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近处作平坡， 上植数枝树木， 间或缀以茅舍亭阁；远处作峦头或低矮的土坡。作为近景与远景之间的过渡部分则多为大片空白， 不着一墨， 是为湖水。\n画中落款“壬子岁七月五日，云林生写”，又自题诗云：“屋角春风多杏花，小斋容膝度年华；金棱跃水池鱼戏，彩凤栖林涧竹斜。叠叠清谈霏玉屑，萧萧白发岸乌纱。而今不二韩康价，市上悬壶未足夸。”\n倪瓒少小聪明， 早年专意读书， 家中清閟阁藏书数千卷， 经史子集， 佛道经典， 他都专心阅读批校， 所藏法书名画， 亦悉心临学。其书法天然古淡， 有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带， 常领略这里秀丽清幽的湖光山色， 他的画也多取材于此。\n此画作于明太祖洪武五年（1372），时年倪攒七十有二，两年后离世，因此也有“绝笔之作”一说。此画最初赠予其友檗轩，两年后又请倪瓒为其补题，寄赠予同乡的潘子仲医师。容膝斋是潘仁仲休闲居处。\n画家对佛道思想的追求，注重对尘世羁绊的超脱，这种思想映射到艺术创作中丰富了艺术品的文化内涵。《容膝斋图》中设置空亭但不见人，倪瓒有“亭下不逢人，夕阳滤秋影”的名句。空空的亭子和无人的山水，后人多认为这种设置是倪瓒内心的表达，是“今世那复有人”的悲叹。\n此图以墨笔画坡陀林屋，远山一角。近景处画山坡石陀，平平的一二层山石，山石皴法是渴笔方折，似有折带皴意，用笔总是干笔皴擦，有时墨色并没有透入纸背，但却没有丝毫纤弱单薄的弊端。近景一带坡岸及坡上植有杂树和瘦竹数株。高短参差不齐，树木偶用蟹爪鹿角技法，以干笔为主，树身多复笔。远岸岚岫绵延，在整个画最上端，使整个画面有深远之感。中景以湖塘相隔，画有草茅亭子，坐落在树木的右侧，对面为横卧的山坡。均出以简笔疏朗，自有一种空阔高旷的境界。这与倪云林的那种甘于寂寞，与世无争的性格十分相近。此画最为典型的即是简约，既不作高枝繁叶，又不为高山大壑，而常常采用疏林浅坡，简淡平远的构图，笔墨极为淡雅，画树墨色层次较多，中锋多于侧笔。近坡皴多染少，皴笔亦特觉清劲。点染皴擦也求简约，不作华奢之状。\n该图采用三段平远式的空间布局。前景是几棵枯树、坡石和屋舍，中景是一坡山，远景水天一色。这样的布局使人感到平实恬淡，简约单纯。这种近坡杂树数枝，远景云山一抹，中隔湖水一汪，最早出现在《六君子图》中，而在《容膝斋图》中发挥得更充分。这种比较稳定的“一河两岸”式的图式所表现的意境，使他的绘画风格达到了“萧疏淡远”的极致。\n该图布置前景时，常用粗而挺劲的线条勾勒出挺拔而气宇轩昂的几棵高大的树。这些树的穿插非常讲究，几棵主株，或高或低，俯仰成趣。或前或后，顾盼照应，让树有自然的深浅和层次，并且讲究穿插避让，使画面生动有变化。《容膝斋图》中的树少有树叶点缀，是几棵枯树，这与倪瓒平时讨厌落叶有关。",[23,25,152,26,153,90,28,154,29,51,7],"山水画","书法","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":160,"slug":161,"title":162,"dynasty":100,"author":163,"museum":164,"description":165,"tags":166,"thumbUrl":173,"material":174,"size":175,"collection":56,"collections":176,"showCount":177,"zanCount":145,"manualWeight":11,"mainColor":75},216730,"hua-niao-tu-lv-ji-216730","花鸟图","吕纪","大英博物馆","吕纪明朝画家，也被称为吕笃简。他是著名的花鸟画家，并且在当时期间担任过朝廷画家。吕纪的花鸟画精细细腻，注重画面的组合构图，对后世的花鸟画产生了很大的影响。他的著名作品有《花鸟图》和《四季花卉图》。",[68,23,167,85,168,169,170,171,7,172,29],"工笔","花鸟","柳树","鸭子","飞鸟","花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","绢本,设色","200x102.8cm",[56],185,{"id":179,"slug":180,"title":181,"dynasty":80,"author":182,"museum":120,"description":183,"tags":184,"thumbUrl":190,"material":191,"size":192,"collection":34,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":75},236172,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236172","雍正十二月行乐图轴","佚名","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[23,167,185,85,28,104,186,89,7,187,188,30,189],"界画","楼阁","庭院","栏杆","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a7368abaea9d15bd4eedf67eb66b.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[],179,{"id":196,"slug":197,"title":198,"dynasty":199,"author":182,"museum":65,"description":200,"tags":201,"thumbUrl":205,"material":174,"size":34,"collection":206,"collections":207,"showCount":208,"zanCount":114,"manualWeight":11,"mainColor":75},218967,"la-mei-han-qin-tu-yi-ming-218967","腊梅寒禽图","宋","寒汀疏影里，腊梅枝桠斜逸，点点白花似凝着清霜，在冷寂中透出淡香。岸畔山茶红萼灼灼，与枯瘦的梅枝相映，暖了一帧冬景。两只水禽悠游浅波，羽色素净，颈间一抹白如落雪，姿态闲逸得像在细品风的轻语。远处山影淡如烟岚，天际归鸟三两，更衬出天地的旷远。\n\n笔墨细腻却不刻意，草木的情态、水禽的姿态皆得自然之趣。宋人的心境藏在这帧画里：于寻常冬景中撷取宁静与生机，让清寂时光浸着温润诗意——没有浓墨重彩的渲染，却以极简的笔触，将冬的清寒与生命的从容，凝成了可触摸的温润。",[68,48,23,24,167,85,168,202,203,51,7,204],"梅","禽","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg","宋画精选",[206,56],177,{"id":210,"slug":211,"title":212,"dynasty":199,"author":213,"museum":214,"description":215,"tags":216,"thumbUrl":218,"material":174,"size":219,"collection":220,"collections":221,"showCount":222,"zanCount":145,"manualWeight":11,"mainColor":75},218409,"yu-le-tu-ma-yuan-218409","渔乐图","马远","耶鲁大学艺术博物馆","山石以斧劈皴斫出棱线，苍松虬枝斜探，似要牵住远山的雾影。水面留白如镜，载一扁舟静泊，船篷半掩着渔获的细碎声响。近岸处两渔者对坐，或执竿轻叩地面，或捧物低语，衣袂随微风舒展，满是江湖散淡的意趣。\n\n马远以“一角”之景框定天地，却让渔樵的闲逸漫出画外——没有庙堂的车马喧，只有松风穿叶、水波轻漾的自在。笔墨简劲却藏着温软，将宋人的雅致与山野的旷达揉作一处：你看那渔者的笑纹，似能触到日光的暖；那松枝的弧度，恰如心尖的舒展。叫观者也想随这舟子，枕着松涛入眠，把尘事都忘在烟水之外。",[23,48,24,25,26,28,104,86,105,31,217,7],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg","218.2x148","人物画精选",[220],175,{"id":224,"slug":225,"title":226,"dynasty":100,"author":163,"museum":227,"description":228,"tags":229,"thumbUrl":232,"material":174,"size":233,"collection":56,"collections":234,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":75},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","美国弗利尔美术馆","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[68,23,48,167,85,105,230,171,168,231,69,7,204],"鸳鸯","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[56],162,{"id":237,"slug":238,"title":239,"dynasty":240,"author":241,"museum":82,"description":242,"tags":243,"thumbUrl":252,"material":253,"size":254,"collection":255,"collections":256,"showCount":257,"zanCount":11,"manualWeight":11,"mainColor":258},225945,"house-of-parliament-sunlight-effect-1903-mo-nai-225945","House of Parliament, Sunlight Effect, 1903","不详","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。",[244,245,246,247,248,249,7,250,251],"印象派","油画","外光写生","光影表现","色彩交织","建筑","阳光","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50eac93532dd207d330f79480b98ab8f.jpg","未知","Xcm*Xcm","油画精选",[255],155,"9C27B0",{"id":260,"slug":261,"title":262,"dynasty":199,"author":263,"museum":65,"description":264,"tags":265,"thumbUrl":267,"material":268,"size":269,"collection":206,"collections":270,"showCount":271,"zanCount":145,"manualWeight":11,"mainColor":75},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[68,48,23,24,27,25,85,26,28,154,89,86,266,31,7],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","白纸本","对幅23.9x20.2公分",[206,35],152,{"id":273,"slug":274,"title":275,"dynasty":80,"author":276,"museum":120,"description":277,"tags":278,"thumbUrl":281,"material":282,"size":283,"collection":35,"collections":284,"showCount":285,"zanCount":145,"manualWeight":11,"mainColor":39},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","朱耷","图绘凋零的树木被笼罩在深秋的寒意中，一湖静水之上只见高士孤身垂钓，空旷荒寂的意境中孕含着作者对明朝故土的无限怀念。此图无年款，根据署款“驴”字，推断此幅为朱耷57岁（1682年）左右的作品。这时期其山水画还深受元人倪瓒、黄公望，明人董其昌的影响而没有形成自己的笔墨特色。本幅构图取法倪瓒一河两岸式的布局，以简洁疏朗的物象表现出荒寒的萧条景致。山石画法取自黄公望，其轮廓以尖硬的线条勾勒，石面略作皴染，于散漫随意中不失古雅的情趣。整体画风则显现出董其昌明洁秀逸、华姿润泽的艺术风貌。",[23,49,25,123,26,28,50,279,30,86,280,31,7],"河流","钓者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纸本，墨笔","纵197.5厘米，横57.3厘米",[35],143,{"id":287,"slug":288,"title":289,"dynasty":80,"author":290,"museum":291,"description":292,"tags":293,"thumbUrl":295,"material":110,"size":296,"collection":35,"collections":297,"showCount":298,"zanCount":114,"manualWeight":11,"mainColor":39},214486,"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","旅顺博物馆","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[68,48,23,24,27,25,26,28,89,294,30,7],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[35],133,{"id":300,"slug":301,"title":302,"dynasty":80,"author":303,"museum":304,"description":305,"tags":306,"thumbUrl":312,"material":128,"size":313,"collection":35,"collections":314,"showCount":315,"zanCount":11,"manualWeight":11,"mainColor":75},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","王翚","辽宁省博物馆","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[68,23,307,26,85,28,89,308,279,309,310,69,311,7],"仿古","山峦","渔舟","房屋","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[35,93],131,{"id":317,"slug":318,"title":319,"dynasty":100,"author":320,"museum":321,"description":322,"tags":323,"thumbUrl":333,"material":174,"size":334,"collection":35,"collections":335,"showCount":336,"zanCount":337,"manualWeight":11,"mainColor":39},219124,"jin-jiang-tu-juan-sun-zhi-219124","锦江图卷","孙枝","天津博物馆","孙枝，明，字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人，生卒年不详。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",[68,23,324,325,85,28,26,308,279,326,327,89,328,329,7,330,331,332],"长卷","青绿","岛屿","船只","亭台","植被","舟楫","远岫","近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c919032926458bb7688a31b9f9ffdb.jpg","37X595cm",[35],128,6,{"id":339,"slug":340,"title":341,"dynasty":100,"author":342,"museum":65,"description":343,"tags":344,"thumbUrl":345,"material":33,"size":346,"collection":35,"collections":347,"showCount":348,"zanCount":145,"manualWeight":11,"mainColor":75},214822,"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","王绂","这幅画的构图很简单，特写的是一条平缓的海岸线，三个官员聚集在树木和石头间的亭子里举行宴席，背景是两座高山。画的上边有十三首诗，都是关于表达离别之情的，大部分是与王绂一起在翰林院任职的官员。这些诗表明，王绂在秋天画了这幅半具象的山水画，当时他的一位同事即将回到松江的故乡，在乡间的陪伴下享受隐居的生活，他的每位同事都写了一首诗来纪念这一时刻。绘画的主体，或参与题词的人，都是有文学修养的文人，王绂的画表明了元代以来的文人画风，用简单的水墨画来表达绘画背后的深意。光滑的石堆，蜿蜒曲折、相互连接的纹理，给人一种宁静的感觉，并带有一丝惆怅和感伤。",[23,24,25,28,26,153,90,154,86,89,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[35],124,{"id":350,"slug":351,"title":352,"dynasty":240,"author":241,"museum":82,"description":242,"tags":353,"thumbUrl":362,"material":253,"size":254,"collection":255,"collections":363,"showCount":364,"zanCount":114,"manualWeight":11,"mainColor":39},225953,"impression-sunrise-1873-mo-nai-225953","Impression, Sunrise, 1873",[244,245,354,355,356,7,327,357,358,359,360,361],"光影","色彩","太阳","烟雾","倒影","天空","朝霞","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd481e5b761e58fd89d4b98a747931279.jpg",[255],123,{"id":366,"slug":367,"title":368,"dynasty":369,"author":370,"museum":164,"description":371,"tags":372,"thumbUrl":382,"material":174,"size":383,"collection":56,"collections":384,"showCount":364,"zanCount":114,"manualWeight":11,"mainColor":75},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","五代十国","黄筌","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[68,23,48,24,167,85,49,373,374,171,375,7,376,69,377,30,378,379,380,381],"枯木","水禽","白鹅","岸边","枯枝","水泊","禽鸟","水畔","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[56,35],{"id":386,"slug":387,"title":388,"dynasty":80,"author":389,"museum":227,"description":390,"tags":391,"thumbUrl":393,"material":54,"size":394,"collection":34,"collections":395,"showCount":396,"zanCount":11,"manualWeight":11,"mainColor":75},214359,"san-jue-shan-shui-ce-5-hua-yan-214359","三绝山水册-5","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[68,23,25,152,26,27,105,392,51,104,30,7],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2278d8fef17ce39c9b91175a537f50d.jpg","23.4x15.8",[],119,{"id":398,"slug":399,"title":63,"dynasty":199,"author":400,"museum":401,"description":402,"tags":403,"thumbUrl":404,"material":405,"size":406,"collection":206,"collections":407,"showCount":408,"zanCount":11,"manualWeight":11,"mainColor":75},221507,"shan-shui-tu-xia-gui-221507","夏圭","日本京都国立博物馆","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[68,23,25,28,26,89,30,154,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 水墨","25.9×34.3厘米",[206,35,142],115,{"id":410,"slug":411,"title":412,"dynasty":100,"author":163,"museum":401,"description":413,"tags":414,"thumbUrl":416,"material":417,"size":418,"collection":34,"collections":419,"showCount":420,"zanCount":145,"manualWeight":11,"mainColor":75},222394,"si-ji-hua-niao-tu-qiu-lv-ji-222394","四季花鸟图-秋","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。",[68,23,167,85,168,29,107,7,171,415,170],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1873779d421c2c6c0dad9edf14f98573.jpg","绢本设色","176.0×100.8",[],114,{"id":422,"slug":423,"title":424,"dynasty":18,"author":425,"museum":65,"description":426,"tags":427,"thumbUrl":429,"material":268,"size":430,"collection":35,"collections":431,"showCount":420,"zanCount":145,"manualWeight":11,"mainColor":39},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","盛懋","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[68,23,25,26,49,153,28,89,30,86,171,7,31,376,428,90],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[35,142],{"id":433,"slug":434,"title":435,"dynasty":18,"author":425,"museum":65,"description":436,"tags":437,"thumbUrl":440,"material":174,"size":441,"collection":35,"collections":442,"showCount":420,"zanCount":145,"manualWeight":11,"mainColor":39},218388,"song-ren-yuan-hua-ce-shan-shui-sheng-mao-218388","宋人院画册-山水","近处林木扶疏，枝干盘曲间，新绿与苍劲交织，生机隐现。水面平展如镜，一叶扁舟轻泊岸畔，船中人似伴流云静水，独享片刻悠然。远山如黛，以淡墨晕染出朦胧层次，云雾轻缠峰峦，将视野引向天际的悠远。笔墨兼具工致与写意，绢本的温润质感，更衬出画面的古雅韵致。整体意境清旷淡远，如一首静默的山水短章，藏着文人对自然的眷恋，于静谧中流淌着岁月的安然与从容。",[23,438,85,28,86,439,171,69,31,7],"扇面","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg","35.2x63.4",[35],{"id":444,"slug":445,"title":446,"dynasty":18,"author":447,"museum":120,"description":448,"tags":449,"thumbUrl":458,"material":282,"size":459,"collection":35,"collections":460,"showCount":461,"zanCount":95,"manualWeight":11,"mainColor":39},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[68,23,24,324,25,26,90,28,29,69,86,202,30,7,450,104,331,451,294,452,453,105,50,454,327,455,456,457],"渔船","岸","枝干","花","岸滩","山间","草木","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[35,142],111,{"id":463,"slug":464,"title":465,"dynasty":199,"author":213,"museum":82,"description":466,"tags":467,"thumbUrl":469,"material":174,"size":34,"collection":56,"collections":470,"showCount":471,"zanCount":145,"manualWeight":11,"mainColor":75},218548,"han-ya-tu-ma-yuan-218548","寒鸦图","枯枝虬曲如铁线，从绢本深褐底色中挣出清劲骨力，枝桠间寒鸦三两：或敛翅栖于梢头，墨羽浓淡晕染出绒绒暖意；或振翅欲飞，翅尖的墨痕似带起微凉的风。远处坡岸简笔勾勒，留白处恍若覆雪，荒寒之意漫开。\n\n马远以边角之景造阔远之境，此图疏枝横斜间，寒鸦的灵动破开冬日沉寂。线条挺健如老松，墨韵含蓄似淡诗，将霜天清寂与生命鲜活揉作一处。展卷时，仿佛能嗅到冷冽空气里的松针香，又被寒鸦轻啼牵起一丝暖意——宋人笔墨的雅致与深情，尽在这方寸绢素中流转。",[68,48,23,24,27,25,26,171,468,69,51,28,7],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea5df84a8c9f6ef5813d9284515ec0.jpg",[56],110,{"id":473,"slug":474,"title":475,"dynasty":100,"author":182,"museum":65,"description":476,"tags":477,"thumbUrl":481,"material":174,"size":482,"collection":93,"collections":483,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":75},219353,"hua-niao-tu-xing-hua-shuang-ya-yi-ming-219353","花鸟图-杏花双鸭","此幅绘柳岸池塘，杏花繁茂，双燕翻飞，翠鸟窥机、二鸭嬉戏。",[23,85,167,168,478,479,169,171,7,107,480],"杏花","双鸭","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08be92aa3800553c043da2d21b1ba09.jpg","161.5x80.1",[93],103,{"id":486,"slug":487,"title":488,"dynasty":240,"author":241,"museum":82,"description":242,"tags":489,"thumbUrl":498,"material":253,"size":254,"collection":255,"collections":499,"showCount":500,"zanCount":11,"manualWeight":11,"mainColor":39},225894,"antibes-seen-from-the-salis-garden-1888-mo-nai-225894","Antibes seen from the Salis Garden, 1888",[245,244,490,491,492,29,493,494,359,495,30,7,249,457,496,497],"点彩","光影捕捉","色彩交融","湖水","城镇","花园","远景","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66591dc12d3fde82a8664f11526e454f.jpg",[255],102,{"id":502,"slug":503,"title":504,"dynasty":18,"author":505,"museum":506,"description":507,"tags":508,"thumbUrl":512,"material":54,"size":513,"collection":35,"collections":514,"showCount":515,"zanCount":95,"manualWeight":11,"mainColor":39},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","吴镇","美国大都会艺术博物馆","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[68,23,24,25,26,123,28,86,509,89,428,510,439,511,7],"流水","渔翁","滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[35,142],96,{"id":517,"slug":518,"title":519,"dynasty":18,"author":505,"museum":82,"description":520,"tags":521,"thumbUrl":524,"material":34,"size":34,"collection":34,"collections":525,"showCount":526,"zanCount":11,"manualWeight":11,"mainColor":75},228011,"yu-fu-tu-wu-zhen-228011","渔父图","《渔父图》是元代画家 创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[68,23,25,26,49,28,86,522,50,69,30,31,7,89,523],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],90,{"id":528,"slug":529,"title":530,"dynasty":199,"author":531,"museum":532,"description":533,"tags":534,"thumbUrl":537,"material":538,"size":539,"collection":206,"collections":540,"showCount":526,"zanCount":11,"manualWeight":11,"mainColor":75},220312,"xi-yang-qiu-se-tu-ma-lin-220312","夕阳秋色图","马麟","根津美术馆","《夕阳秋色图》画面上的淡云浅山已经褪色，水流处一片苍茫。这种岁月的沧桑，在画墨的点线之中且隐且行，既刻录了时间的优雅，又释放出历史的气味。\n宋理宗赵昀在欣赏《夕阳秋色图》时忘乎所以，把一切朝中繁杂置之脑后，流连画中苍茫山水、江南秋色。在几只燕子嬉戏的场景里，忽然想起活泼可爱的周汉公主。在膝下无子的岁月里，这位掌上明珠得到理宗的万般宠爱。",[23,28,85,26,535,31,89,171,7,536],"夕阳","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd624d868e1bf9f63b27d62406ca745.jpg","绢本,水墨","51.3X26.6厘米",[206,142],{"id":542,"slug":543,"title":544,"dynasty":100,"author":163,"museum":65,"description":545,"tags":546,"thumbUrl":550,"material":174,"size":551,"collection":56,"collections":552,"showCount":553,"zanCount":145,"manualWeight":11,"mainColor":75},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[68,23,48,167,85,168,547,231,230,548,549,7,107,171,169],"翎毛","树枝","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[56],89,{"id":555,"slug":556,"title":557,"dynasty":80,"author":81,"museum":82,"description":558,"tags":559,"thumbUrl":561,"material":34,"size":34,"collection":35,"collections":562,"showCount":563,"zanCount":145,"manualWeight":11,"mainColor":39},234647,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234647","原济金陵十景图册","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。",[23,25,560,27,28,86,171,7,308,153],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6020bc5a26b64366dfa9a8384032aebb.jpg",[35],88,{"id":565,"slug":566,"title":567,"dynasty":100,"author":568,"museum":214,"description":569,"tags":570,"thumbUrl":571,"material":174,"size":572,"collection":35,"collections":573,"showCount":574,"zanCount":11,"manualWeight":11,"mainColor":75},218261,"song-xia-wen-yu-tu-wu-wei-218261","松下问渔图","吴伟","虬松盘曲如铁，枝桠垂覆江畔。两位士人对坐石上促膝清谈，旁侧渔舟静泊，篙楫斜倚。远山含黛，烟霭轻笼，天地间漫着淡远暮色。笔墨苍劲洒脱，松干以浓墨皴擦显肌理，人物衣纹简括传神，寥寥数笔便现悠然神态。山水用淡墨晕染，虚实相生，烟波浩渺中藏无尽悠远。士人问渔，似叩问江湖意趣，亦或人生真味？画面动静相契，渔舟静谧与松风隐动、士人低语与山水无言交织，成一段清雅林下之思。