实与幻梦里，铺陈开带着怅惘诗意的废墟美学。",[498,499,500,501,502,503,7,402,504,61,505],"风景画","淡彩","线描","石桥","塔楼","残垣","民居","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73caa945399a303dbb04349290a8b6f4.jpg",[],1777535714353]