笔墨纵逸却不失韵致，融山水之幽与人文之趣，尽显笔势见长的意趣盎然，引人沉潜其中。",[68,23,25,85,26,104,105,86,30,7,31,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf277986b88ae0aa20f1e4c29aa19150.jpg","218.2x148cm",[35],87,{"id":576,"slug":577,"title":578,"dynasty":100,"author":568,"museum":120,"description":579,"tags":580,"thumbUrl":584,"material":191,"size":585,"collection":220,"collections":586,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":75},222404,"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[23,48,24,49,25,85,104,28,29,581,171,7,582,26,583],"石","读书","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[220,142],85,{"id":589,"slug":590,"title":591,"dynasty":199,"author":592,"museum":82,"description":593,"tags":594,"thumbUrl":598,"material":34,"size":34,"collection":34,"collections":599,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":75},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池争标图","张择端","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[68,48,23,24,185,167,85,186,595,327,104,7,89,249,596,597],"桥梁","宫殿","岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],83,{"id":602,"slug":603,"title":604,"dynasty":240,"author":241,"museum":82,"description":242,"tags":605,"thumbUrl":612,"material":253,"size":254,"collection":255,"collections":613,"showCount":600,"zanCount":11,"manualWeight":11,"mainColor":614},226132,"the-waterlilies-1904-mo-nai-226132","The Waterlilies, 1904",[244,245,247,606,607,7,608,231,609,610,611],"色彩晕染","睡莲","浮萍","自然景观","池塘","水面倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f788b342e69064e33985edf48eac37.jpg",[255],"37474F",{"id":616,"slug":617,"title":618,"dynasty":80,"author":182,"museum":82,"description":619,"tags":620,"thumbUrl":622,"material":34,"size":34,"collection":34,"collections":623,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":39},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[68,23,24,25,85,26,27,28,51,86,7,621,90],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],80,{"id":626,"slug":627,"title":628,"dynasty":199,"author":629,"museum":65,"description":630,"tags":631,"thumbUrl":635,"material":174,"size":636,"collection":35,"collections":637,"showCount":638,"zanCount":11,"manualWeight":11,"mainColor":75},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","李唐","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[68,23,24,25,26,85,28,50,632,294,86,633,381,634,30,7],"积雪","小径","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[35],79,{"id":640,"slug":641,"title":642,"dynasty":80,"author":643,"museum":506,"description":644,"tags":645,"thumbUrl":650,"material":174,"size":651,"collection":35,"collections":652,"showCount":638,"zanCount":11,"manualWeight":11,"mainColor":39},218708,"qian-long-nan-xun-tu-yue-shi-huang-huai-he-gong-xu-yang-218708","乾隆南巡图-阅视黄淮河工","徐扬","本卷以“御制恭依皇祖揽黄淮诗韵”为文,描绘乾隆皇帝渡过黄河后,当日和次日视察黄河、淮河、运河和洪泽湖四大水系汇合处险要工程的场景.本幅开卷的宽阔江面,全以细笔勾勒水波,缜密而不失丰富层次,其中江水因含沙量不同,一清一浑、泾渭分明,足称奇观.堤坝之上,皇帝立于华盖之下,心系社稷黎民；\n沿途群臣下跪翘首,感激皇威浩荡.卷前有词臣于敏中题诗：御碑亭畔汇清黄，仰溯涂山疏瀹方。端拱九重遑自逸，酬咨万姓切如伤。惟斯继述诚应勖，亦曰流连慎戒荒，高堰重蒙皇考建，千秋淮郡倚金汤。御制恭依皇祖览淮黄诗韵。臣于敏中奉敕敬书。",[68,23,24,324,167,85,185,279,646,308,7,249,104,327,89,328,647,648,454,649],"堤坝","旗帜","人群","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[35],{"id":654,"slug":655,"title":656,"dynasty":240,"author":241,"museum":82,"description":242,"tags":657,"thumbUrl":659,"material":253,"size":254,"collection":255,"collections":660,"showCount":661,"zanCount":11,"manualWeight":11,"mainColor":75},226092,"the-pool-with-waterlilies-1917-19-mo-nai-226092","The Pool with Waterlilies, 1917-19",[244,245,607,610,7,358,125,124,658],"绿色植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f56d0d168308a70d3719a0fa3f72a0.jpg",[255],78,{"id":663,"slug":664,"title":665,"dynasty":80,"author":666,"museum":120,"description":667,"tags":668,"thumbUrl":670,"material":191,"size":671,"collection":35,"collections":672,"showCount":661,"zanCount":11,"manualWeight":11,"mainColor":75},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","袁耀","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[68,23,85,185,167,28,105,186,154,327,30,669,7,89],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[35,93],{"id":674,"slug":675,"title":63,"dynasty":80,"author":276,"museum":164,"description":676,"tags":677,"thumbUrl":678,"material":110,"size":34,"collection":35,"collections":679,"showCount":680,"zanCount":11,"manualWeight":11,"mainColor":39},219756,"shan-shui-tu-zhu-da-219756","以枯淡笔墨绘就天地疏景，线条老辣苍劲，不作浓艳晕染，大片留白代水映天，尽显空寂辽远。远山浅勾轻皴，淡宕朦胧如幻，近木虬曲怪诞，寥寥枝桠撑住清寒风骨。屋舍隐于林间坡岸，愈发衬出天地阒寂。\n\n整幅画将孤高沉郁藏在极简构图里，冷逸萧索的意境下，是遗世的喟叹，简淡笔触中尽是疏离孤傲的心境，于空荒冷寂间，晕开独有的禅意与沉郁诗意。",[68,23,24,25,123,26,28,50,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb58644b54bbcc9aee7fe0bc1916a47.jpg",[35],75,{"id":682,"slug":683,"title":684,"dynasty":18,"author":685,"museum":65,"description":686,"tags":687,"thumbUrl":688,"material":110,"size":689,"collection":35,"collections":690,"showCount":680,"zanCount":74,"manualWeight":11,"mainColor":39},219010,"cai-ling-tu-zhao-yong-219010","采菱图","赵雍","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[68,23,25,85,26,153,90,28,105,30,310,89,7,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[35],{"id":692,"slug":693,"title":694,"dynasty":240,"author":695,"museum":82,"description":696,"tags":697,"thumbUrl":703,"material":253,"size":254,"collection":255,"collections":704,"showCount":705,"zanCount":145,"manualWeight":11,"mainColor":614},225660,"rembrandt-harmensz-van-rijn-070-lun-bo-lang-225660","Rembrandt Harmensz.van Rijn - 070","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[245,698,699,354,104,700,279,89,701,702,249,359,7],"写实","明暗对比","马","马车","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae5e59524e7feb1d6ef620dba60f43f.jpg",[255],69,{"id":707,"slug":708,"title":709,"dynasty":240,"author":241,"museum":82,"description":242,"tags":710,"thumbUrl":715,"material":253,"size":254,"collection":255,"collections":716,"showCount":717,"zanCount":11,"manualWeight":11,"mainColor":75},225899,"arm-of-the-seine-near-giverny-02-1897-mo-nai-225899","Arm of the Seine near Giverny 02, 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(fragment)",[244,245,607,125,7,85,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e725c0b74ad8f654523156cabe4b36.jpg",[255],65,{"id":756,"slug":757,"title":758,"dynasty":18,"author":759,"museum":760,"description":761,"tags":762,"thumbUrl":763,"material":538,"size":764,"collection":35,"collections":765,"showCount":766,"zanCount":145,"manualWeight":11,"mainColor":614},219880,"chi-bi-tu-zhang-yuan-219880","赤壁图","张元","费城艺术博物馆","《赤壁图》是金末至大蒙古国时期文学家、诗人元好问创作的一首七言古诗。该诗中，诗人于评论《赤壁图》之逼真传神的同时，着重描述了当年赤壁大战的壮阔，绘画了苏轼泛舟夜游的恬淡，由此抒发了诗人对周瑜和苏轼两位英雄的钦慕赞誉，寄寓了诗人自己哀伤感痛的情思。诗中借对孙权、周瑜的赞美，反衬出面对金国的衰亡，救国无人、回天乏术的慨痛。全诗出语奇肆却章法严整，于跌宕奔放的笔势中时显精彩的思致，情韵兼收。",[23,25,28,86,69,51,26,439,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d2fe153cd6fbd7f83d76cd44ff2cef.jpg","152.5x72.4",[35],64,{"id":768,"slug":769,"title":770,"dynasty":240,"author":241,"museum":82,"description":242,"tags":771,"thumbUrl":775,"material":253,"size":254,"collection":255,"collections":776,"showCount":777,"zanCount":11,"manualWeight":11,"mainColor":39},225946,"houses-of-parliament-effect-of-sunlight-in-the-fog-1899-1901-mo-nai-225946","Houses of Parliament, Effect of Sunlight in the Fog, 1899-1901",[244,245,491,772,606,356,7,251,773,361,774,359,327],"雾景描绘","建筑轮廓","光影反射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b3f64be7220b9ad94b018f879d6c37.jpg",[255],63,{"id":779,"slug":780,"title":781,"dynasty":240,"author":241,"museum":82,"description":242,"tags":782,"thumbUrl":789,"material":253,"size":254,"collection":255,"collections":790,"showCount":791,"zanCount":11,"manualWeight":11,"mainColor":75},225898,"argenteuil-late-afternoon-1872-mo-nai-225898","Argenteuil, Late Afternoon, 1872",[244,245,354,783,784,279,87,89,249,785,358,786,359,702,7,327,787,714,788],"色彩明快","笔触松散","烟囱","傍晚","工厂建筑","余晖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc7885977dc6034e2c69f48a941935d.jpg",[255],61,{"id":793,"slug":794,"title":795,"dynasty":100,"author":796,"museum":65,"description":797,"tags":798,"thumbUrl":801,"material":268,"size":802,"collection":35,"collections":803,"showCount":804,"zanCount":11,"manualWeight":11,"mainColor":39},222411,"shui-mian-wen-xiang-zhou-wen-cong-jian-222411","水面闻香轴","文从简","图绘荷塘一隅，圆盘状荷叶遮住水面，墨色浓郁，四周水草繁茂，三支荷花突颖而出，二支绽放，一支含苞待放，高处荷杆上一只翠鸟探头向水中望去，翠鸟红喙细长尖锐，全身毛发柔软整齐，神情活泼。",[68,23,49,85,167,124,125,799,800,7],"鸟","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","106.8x43.8厘米",[35,142],60,{"id":806,"slug":807,"title":808,"dynasty":100,"author":809,"museum":401,"description":810,"tags":811,"thumbUrl":813,"material":417,"size":814,"collection":34,"collections":815,"showCount":816,"zanCount":145,"manualWeight":11,"mainColor":39},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","仇英","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[68,23,24,438,167,85,104,812,86,29,583,7],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],58,{"id":818,"slug":819,"title":820,"dynasty":240,"author":241,"museum":82,"description":242,"tags":821,"thumbUrl":824,"material":253,"size":254,"collection":255,"collections":825,"showCount":826,"zanCount":114,"manualWeight":11,"mainColor":614},226010,"reflections-of-clouds-on-the-water-lily-pond-1914-26-mo-nai-226010","Reflections of Clouds on the Water-Lily Pond, 1914-26",[245,244,85,354,606,607,7,822,358,361,823,711],"云影","水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4202862608f8dd950bd99f88592ac2ce.jpg",[255],55,{"id":828,"slug":829,"title":830,"dynasty":240,"author":241,"museum":82,"description":242,"tags":831,"thumbUrl":835,"material":253,"size":254,"collection":255,"collections":836,"showCount":826,"zanCount":11,"manualWeight":11,"mainColor":75},225900,"arm-of-the-seine-near-giverny-1897-mo-nai-225900","Arm of the Seine near Giverny, 1897",[244,245,354,606,279,89,7,358,359,714,609,832,833,834],"风景画","笔触灵动","色彩融合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ef1c853db62f89f884dbd4799f24f40.jpg",[255],{"id":838,"slug":839,"title":840,"dynasty":80,"author":841,"museum":506,"description":842,"tags":843,"thumbUrl":844,"material":33,"size":34,"collection":35,"collections":845,"showCount":826,"zanCount":11,"manualWeight":11,"mainColor":39},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","查士标","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[23,25,28,86,439,29,31,7,451,123,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[35],{"id":847,"slug":848,"title":849,"dynasty":199,"author":850,"museum":82,"description":851,"tags":852,"thumbUrl":855,"material":253,"size":254,"collection":34,"collections":856,"showCount":857,"zanCount":145,"manualWeight":11,"mainColor":75},288733,"xiao-xiang-ba-jing-tu-juan-si-wang-hong-288733","潇湘八景图卷四","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。",[48,23,324,25,152,69,853,308,7,52,854],"亭阁","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034d632a84422ddb4076996f3fafebb4.jpg",[],54,{"id":859,"slug":860,"title":79,"dynasty":80,"author":81,"museum":82,"description":861,"tags":862,"thumbUrl":863,"material":34,"size":34,"collection":34,"collections":864,"showCount":857,"zanCount":145,"manualWeight":11,"mainColor":39},228979,"shan-shui-tu-ce-8-kai-shi-tao-228979","此作取景清逸疏淡，枯淡笔墨勾皴江岸崖石，浅赭晕染土质坡台，素白村居朴拙静雅，隐于山坳江湾。苍松倚岸，添了几分苍润生机。江上双帆缓行，似是收棹将归，细笔轻描微波，水色空明澄澈，晕开江天静穆悠然。\n左侧题笔隽秀，诗画相融，点出如镜江色的清灵意趣。笔墨干湿互用，皴擦间带着疏朗纵逸之气，未作繁复堆砌，只以极简景致，绘出渔乡日暮的安闲意韵，尽显山水间萧散淡远的林下之风。",[48,23,24,27,25,85,28,87,30,89,88,7,26,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc902b0dd15f94b2abc4bd478738d2ba3.jpg",[],{"id":866,"slug":867,"title":868,"dynasty":199,"author":182,"museum":65,"description":869,"tags":870,"thumbUrl":872,"material":174,"size":873,"collection":206,"collections":874,"showCount":857,"zanCount":11,"manualWeight":11,"mainColor":75},220148,"lu-ting-shuang-ya-tu-yi-ming-220148","芦汀双鸭图","淡墨晕开秋水，似笼着薄雾寒烟，汀渚静卧，清寂悠然。右侧芦苇以双钩提笔绘就，细劲笔触勾出舒展茎叶，墨色分染衬出枯软肌理，仿有风过簌簌摇曳，野意横生。\n\n水面野鸭悠然徐行，浓墨点染头颈，浅墨晕开羽上斑纹，明暗相宜，灵动鲜活。寥寥数笔勾出鸭掌拨出的细微波痕，暗合水动之姿。\n\n整幅画作以简驭繁，舍去浓艳敷色，独以水墨铺陈郊野水滨之景，将秋日汀洲的幽寂闲趣藏于绢素，把自然生灵的安闲之态凝于笔端，尽显含蓄雅致的古典意韵。",[68,23,24,168,49,167,85,428,170,7,871],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af9eabc519e95fbd973739de4ea50c.jpg","86.5x90.4",[206],{"id":876,"slug":877,"title":878,"dynasty":199,"author":879,"museum":65,"description":880,"tags":881,"thumbUrl":883,"material":174,"size":884,"collection":206,"collections":885,"showCount":857,"zanCount":11,"manualWeight":11,"mainColor":75},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","马和之","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[68,23,48,85,167,28,186,89,171,882,52,7],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[206],{"id":887,"slug":888,"title":889,"dynasty":100,"author":890,"museum":65,"description":891,"tags":892,"thumbUrl":893,"material":268,"size":894,"collection":35,"collections":895,"showCount":896,"zanCount":11,"manualWeight":11,"mainColor":39},222364,"zhen-ze-yan-shu-tu-tang-yin-222364","震泽烟树图","唐寅","诗塘 御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[68,23,25,28,86,583,29,30,7,90,26,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[35,142],53,{"id":898,"slug":899,"title":900,"dynasty":199,"author":901,"museum":20,"description":902,"tags":903,"thumbUrl":905,"material":174,"size":34,"collection":56,"collections":906,"showCount":896,"zanCount":11,"manualWeight":11,"mainColor":75},218905,"yan-e-tu-cui-bai-218905","雁鹅图","崔白","画面中雁鹅姿态鲜活，羽翼层叠间细笔勾出绒羽的蓬松质感，白绒与墨羽晕染过渡自然，红掌轻点地面似欲移步，尽显禽鸟灵动之态。旁侧水草以疏朗线条勾勒，叶片随风摇曳如含生机，与雁鹅的写实刻画相映成趣。古绢底色沉雅温润，衬得物象愈发鲜活，打破了宋初院体画的刻板拘谨，透出自然野趣。整作以写生为基，笔墨兼具工致与意趣，将禽鸟的鲜活与草木的清逸融于方寸纨扇，于细微处见生机盎然，尽显宋代画坛新风韵。",[68,23,24,438,85,167,168,904,428,51,7],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[56],{"id":908,"slug":909,"title":910,"dynasty":240,"author":241,"museum":82,"description":242,"tags":911,"thumbUrl":915,"material":253,"size":254,"collection":255,"collections":916,"showCount":917,"zanCount":145,"manualWeight":11,"mainColor":39},226130,"the-water-lilies-pond-1917-mo-nai-226130","The Water-Lilies Pond, 1917",[244,245,912,913,711,610,607,125,7,914,358],"色彩层次","光影变化","水波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a11760a29eb3f97cd31932b79db1765.jpg",[255],51,{"id":919,"slug":920,"title":921,"dynasty":80,"author":922,"museum":65,"description":923,"tags":924,"thumbUrl":928,"material":417,"size":929,"collection":35,"collections":930,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":39},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[68,23,167,85,186,7,124,86,89,104,925,926,927],"纳凉","消夏","行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg","188.2*102.2cm",[35,93],48,{"id":933,"slug":934,"title":935,"dynasty":80,"author":666,"museum":120,"description":936,"tags":937,"thumbUrl":940,"material":174,"size":941,"collection":35,"collections":942,"showCount":931,"zanCount":145,"manualWeight":11,"mainColor":75},219142,"yang-zhou-si-jing-tu-wan-song-die-cui-yuan-yao-219142","扬州四景图-万松叠翠","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。",[23,85,185,167,28,938,105,186,7,939,669,89,154],"山","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[35],{"id":944,"slug":945,"title":946,"dynasty":80,"author":81,"museum":20,"description":947,"tags":948,"thumbUrl":951,"material":110,"size":952,"collection":56,"collections":953,"showCount":954,"zanCount":11,"manualWeight":11,"mainColor":39},214565,"mo-zui-za-hua-tu-ce-2-shi-tao-214565","墨醉杂画图册-2","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[68,23,24,27,85,25,26,51,949,950,106,7],"芙蓉","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bb60e03b8a80aef02ca4e630d97a6a.jpg","纵51.4厘米，横35.4厘米",[56],45,{"id":956,"slug":957,"title":958,"dynasty":199,"author":400,"museum":82,"description":959,"tags":960,"thumbUrl":963,"material":34,"size":34,"collection":34,"collections":964,"showCount":965,"zanCount":11,"manualWeight":11,"mainColor":75},227747,"dong-ting-qiu-yue-tu-xia-gui-227747","洞庭秋月图","《洞庭秋月图》是宋代画家夏圭创作的绢本水墨画，现藏于美国弗利尔美术馆。\n\n《洞庭秋月图》描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[68,23,24,48,49,25,26,28,961,69,51,7,962],"明月","远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],44,{"id":967,"slug":968,"title":969,"dynasty":199,"author":970,"museum":65,"description":971,"tags":972,"thumbUrl":974,"material":174,"size":975,"collection":56,"collections":976,"showCount":977,"zanCount":11,"manualWeight":11,"mainColor":75},219208,"fu-rong-shui-niao-tu-liang-kai-219208","芙蓉水鸟图","梁楷","萧瑟水岸，枯树疏斜如铁线横陈，枝桠间栖一水鸟，羽翼敛着清寂，目光落向粼粼水面。几瓣芙蓉柔艳，绽在枯梢旁，刚柔相映成趣。水面如镜，水禽悠游，涟漪轻漾；远空淡雾里，飞鸟掠过，影迹渐消。墨色层次分明：淡墨晕染天际与水面，似笼薄纱；枯笔勾枝，见苍劲之态；细笔点花叶，藏雅致之韵。简笔不简意，疏放中含细腻，将宋人的闲远心境融于尺幅。万物自在，清寂里透着生机，仿佛能闻水禽划水轻响，风过枝叶微声，意境悠远，耐人寻味。",[68,23,48,438,85,167,949,973,171,50,7,428],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9624696a3ecaca950aa26973ca863c4.jpg","纵25.1厘米，横25.1厘米",[56],43,{"id":979,"slug":980,"title":63,"dynasty":100,"author":182,"museum":164,"description":981,"tags":982,"thumbUrl":983,"material":538,"size":984,"collection":35,"collections":985,"showCount":977,"zanCount":11,"manualWeight":11,"mainColor":75},214694,"shan-shui-tu-yi-ming-214694","这幅画描绘的是江村的一座古庙，深藏在一个大峡谷中，远处是风帆和山脉。这幅画没有标记，但仔细观察，其风格接近于浙江画派的蒋宋。",[68,23,25,26,28,86,105,52,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f5ab4f76c39dddea71108f0742f713f.jpg","161.5x100",[35],{"id":987,"slug":988,"title":989,"dynasty":990,"author":991,"museum":992,"description":993,"tags":994,"thumbUrl":995,"material":34,"size":34,"collection":34,"collections":996,"showCount":997,"zanCount":11,"manualWeight":11,"mainColor":39},220568,"li-jiang-chun-yu-xu-bei-hong-220568","漓江春雨","民国","徐悲鸿","中央美术学院美术馆","以淋漓水墨晕染出漓江烟雨空濛之态，层叠峰林隐现于烟岚之中，墨色浓淡铺就山势虚实，尽显丘林隽秀朦胧。水面如镜，将山色树影晕化在柔波里，氤氲出水墨交融的湿润意趣。\n\n扁舟渔翁持篙独行，点活了整幅静美画卷，林麓间错落村舍，晕染出乡野恬淡烟火。画作揉合中西技法，既有传统文人山水留白写意的诗意，又暗含西画光影层次，将春雨漓江的温润柔婉，野渡闲静雅趣尽数铺展，满是东方山水的悠远意境。",[23,25,123,28,308,86,439,89,7,358,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228f0942de448fbbc8e726550e5df463.jpg",[],42,{"id":999,"slug":1000,"title":1001,"dynasty":100,"author":1002,"museum":120,"description":1003,"tags":1004,"thumbUrl":1006,"material":174,"size":1007,"collection":35,"collections":1008,"showCount":997,"zanCount":11,"manualWeight":11,"mainColor":75},220373,"jiang-ge-yuan-tiao-tu-wang-e-220373","江阁远眺图","王谔","此图为设色人物山水，大江水云渺茫，靠岸边殿阁一座，阁上一人面向江左眺望，面前方几上设花瓶、香炉、果盘，二童子侍立，屋内一童点烛，一童托盒走来。阁前水边，大石，芦苇，小船一艇，一人伏卧船中，石上苍松古柏，石后山崖杂树，烟雾迷濛。大江对岸，山峦，屋宇，庙塔，一座城门女墙环山，绕成圆形，岸边停泊大小船二十余只，远山隐现在云海间。\n描绘楼阁吸取了南宋院体状物精微的写实风格而更加纤巧富丽，树石山崖取马远大斧劈皴法，水纹以墨线勾描，画法工细。",[68,48,23,24,152,85,26,1005,186,31,105,327,7,30,89,154],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4c9f65db6578d2b8f3b0006690a99f.jpg","纵143.2厘米，横229厘米",[35],{"id":1010,"slug":1011,"title":1012,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1013,"thumbUrl":1016,"material":253,"size":254,"collection":255,"collections":1017,"showCount":1018,"zanCount":11,"manualWeight":11,"mainColor":1019},225947,"houses-of-parliament-effect-of-sunlight-in-the-fog-1900-1901-mo-nai-225947","Houses of Parliament, Effect of Sunlight in the Fog, 1900-1901",[244,1014,606,1015,7,186,250,359,249,251,491,834],"光影效果","雾景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfadf56f96ba11ffa23db97cd2991f0.jpg",[255],41,"F48FB1",{"id":1021,"slug":1022,"title":1023,"dynasty":100,"author":163,"museum":65,"description":1024,"tags":1025,"thumbUrl":1028,"material":174,"size":1029,"collection":56,"collections":1030,"showCount":1018,"zanCount":11,"manualWeight":11,"mainColor":75},218841,"xue-jing-ling-mao-tu-lv-ji-218841","雪景翎毛图","图绘雪后萧条，江天如墨。群凫畏寒相聚，半入睡乡。冻雀寒鸠，栖依衰柳，皆体贴入微，直同真景，而笔墨浑朴，不求繁缛，较之他作，似又更多一层古趣。",[23,167,85,168,169,1026,379,1027,7],"雪","雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38d71dfec08e8c1a64f428f5c218ce0.jpg","169.6x90.5cm",[56],{"id":1032,"slug":1033,"title":1034,"dynasty":100,"author":1035,"museum":120,"description":1036,"tags":1037,"thumbUrl":1038,"material":1039,"size":1040,"collection":34,"collections":1041,"showCount":1042,"zanCount":11,"manualWeight":11,"mainColor":39},233476,"ren-wu-hua-hui-ce-xu-wei-233476","人物花卉册","徐渭","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[23,25,27,123,104,439,800,31,7,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1538271c2dfd88f0c7cb1a73760be4.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[],40,{"id":1044,"slug":1045,"title":1046,"dynasty":100,"author":182,"museum":164,"description":1047,"tags":1048,"thumbUrl":1053,"material":110,"size":34,"collection":34,"collections":1054,"showCount":1042,"zanCount":145,"manualWeight":11,"mainColor":39},217951,"ming-ren-shan-shui-hua-ce-si-yi-ming-217951","明人山水画册(四)","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。",[68,23,25,27,26,28,86,89,1049,308,154,7,331,1050,939,1051,1052],"山崖","松","坡岸","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65090f9ae3fb49fb75219114df41c63.jpg",[],{"id":1056,"slug":1057,"title":17,"dynasty":100,"author":1058,"museum":82,"description":1059,"tags":1060,"thumbUrl":1065,"material":34,"size":34,"collection":35,"collections":1066,"showCount":1067,"zanCount":11,"manualWeight":11,"mainColor":39},235817,"shan-shui-ce-li-liu-fang-235817","李流芳","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[23,24,27,25,85,26,28,89,30,310,279,1061,1062,1063,1051,1064,7],"平远","淡彩","林木","民居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[35,56],39,{"id":1069,"slug":1070,"title":1071,"dynasty":199,"author":1072,"museum":82,"description":1073,"tags":1074,"thumbUrl":1075,"material":34,"size":34,"collection":34,"collections":1076,"showCount":1067,"zanCount":11,"manualWeight":11,"mainColor":75},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[68,23,24,324,25,26,28,266,89,294,279,86,171,50,31,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":1078,"slug":1079,"title":1080,"dynasty":80,"author":1081,"museum":65,"description":1082,"tags":1083,"thumbUrl":1084,"material":110,"size":34,"collection":35,"collections":1085,"showCount":1067,"zanCount":145,"manualWeight":11,"mainColor":39},214725,"shan-shui-ce-ye-hu-gui-214725","山水册页","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[23,28,85,27,938,89,310,327,171,7,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804056f2501ac14a099ce287ab11f0cf.jpg",[35],{"id":1087,"slug":1088,"title":1089,"dynasty":18,"author":1090,"museum":65,"description":1091,"tags":1092,"thumbUrl":1093,"material":174,"size":1094,"collection":35,"collections":1095,"showCount":1096,"zanCount":11,"manualWeight":11,"mainColor":39},219087,"yun-pu-na-zhou-tu-tang-di-219087","云浦拏舟图","唐棣","唐棣（1296-1364)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。",[68,23,24,28,25,85,26,86,186,89,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe43ec4ea318794216335f5e30a3218.jpg","25.6x31.4",[35],37,{"id":1098,"slug":1099,"title":1100,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1101,"thumbUrl":1108,"material":253,"size":254,"collection":255,"collections":1109,"showCount":1110,"zanCount":145,"manualWeight":11,"mainColor":75},225930,"flowers-at-vetheuil-1880-mo-nai-225930","Flowers at Vetheuil, 1880",[244,245,354,1102,1103,549,1104,189,89,279,7,310,496,609,1105,1106,1107],"色彩丰富","笔触奔放","花丛","户外","绿植","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d1346f087a032be70d9ec8d35c5427.jpg",[255],36,{"id":1112,"slug":1113,"title":1114,"dynasty":80,"author":303,"museum":760,"description":1115,"tags":1116,"thumbUrl":1117,"material":174,"size":1118,"collection":35,"collections":1119,"showCount":1110,"zanCount":11,"manualWeight":11,"mainColor":75},219847,"guan-e-tu-wang-hui-219847","观鹅图","此作用笔秀润，以高远山居搭配平远水色，远山巍峨苍浑，飞泉隐于云壑林麓间，清寂辽远。临水楼阁中，文士凭栏远眺，溪上白鹅悠游浮掠，浅滩处侍童持物静立。\n\n皴擦松柔，晕染淡净，林木苍古秀雅，亭台简雅空灵，取景错落舒展，将林泉幽居的闲逸雅致铺陈开来，尽显观鹅寄怀的隐逸雅兴，淡墨轻岚间浸透着静穆萧散的文人意趣，简淡中见隽永悠远的林下之风。",[23,49,25,26,85,28,104,154,171,89,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4100c5e85a00f55e5bd56e3b266434.jpg","130.5x39.4cm",[35],{"id":1121,"slug":1122,"title":1123,"dynasty":199,"author":531,"museum":82,"description":1124,"tags":1125,"thumbUrl":1126,"material":34,"size":34,"collection":34,"collections":1127,"showCount":1128,"zanCount":145,"manualWeight":11,"mainColor":75},227634,"shan-shui-tu-ye-ma-lin-227634","山水图页","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[68,23,48,85,26,27,28,86,104,69,105,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98bf0a985bd51c41419d7d05703c8a3d.jpg",[],35,{"id":1130,"slug":1131,"title":1132,"dynasty":199,"author":1133,"museum":82,"description":1134,"tags":1135,"thumbUrl":1136,"material":34,"size":34,"collection":34,"collections":1137,"showCount":1128,"zanCount":11,"manualWeight":11,"mainColor":39},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","荆浩","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[68,23,24,25,85,26,28,31,140,310,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":1139,"slug":1140,"title":1141,"dynasty":80,"author":303,"museum":20,"description":1142,"tags":1143,"thumbUrl":1145,"material":110,"size":34,"collection":34,"collections":1146,"showCount":1147,"zanCount":11,"manualWeight":11,"mainColor":39},214604,"fang-gu-shan-shui-ce-1-wang-hui-214604","仿古山水册-1","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。",[23,24,27,25,26,307,28,89,294,107,279,31,1144,50,7],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4fe7e77be9de98b8486a5ac52b3d32.jpg",[],34,{"id":1149,"slug":1150,"title":1151,"dynasty":240,"author":1152,"museum":82,"description":1153,"tags":1154,"thumbUrl":1158,"material":253,"size":254,"collection":255,"collections":1159,"showCount":1160,"zanCount":11,"manualWeight":11,"mainColor":614},225725,"bridge-in-the-rain-after-hiroshige-october-november-fan-gao-225725","Bridge in the rain after Hiroshige (October - November )","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。",[245,139,1155,85,1156,1157,7,104,939,439],"浮世绘","桥","雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F337d72a832471d826298eec3e42253f3.jpg",[255],33,{"id":1162,"slug":1163,"title":1164,"dynasty":199,"author":182,"museum":65,"description":1165,"tags":1166,"thumbUrl":1167,"material":174,"size":1168,"collection":35,"collections":1169,"showCount":1160,"zanCount":11,"manualWeight":11,"mainColor":75},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[68,23,24,28,85,185,26,154,89,186,30,7,633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg","24.5x25.4",[35],{"id":1171,"slug":1172,"title":1173,"dynasty":80,"author":81,"museum":82,"description":558,"tags":1174,"thumbUrl":1175,"material":253,"size":254,"collection":34,"collections":1176,"showCount":1177,"zanCount":11,"manualWeight":11,"mainColor":39},287351,"hui-yi-qin-huai-he-shan-shui-tu-zhou-shi-tao-287351","回忆秦淮河山水图轴",[68,23,152,25,85,26,51,31,7,583,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2bd565a5fe40e54bbc59f4ec18b424c.jpg",[],32,{"id":1179,"slug":1180,"title":1181,"dynasty":80,"author":1182,"museum":82,"description":1183,"tags":1184,"thumbUrl":1187,"material":34,"size":34,"collection":34,"collections":1188,"showCount":1177,"zanCount":145,"manualWeight":11,"mainColor":75},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","高岑","《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》、《 》。",[48,23,24,49,85,26,28,938,1185,29,1050,310,86,50,669,1186,30,1063,7],"水","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":1190,"slug":1191,"title":1192,"dynasty":240,"author":1193,"museum":82,"description":1194,"tags":1195,"thumbUrl":1199,"material":253,"size":254,"collection":34,"collections":1200,"showCount":1177,"zanCount":145,"manualWeight":11,"mainColor":75},231751,"ming-zhi-nian-bi-ming-zhi-nian-wu-ji-you-hua-dong-jing-hei-tian-qing-hui-231751","明治年 笔 明治年舞姬油画(东京)","黑田清辉","日本画家。1884年赴巴黎留学。1893年回国。1896年创立白马会。1898年任东京美术学校教授。1922年任帝国美术院院长。还担任贵族院议员等。吸收法国外光派画风，创立了日本外光画派。在日本明治时期画坛上颇有影响。主要作品有《读书》《湖畔》《昔语》《朝妆》等。去世后，根据其遗愿，设立了黑田纪念馆（现在东京国立文物研究所内）。",[245,85,104,812,1196,1197,7,1198],"和服","窗","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F864e28fa6e99590567aa0ef59b9c5efd.jpg",[],{"id":1202,"slug":1203,"title":1204,"dynasty":18,"author":182,"museum":120,"description":1205,"tags":1206,"thumbUrl":1207,"material":1208,"size":1209,"collection":206,"collections":1210,"showCount":1177,"zanCount":11,"manualWeight":11,"mainColor":614},223534,"jiang-shan-lou-ge-tu-zhou-yi-ming-223534","江山楼阁图轴","元代建筑画在继承两宋院体已臻成熟的工整精细的造型手段之基础上，借助元代所盛行的水墨画技法及北宋李公麟一路的白描技法，把建筑画逐步推向纯界画的境界。此幅虽仍将殿宇楼阁融入山重水复的自然景致中，但作者着力刻画的是建筑本体，山水配景已不复重要，楼宇的描绘细入微芒，建筑画状物精微的写实性达到了极致。",[68,23,24,48,49,185,26,85,28,186,30,89,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdadd7deefa1971227219d82aff1e53a.jpg","绢本，墨笔","纵162厘米，横92.5厘米",[206,35,142],{"id":1212,"slug":1213,"title":1214,"dynasty":80,"author":276,"museum":82,"description":1215,"tags":1216,"thumbUrl":1218,"material":253,"size":254,"collection":34,"collections":1219,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":39},288451,"shui-tun-tu-zhu-da-288451","水屯图","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[68,23,25,152,31,7,69,428,86,90,26,153,1217],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9cc6b0b8316ab2fb517885000a51ce.jpg",[],31,{"id":1222,"slug":1223,"title":1224,"dynasty":100,"author":1225,"museum":82,"description":1226,"tags":1227,"thumbUrl":1228,"material":34,"size":34,"collection":35,"collections":1229,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":75},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[48,23,24,49,25,85,28,104,86,105,30,7,26,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[35],{"id":1231,"slug":1232,"title":1233,"dynasty":80,"author":1234,"museum":82,"description":1235,"tags":1236,"thumbUrl":1239,"material":34,"size":34,"collection":35,"collections":1240,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":39},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼","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。",[23,24,49,25,26,28,938,29,86,1185,52,50,1237,7,451,1238],"远峰","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[35,142],{"id":1242,"slug":1243,"title":1244,"dynasty":18,"author":64,"museum":65,"description":1245,"tags":1246,"thumbUrl":1250,"material":33,"size":1251,"collection":34,"collections":1252,"showCount":1220,"zanCount":145,"manualWeight":11,"mainColor":39},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[23,1247,152,49,26,90,1248,1249,392,89,310,308,7,50,105],"水墨画","群峰","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":1254,"slug":1255,"title":1256,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1257,"thumbUrl":1264,"material":253,"size":254,"collection":255,"collections":1265,"showCount":1266,"zanCount":11,"manualWeight":11,"mainColor":39},226025,"san-giorgio-maggiore-at-dusk-1908-mo-nai-226025","San Giorgio Maggiore at Dusk, 1908",[48,244,606,491,1258,1259,7,249,1260,358,359,1261,1262,1263],"笔触表现","黄昏","塔楼","水域","霞光","色彩并置","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30551a1562a1c380d8bba485399bb7b6.jpg",[255],30,{"id":1268,"slug":1269,"title":17,"dynasty":100,"author":1270,"museum":82,"description":1271,"tags":1272,"thumbUrl":1273,"material":34,"size":34,"collection":35,"collections":1274,"showCount":1275,"zanCount":11,"manualWeight":11,"mainColor":39},234865,"shan-shui-ce-zhao-pu-234865","赵璞","此作为诗画合璧，淡墨绘就平远江景。近岸松石苍润，林木错落成荫，水波澹澹延展，远山以淡墨晕染，虚茫空濛，尽显江乡日暮的清寂悠远。行书题诗笔致清劲雅致，诗文将羁旅幽思寄寓山水，与画面相映成趣。笔墨简淡松灵，不事雕琢，把江畔闲望的怅惘安闲藏在疏朗构图之中，萧散闲适的文人意趣溢于纸面，淡而不薄，简中见雅，尽显林下澹泊清远的古韵。",[23,24,27,25,26,560,28,89,52,31,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38743b87d4722c9ed73f5e1e990d74b2.jpg",[35],28,{"id":1277,"slug":1278,"title":1279,"dynasty":80,"author":1280,"museum":82,"description":1281,"tags":1282,"thumbUrl":1283,"material":34,"size":34,"collection":34,"collections":1284,"showCount":1275,"zanCount":11,"manualWeight":11,"mainColor":1285},230116,"shan-shui-ce-12-kai-jian-jiang-230116","山水册12开","渐江","此作以大片留白晕染出空濛烟水，淡墨轻勾远山，嶙峋清癯的峰峦错落排布，简淡皴笔勾勒山石肌理，尽显冷峭疏朗之态。左下角老柳垂丝，依依拂岸，茅舍隐于柳下，愈衬江天寥廓。\n\n江上孤舟缓行，渔翁泛棹，寥寥数笔便点活了空寂水色，于极简中藏着幽远禅意。整幅画笔墨枯淡清逸，舍去繁复描摹，以简驭繁，将水畔的静穆冷逸尽数铺展，萧散淡远，观之如沐清寂江风，引人沉入这份疏旷安闲的烟水诗意中。",[23,24,27,25,26,28,86,50,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b9046f9518a01dd6d6ff08f98e4f8d.jpg",[],"FFFFFF",{"id":1287,"slug":1288,"title":1289,"dynasty":199,"author":901,"museum":82,"description":1290,"tags":1291,"thumbUrl":1294,"material":34,"size":34,"collection":34,"collections":1295,"showCount":1275,"zanCount":11,"manualWeight":11,"mainColor":75},227596,"lu-yan-tu-ye-cui-bai-227596","芦雁图页","崔白（公元11世纪）〔北宋〕约活动在1023-1085（宋仁宗至神宗时期），字子西，濠梁（今安徽凤阳东）人，生卒年不详。1068-1077（熙宁）初补图画院艺学，后升待诏。工画花竹翎毛，尤长秋荷凫雁，对佛道、鬼神、山林、人物、走兽等，亦无不精绝。思路敏捷，技巧熟练，挥毫立就，不打草稿不假直尺界笔，“曲直方圆，皆中尺度”。",[68,23,48,24,27,85,167,168,428,1292,1293,7,1051],"雁","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc580b3f4d0ac734fa06327447d804e1d.jpg",[],{"id":1297,"slug":1298,"title":1299,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1300,"thumbUrl":1303,"material":253,"size":254,"collection":255,"collections":1304,"showCount":1275,"zanCount":11,"manualWeight":11,"mainColor":39},225987,"morning-on-the-seine-1897-mo-nai-225987","Morning on the Seine, 1897",[245,244,1301,355,711,279,7,359,251,1302,89],"外光","晨光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dca538a238ed7469597eb0610fd3e9f.jpg",[255],{"id":1306,"slug":1307,"title":1308,"dynasty":18,"author":1309,"museum":65,"description":1310,"tags":1311,"thumbUrl":1313,"material":85,"size":1314,"collection":35,"collections":1315,"showCount":1275,"zanCount":145,"manualWeight":11,"mainColor":75},221847,"ji-xue-tu-zhou-liu-guan-dao-221847","积雪图轴","刘贯道","画江山积雪，山影崷崒，其上干霄。江畔一舟，冲寒远至。全图构局雄伟，用笔泼辣而迅疾，画枯木寒枝，采取郭熙蟹爪枝的表现技法，笔力雄健。此幅旧传为刘贯道作，然画风已入明际。",[68,23,152,49,25,26,632,30,50,186,266,310,1312,86,7],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 97公分",[35,142],{"id":1317,"slug":1318,"title":1319,"dynasty":100,"author":1320,"museum":164,"description":1321,"tags":1322,"thumbUrl":1325,"material":174,"size":1326,"collection":35,"collections":1327,"showCount":1275,"zanCount":11,"manualWeight":11,"mainColor":75},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。",[68,23,85,28,26,49,938,1323,89,7,669,1324],"塔","暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7485dfc0e033834ef6aef1379c333e4e.jpg","纵113.5横48厘米",[35],{"id":1329,"slug":1330,"title":1331,"dynasty":199,"author":1332,"museum":65,"description":1333,"tags":1334,"thumbUrl":1335,"material":174,"size":1336,"collection":35,"collections":1337,"showCount":1275,"zanCount":11,"manualWeight":11,"mainColor":39},218865,"liu-feng-shui-ge-tu-zhu-guang-pu-218865","柳风水阁图","朱光普","朱光普擅长画农业场景，但这幅富贵人家的亭台楼阁画却有着不同的风格。",[68,23,24,438,85,185,186,169,28,308,89,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41187d0e63f2f801bb2dcdc087263985.jpg","23.1x24.5",[35],{"id":1339,"slug":1340,"title":1341,"dynasty":199,"author":182,"museum":120,"description":1342,"tags":1343,"thumbUrl":1346,"material":1347,"size":1348,"collection":56,"collections":1349,"showCount":1350,"zanCount":145,"manualWeight":11,"mainColor":75},223447,"han-ting-luo-yan-tu-zhou-yi-ming-223447","寒汀落雁图轴","图为寒冬枯树滩、野鸭、黑乌鸦、野雁。 老树枯干，几只黑乌鸦没能栖息； 野鸭在浅滩上成群结队，踱步，或觅食； 接吻雁扇动着翅膀飞了起来，以“一”字形飞向天涯。 这幅画以水墨构想了一个冰冷、寂静、空旷的场景。",[68,23,49,25,85,50,1344,1345,381,7,28,1027,171],"鸿雁","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","绢本，水墨","125.9＊92.6cm",[56,142],27,{"id":1352,"slug":1353,"title":1354,"dynasty":80,"author":1355,"museum":45,"description":1356,"tags":1357,"thumbUrl":1358,"material":54,"size":1359,"collection":34,"collections":1360,"showCount":1350,"zanCount":11,"manualWeight":11,"mainColor":39},219853,"ba-jing-shan-shui-tu-4-gong-xian-219853","八景山水图-4","龚贤","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[23,25,26,27,28,89,294,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd597d6542b9862b226d5d90a4607334.jpg","24.4x49.7厘米",[],{"id":1362,"slug":1363,"title":1364,"dynasty":100,"author":734,"museum":120,"description":1365,"tags":1366,"thumbUrl":1367,"material":54,"size":1368,"collection":34,"collections":1369,"showCount":1370,"zanCount":11,"manualWeight":11,"mainColor":39},234092,"wu-zhong-shan-shui-ce-shen-zhou-234092","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”。",[23,24,27,25,28,86,428,7,153,560,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd1d74f643d26df0c5226efe37fd95.jpg","28.5*25.5cm",[],26,{"id":1372,"slug":1373,"title":1374,"dynasty":199,"author":1375,"museum":82,"description":1376,"tags":1377,"thumbUrl":1381,"material":34,"size":34,"collection":34,"collections":1382,"showCount":1370,"zanCount":11,"manualWeight":11,"mainColor":75},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","李安忠","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[68,48,23,24,49,25,28,26,86,50,31,30,7,89,309,376,381,1261,140,1378,1379,1380],"山石皴染","水墨山水","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":1384,"slug":1385,"title":1386,"dynasty":240,"author":1387,"museum":82,"description":1388,"tags":1389,"thumbUrl":1392,"material":34,"size":34,"collection":34,"collections":1393,"showCount":1370,"zanCount":145,"manualWeight":11,"mainColor":75},226542,"du-diao-tu-jiang-xi-meng-226542","独钓图","姜希孟","纸本，墨笔，56*36cm，东京国立博物馆藏。图绘河边杂草丛生，枯木二棵，枝杆张牙舞爪，沧桑孤傲；河面上一老者船头独自垂钓，静谧详和；远处水面广阔，画面透着冷寂之意境。姜希孟，朝鲜王朝的士大夫画家，宫廷画师。",[68,23,24,25,123,26,28,50,86,439,510,7,1390,1391],"岸石","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],{"id":1395,"slug":1396,"title":1397,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1398,"thumbUrl":1399,"material":253,"size":254,"collection":255,"collections":1400,"showCount":1370,"zanCount":11,"manualWeight":11,"mainColor":1401},225920,"dario-palace-venice-1908-mo-nai-225920","Dario Palace, Venice, 1908",[244,245,596,279,327,7,354,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ce41eef3a0c7b260a50254889ff61a.jpg",[255],"0D904F",{"id":1403,"slug":1404,"title":1405,"dynasty":80,"author":1406,"museum":120,"description":1407,"tags":1408,"thumbUrl":1412,"material":54,"size":34,"collection":56,"collections":1413,"showCount":1414,"zanCount":11,"manualWeight":11,"mainColor":39},237345,"liu-e-zhou-lu-hui-237345","柳鹅轴","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[23,24,49,1409,85,25,1410,168,169,1411,7,428,107],"清代","兼工带写","鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfeaabf9316dbd974dad4d28dbb93e0.jpg",[56],25,{"id":1416,"slug":1417,"title":1418,"dynasty":18,"author":182,"museum":65,"description":1419,"tags":1420,"thumbUrl":1422,"material":174,"size":1423,"collection":35,"collections":1424,"showCount":1414,"zanCount":11,"manualWeight":11,"mainColor":39},219055,"yan-shui-gu-zhou-yi-ming-219055","烟水孤舟","淡墨晕染的烟水间，一叶孤舟轻漾，似与天地相融。岸边老树枝干虬曲，松针疏朗，墨色浓淡间见苍劲之姿；远处峰峦隐于烟霭，虚实相生，恰是元人山水的空灵之境。水色空濛，舟影孑然，没有喧嚣，只有天地间的静默与清寂——仿佛能听见水波轻拍船舷的微响，或是林间风过的疏声。线条简淡却含力道，墨色层次丰富，从近树的浓墨到远山的淡染，过渡自然，将烟水的缥缈与孤舟的寂寥刻画得入木三分。这般景致，是文人心中的避世之境，也是自然与心境的交融，寥寥数笔，道尽元人山水的含蓄与深远。",[68,23,438,25,26,28,86,69,31,7,1421],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd088de0b4b41a57a3d089f8b935ea627.jpg","23.4x24.7",[35],{"id":1426,"slug":1427,"title":63,"dynasty":199,"author":213,"museum":82,"description":1428,"tags":1429,"thumbUrl":1431,"material":253,"size":254,"collection":34,"collections":1432,"showCount":1433,"zanCount":11,"manualWeight":11,"mainColor":75},289882,"shan-shui-tu-ma-yuan-289882","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[68,23,28,86,25,49,26,108,308,7,1430],"雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb806c0688b564342fb3084494197250f.jpg",[],24,{"id":1435,"slug":1436,"title":1437,"dynasty":80,"author":303,"museum":82,"description":1438,"tags":1439,"thumbUrl":1441,"material":34,"size":34,"collection":34,"collections":1442,"showCount":1433,"zanCount":11,"manualWeight":11,"mainColor":39},237590,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237590","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》。",[23,1247,307,26,1440,27,28,29,583,581,31,7,51],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93ac8d5e23f56de21baeb4d646ef856.jpg",[],{"id":1444,"slug":1445,"title":1446,"dynasty":80,"author":81,"museum":120,"description":1447,"tags":1448,"thumbUrl":1449,"material":1450,"size":1451,"collection":34,"collections":1452,"showCount":1433,"zanCount":11,"manualWeight":11,"mainColor":39},233420,"yuan-ji-shan-shui-ce-shi-tao-233420","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。",[23,25,26,28,69,88,30,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13c86746ad2136d441ce39e6d598d2b7.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":1454,"slug":1455,"title":1456,"dynasty":100,"author":1457,"museum":82,"description":1458,"tags":1459,"thumbUrl":1461,"material":34,"size":34,"collection":34,"collections":1462,"showCount":1433,"zanCount":145,"manualWeight":11,"mainColor":75},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","杜堇","画面以淡墨晕染出清寂冬山，古松虬枝横斜，苍劲老辣。寒溪蜿蜒穿谷，水波轻漾间漾出幽冷空茫。曳杖文士缓行山径，衣袂翩然尽是闲适从容，侍童抱琴紧随其后，将文人携琴探梅的雅兴藏于萧寒丘壑。\n\n笔墨洗练疏朗，山水皴擦简括写意，人物线条清劲灵动，淡墨轻岚晕染出空寂淡远的氛围，将冬日山林的萧寒清冷与文人寻幽访胜的孤高雅趣相融，于简淡之中尽显出超尘脱俗的文人情致。",[68,23,85,167,104,28,202,1460,51,69,31,7,89,1144,25],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":1464,"slug":1465,"title":1466,"dynasty":18,"author":1090,"museum":65,"description":1467,"tags":1468,"thumbUrl":1469,"material":1470,"size":1471,"collection":34,"collections":1472,"showCount":1433,"zanCount":145,"manualWeight":11,"mainColor":75},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[68,23,24,48,28,85,26,108,86,439,450,104,89,30,854,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","绢","纵160.1 横106.2 公分",[],{"id":1474,"slug":1475,"title":1476,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1477,"thumbUrl":1481,"material":253,"size":254,"collection":255,"collections":1482,"showCount":1433,"zanCount":11,"manualWeight":11,"mainColor":75},226093,"the-port-at-argenteuil-1872-mo-nai-226093","The Port at Argenteuil, 1872",[244,245,247,784,1478,1479,89,702,104,279,327,87,7,1480,359,249,250,246,783],"堤岸","小路","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2728ccad7694cf240bd131badab46f68.jpg",[255],{"id":1484,"slug":1485,"title":1486,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1487,"thumbUrl":1489,"material":253,"size":254,"collection":255,"collections":1490,"showCount":1491,"zanCount":145,"manualWeight":11,"mainColor":75},225988,"morning-on-the-seine-near-giverny-1896-mo-nai-225988","Morning on the Seine, near Giverny, 1896",[244,245,279,7,358,89,1488,251,247,606,609],"清晨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf10c6a211be582dcffa8baf67b153f2.jpg",[255],23,{"id":1493,"slug":1494,"title":1495,"dynasty":100,"author":1496,"museum":82,"description":1497,"tags":1498,"thumbUrl":1499,"material":34,"size":34,"collection":34,"collections":1500,"showCount":1501,"zanCount":145,"manualWeight":11,"mainColor":39},235164,"san-feng-chun-se-zhou-lu-zhi-235164","三峰春色轴","陆治","此作以淡绛浅绘铺展春日丘壑，取高远构图，层峦奇崛苍劲，勾勒皴擦尽显山石嶙峋骨相。空阔春水横陈其间，汀渚错落，寒林带浅红新芽，村居隐于林麓溪畔，淡远清寂里暗蕴初春风光。\n笔墨秀挺劲爽，设色清简克制，只以淡赭轻染峰林枝梢，衬出春寒未褪的润雅生机，将江南早春的疏朗清远晕染纸上，意境萧散淡和，尽显文人山水雅淡出尘之致。",[23,49,25,26,28,266,89,7,154,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50e2117ede6573ff78446f0cb4dcf51.jpg",[],22,{"id":1503,"slug":1504,"title":1505,"dynasty":80,"author":1506,"museum":82,"description":1507,"tags":1508,"thumbUrl":1512,"material":34,"size":1513,"collection":34,"collections":1514,"showCount":1501,"zanCount":11,"manualWeight":11,"mainColor":39},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图","王原祁","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」\n见《清史稿》、秦祖永《桐荫论画》。",[68,23,85,28,139,26,90,1509,89,30,1510,249,7,1511,51],"秋山","小桥","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcdb306f6f1c438ff6380f1ec5787a6.jpg","95.9×50.6 厘米",[],{"id":1516,"slug":1517,"title":1518,"dynasty":199,"author":1519,"museum":65,"description":1520,"tags":1521,"thumbUrl":1523,"material":174,"size":1524,"collection":56,"collections":1525,"showCount":1501,"zanCount":11,"manualWeight":11,"mainColor":39},219936,"qiu-lin-shui-niao-tu-gao-ke-ming-219936","秋林水鸟图","高克明","图绘柳岸水边,凫雁或飞或憩,地上与柳树上两只山鹊或觅食或远眺.小小尺幅内作全幅花鸟,气韵悠远,秋意盎然",[68,23,24,27,85,28,1522,973,89,7,26,376],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cfd1d3015da9ffdea2e6f7cf2a880f.jpg","26.5x26.6",[56],{"id":1527,"slug":1528,"title":63,"dynasty":199,"author":1529,"museum":65,"description":1530,"tags":1531,"thumbUrl":1533,"material":538,"size":1534,"collection":34,"collections":1535,"showCount":1536,"zanCount":11,"manualWeight":11,"mainColor":75},289107,"shan-shui-tu-gou-long-shuang-289107","勾龙爽","勾龙爽，又名句龙爽，四川人，生卒年月不详。\n宋代宫廷画家，擅长人物画。神宗时官翰林待诏。时称他画的人物“其状质野，有返朴之意。” 作品有《西成民乐图卷》《岁丰图卷》等。",[23,48,152,25,26,86,154,1510,308,7,89,153,90,1532],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],21,{"id":1538,"slug":1539,"title":1540,"dynasty":80,"author":1541,"museum":82,"description":1542,"tags":1543,"thumbUrl":1544,"material":34,"size":1545,"collection":34,"collections":1546,"showCount":1536,"zanCount":11,"manualWeight":11,"mainColor":39},238028,"hong-ren-shan-shui-tu-ce-hong-ren-238028","弘仁山水图册","弘仁","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[23,24,25,28,27,26,1440,30,89,310,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cd8e2a8b9ef7aa9b3c431dd9e276fe.jpg","50×36",[],{"id":1548,"slug":1549,"title":1550,"dynasty":100,"author":1551,"museum":82,"description":1552,"tags":1553,"thumbUrl":1554,"material":253,"size":254,"collection":34,"collections":1555,"showCount":1536,"zanCount":11,"manualWeight":11,"mainColor":39},237850,"fang-ni-zan-shan-shui-shan-dong-qi-chang-237850","仿倪瓒山水扇","董其昌","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。",[438,23,25,139,28,29,581,26,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe56f94b85cc2111160b5c9a7022474.jpg",[],{"id":1557,"slug":1558,"title":1559,"dynasty":199,"author":182,"museum":65,"description":1560,"tags":1561,"thumbUrl":1564,"material":1565,"size":1566,"collection":34,"collections":1567,"showCount":1536,"zanCount":145,"manualWeight":11,"mainColor":75},231343,"shan-shui-tu-shui-cun-shan-si-tu-yi-ming-231343","山水图（水村山寺图）","浅设色画水村山寺。柳岸舟横。无款印。诗塘御制诗楷书",[23,152,85,26,30,89,279,86,1562,294,31,1563,327,7],"山寺","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9794dcebe0d39fa1476cf1a613caa639.jpg","绢本","纵114cm,横57cm",[],{"id":1569,"slug":1570,"title":1571,"dynasty":18,"author":1572,"museum":82,"description":1573,"tags":1574,"thumbUrl":1576,"material":34,"size":34,"collection":34,"collections":1577,"showCount":1536,"zanCount":11,"manualWeight":11,"mainColor":39},228014,"shuang-ya-tu-ye-qian-xuan-228014","双鸭图页","钱选","此作用色清隽雅致，以澄澈钴蓝晕染水面，铺就幽宁底色。枯涩崖岸旁，蓼花垂曳轻摇，荇花绽于浅波，野趣盎然。白鸭昂首引吭，绒毛以淡墨层层晕染，柔润蓬松，憨态灵动，将水禽的慵懒自在尽显无遗。\n左侧题字墨色沉郁古雅，书画合璧，晕开文人逸趣。整幅画作工致却无板滞之感，褪去浓艳浮华，以清简笔触定格江南水畔一隅生机，在平淡天真里晕染出静逸诗意，把闲淡野逸的水乡意趣藏于笔底，尽显雅致悠然的文人审美意韵。",[68,48,23,24,27,167,85,1575,52,189,231,7],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f3c409d648d2eabd5847edaa99ecd.jpg",[],{"id":1579,"slug":1580,"title":1581,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1582,"thumbUrl":1586,"material":253,"size":254,"collection":255,"collections":1587,"showCount":1536,"zanCount":11,"manualWeight":11,"mainColor":39},225921,"entrance-to-the-port-of-trouville-1870-mo-nai-225921","Entrance to the Port of Trouville, 1870",[244,245,1583,87,1584,104,1585,646,7,359,1480,354,355],"港口","沙滩","钓鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5db62e344f827e5f52418acdc53fb7b.jpg",[255],{"id":1589,"slug":1590,"title":1591,"dynasty":199,"author":1592,"museum":82,"description":1593,"tags":1594,"thumbUrl":1595,"material":34,"size":34,"collection":34,"collections":1596,"showCount":1597,"zanCount":11,"manualWeight":11,"mainColor":39},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","阎次平","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[68,23,24,438,85,28,26,90,105,186,86,30,89,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],20,{"id":1599,"slug":1600,"title":1601,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1602,"thumbUrl":1604,"material":253,"size":254,"collection":255,"collections":1605,"showCount":1597,"zanCount":11,"manualWeight":11,"mainColor":39},226011,"regatta-at-argenteuil-1872-mo-nai-226011","Regatta at Argenteuil, 1872",[244,245,87,7,358,310,89,702,104,359,1603,1261,354,711],"红屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48dce699643e52336f1f3c03f6f79c9.jpg",[255],{"id":1607,"slug":1608,"title":1609,"dynasty":199,"author":182,"museum":82,"description":1610,"tags":1611,"thumbUrl":1614,"material":417,"size":1615,"collection":34,"collections":1616,"showCount":1597,"zanCount":11,"manualWeight":11,"mainColor":75},223376,"chu-ping-mu-yang-tu-yi-ming-223376","初平牧羊图","此图不知原载何册，也没有作者姓氏。但画法甚为高超，人物尤精。在描绘人物动态和神情方面，画家具有高超的技艺。",[68,23,24,438,85,167,104,1612,29,30,7,1613],"羊","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d3b9f87123433d8f4bab4bb4d8cd5e.jpg","23.5*24.6厘米",[],{"id":1618,"slug":1619,"title":1620,"dynasty":100,"author":1621,"museum":65,"description":1622,"tags":1623,"thumbUrl":1624,"material":174,"size":1625,"collection":35,"collections":1626,"showCount":1597,"zanCount":145,"manualWeight":11,"mainColor":75},219415,"shan-shui-zhou-zhao-xun-219415","山水轴","赵洵","这幅山水轴铺展江南景致，笔墨温润雅致。远处山峦以淡墨皴染，层叠间透出苍莽的韵致；江面烟波浩渺，行舟点点如萍，或扬帆或泊岸，尽得水天之趣。近景林麓葱郁，村舍错落隐于浓荫，亭台与民居相映，几处人物或漫步小径、或聚于檐下，情态悠然。笔墨兼工带写，树木枝干苍劲，叶色层次丰富；山石用细皴勾勒，晕染出温润质感。画面左上方题字与钤印相映，添文人雅趣。整体意境平和悠远，如诗中田园，将自然之美与人间烟火融于一卷，尽显江南水乡的温婉与生机。",[23,85,26,49,28,89,327,104,249,31,1563,310,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1a28851fde1e54756a28f63c3e8510.jpg","156.4x44.9厘米",[35],{"id":1628,"slug":1629,"title":1630,"dynasty":80,"author":303,"museum":164,"description":1631,"tags":1632,"thumbUrl":1641,"material":110,"size":1642,"collection":34,"collections":1643,"showCount":1597,"zanCount":11,"manualWeight":11,"mainColor":39},217214,"fang-gu-shan-shui-shi-er-kai-si-wang-hui-217214","仿古山水十二开(四)","此册王翚仿古十二开",[23,25,26,27,28,86,154,89,30,509,31,7,1633,1634,1635,1636,1637,1638,1639,1640],"林间小屋","层叠山峦","树木丛生","山石错落","水面孤舟","近景山石","中景树木小屋","远景山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb4730a38b7c25f23dbc3beb36ddadf.jpg","25x35.4cm",[],{"id":1645,"slug":1646,"title":1647,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1648,"thumbUrl":1649,"material":253,"size":254,"collection":255,"collections":1650,"showCount":1651,"zanCount":11,"manualWeight":11,"mainColor":614},226131,"the-water-lily-pond-at-giverny-1917-mo-nai-226131","The Water-Lily Pond at Giverny, 1917",[244,245,610,607,7,358,89,204,189,609,354,606,833],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3a8fb7d461b825bc9f879091fc468a.jpg",[255],19,{"id":1653,"slug":1654,"title":1655,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1656,"thumbUrl":1663,"material":253,"size":254,"collection":255,"collections":1664,"showCount":1651,"zanCount":11,"manualWeight":11,"mainColor":39},226124,"the-thames-below-westminster-1871-mo-nai-226124","The Thames below Westminster, 1871",[244,491,606,784,1657,1658,279,1659,249,1660,1661,1662,251,104,595,359,7],"户外写生","瞬间光影","钟楼","蒸汽船","码头","水面波光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fb9e1255edae92c7fe290796b70f79.jpg",[255],{"id":1666,"slug":1667,"title":1668,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1669,"thumbUrl":1672,"material":253,"size":254,"collection":255,"collections":1673,"showCount":1651,"zanCount":11,"manualWeight":11,"mainColor":39},226123,"the-thames-below-westminster-mo-nai-226123","The Thames below Westminster",[245,244,1670,1661,327,1671,1015,7],"泰晤士河","城市风光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7a68edc082d6bad8fa14400e41a54a.jpg",[255],{"id":1675,"slug":1676,"title":1677,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1678,"thumbUrl":1685,"material":253,"size":254,"collection":255,"collections":1686,"showCount":1651,"zanCount":11,"manualWeight":11,"mainColor":614},225954,"in-the-norve-gienne-1887-mo-nai-225954","In the Norvégienne, 1887",[244,245,247,606,104,1679,1680,1681,939,7,358,1682,1683,1684],"女性","帽子","白裙","绿色植被","户外场景","自然光线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ca7e1d0bffaa3b948a649c1ae03255.jpg",[255],{"id":1688,"slug":1689,"title":1690,"dynasty":199,"author":1691,"museum":65,"description":1692,"tags":1693,"thumbUrl":1695,"material":174,"size":1696,"collection":35,"collections":1697,"showCount":1651,"zanCount":11,"manualWeight":11,"mainColor":39},218877,"liu-ting-fang-zhao-tu-ma-kui-218877","柳汀放棹图","马逵","这幅画描绘了秋季平湖上的月亮，一个高士在芦苇丛中划船，箭头占了半个画面，月亮挂在天上。马奎是马远的兄弟，这幅画显示出两兄弟的笔触相似。",[68,23,25,438,28,86,169,1694,7,309],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e1e7610a85bed931663d46e28e8be2.jpg","23.1x25.4",[35],{"id":1699,"slug":1700,"title":1701,"dynasty":199,"author":1702,"museum":82,"description":1703,"tags":1704,"thumbUrl":1707,"material":253,"size":254,"collection":34,"collections":1708,"showCount":1709,"zanCount":11,"manualWeight":11,"mainColor":75},288347,"feng-yu-wei-zhou-tu-yan-ci-yu-288347","风雨维舟图","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[438,23,48,28,86,154,89,30,31,1705,26,85,7,1706],"风雨","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa671c596f3518c9f5d1279fe7c89a10.jpg",[],18,{"id":1711,"slug":1712,"title":1713,"dynasty":80,"author":81,"museum":120,"description":1714,"tags":1715,"thumbUrl":1716,"material":1717,"size":1718,"collection":34,"collections":1719,"showCount":1709,"zanCount":11,"manualWeight":11,"mainColor":39},235003,"yuan-ji-shan-shui-tu-ce-shi-tao-235003","原济山水图册","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,27,25,85,28,86,169,31,7,104,90,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098b21ce73fa0300f031aec7f760b977.jpg","纸本 ，设色","纵33.2cm，横22.8cm",[],{"id":1721,"slug":1722,"title":1723,"dynasty":80,"author":389,"museum":120,"description":1724,"tags":1725,"thumbUrl":1729,"material":1730,"size":1731,"collection":34,"collections":1732,"showCount":1709,"zanCount":11,"manualWeight":11,"mainColor":39},234064,"qiu-shu-ba-ge-tu-hua-yan-234064","秋树八哥图","八哥是华嵒擅画的题材之一。此图绘溪野中的八哥或栖于红枫枝头、或盘旋而下、或于水中鸣浴的欢快景象。笔法上勾染兼施，简约传神地塑造了八哥的各种体态，反映了画家娴熟的笔墨技巧和善于想象、巧于构思的艺术才能。",[23,123,85,25,49,168,69,171,7,428,1726,536,1727,1728],"落叶","鸟禽","水边植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd744f410ea61ce30a13c0ce4ef3ca7c0.jpg","纸本，设色","纵161厘米，横87.9厘米",[],{"id":1734,"slug":1735,"title":1736,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1737,"thumbUrl":1745,"material":253,"size":254,"collection":255,"collections":1746,"showCount":1709,"zanCount":145,"manualWeight":11,"mainColor":39},226008,"quai-du-louvre-1867-mo-nai-226008","Quai du Louvre, 1867",[244,245,354,355,1738,279,249,1739,89,648,701,1740,359,1741,714,1742,1743,1744,1683,7],"城市街景","穹顶","街道","行人","路灯","遮阳伞","马匹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b26b87b4f48bbad6a3073d8c90ffb8.jpg",[255],{"id":1748,"slug":1749,"title":1750,"dynasty":199,"author":182,"museum":65,"description":1751,"tags":1752,"thumbUrl":1753,"material":174,"size":1754,"collection":35,"collections":1755,"showCount":1709,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[68,23,24,27,25,85,167,26,1026,28,50,86,439,104,7,938,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60d2b0f61e8804c3f763b7d1d90dc6.jpg","23.8x25.5",[35],{"id":1757,"slug":1758,"title":63,"dynasty":199,"author":182,"museum":65,"description":1759,"tags":1760,"thumbUrl":1761,"material":174,"size":34,"collection":35,"collections":1762,"showCount":1709,"zanCount":145,"manualWeight":11,"mainColor":39},218693,"shan-shui-tu-yi-ming-218693","烟波浩渺间，一叶扁舟轻泛，舟中人影依稀，似与水色相融。右侧松枝虬曲，墨色浓淡交错，松针如丝倚石而立；山石皴法简练，与浅草相映，添了几分野趣。远山如黛，晕染在淡雾里，似天地间的留白，引视野向无尽悠远。\n\n整幅画以淡墨铺陈，虚实相生：静穆中藏灵动——水面微澜、松枝轻颤，皆在笔墨间流转。不刻意渲染，却于简约中见深远，静谧中显生机。仿佛能听见风声掠松梢，见水波拍舟舷，沉湎于自然与心灵的契合，尽得宋人山水中的诗意栖居之趣。",[68,23,48,25,85,28,26,86,439,69,31,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd413e20f9a81db648f7fa8472822843b.jpg",[35],{"id":1764,"slug":1765,"title":1766,"dynasty":80,"author":303,"museum":164,"description":1631,"tags":1767,"thumbUrl":1769,"material":110,"size":1642,"collection":34,"collections":1770,"showCount":1709,"zanCount":11,"manualWeight":11,"mainColor":39},217207,"fang-gu-shan-shui-shi-er-kai-shi-yi-wang-hui-217207","仿古山水十二开(十一)",[23,25,307,26,27,961,86,69,154,89,1768,30,7],"草坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611e13e5922eacde75f3651ef7421915.jpg",[],{"id":1772,"slug":1773,"title":1123,"dynasty":100,"author":1774,"museum":82,"description":1775,"tags":1776,"thumbUrl":1777,"material":253,"size":254,"collection":34,"collections":1778,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":39},288040,"shan-shui-tu-ye-tao-cheng-288040","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[68,23,28,25,85,26,186,1510,104,89,308,7,90,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f03ee7c4a454a27bbbe56bc7379317f.jpg",[],17,{"id":1781,"slug":1782,"title":17,"dynasty":80,"author":841,"museum":82,"description":1783,"tags":1784,"thumbUrl":1785,"material":34,"size":34,"collection":35,"collections":1786,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":39},239325,"shan-shui-ce-cha-shi-biao-239325","此作用淡墨晕染江天，留白铺就悠远空濛之境。岸畔垂柳依依轻拂水面，三两渔舟泛于烟波之上，尽显江南春日出尘之致。笔致松秀简淡，摒弃繁复皴擦，以极简笔墨勾勒出萧散清远的山水意趣。\n\n左侧行书题诗与画意呼应，笔墨温润舒展，诗书与绘事相得益彰，文气盎然。整幅作品将文人画简淡天真的审美意趣尽显无遗，把春日春江的静穆柔婉融于尺幅之间，淡而弥永，余韵悠长，尽显隐逸安然的林下之风。",[23,24,27,560,25,26,28,86,439,89,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9afb62b36cf20a64628c29321c4312.jpg",[35],{"id":1788,"slug":1789,"title":17,"dynasty":80,"author":1790,"museum":82,"description":1791,"tags":1792,"thumbUrl":1793,"material":34,"size":34,"collection":35,"collections":1794,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":39},237973,"shan-shui-ce-zhang-geng-237973","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[23,25,26,27,28,31,332,89,310,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acb599bd7ac62d645f8a8d69aa34971.jpg",[35],{"id":1796,"slug":1797,"title":1798,"dynasty":100,"author":1799,"museum":82,"description":1800,"tags":1801,"thumbUrl":1804,"material":253,"size":254,"collection":34,"collections":1805,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":75},237798,"qiu-xi-you-ting-tu-shan-wang-cheng-237798","秋溪游艇图扇","汪澄","[明]字潜然，徽州（今安徽歙县）人，工画。《画史会要》",[23,438,25,85,26,28,1802,1803,86,104,52,31,7,89,1238],"秋树","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff321caa0ed147ef8daab802eb0b0aea1.jpg",[],{"id":1807,"slug":1808,"title":1809,"dynasty":80,"author":182,"museum":82,"description":1810,"tags":1811,"thumbUrl":1812,"material":34,"size":34,"collection":34,"collections":1813,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":39},235160,"hong-ren-shan-shui-ce-yi-ming-235160","弘仁山水册","此作为诗画合璧，行书题笔隽雅清逸，与山水景致相映成趣。淡墨轻扫出平远秋湖之景，远山如黛晕染天际，汀渚渔舍错落浅滩，不见浓墨重彩，唯有疏淡笔墨勾勒出水乡秋寂。左下角枯木疏枝清隽，湖面扁舟随波，似载着题诗里的秋闲意趣。\n整体萧散极简，脱尽繁缛，以清和淡墨铺就幽旷静穆的氛围，将秋日湖港泊舟的闲适禅意晕开，诗画相生，尽显文人山水的简淡天真，观之如临秋水，心神亦随之沉敛安宁，悠悠野趣藏于留白淡墨之间。",[23,25,27,26,153,28,86,50,7,308,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcefcc066a3d8ae189ca1d151c47dd72.jpg",[],{"id":1815,"slug":1816,"title":1817,"dynasty":199,"author":1818,"museum":82,"description":1819,"tags":1820,"thumbUrl":1822,"material":54,"size":1823,"collection":34,"collections":1824,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":75},232882,"chun-xiao-bu-yu-tu-zhou-zhao-gou-232882","春晓捕鱼图轴","赵构","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，宋朝第十位皇帝、南宋第一代皇帝，在位三十五年。北宋皇帝宋徽宗第九子，宋钦宗之弟；曾获封为“康王”。在位初期因为眼见金朝强势，为了保持江山，起用主战派李纲、岳飞等等。但恐惧将领权力过大，为了强化中央集权，采取求和政策，终于绍兴十一年（1141年）与金朝达成绍兴和议，重用主和派黄潜善、汪伯彦、王伦、秦桧等人，并处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣，对金称臣。从此南宋与金朝形成南北对峙之格局。",[68,48,23,24,49,25,26,28,86,108,89,31,7,1821,279,308,939],"渔夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763ad8aae0080dc493a95d5237f9554.jpg","97x53 厘米",[],{"id":1826,"slug":1827,"title":1828,"dynasty":100,"author":1829,"museum":82,"description":1830,"tags":1831,"thumbUrl":1832,"material":34,"size":34,"collection":34,"collections":1833,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":39},228853,"si-wan-shan-shui-tu-wen-bo-ren-228853","四万山水图","文伯仁","以极简淡墨铺陈江天，大片留白漾开空濛水色，将天地浩渺揉入卷中。近岸枯木虬根盘错，浅滩蒲草疏疏曳动，扁舟横卧，渔翁静憩，野逸闲趣暗藏其间。远景山峦以淡墨轻扫出柔缓轮廓，恍如黛色浮于云水之畔。数点飞雁列阵划破空寂，愈发衬出江天寥廓。题款小字错落留白之上，诗画相映，晕开江南秋闲的空阔清远。笔致松秀简淡，不见繁缛皴染，却将平远山水的空灵通透娓娓道来，尽显寄情丘壑、淡远萧散的文人意趣，观之如沐江风，心随水色一同沉敛安宁。",[68,23,25,49,28,86,171,29,51,31,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa85fe8825904bddc6b0c2e6a9aa859.jpg",[],{"id":1835,"slug":1836,"title":1837,"dynasty":199,"author":182,"museum":82,"description":1838,"tags":1839,"thumbUrl":1841,"material":34,"size":34,"collection":34,"collections":1842,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":75},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[68,23,24,28,185,85,167,1840,7,327,31,186,1323,154,89],"长桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],{"id":1844,"slug":1845,"title":1846,"dynasty":80,"author":1847,"museum":82,"description":1848,"tags":1849,"thumbUrl":1850,"material":34,"size":34,"collection":34,"collections":1851,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":39},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","吴历","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[68,48,23,25,26,49,28,105,1293,50,294,535,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":1853,"slug":1854,"title":63,"dynasty":199,"author":182,"museum":65,"description":1855,"tags":1856,"thumbUrl":1857,"material":1565,"size":34,"collection":35,"collections":1858,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":39},219645,"shan-shui-tu-yi-ming-219645","这幅小品以边角取景，古松倚崖斜出，虬枝垂曳，将视线引向空阔江面。扁舟随波缓行，艄翁独棹，烟波浩渺处远山如黛，融于濛濛暮色。\n\n笔墨清润简淡，以浅墨晕染出空蒙水色，苍劲松枝勾勒见笔力，山石皴擦简练。留白极尽空灵禅意，以少胜多，将江湖散人的幽居野逸心境藏于画中，静穆淡远，余韵悠长，尽显山水小品以小见大的雅致意趣。",[23,25,28,26,86,69,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c918e48838ac9ddb5a51f3f19e7e228.jpg",[35],{"id":1860,"slug":1861,"title":1862,"dynasty":100,"author":182,"museum":164,"description":1047,"tags":1863,"thumbUrl":1864,"material":110,"size":34,"collection":34,"collections":1865,"showCount":1779,"zanCount":11,"manualWeight":11,"mainColor":39},217946,"ming-ren-shan-shui-hua-ce-jiu-yi-ming-217946","明人山水画册(九)",[68,23,24,27,25,28,26,938,669,89,310,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa574ea7389a9c41271ae0e8aae560842.jpg",[],{"id":1867,"slug":1868,"title":1869,"dynasty":199,"author":1870,"museum":82,"description":1871,"tags":1872,"thumbUrl":1873,"material":253,"size":254,"collection":34,"collections":1874,"showCount":1875,"zanCount":11,"manualWeight":11,"mainColor":75},289325,"shen-pin-tu-li-song-289325","神品图","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。",[68,438,23,48,185,85,186,28,104,7,171,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346f24e0be478ee51db9592a4044b1f7.jpg",[],16,{"id":1877,"slug":1878,"title":1879,"dynasty":100,"author":1551,"museum":82,"description":1552,"tags":1880,"thumbUrl":1881,"material":253,"size":254,"collection":34,"collections":1882,"showCount":1875,"zanCount":11,"manualWeight":11,"mainColor":39},237849,"fang-ni-shan-shui-shan-dong-qi-chang-237849","仿倪山水扇",[23,24,438,25,26,139,90,28,31,217,50,310,1061,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55363912779a99f9f5b63f43afe6bd85.jpg",[],{"id":1884,"slug":1885,"title":1886,"dynasty":100,"author":1887,"museum":82,"description":1888,"tags":1889,"thumbUrl":1890,"material":34,"size":34,"collection":34,"collections":1891,"showCount":1875,"zanCount":11,"manualWeight":11,"mainColor":39},234491,"juan-dong-ting-ye-yue-shan-zhu-yin-234491","隽洞庭夜月扇","朱胤","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[23,24,438,25,26,28,961,89,30,7,31,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189ad8459fc1b6f9a24ecaf33e0dcfd.jpg",[],{"id":1893,"slug":1894,"title":1895,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1896,"thumbUrl":1897,"material":253,"size":254,"collection":255,"collections":1898,"showCount":1875,"zanCount":145,"manualWeight":11,"mainColor":75},226143,"water-lilies-setting-sun-mo-nai-226143","Water-Lilies, Setting Sun",[244,245,354,606,607,7,535,358,800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5789fba6deb37f3fab40fbd90617cc.jpg",[255],{"id":1900,"slug":1901,"title":1902,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1903,"thumbUrl":1907,"material":253,"size":254,"collection":255,"collections":1908,"showCount":1875,"zanCount":11,"manualWeight":11,"mainColor":39},226120,"the-spring-at-vetheuil-1881-mo-nai-226120","The Spring at Vetheuil, 1881",[244,245,606,491,7,358,89,1904,310,1905,359,702,1906],"山丘","尖顶建筑","春季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b5ff7e7c862b0d520f2742223eb3f86.jpg",[255],{"id":1910,"slug":1911,"title":1912,"dynasty":199,"author":182,"museum":65,"description":1913,"tags":1914,"thumbUrl":1915,"material":1565,"size":34,"collection":35,"collections":1916,"showCount":1875,"zanCount":11,"manualWeight":11,"mainColor":39},219640,"yi-ting-kan-hong-tu-yi-ming-219640","倚艇看鸿图","此作以边角取景，斜出的古松虬曲苍劲，藤蔓盘绕松身，野趣横生。坡岸石矶错落，幽草杂木点缀其间，白衣幽人倚艇静坐，遥望远空。淡墨晕染的远山与湖面融于空濛烟霭，水天一色愈显清旷悠远。\n\n全作用笔简淡秀雅，以水墨皴擦点染，不见繁复刻画，却将江南水滨的萧散清寂晕染尽致。幽人观鸿的闲寂之态，暗合宋人林泉高致的雅趣，咫尺团扇之间，藏着江湖林下的阔远襟怀，尽显宋代山水小品以小见大、以简胜繁的意境之美。",[68,23,24,438,25,26,28,69,51,171,86,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6dabe5d6d95427c3f91f0cba98543ed.jpg",[35],{"id":1918,"slug":1919,"title":1920,"dynasty":100,"author":1551,"museum":45,"description":1921,"tags":1922,"thumbUrl":10,"material":34,"size":34,"collection":35,"collections":1925,"showCount":1875,"zanCount":11,"manualWeight":11,"mainColor":1926},203466,"xiao-jing-ba-fu-ce-dong-qi-chang-203466","小景八幅册","董其昌此册页小景，笔墨兼具南北宗之妙。左幅水墨疏朗，山石以披麻皴写就，线条清劲秀逸，平远构图中村落隐现，意境空灵悠远；右幅设色淡雅，红绿点染秋叶，树木姿态古拙，山石结构简括，自然生机与文人简淡相融。画面以书入画，笔墨韵律天成，小景中见大格局，尽显晚明文人画的空灵雅韵，是其“以画为乐”理念的生动体现。",[68,23,24,27,25,85,26,1923,28,30,89,310,31,140,509,1924,105,7],"文人画","红叶树",[35],"c1bcb3",{"id":1928,"slug":1929,"title":1713,"dynasty":80,"author":81,"museum":82,"description":558,"tags":1930,"thumbUrl":1931,"material":34,"size":34,"collection":34,"collections":1932,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":39},237768,"yuan-ji-shan-shui-tu-ce-shi-tao-237768",[48,23,24,27,25,85,26,28,51,310,89,31,332,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdf237b23a0eee60675e6fe8c367619.jpg",[],15,{"id":1935,"slug":1936,"title":1937,"dynasty":80,"author":182,"museum":82,"description":1938,"tags":1939,"thumbUrl":1941,"material":34,"size":34,"collection":34,"collections":1942,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":75},235670,"yuan-yao-shan-shui-ping-chun-tai-ming-yue-yi-ming-235670","袁耀山水屏-春台明月","此画以淡晕烟霭织就春夜底色，圆月悬于浅青长空，将清辉温柔泼洒在湖山间。重檐朱阁倚山而建，飞檐翘角揽着月色，檐下窗棂隐约透出暖意，与周遭盛放的花树、垂岸的柔柳相映，将人工雅意揉入湖山清景。\n\n水面扁舟轻泛，渔人慢摇船桨漾开细微波光，和静雅的楼台形成动静对照。整幅设色柔润秀雅，以淡墨晕染烟岚，把春夜湖山的空濛温婉尽数铺展。无需浓墨重彩，便将春台望月的清和诗意藏在每处细节里，观之如临其境，似能嗅到春夜湿润花香，耳闻水波轻拍船舷的浅响，尽显东方山水悠然禅意。",[23,85,185,167,28,961,186,89,939,7,1940],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874e6605c1df06f174e906972637056.jpg",[],{"id":1944,"slug":1945,"title":1446,"dynasty":80,"author":81,"museum":120,"description":1447,"tags":1946,"thumbUrl":1947,"material":1450,"size":1451,"collection":34,"collections":1948,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":39},233418,"yuan-ji-shan-shui-ce-shi-tao-233418",[23,25,26,51,28,31,7,27,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92361a4fe6fb74ea4f312c51d24294e9.jpg",[],{"id":1950,"slug":1951,"title":1952,"dynasty":18,"author":182,"museum":82,"description":1953,"tags":1954,"thumbUrl":1955,"material":34,"size":34,"collection":34,"collections":1956,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":75},228208,"shan-ju-tu-ye-yi-ming-228208","山居图页","此作用笔简淡清润，近景陂陀之上古木虬曲，以浓墨点苔晕染，尽显苍拙老辣的笔力。侧畔水榭半隐树荫，寥寥数笔勾出幽居小筑的雅致。\n\n中岸垂柳如烟，浅笔轻写柔条拂水，与古木刚柔相映。远景山峦以淡墨披麻皴晕染，朦胧清寂，将江南水畔的空濛尽数铺开。\n\n全作以绢本浅设色晕染，墨色层次素雅，将文人幽居林泉、静赏烟水的隐逸意趣藏在疏淡笔墨间，尽显元画尚意的空灵雅致，静静铺陈出水畔山居的清寂安闲。",[68,23,25,28,26,89,310,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91f6a520506b0be169e19c04ca4cbd4e.jpg",[],{"id":1958,"slug":1959,"title":1960,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1961,"thumbUrl":1964,"material":253,"size":254,"collection":255,"collections":1965,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":75},226062,"the-corner-of-the-garden-at-montgeron-1876-mo-nai-226062","The Corner of the Garden at Montgeron, 1876",[244,245,247,834,833,495,549,89,279,702,1683,189,7,1962,457,1963],"花簇","远处山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78807d085e323ef89840ba9bf872ac0.jpg",[255],{"id":1967,"slug":1968,"title":1969,"dynasty":240,"author":241,"museum":82,"description":242,"tags":1970,"thumbUrl":1973,"material":253,"size":254,"collection":255,"collections":1974,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":75},225999,"poplars-on-the-banks-of-the-epte-1891-mo-nai-225999","Poplars on the Banks of the Epte, 1891",[244,245,246,247,783,1971,1972,714,359,1480,7,89,609],"笔触松动","白杨树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc6f6bbabba3488b693548ce77e07ec.jpg",[255],{"id":1976,"slug":1977,"title":63,"dynasty":80,"author":841,"museum":82,"description":1978,"tags":1979,"thumbUrl":1981,"material":128,"size":1982,"collection":35,"collections":1983,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":39},224254,"shan-shui-tu-cha-shi-biao-224254","图中景岸上一人牵驴待渡，挥手呼叫船夫；船夫撑着小船正缓缓地驶向岸边。远景山峦起伏，林木苍郁，云雾缭绕，若隐若现的景象。 作品的结构追仿倪云林画风，但形似倪云林画，内涵却不同。图中远山的笔墨好像师法米芾，但又不同于米芾，是查士标“风神懒散，气韵荒寒”（《国朝画征录》）的典型风格。\n画中景物疏密有致、层次分明。作品用笔干净利索：树木用笔以直勾为主，线条方折；舟船、人物刻画细微、用笔轻松，毫无刻板之意；河岸用阔笔、以赭褐色写出；树叶稍有皴染，但颜色较浅，几近于无。整幅画以暖色调为主，点缀以数片绿色。\n该作品笔墨疏简，风神闲散，意境荒寒。书法作品布白稀疏，线条粗细对比明显。运笔变化笔锋，粗笔凝重，细笔灵活。诗联色彩灿烂，氤氲虚幻，仿佛看到一幅幅画面。画家笔下的诗句视觉形象和线条造形尤其简朴闲散，不同米颠的八面书锋，风樯阵马，而是一种看到老树昏鸦的幽隐期约，使人浮想联翩，大隐于市、超然尘外的闲情逸致表现得淋漓尽致。",[68,23,28,25,85,169,7,104,1980,31,939],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8532cafb37db10142222cf2f0d4da91.jpg","纵90.1厘米，横36.7厘米",[35],{"id":1985,"slug":1986,"title":1987,"dynasty":100,"author":1988,"museum":65,"description":1989,"tags":1990,"thumbUrl":1991,"material":34,"size":34,"collection":34,"collections":1992,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":39},222859,"shan-shui-he-ji-juan-song-xu-222859","山水合迹卷","宋旭","宋旭(1525-1606年后)，字初旸，号石门、石门山人，后为僧，法名祖玄，又号天池发僧、景西居士。浙江嘉兴人，清代《图绘宝鉴续纂》一作湖州(今浙江吴兴)人，居松江。工山水，兼长人物。师法“吴门四家”之一的沈周，画风似沈氏而又独具个性，亦宗法巨然、王蒙。其山水高华苍蔚，笔墨苍劲古朴，意境幽深，所作巨幅大幛，气势磅礴，开“苏松画派”之先声，万历年间名重海内。宋旭曾与“华亭派”画家莫廷韩(1537-1587年)入芟山社绘白雀寺壁，时称妙绝。宋旭遁入佛门以后，隐居佛寺，潜通禅理，一生画笔不辍，八十一岁时尚绘《平沙落雁图》轴，清逸传神，传为美谈。",[68,23,324,25,28,26,86,171,30,31,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4617bfcb74ed5bc94d043330825ed7e6.jpg",[],{"id":1994,"slug":1995,"title":1996,"dynasty":199,"author":1997,"museum":65,"description":1998,"tags":1999,"thumbUrl":2002,"material":174,"size":2003,"collection":35,"collections":2004,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":39},218697,"han-pu-yu-zeng-tu-yan-su-218697","寒浦渔罾图","燕肃","寒江凝碧，枯柳疏枝斜倚滩头，雪屑轻覆芦荻，晕开一层冷寂。渔罾静悬水面，似在寒雾中守着时光的缓流。旁侧题诗与画面相契，“五枝辛苦生涯”的低语，衬出渔者于风雪里的安然。笔墨简淡却含深意：枯笔勾出柳枝的苍劲，淡墨晕染江天的空濛，雪的留白与芦荻的点染相映，将冬日江浦的清寒与生机揉合。没有繁复铺陈，只以极简意象写尽寒浦孤寂与韧性，读来如临江畔，冷风拂面时，却见渔火隐约的暖意，于清冷中藏着生活的本真。",[68,48,23,24,27,85,28,108,50,69,7,2000,2001],"渔网","寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ef4407f2b72d6c52f3f00a910f9574.jpg","25.8x26.3cm",[35],{"id":2006,"slug":2007,"title":2008,"dynasty":80,"author":136,"museum":45,"description":2009,"tags":2010,"thumbUrl":2012,"material":33,"size":2013,"collection":34,"collections":2014,"showCount":1933,"zanCount":11,"manualWeight":11,"mainColor":39},216991,"fang-song-yuan-shan-shui-ce-2-wang-jian-216991","仿宋元山水册-2","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。",[68,23,307,25,26,2011,28,89,310,30,7,1051],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b0f84dfc5f66b27890e723bb1ec1f3.jpg","纵55.4厘米，横36.0厘米",[],{"id":2016,"slug":2017,"title":2018,"dynasty":100,"author":2019,"museum":82,"description":2020,"tags":2021,"thumbUrl":2022,"material":34,"size":34,"collection":34,"collections":2023,"showCount":2024,"zanCount":11,"manualWeight":11,"mainColor":39},235836,"tai-hu-tu-ye-wen-jia-235836","太湖图页","文嘉","此作淡设色绘就湖山胜景，烟波浩渺间群岛错落如星子散落湖面，近岸山峦清润秀雅，林木轻覆崖畔，湖面舟楫缓行，漾开闲澹悠然的江南意趣。左侧题书隽秀雅致，以文述太湖掌故，书画合璧，晕染出独有的温婉文气。\n画面用笔简淡写意，以清浅设色晕染水汽空濛，将太湖包纳万境的浩渺，化作文人笔下的澹泊空灵，把悠游湖山的隐逸意趣藏在湖光波色之间，尽显山水小品融景抒情的绝佳意韵。",[23,24,27,25,28,86,171,326,89,31,7,90,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4688beca4b60516f1eb021c0a349bb4.jpg",[],14,{"id":2026,"slug":2027,"title":2028,"dynasty":80,"author":1847,"museum":120,"description":2029,"tags":2030,"thumbUrl":2032,"material":34,"size":34,"collection":34,"collections":2033,"showCount":2024,"zanCount":11,"manualWeight":11,"mainColor":39},234820,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234820","清初六大家集册-山水册页","吴历（1632年—1718年），清代著名画家。本名启历，号渔山、桃溪居士。因所居有言子墨井，又号墨井道人。江苏常熟人。为“清初六家”之一。幼学画，稍长学琴。早年多与西人牧师、神父往来。1681年，吴历决意随柏应理神父赴罗马觐见教皇，原欲经澳门乘荷兰船赴欧洲，已至澳门，却未能成行，遂留居澳门约5个多月。1682年在澳门加入耶稣会，受洗名为西满·沙勿略，并遵习俗取葡式名雅古纳。常居圣保禄教堂，吟诗作画，有《渔山袖珍册》《白传湓江图卷》《秋山红叶图》等作品面世。此时他的绘画，明显有吸收西方绘画艺术之处。同时还著有《三巴集》，“三巴”即以其居地澳门圣保禄教堂之译音为名，其《澳门杂咏》30首，均与澳门有关，实为早期澳门重要的文学史料。1682年离澳，在江浙一带传教。卒于上海。",[23,25,26,27,28,86,171,1293,30,7,2031],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372024be031a85f24ba524143d396600.jpg",[],{"id":2035,"slug":2036,"title":2037,"dynasty":80,"author":841,"museum":120,"description":2038,"tags":2039,"thumbUrl":2040,"material":282,"size":2041,"collection":34,"collections":2042,"showCount":2024,"zanCount":145,"manualWeight":11,"mainColor":39},233872,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233872","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》。",[23,25,28,27,26,89,31,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dbbcd538bb5fd72d190bc550a1e721a.jpg","纵32.8cm，横52.8cm",[],{"id":2044,"slug":2045,"title":2046,"dynasty":199,"author":182,"museum":120,"description":2047,"tags":2048,"thumbUrl":2049,"material":1565,"size":2050,"collection":34,"collections":2051,"showCount":2024,"zanCount":11,"manualWeight":11,"mainColor":75},233020,"wan-shan-hua-ce-zhang-mao-shuang-yuan-yang-ye-yi-ming-233020","纨扇画册-张茂双鸳鸯页","画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二只，它们的顾盼关系使得上半部画面更加充实生动。\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。",[48,23,24,438,27,167,85,168,230,428,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c1f19dd445227b06136999af12f821.jpg","纵24.4cm，横18.3cm",[],{"id":2053,"slug":2054,"title":2055,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2056,"thumbUrl":2057,"material":253,"size":254,"collection":255,"collections":2058,"showCount":2024,"zanCount":11,"manualWeight":11,"mainColor":75},226031,"small-boat-on-the-small-branch-of-the-seine-at-argenteuil-1872-mo-nai-226031","Small Boat on the Small Branch of the Seine at Argenteuil, 1872",[244,245,246,491,606,939,87,279,7,358,89,376,702,359,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed19734cf7c3fb1f269ec7e8c284ca0e.jpg",[255],{"id":2060,"slug":2061,"title":2062,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2063,"thumbUrl":2067,"material":253,"size":254,"collection":255,"collections":2068,"showCount":2024,"zanCount":11,"manualWeight":11,"mainColor":39},225907,"breakup-of-ice-grey-weather-1880-mo-nai-225907","Breakup of Ice, Grey Weather, 1880",[245,244,247,833,2064,7,50,2065,2066,358],"破冰","建筑群","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d984b2d599ac77589c8f445a201b41.jpg",[255],{"id":2070,"slug":2071,"title":2072,"dynasty":199,"author":182,"museum":82,"description":2073,"tags":2074,"thumbUrl":2077,"material":34,"size":34,"collection":34,"collections":2078,"showCount":2024,"zanCount":11,"manualWeight":11,"mainColor":39},223618,"hong-mei-kong-que-tu-yi-ming-223618","红梅孔雀图","《宋人画红梅孔雀图》是宋代佚名画家创作的花鸟绘画。\n中国古代以 为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ ”细款，但细察周围有挖痕，应系从别处移来。\n对幅有耿昭忠题记：“此图花木禽鸟极其精工。\n《画髓》评云：‘远欲其子得誉，多于己画题作马麟。\n’夫岂其然？千山信公。\n”钤“虚斋珍赏”及耿氏藏印5方。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[68,23,48,167,85,2075,2076,105,1293,171,30,7,204],"红梅","孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5efe163d7bf4a53fe85c48eba2f57af.jpg",[],{"id":2080,"slug":2081,"title":2082,"dynasty":100,"author":2083,"museum":65,"description":2084,"tags":2085,"thumbUrl":2086,"material":33,"size":2087,"collection":56,"collections":2088,"showCount":2024,"zanCount":11,"manualWeight":11,"mainColor":75},218782,"lu-zhou-ju-yan-tu-zhu-fei-218782","芦洲聚雁图","朱芾","朱芾（活动于西元十四世纪后期），江苏华亭人，字孟辨，号沧洲生，洪武初，以翰林编修改中书舍人。其人才思飘逸，善画芦雁，集潇湘水云之致，兼善山水及白描人物。工词章翰墨之学，真、草、隶、篆清润遒劲，风度不凡。尝以所书篆瘗之细林山中，题曰篆冢。朱芾为当时名士杨维祯之门生，甚受杨氏器重，曾赞芾能以仁义为修，为其门之幸。本幅画芦洲聚雁，楷书画题，隶书识其作画经过，并赋七绝一首写其心境，笔法多变，结字错落，甚有奇趣。",[23,25,28,26,171,428,89,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84fd87c7fb0b2f499c2bd78515980998.jpg","117.4x30.7cm",[56,35],{"id":2090,"slug":2091,"title":2092,"dynasty":80,"author":2093,"museum":45,"description":2094,"tags":2095,"thumbUrl":2098,"material":34,"size":34,"collection":35,"collections":2099,"showCount":2024,"zanCount":11,"manualWeight":11,"mainColor":2100},202186,"dong-ting-qiu-yue-tu-zhou-wang-su-202186","洞庭秋月图轴","王愫","这幅画作以淡雅笔墨铺陈洞庭秋夜之境。陡峭山崖以细腻皴法勾勒纹理，枯树虬枝点缀其间，尽显秋意萧瑟。开阔水面波光隐现，远处飞鸟掠空，添灵动之韵。右下角小屋傍树而立，与自然相融，透出隐逸闲趣。整体色调清寒，虽未直绘秋月，却以空濛清旷的氛围烘托出月色皎洁，意境悠远宁静。笔墨层次丰富，山石用墨浓淡相宜，草木勾勒简练传神，尽显画家功底。构图疏密有致，左密右疏、虚实相生，将洞庭湖畔的秋夜寂寥与月色清辉完美融合，引人沉醉。",[25,26,28,86,171,88,50,7,2096,2097,68],"清旷意境","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8ff5c3d6aa85680f47b2d34af0767a.jpg",[35],"b2a58f",{"id":2102,"slug":2103,"title":1879,"dynasty":100,"author":2104,"museum":82,"description":2105,"tags":2106,"thumbUrl":2107,"material":253,"size":254,"collection":34,"collections":2108,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},239473,"fang-ni-shan-shui-shan-bian-wen-yu-239473","卞文瑜","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。",[23,438,25,26,139,28,51,89,294,31,217,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d62cdec0cf21a047c087ed05e3035b6.jpg",[],{"id":2110,"slug":2111,"title":2112,"dynasty":80,"author":2113,"museum":82,"description":2114,"tags":2115,"thumbUrl":2118,"material":253,"size":254,"collection":34,"collections":2119,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},235664,"shan-shui-ping-yuan-jiang-235664","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[23,85,167,185,28,86,2116,308,7,2117,49,535,89,536,26],"红树","舟人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b4a4034a49030300ed4a23692b7679.jpg",[],{"id":2121,"slug":2122,"title":2123,"dynasty":80,"author":303,"museum":82,"description":2124,"tags":2125,"thumbUrl":2127,"material":2128,"size":2129,"collection":34,"collections":2130,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},234717,"fang-gu-shan-shui-ce-wang-hui-234717","仿古山水册","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[23,24,27,25,26,139,28,69,154,583,31,377,30,7,2126,90],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg","纸本，水墨","25.6厘米，横：20.5厘米",[],{"id":2132,"slug":2133,"title":2037,"dynasty":80,"author":841,"museum":120,"description":2038,"tags":2134,"thumbUrl":2137,"material":282,"size":2041,"collection":34,"collections":2138,"showCount":38,"zanCount":145,"manualWeight":11,"mainColor":39},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874",[23,25,152,1440,1409,89,86,310,7,939,428,169,2135,2136],"水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg",[],{"id":2140,"slug":2141,"title":2142,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2143,"thumbUrl":2148,"material":253,"size":254,"collection":255,"collections":2149,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},225985,"melting-of-floes-at-ve-theuil-1881-mo-nai-225985","Melting of Floes at Vétheuil, 1881",[244,245,711,354,355,7,2144,2145,279,89,2146,1249,358,609,2147],"浮冰","融化","山脉","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e3a52b1fd28e2461a358c222129b93.jpg",[255],{"id":2151,"slug":2152,"title":2153,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2154,"thumbUrl":2160,"material":253,"size":254,"collection":255,"collections":2161,"showCount":38,"zanCount":145,"manualWeight":11,"mainColor":75},225903,"bathers-at-la-grenouillere-1869-mo-nai-225903","Bathers at La Grenouillere, 1869",[48,244,245,491,606,833,1657,2155,7,327,104,2156,1661,89,714,361,250,2157,2158,2159],"光色变化","浴者","树荫","夏日","休闲场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84c60ec89242747c19de7147819298f.jpg",[255],{"id":2163,"slug":2164,"title":2165,"dynasty":100,"author":734,"museum":45,"description":2166,"tags":2167,"thumbUrl":2168,"material":417,"size":2169,"collection":34,"collections":2170,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},222096,"liang-jiang-ming-sheng-tu-ce-8-shen-zhou-222096","两江名胜图册8","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[68,23,24,27,85,28,153,86,105,186,31,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d2195e006435fbb0a25480c8b44d74.jpg","42.2×23.8厘米",[],{"id":2172,"slug":2173,"title":2174,"dynasty":18,"author":685,"museum":82,"description":2175,"tags":2176,"thumbUrl":2177,"material":2178,"size":2179,"collection":34,"collections":2180,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":75},221867,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-221867","秋林远岫图页","赵雍 （公元1289—？年），字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。赵雍承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。幼即勤奋，得母指教，稍懈母即严责之。稍长，“所画浓淡浅深皆至理”。山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。书善正、行、草，亦长篆书，体势清劲。",[68,48,23,24,27,25,26,28,1522,331,89,30,7,50,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71628b63edcc8a6d2dd2ebba0b6fdf9.jpg","扇","68X77",[],{"id":2182,"slug":2183,"title":2184,"dynasty":199,"author":2185,"museum":65,"description":2186,"tags":2187,"thumbUrl":2188,"material":174,"size":2189,"collection":35,"collections":2190,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},218873,"shan-shui-tu-su-di-chun-xiao-ma-yuan-zhong-218873","山水图-苏堤春晓","马元忠","画面中，西湖边的苏澳路景象逼真，断桥和三座鱼舱清晰可见，湖壁上的游客画面虽小，却很生动。马元忠的画史没有记载，他对苏堤在南宋时期的面貌进行了宝贵的描绘。",[68,23,24,27,185,25,85,28,186,1510,86,89,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f9048532902657b0f71f4a712b0075.jpg","23.6x25.8",[35],{"id":2192,"slug":2193,"title":2194,"dynasty":80,"author":81,"museum":227,"description":2195,"tags":2196,"thumbUrl":2197,"material":110,"size":2198,"collection":34,"collections":2199,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},214523,"yi-jin-ling-ce-11-shi-tao-214523","忆金陵册-11","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[23,25,28,86,89,31,7,153,90,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c9597cb335d0687e04ead266b505f9.jpg","纵23.8厘米，横19.2厘米",[],{"id":2201,"slug":2202,"title":2203,"dynasty":100,"author":1829,"museum":45,"description":2204,"tags":2205,"thumbUrl":2207,"material":34,"size":34,"collection":35,"collections":2208,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":2209},203430,"qiu-pu-song-bie-tu-juan-wen-bo-ren-203430","秋浦送别图卷","画面铺展秋浦江天，烟波浩渺间岛屿错落，林木葱茏处隐现亭台。近岸孤舟待发，船帆轻扬，岸边人物揖别，意韵缱绻。远景山峦层叠，云雾氤氲，水色天光交融成一派清旷。笔墨细腻处见工致，山石皴法显肌理，树木点染得法，设色淡雅温润。卷后行书题跋流畅，与画风相得益彰，尽显雅致风神。整卷以景衬情，将送别之怅惘藏于山水幽远，读来如临其境，怅然若失。",[68,23,24,324,85,167,26,153,560,28,86,186,89,509,104,154,2206,7,327,249,2126],"岸边景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c20e12301268a7c13276cf69343153.jpg",[35],"c0b095",{"id":2211,"slug":2212,"title":2213,"dynasty":100,"author":2214,"museum":82,"description":2215,"tags":2216,"thumbUrl":2217,"material":253,"size":254,"collection":34,"collections":2218,"showCount":2219,"zanCount":11,"manualWeight":11,"mainColor":75},236682,"shan-shui-shan-jiang-qian-236682","山水扇","蒋乾","蒋乾（1525—？）明代画家。字子健，金陵（今江苏南京）人。\n嵩子，隐居吴郡（今江苏苏州）虹桥，困以为号。破屋半间，一介不苟。八十年如一日。江盈科为长洲宰，表其庐曰“东海冥鸿”。善山水，清拔古雅，过於乃父。嘉靖四十二年（1563）仿王蒙山水图。",[23,1247,438,28,50,30,509,86,26,89,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4dd3c710ef5cd3dbc82276a1c1a9b4.jpg",[],12,{"id":2221,"slug":2222,"title":2223,"dynasty":100,"author":2224,"museum":120,"description":2225,"tags":2226,"thumbUrl":2228,"material":2128,"size":34,"collection":34,"collections":2229,"showCount":2219,"zanCount":11,"manualWeight":11,"mainColor":39},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[68,23,24,324,25,560,2227,104,29,1293,171,28,7,621],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":2231,"slug":2232,"title":2233,"dynasty":100,"author":2234,"museum":82,"description":2235,"tags":2236,"thumbUrl":2237,"material":34,"size":34,"collection":34,"collections":2238,"showCount":2219,"zanCount":11,"manualWeight":11,"mainColor":39},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","陈焕","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[68,23,24,27,85,25,28,961,154,89,7,560,153,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":2240,"slug":2241,"title":2242,"dynasty":18,"author":64,"museum":82,"description":2243,"tags":2244,"thumbUrl":2245,"material":34,"size":34,"collection":34,"collections":2246,"showCount":2219,"zanCount":11,"manualWeight":11,"mainColor":75},228254,"jiang-shu-qiu-sheng-tu-ye-cao-zhi-bai-228254","江树秋声图页","平远取景铺展江天浩渺，远山以淡墨轻笼，晕染出空濛悠远的秋意。近岸枯木萧疏遒劲，枝桠清瘦如篆，茅庐隐于林下，悄然静立在清寒暮色里。\n\n笔墨简淡秀润，以干笔皴擦写山峦肌理，线条松灵虚和，墨色层层晕染，淡而不薄。题画小诗与山水相映，将江乡秋夜的孤清乡思揉进尺幅之中。整幅画以简驭繁，褪去浓丽，尽显尚意之趣，把深秋江渚的寂寥、幽居林泉的隐逸澹然融为一体，淡墨里藏着清寂的心境，寥寥数笔便绘就了江乡秋声里的悠远闲情。",[48,23,24,27,25,26,28,50,30,7,536,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbf747142db1b200e064b2ce56cf2e.jpg",[],{"id":2248,"slug":2249,"title":2250,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2251,"thumbUrl":2253,"material":253,"size":254,"collection":255,"collections":2254,"showCount":2219,"zanCount":11,"manualWeight":11,"mainColor":39},226135,"the-willows-1880-mo-nai-226135","The Willows, 1880",[244,245,355,354,169,702,2252,310,7,359],"野花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedb0a03d3fd84140051faf71cf682a5.jpg",[255],{"id":2256,"slug":2257,"title":2258,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2259,"thumbUrl":2261,"material":253,"size":254,"collection":255,"collections":2262,"showCount":2219,"zanCount":11,"manualWeight":11,"mainColor":75},226080,"the-japanese-footbridge-1920-22-mo-nai-226080","The Japanese Footbridge, 1920-22",[244,245,1103,491,2260,358,1510,509,89,7,189,609,1683],"色彩浓烈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d821bdc237cb738e8fdd058a4846293.jpg",[255],{"id":2264,"slug":2265,"title":2266,"dynasty":199,"author":2267,"museum":65,"description":2268,"tags":2269,"thumbUrl":2270,"material":174,"size":34,"collection":34,"collections":2271,"showCount":2219,"zanCount":11,"manualWeight":11,"mainColor":39},218675,"xi-hu-shi-jing-tu-qu-yuan-feng-he-ye-xiao-yan-218675","西湖十景图-曲院风荷","叶肖岩","淡墨晕染的远山如黛，近岸树影婆娑，隐约可见荷叶田田的清姿，风过处似有暗香浮动。左侧行书笔意流转，与画中墨韵相映成趣，笔墨间尽是西湖夏日的清幽雅致。整幅作品以书画合璧之姿，将曲院风荷的静谧之美悄然铺展，尽显文人笔下的山水意趣与诗意情怀，让人仿佛置身于那片荷风送爽的西湖景致之中。",[68,23,24,27,25,85,560,28,950,89,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f780af223b0e71a7e4d290d27c674c.jpg",[],{"id":2273,"slug":2274,"title":2275,"dynasty":80,"author":136,"museum":20,"description":2276,"tags":2277,"thumbUrl":2278,"material":110,"size":34,"collection":34,"collections":2279,"showCount":2219,"zanCount":11,"manualWeight":11,"mainColor":39},215010,"fang-gu-shan-shui-ce-19-wang-jian-215010","仿古山水册-19","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。",[68,23,24,27,25,26,28,89,51,7,308,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ef3432372e2458db74ec31875d2652.jpg",[],{"id":2281,"slug":2282,"title":2283,"dynasty":18,"author":182,"museum":82,"description":2284,"tags":2285,"thumbUrl":2287,"material":253,"size":254,"collection":34,"collections":2288,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":75},290063,"liu-yin-yuan-tiao-tu-yi-ming-290063","柳荫远眺图","此作以淡墨晕染烟水江南之境。右畔垂柳疏简，枯淡墨色绘出柔丝轻垂之态，萧散空灵。湖面空蒙辽阔，汀渚错落隐现，远山含黛藏在烟霭之中，似有若无，晕开悠远的朦胧意趣。近滩扁舟上，一人独立凝睇，身影清寂，将幽独的文人心境融在湖山之中。全作用笔简淡写意，以留白拓开天地，褪去繁饰，尽显尚意之风，把萧淡清旷的襟怀藏在烟柳远山之间，淡而弥远，空而愈深，余韵悠长。",[23,438,25,28,169,86,31,7,2286],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab858fbaa3fcde147275e8f4bdc0983.jpg",[],11,{"id":2291,"slug":2292,"title":2293,"dynasty":80,"author":643,"museum":82,"description":2294,"tags":2295,"thumbUrl":2297,"material":34,"size":34,"collection":34,"collections":2298,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":75},238213,"duan-yang-gu-shi-ce-xu-yang-238213","端阳故事册","垂柳依依拂岸，数位仕民驻足河沿，引颈望向水面竞渡的龙舟。衣袂飘然的人物各有情态，或抬指点评，或牵孩眺望，将观赛时的热切尽兴尽数藏于眉目间。水面晕开浅淡波纹，龙舟破浪而行的勃发气势呼之欲出。\n\n整作设色清润雅致，笔触工细温婉，将端阳观渡的民俗盛景晕染得鲜活生动，把清代市井端午的融融节庆意趣，收纳于绢本方寸之间，恬淡里满溢着烟火暖意，尽显民俗写生的细腻情致。",[23,24,27,85,167,104,169,7,2296,90],"龙舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b9d5e5b7a0c75f0bd9ae99801bcd317.jpg",[],{"id":2300,"slug":2301,"title":1437,"dynasty":80,"author":182,"museum":82,"description":2302,"tags":2303,"thumbUrl":2304,"material":34,"size":34,"collection":34,"collections":2305,"showCount":2289,"zanCount":145,"manualWeight":11,"mainColor":39},236067,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236067","此作用浅淡水墨绘就萧疏秋林之景，枯木虬曲错落，枝桠尽露嶙峋之态，策杖幽人行于林麓间，更衬林泉清寂。林畔茅舍隐于林木间，淡墨扫就陂陀山石，温润松秀。远景汀渚远山以轻墨晕染，虚实相生，将荒寒淡远的秋冬平野铺展而出。\n\n用笔松灵雅致，干笔皴擦带出山野质感，留白空灵写意，尽显南宗山水萧散简远的意趣。寥寥笔墨勾勒出林下幽居的清寂况味，以简驭繁、以淡胜浓，将文人寄情林泉的闲远心境融于尺幅之中，是深得仿古山水意韵的雅致小品。",[23,24,27,25,139,26,28,50,31,30,154,509,86,89,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba88997e1c5b5c27221bff52124674f.jpg",[],{"id":2307,"slug":2308,"title":2309,"dynasty":80,"author":2310,"museum":82,"description":2311,"tags":2312,"thumbUrl":2313,"material":34,"size":34,"collection":34,"collections":2314,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":39},234622,"wang-fang-fang-gua-chou-shan-shui-wan-shan-wang-fang-234622","汪昉仿瓜畴山水纨扇","汪昉","汪昉（一七九九－一八七七），字叔明，号菽民，又号啜菽老人，江苏阳湖（今江苏常州）人。清书画家。\n他的仕途经历是道光二十四年（一八四四）举人，官至山东莱州府同知。豪饮善诙谐。初游汤贻汾幕中，与赵兰舟、费丹旭朝夕论画，因善山水。笔意松秀，墨法淹润，不失元人规矩。中年所作，邱壑浑成，树石苍润，颇臻妙境。惜晚年颓废，顿失奏致。书临赵孟頫，姿态秀逸，间作分、隶、尤精鉴赏。有《梦衲贪集》。卒年七十九。《武阳县志、墨林今话续编、桐阴论画、读画辑略、畊砚田斋笔记、清画家诗史》。\n汪昉的山水画在清代来说，属于“四王”正统画派的山水画；他的书法出自赵孟頫书风。读画史，能知道他是从元代文人画入手的，继攻“四王”，当时与以后的评论者评他的早年的山水是“笔意松秀，墨法淹润，不失元人矩矱。中年所作，邱壑浑成，树石苍润，颇臻妙境。”说他的书法，“姿态秀逸”。他的山水画受当时正统山水画派的一代领袖汤贻汾的影响很大。",[23,438,28,85,26,139,154,29,30,31,7,86,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903eaaac4280761f254d8a113782ecc4.jpg",[],{"id":2316,"slug":2317,"title":2318,"dynasty":199,"author":182,"museum":82,"description":2319,"tags":2320,"thumbUrl":2322,"material":34,"size":34,"collection":34,"collections":2323,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":75},227907,"qiu-ting-shui-qin-tu-yi-ming-227907","秋汀水禽图","此作以淡寂秋意为骨，绘汀洲水畔之景。枯槎斜出，疏枝带寒，间有柔柯缀着残叶，与岸侧泛红的小花相映，暗显秋深的枯荣之态。水面空濛留白，漾着浅淡水纹，两只水禽正悠游啄饮，翎羽蓬松宛然，意态闲适。天际一羽孤鹤掠空，枝头还宿着小禽，动静之间，将秋日水汀的清寂悄然铺展。\n\n笔触兼用工写，禽鸟刻画精细入微，草木枝梢写意见韵，以小尺幅晕染出辽远空阔的江天秋意，把幽境雅趣藏于方寸之间，淡而有味，余韵悠长。",[68,48,23,85,167,374,2321,89,7,51,171,536],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35baab3884004df1c48bee2955d8c10.jpg",[],{"id":2325,"slug":2326,"title":2327,"dynasty":199,"author":182,"museum":82,"description":2328,"tags":2329,"thumbUrl":2330,"material":34,"size":34,"collection":34,"collections":2331,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":75},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[68,48,23,24,438,185,167,85,28,154,89,104,186,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":2333,"slug":2334,"title":2335,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2336,"thumbUrl":2339,"material":253,"size":254,"collection":255,"collections":2340,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":75},226133,"the-waterlilies-1918-mo-nai-226133","The Waterlilies, 1918",[244,245,247,606,833,607,7,823,231,492,2337,2338],"植物丛","蓝绿色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1681d2b77284475218870465cbf6ccb7.jpg",[255],{"id":2342,"slug":2343,"title":2344,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2345,"thumbUrl":2350,"material":253,"size":254,"collection":255,"collections":2351,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":75},225950,"houses-of-parliament-stormy-sky-1903-mo-nai-225950","Houses of Parliament, Stormy Sky, 1903",[48,244,245,2346,606,833,249,1260,7,359,1480,361,2347,2348,248,2349],"光影变幻","风云变幻","光线捕捉","城市景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2488e5e1e821531604ec8f592b9b8ff.jpg",[255],{"id":2353,"slug":2354,"title":2355,"dynasty":100,"author":1457,"museum":65,"description":2356,"tags":2357,"thumbUrl":2358,"material":85,"size":2359,"collection":34,"collections":2360,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":39},222431,"hua-song-yin-diao-ting-ce-ye-du-jin-222431","画松阴钓艇册页","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人，占籍燕京（今北京市）。宪宗成化（1465—1487）中试进士不第，绝意进取。工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。弘治二年（1489）为吴原博（宽）作赏菊宴集图。从艺活动约在成化、弘治间。\n明代中期的画坛，除了活跃着以沈周、文徵明等为代表的“吴门画派”和以戴进、吴伟为代表的“浙江画派”之外，在南京还出现了一些独具风格的文入画家。他们个个能诗、能文、擅书、擅画，且r生，隋开朗，豪放不羁。杜堇就是其中的一位。杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。\n传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（1500）由金琮（1449-1501）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《邵雍像》轴等，上述画均藏故宫博物院。从艺活动约在成化、弘治间。",[68,23,438,25,85,28,26,1050,86,108,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70da5f12ccbc7b5817be2e5d8f1e38e.jpg","68x68厘米",[],{"id":2362,"slug":2363,"title":2364,"dynasty":100,"author":2365,"museum":2366,"description":2367,"tags":2368,"thumbUrl":2370,"material":54,"size":2371,"collection":34,"collections":2372,"showCount":2289,"zanCount":11,"manualWeight":11,"mainColor":75},216743,"ri-ben-zu-shi-tu-2-shou-ye-yuan-xin-216743","日本· 祖师图-2","狩野元信","日本东京国立博物馆","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[68,48,23,24,49,2369,85,167,26,104,28,89,669,52,7],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035108d652e982407e2fc25ccbd7c36f.jpg","176.0x91.8",[],{"id":2374,"slug":2375,"title":2376,"dynasty":199,"author":182,"museum":82,"description":2377,"tags":2378,"thumbUrl":2381,"material":253,"size":254,"collection":34,"collections":2382,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":75},288345,"xue-qiao-mai-yu-tu-yi-ming-288345","雪桥买鱼图","以淡墨晕染铺就天地一色的雪意，崖壁枯木虬枝斜出，残叶凝着薄雪，兀自点缀着萧寒。水岸渔舍错落低矮，板桥凌于寒波之上，渔舟系在岸边，好似刚收网归来，鲜鱼担于桥畔，静候买客。\n\n整幅画作以极简笔触勾勒出冬日水乡的清寂，留白处尽是冷冽空濛的雪色，不见喧嚣，只剩静谧。带着宋人独有的雅致意趣，将寻常乡野雪景绘成清冷孤高的诗意画卷，藏着冬日水乡的烟火闲淡，又晕染出荒寒出尘的山水意境。",[438,23,48,152,25,1249,1510,310,50,30,7,86,2379,2380],"鱼","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d0642e132ec6cd5664c979b5161599d.jpg",[],{"id":2384,"slug":2385,"title":2386,"dynasty":80,"author":2387,"museum":82,"description":2388,"tags":2389,"thumbUrl":2390,"material":34,"size":34,"collection":34,"collections":2391,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},238831,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238831","董诰墨庄览胜图册","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”。",[23,24,27,25,85,28,26,30,89,961,154,7,454,882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d7fef818eeb28da85b6da5b97024a5.jpg",[],{"id":2393,"slug":2394,"title":17,"dynasty":80,"author":2395,"museum":120,"description":2396,"tags":2397,"thumbUrl":2398,"material":1730,"size":34,"collection":34,"collections":2399,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},237195,"shan-shui-ce-sun-yi-237195","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[48,23,24,27,25,26,28,30,669,89,310,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7f7c1bcfc75673c455c5ff7155dff4.jpg",[],{"id":2401,"slug":2402,"title":2403,"dynasty":100,"author":2404,"museum":82,"description":2405,"tags":2406,"thumbUrl":2407,"material":253,"size":254,"collection":34,"collections":2408,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},236299,"shan-shui-shan-ye-shen-zhao-236299","山水扇页","沈昭","沈昭，[明]字秋萼，长洲（今江苏苏州）人，鼎弟。善山水，所作大劈斧著青绿者尤佳。《画史会要、无声诗史、明画录》。",[438,25,28,105,30,186,26,85,89,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe20f475312efbe08d55fc6ffa4bae3.jpg",[],{"id":2410,"slug":2411,"title":2412,"dynasty":100,"author":2413,"museum":82,"description":2414,"tags":2415,"thumbUrl":2417,"material":34,"size":34,"collection":34,"collections":2418,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},235692,"shan-shui-hua-hui-ce-xiang-sheng-mo-235692","山水花卉册","项圣谟","此作笔致清隽秀雅，以淡墨取韵。近岸白石棱层，间生细草幽苔，古意盎然。崖顶孤松虬曲斜出，枝叶疏朗尽显风骨。白衣高士席地凭栏，静望远山。远景峰峦以淡墨晕染，朦胧虚和，留白铺陈平沙水色，虚实相映。\n\n整体意境萧散淡远，将幽人林泉寄兴、澄怀观道的雅趣藏于尺幅，笔简而意长，尽显静穆悠然的文人逸韵，禅意漫溢，于极简笔墨中铺展出清远空寂的山水之境。",[23,27,25,26,28,51,69,104,30,31,2416,7],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281a62a3bf0e75586f28c2598162aca0.jpg",[],{"id":2420,"slug":2421,"title":2422,"dynasty":80,"author":1847,"museum":82,"description":2423,"tags":2424,"thumbUrl":2425,"material":34,"size":34,"collection":34,"collections":2426,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},235642,"shan-shui-tu-ce-wu-li-235642","山水图册","此作用笔苍秀，意境淡远。近岸危石兀立，古木虬枝蟠曲，荫蔽下一扁舟泊停，舟中幽人凭舷远眺。湖面开阔空寂，水鸟三两掠波而过，远山以淡墨晕染，层叠晕幻，晕出温润空濛的暮色诗意。\n题诗与画面浑然相融，暗合日暮归樵的幽隐之趣。干湿浓淡间尽显水墨层次，枯笔写木，湿墨晕山，以简淡之笔勾勒出萧散出尘的林下景致，将文人幽居林泉的隐逸心境铺陈纸上，静穆雅致，余韵悠长。",[23,25,26,27,28,51,69,171,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815175b8d890959771f6894df9caddb9.jpg",[],{"id":2428,"slug":2429,"title":2430,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2431,"thumbUrl":2436,"material":253,"size":254,"collection":255,"collections":2437,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},226073,"the-great-canal-venice-1908-mo-nai-226073","The Great Canal, Venice, 1908",[245,244,2432,7,2433,1430,2434,2435],"运河","穹顶建筑","水城","船桩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460b1d55ef48a3b70c16dea370788437.jpg",[255],{"id":2439,"slug":2440,"title":2441,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2442,"thumbUrl":2443,"material":253,"size":254,"collection":255,"collections":2444,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":75},226000,"poplars-on-the-banks-of-the-epte-evening-effect-1891-mo-nai-226000","Poplars on the banks of the Epte, Evening Effect, 1891",[244,245,354,355,711,1972,714,7,358,786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef4d5fa87b81d4c6c18d991ed6e8a27.jpg",[255],{"id":2446,"slug":2447,"title":2448,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2449,"thumbUrl":2453,"material":253,"size":254,"collection":255,"collections":2454,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":75},225965,"la-grenouille-re-1869-mo-nai-225965","La Grenouillère, 1869",[245,244,7,939,2450,104,89,2451,358,250,279,523,247,2452],"浮台","遮阳棚","笔触轻快","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe04e3099fcb04d5276a0722af4553b23.jpg",[255],{"id":2456,"slug":2457,"title":2458,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2459,"thumbUrl":2461,"material":253,"size":254,"collection":255,"collections":2462,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":75},225955,"inondation-de-la-seine-a-vetheuil-1881-mo-nai-225955","Inondation de la Seine à Vetheuil, 1881",[245,244,2460,279,50,359,310,7,711,354],"洪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede08a6900bf487b55d1368b230025f5.jpg",[255],{"id":2464,"slug":2465,"title":2466,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2467,"thumbUrl":2469,"material":253,"size":254,"collection":255,"collections":2470,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":1019},225952,"ice-floes-on-the-seine-at-bougival-1867-1868-mo-nai-225952","Ice Floes on the Seine at Bougival, 1867-1868",[244,245,2468,2144,1249,714,939,104,89,2147,354,711,7,632],"塞纳河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff519e7b27f9724e1f44b873238c8f722.jpg",[255],{"id":2472,"slug":2473,"title":2474,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2475,"thumbUrl":2478,"material":253,"size":254,"collection":255,"collections":2479,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":614},225948,"houses-of-parliament-fog-effect-1903-mo-nai-225948","Houses of Parliament, Fog Effect, 1903",[244,245,2476,354,2065,7,327,1015,279,2477],"雾效","朦胧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea922004bc7a22912ba6d14406f8193.jpg",[255],{"id":2481,"slug":2482,"title":2483,"dynasty":100,"author":2484,"museum":20,"description":2485,"tags":2486,"thumbUrl":2495,"material":110,"size":34,"collection":34,"collections":2496,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},216323,"han-xi-meng-xiu-song-yuan-ming-ji-ce-mi-hua-shan-shui-tu-han-xi-meng-216323","韩希孟绣宋元名迹册·米画山水图","韩希孟","绣线作墨，晕染出米家云山的空濛气韵。远山以淡丝叠缀，烟岚似在丝缕间浮动；近树用细针勾枝，苍劲中藏着秀逸之态。孤舟泊于浩渺水面，针脚疏密交织，水的清寂与山的悠远悄然相融。以绣代笔，将宋元山水的笔墨意趣化为丝缕的韵律，每一针都凝着对古画的深悟——既有绘画的空灵气韵，又有丝线特有的温润质感，尽显明代闺阁绣艺的精妙与雅致，让山水的悠远意境在丝帛上静静流淌。",[2487,24,23,2011,25,307,139,2488,26,2489,2490,28,86,89,31,2491,7,669,308,2492,2493,2494,90,153],"刺绣","米点皴","宋元风格","刺绣技法","近岸","小岛","孤帆","岸边树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d87539d4a7a2aa7cc22219189d23a0e.jpg",[],{"id":2498,"slug":2499,"title":2500,"dynasty":80,"author":119,"museum":2501,"description":2502,"tags":2503,"thumbUrl":2504,"material":110,"size":34,"collection":34,"collections":2505,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},214809,"shan-shui-hua-hui-tu-ce-8-gao-feng-han-214809","山水花卉图册-8","日本大阪市立美术馆","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,25,85,27,28,86,105,30,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F068fa9ca169ec6c72546222f3c0d781e.jpg",[],{"id":2507,"slug":2508,"title":2509,"dynasty":100,"author":2510,"museum":82,"description":2511,"tags":2512,"thumbUrl":2514,"material":253,"size":254,"collection":34,"collections":2515,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":39},237966,"he-tang-fan-zhou-tu-shan-liu-yuan-qi-237966","荷塘泛舟图扇","刘原起","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[23,24,438,25,85,26,28,950,124,86,186,509,89,2513,108,7],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ea0ffcf3763bc718d1234df8dbfb2e.jpg",[],9,{"id":2518,"slug":2519,"title":2213,"dynasty":100,"author":2520,"museum":82,"description":2521,"tags":2522,"thumbUrl":2523,"material":253,"size":254,"collection":34,"collections":2524,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":39},237853,"shan-shui-shan-zhao-zuo-237853","赵左","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。",[48,23,438,25,26,28,50,105,30,7,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52802a810c3ffd4f64a5657016a7300a.jpg",[],{"id":2526,"slug":2527,"title":2528,"dynasty":100,"author":2413,"museum":82,"description":2529,"tags":2530,"thumbUrl":2531,"material":34,"size":34,"collection":34,"collections":2532,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":75},237705,"shan-shui-hua-guo-ce-xiang-sheng-mo-237705","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[23,24,27,25,26,28,86,69,30,7,31,89,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceba27ea2e170a558cca7e82b35d7d02.jpg",[],{"id":2534,"slug":2535,"title":2536,"dynasty":80,"author":2537,"museum":82,"description":2538,"tags":2539,"thumbUrl":2540,"material":253,"size":254,"collection":34,"collections":2541,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":39},237447,"wu-gu-xiang-ye-yue-qiu-du-shan-mian-wu-gu-xiang-237447","吴穀祥夜月秋渡扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[438,23,24,85,25,26,28,961,86,29,171,7,428,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8712b0fc72e34be9d880bfd2082aeef6.jpg",[],{"id":2543,"slug":2544,"title":2545,"dynasty":100,"author":2546,"museum":82,"description":2547,"tags":2548,"thumbUrl":2549,"material":253,"size":254,"collection":34,"collections":2550,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":39},237401,"ren-wu-shan-mian-yuan-shang-tong-237401","人物扇面","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[438,25,104,28,169,107,7,123,26,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c842323a65a9c09b0ef7f45ca83926.jpg",[],{"id":2552,"slug":2553,"title":2554,"dynasty":100,"author":2555,"museum":82,"description":2556,"tags":2557,"thumbUrl":2559,"material":34,"size":34,"collection":34,"collections":2560,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[68,23,24,2011,85,25,560,90,153,28,938,1026,29,310,2558,26,7],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":2562,"slug":2563,"title":2564,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2565,"thumbUrl":2571,"material":253,"size":254,"collection":255,"collections":2572,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":75},226140,"vetheuil-in-winter-1878-79-mo-nai-226140","Vetheuil in Winter, 1878-79",[244,245,247,2566,2567,1249,7,2568,939,104,249,2569,2570,358,359],"短促笔触","冬天","冰块","教堂","小镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbe28e90f7f7dc0b6f9149c678905be.jpg",[255],{"id":2574,"slug":2575,"title":2576,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2577,"thumbUrl":2579,"material":253,"size":254,"collection":255,"collections":2580,"showCount":2516,"zanCount":145,"manualWeight":11,"mainColor":39},226117,"the-seine-at-vetheuil-3-1879-mo-nai-226117","The Seine at Vetheuil 3, 1879",[244,245,354,355,711,279,939,104,2578,2569,89,359,7,358,249,329],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4230a1310934af7a33c7e702131decd3.jpg",[255],{"id":2582,"slug":2583,"title":2584,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2585,"thumbUrl":2587,"material":253,"size":254,"collection":255,"collections":2588,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":75},226079,"the-japanese-bridge-1918-1924-mo-nai-226079","The Japanese Bridge, 1918-1924",[245,244,1510,7,89,2586,457,1102,913,1103],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9157fa76fdd18b9c6359bcfeb5f62e0d.jpg",[255],{"id":2590,"slug":2591,"title":2592,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2593,"thumbUrl":2598,"material":253,"size":254,"collection":255,"collections":2599,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":75},226053,"the-bridge-under-repair-1871-1872-mo-nai-226053","The Bridge under Repair, 1871-1872",[244,246,491,2594,833,595,2595,279,358,2596,249,89,7,2597],"色彩表现","脚手架","蒸汽","维修场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ac063d2eb11f913532d6effd9b7c0.jpg",[255],{"id":2601,"slug":2602,"title":2603,"dynasty":100,"author":2604,"museum":321,"description":2605,"tags":2606,"thumbUrl":2608,"material":110,"size":34,"collection":34,"collections":2609,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":39},219071,"xiao-xiang-ba-jing-ce-2-zhang-fu-219071","潇湘八景册-2","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[68,23,25,85,27,26,28,86,89,310,1237,7,2607,108],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac73debdcee6c35a13a33c73a553724.jpg",[],{"id":2611,"slug":2612,"title":2613,"dynasty":100,"author":2604,"museum":321,"description":2605,"tags":2614,"thumbUrl":2616,"material":110,"size":2617,"collection":34,"collections":2618,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":39},219066,"xiao-xiang-ba-jing-ce-5-zhang-fu-219066","潇湘八景册-5",[68,23,25,28,27,2615,105,86,31,26,30,7,669,89],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c50ead1d3939511b18b28649db1b2d4.jpg","30x33厘米",[],{"id":2620,"slug":2621,"title":2622,"dynasty":80,"author":2623,"museum":291,"description":2624,"tags":2625,"thumbUrl":2626,"material":33,"size":2627,"collection":34,"collections":2628,"showCount":2516,"zanCount":11,"manualWeight":11,"mainColor":39},214488,"cheng-fang-fang-gu-shan-shui-tu-3-cheng-fang-214488","程淓仿古山水图-3","程淓","清代程淓的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[68,23,25,28,307,26,69,154,171,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d11d51c1210de873d9f02ecf78891c.jpg","28x17cm",[],{"id":2630,"slug":2631,"title":2422,"dynasty":80,"author":1847,"museum":82,"description":2632,"tags":2633,"thumbUrl":2634,"material":34,"size":34,"collection":34,"collections":2635,"showCount":2636,"zanCount":11,"manualWeight":11,"mainColor":39},235643,"shan-shui-tu-ce-wu-li-235643","此帧山水以清寂秋江为境，右侧垂柳婆娑，干笔皴擦写出老柳苍古之态，柔条细劲宛转，似带清秋寒意。左侧远山以淡墨晕染，汀渚横斜，留白作水，寥寥数笔便绘就江天寥廓的空濛之感。坡岸茅舍隐于疏林浅草间，似有幽人居于此间。\n\n画左题诗与景致相映，诗书合璧，尽显文人雅趣。整体笔墨枯润相宜，虚实相生，以极简的造境烘托出深秋江渚的萧疏闲寂，淡远幽微的意境中，寄寓着画者对清秋静境的幽怀，尽显文人山水小品简淡高逸之美。",[23,24,27,25,28,69,468,31,7,560,90,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957b3e9072675d969bf9235b59f97fd2.jpg",[],8,{"id":2638,"slug":2639,"title":17,"dynasty":80,"author":1355,"museum":120,"description":2640,"tags":2641,"thumbUrl":2642,"material":282,"size":2643,"collection":34,"collections":2644,"showCount":2636,"zanCount":11,"manualWeight":11,"mainColor":39},233973,"shan-shui-ce-gong-xian-233973","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。",[23,25,26,27,28,51,89,7,154,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7c4e867cb34626de1215535caa7f51.jpg","纵22.2厘米，横33.2厘米",[],{"id":2646,"slug":2647,"title":2648,"dynasty":199,"author":182,"museum":120,"description":2649,"tags":2650,"thumbUrl":2652,"material":191,"size":2653,"collection":34,"collections":2654,"showCount":2636,"zanCount":11,"manualWeight":11,"mainColor":75},233011,"zhang-qiao-wo-bo-tu-ye-yi-ming-233011","长桥卧波图页","图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[23,85,185,2011,28,1840,186,2651,89,310,31,7],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff190bf4877f961e8ce23154aa6cf5beb.jpg","纵23.9厘米，横26.3厘米",[],{"id":2656,"slug":2657,"title":2658,"dynasty":199,"author":182,"museum":82,"description":2659,"tags":2660,"thumbUrl":2661,"material":34,"size":34,"collection":34,"collections":2662,"showCount":2636,"zanCount":11,"manualWeight":11,"mainColor":39},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[48,23,24,438,85,167,2513,2651,7,89,28,86,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":2664,"slug":2665,"title":2666,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2667,"thumbUrl":2668,"material":253,"size":254,"collection":255,"collections":2669,"showCount":2636,"zanCount":11,"manualWeight":11,"mainColor":75},226099,"the-promenade-at-argenteuil-02-1872-mo-nai-226099","The Promenade at Argenteuil 02, 1872",[245,244,1301,354,279,89,1479,249,359,702,104,357,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e665035f6282e2a502290c2d6608b0f.jpg",[255],{"id":2671,"slug":2672,"title":2673,"dynasty":199,"author":182,"museum":82,"description":2674,"tags":2675,"thumbUrl":2677,"material":253,"size":254,"collection":34,"collections":2678,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":75},289227,"he-tang-yu-fu-tu-yi-ming-289227","荷塘浴凫图","此作以简淡笔墨铺就幽寂水泽之境，大片绢色晕作烟霭漾漾的湖面，似有无尽秋水漫延开去。近岸以浅青绿点染汀石，暗含水畔苍苔幽意，远渚仅以淡墨轻扫，隐在朦胧水雾间，虚虚实实晕出水天辽远。\n\n水面凫鸟两两相逐，翅羽轻掠波心，灵动姿态将寂寥秋水点活，野逸闲趣扑面而来。全作用笔含蓄克制，以虚写实，把江南水泽的清寂空阔尽数铺陈，带着独有的雅致禅意，观之如临其境，仿佛能听闻水禽振羽、水波轻响，将闲淡幽远的诗意藏在浅淡笔墨之中。",[68,23,48,167,85,168,950,2676,7,30],"野鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e832b15a5de9c66a6dced0233e6ec0f.jpg",[],7,{"id":2681,"slug":2682,"title":2683,"dynasty":100,"author":1988,"museum":82,"description":2684,"tags":2685,"thumbUrl":2686,"material":253,"size":254,"collection":34,"collections":2687,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":39},239186,"shan-chuan-ming-sheng-ce-song-xu-239186","山川名胜册","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[23,24,48,27,85,25,28,29,186,7,86,535,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d58d3fc454b87ee29b083f3fbe22d6c.jpg",[],{"id":2689,"slug":2690,"title":2213,"dynasty":100,"author":1058,"museum":82,"description":2691,"tags":2692,"thumbUrl":2693,"material":253,"size":254,"collection":34,"collections":2694,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":39},237799,"shan-shui-shan-li-liu-fang-237799","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。",[23,24,438,25,26,28,30,89,7,31,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5f9a3a4461d9d831acdfc3a428e4d5.jpg",[],{"id":2696,"slug":2697,"title":17,"dynasty":80,"author":1847,"museum":120,"description":2698,"tags":2699,"thumbUrl":2700,"material":282,"size":2701,"collection":34,"collections":2702,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":39},235021,"shan-shui-ce-wu-li-235021","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[23,24,27,25,28,29,583,30,7,171,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab1dee56f3a544603f9d6636ee69a7ce.jpg","23.2厘米，横28厘米",[],{"id":2704,"slug":2705,"title":2706,"dynasty":80,"author":2707,"museum":2708,"description":2709,"tags":2710,"thumbUrl":2713,"material":54,"size":2714,"collection":34,"collections":2715,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":39},231589,"yang-niao-you-ju-tu-chen-zhen-yue-231589","阳鸟攸居图","陈震岳","美国弗瑞尔美术馆","此卷用水墨画各姿态鸿雁近百只，笔墨娴熟，造型生动，媲美边颐公。阳鸟即“随阳之鸟,即鸿雁之属”。\n陈震岳，字峻生，又字静斋，福建晋江人。善诗文、书画，所画芦雁尤佳。常于江天暮景，观雁之飞鸣起伏，而得其神妙。",[68,23,24,324,25,167,171,583,428,2711,2712,89,7,48],"湿地","群鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1686057e9b26e44ff14f72b02d489fbf.jpg","26x498厘米",[],{"id":2717,"slug":2718,"title":2123,"dynasty":80,"author":303,"museum":82,"description":2719,"tags":2720,"thumbUrl":2722,"material":34,"size":34,"collection":34,"collections":2723,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":39},229016,"fang-gu-shan-shui-ce-wang-hui-229016","此作取冬初水村之景，淡墨晕染出濛濛寒雾，远山以留白素裹，将冬日清寂铺陈开来。堤岸老柳残条轻垂，陂塘枯敛的莲叶错落，村舍隐于深林之间，曲径蜿蜒通幽，寥寥数笔便将村居安闲静谧勾勒尽致。\n\n用笔秀润雅致，以淡赭轻敷衬出秃木苍劲，墨色与留白相映，氤氲出空濛冷冽的水乡冬韵，将江南冬日清寒又安宁的诗意藏于尺幅间，尽显文人山水温婉雅致的意趣。",[23,307,26,85,28,50,169,7,2721,669,30],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b388f3716f969182de3b18816e228a.jpg",[],{"id":2725,"slug":2726,"title":2727,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2728,"thumbUrl":2732,"material":253,"size":254,"collection":255,"collections":2733,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":75},226104,"the-railway-bridge-at-argenteuil-1874-2-mo-nai-226104","The Railway Bridge at Argenteuil, 1874 [2]",[244,245,354,1263,1301,2729,279,7,89,702,2596,1480,359,2730,714,329,2731],"铁路桥","桥墩","波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a5be3f8e05a9ef299557cd04e38e64.jpg",[255],{"id":2735,"slug":2736,"title":2737,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2738,"thumbUrl":2743,"material":253,"size":254,"collection":255,"collections":2744,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":75},225928,"flood-waters-1896-mo-nai-225928","Flood Waters, 1896",[244,245,7,89,358,251,609,247,606,2739,2740,1683,2741,2742],"洪水景象","朦胧质感","树木枝干","水色交融","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee1eab3d5dc6cae82da82680ab628fd.jpg",[255],{"id":2746,"slug":2747,"title":2748,"dynasty":240,"author":182,"museum":82,"description":2749,"tags":2750,"thumbUrl":2753,"material":34,"size":34,"collection":34,"collections":2754,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":39},225521,"fu-shi-hui-279-yi-ming-225521","浮世绘279","烂漫重瓣黄蔷薇攀绕舒展，明黄花朵饱满热烈，苍绿枝叶扶疏，将盎然春意晕染满画幅上半区。下方黑水鸡踏水而立，红喙赤目鲜亮醒目，墨色羽毛层次细腻，翅羽微张似正抖落沾湿的水珠，脚下漾开柔缓水纹，石畔衰野细草更添幽寂野趣。\n\n画作撞色鲜活雅致，明黄与浓墨对比强烈却和谐相融，工笔兼写意的笔触，将池隅瞬间的野趣定格，既有花卉柔美娇妍，又有水禽灵动野逸，把自然生机与闲适意趣藏于方寸，尽显清雅悠然的日式花鸟绘格调。",[1155,2751,85,2752,973,7,204,189,1728,2731],"木刻版画","线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf37aa48d069503627284ac91d1fd25.jpg",[],{"id":2756,"slug":2757,"title":2758,"dynasty":240,"author":182,"museum":82,"description":2759,"tags":2760,"thumbUrl":2761,"material":34,"size":34,"collection":34,"collections":2762,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":39},225431,"fu-shi-hui-189-yi-ming-225431","浮世绘189","暮月悬于淡墨长空，清辉漫过烟霭水乡。渔舟破水而行，梢公持篙稳立，舱中旅人团坐，任由扁舟载着归意漫溯。野凫惊起，剪开水面柔波，漾开细碎涟漪。远处岸汀林麓轻笼薄霭，茅舍隐在深翠间，浅渚疏枝晕染出清寂秋意。\n\n题画俳句错落排布，墨色与淡彩相融，将旅人的闲寂愁思晕开纸面。笔触清简秀雅，以淡赭、花青铺展暮色，留白衬出空濛水色，把暮归的悠然与水乡将夜的恬宁揉为一处，尽显侘寂清和的抒情画韵。",[1155,85,28,86,104,7,89,171,310,108,961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129990f61e538d14cb452bf3756b362b.jpg",[],{"id":2764,"slug":2765,"title":2766,"dynasty":240,"author":182,"museum":82,"description":2767,"tags":2768,"thumbUrl":2771,"material":34,"size":34,"collection":34,"collections":2772,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":39},225419,"fu-shi-hui-177-yi-ming-225419","浮世绘177","青灰调晕染出水天色的冬日清寂，白雪匀覆在屋舍松枝，将暖棕的木构檐角衬得愈发温软。天地水色融成一片朦胧，消弭了边界感。渡头灯柱静立，晕开隐约暖意，与满目的清寒轻轻呼应。水面小舟载着渔人缓行，破开镜面似的水波，为这片静穆添上一缕鲜活烟火气。\n\n简净线条勾勒出村落错落轮廓，留白的积雪将天地铺陈得疏朗开阔。笔触把雪后渔村的安闲清冷揉开，将冬夜初霁的恬然定格，晕开独属水岸的侘寂温柔。",[1155,2769,1249,249,7,2770,104,89],"木刻","小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b5f934e7e3a2f276cbaddfb8719b9a8.jpg",[],{"id":2774,"slug":2775,"title":2776,"dynasty":199,"author":182,"museum":82,"description":2777,"tags":2778,"thumbUrl":2781,"material":34,"size":34,"collection":34,"collections":2782,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":75},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","远水扬帆图","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[68,48,23,24,152,1565,85,1410,26,89,169,294,30,7,87,104,31,428,2779,330,2780,456],"江河","岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":2784,"slug":2785,"title":2786,"dynasty":80,"author":1234,"museum":20,"description":2787,"tags":2788,"thumbUrl":2790,"material":54,"size":34,"collection":34,"collections":2791,"showCount":2679,"zanCount":11,"manualWeight":11,"mainColor":39},214514,"shui-mo-tu-ce-4-zheng-min-214514","水墨图册-4","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。",[23,24,27,25,28,26,153,560,90,169,31,2789,7],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6440c794f8ff0b8d74315432cc5900.jpg",[],{"id":2793,"slug":2794,"title":2795,"dynasty":80,"author":182,"museum":82,"description":2796,"tags":2797,"thumbUrl":2801,"material":253,"size":254,"collection":34,"collections":2802,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":39},270341,"lan-se-bo-li-ke-yu-lan-ying-wu-tu-gua-ping-yi-ming-270341","蓝色玻璃刻玉兰鹦鹉图挂屏","以绛色刀痕摹绘春景，斜逸花枝探向水面，花瓣轻绽、枝叶舒展，将融融春意晕染水畔。一对水禽浮于涟漪之上，翎毛纹理分毫毕现，一低头拨弄清波，一侧首亲昵相望，动静之间，把春日水畔的恬然生机尽数铺展。边框纹饰规整雅致，与画面柔婉相映成趣。整作以单色刻绘却层次分明，刀工利落细腻，把花鸟情态刻画得鲜活生动，将一段春日闲景凝于方寸，藏着东方雅致的诗意栖居之美。",[2798,2799,168,2800,973,7],"挂屏","玻璃雕刻","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F781f6e8e2f4e9585e54c198f7b1d09bc.jpg",[],{"id":2804,"slug":2805,"title":2403,"dynasty":100,"author":2806,"museum":82,"description":2807,"tags":2808,"thumbUrl":2809,"material":253,"size":254,"collection":34,"collections":2810,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},236953,"shan-shui-shan-ye-zhu-shi-ying-236953","朱士瑛","朱士瑛[清]工细，人物似仇英。",[23,24,438,25,26,28,89,30,7,31,939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F054be235b44c7350599d4da24ad6adee.jpg",[],{"id":2812,"slug":2813,"title":2814,"dynasty":100,"author":2815,"museum":82,"description":2816,"tags":2817,"thumbUrl":2820,"material":253,"size":254,"collection":34,"collections":2821,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":39},236373,"lu-ting-yuan-tiao-shan-ye-guan-hong-236373","芦汀远眺扇页","管鸿","此作用金笺为底，以细笔绘就江天秋意。浩渺水面铺陈开清寂底色，汀洲芦苇苍苍，似携晚风轻摇。左岸枯木疏枝缀着残叶，晕染出萧索秋韵。石矶之上幽人独立，凭眺远空，将羁怀寄于水色烟波。\n\n设色浅淡秀润，线条简净秀逸，细勾芦叶层次，晕染波纹微动，衬出水天寥廓清旷。题款小字与画面浑然相融，将文人幽远襟怀藏在空阔汀洲间，观之如坠入秋日江天的闲寂清冷，意韵悠长。",[23,438,25,2818,26,28,104,428,89,51,871,2819,7],"淡设色","远眺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af07f4f088c8fa7e05738a2787dc8f.jpg",[],{"id":2823,"slug":2824,"title":2422,"dynasty":80,"author":1847,"museum":82,"description":2825,"tags":2826,"thumbUrl":2827,"material":34,"size":34,"collection":34,"collections":2828,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":39},235646,"shan-shui-tu-ce-wu-li-235646","此作用笔苍浑秀润，右侧危崖壁立，古松虬曲倒挂，松针劲挺如铁，崖间飞瀑垂落，碎石寒泉隐于其下，尽显清寂萧寒。远景山峦层叠，云气氤氲漫卷，将峰岫半遮半掩，虚实相生，烘托出深山冬日的幽僻荒寒。\n\n右上角题诗呼应画境，干笔皴擦勾画出山石嶙峋肌理，淡墨晕染流云柔态，刚柔并济。整幅以水墨铺陈，摒弃浓艳，以萧疏之景写尽荒寒之美，寄寓静穆淡远的文人意趣，于冷寂之中藏着深挚的山水情怀，尽显水墨山水空灵悠远的意境。",[23,24,48,27,25,26,28,30,105,392,31,669,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706cd4af2901587fe982252869318b4a.jpg",[],{"id":2830,"slug":2831,"title":2832,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2833,"thumbUrl":2836,"material":253,"size":254,"collection":255,"collections":2837,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},226116,"the-seine-at-petit-gennevilliers-1872-mo-nai-226116","The Seine at Petit-Gennevilliers, 1872",[245,244,279,7,327,376,310,357,104,2834,358,702,359,1261,2731,2835,87],"桅杆","棚屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8193fd09c9f0a056d35f69a8edc3cdd1.jpg",[255],{"id":2839,"slug":2840,"title":2841,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2842,"thumbUrl":2849,"material":253,"size":254,"collection":255,"collections":2850,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},226087,"the-palazzo-contarini-1908-mo-nai-226087","The Palazzo Contarini, 1908",[245,244,491,248,2843,1658,2844,7,2845,188,2846,2847,2848,713],"笔触细碎","宫殿建筑","拱门","立柱","河水","建筑倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78893c26121f0cca0b4310fde7459289.jpg",[255],{"id":2852,"slug":2853,"title":2854,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2855,"thumbUrl":2856,"material":253,"size":254,"collection":255,"collections":2857,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},226074,"the-havre-museum-1873-mo-nai-226074","The Havre Museum, 1873",[244,245,246,1583,87,249,7,2731,939,104,2066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22fea6ddf1d25eef8ccf5ff0b5d9c18.jpg",[255],{"id":2859,"slug":2860,"title":2861,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2862,"thumbUrl":2869,"material":253,"size":254,"collection":255,"collections":2870,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},226061,"the-coal-dockers-1875-mo-nai-226061","The Coal-Dockers, 1875",[245,244,491,2594,833,2863,279,327,1661,2864,2865,2866,7,2867,2868],"铁桥","工人","煤炭","搬运场景","桥上行人","工业景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5ddfd7ffde8b4a2181390d1dab3dc7.jpg",[255],{"id":2872,"slug":2873,"title":2874,"dynasty":240,"author":241,"museum":82,"description":242,"tags":2875,"thumbUrl":2877,"material":253,"size":254,"collection":255,"collections":2878,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},225994,"palazzo-ducale-1908-mo-nai-225994","Palazzo Ducale, 1908",[245,244,913,606,2843,596,7,358,359,1261,2876,2349],"欧式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41624db4feb274b7913d010b0028cc33.jpg",[255],{"id":2880,"slug":2881,"title":2882,"dynasty":240,"author":182,"museum":82,"description":2883,"tags":2884,"thumbUrl":2886,"material":253,"size":254,"collection":34,"collections":2887,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":39},225458,"fu-shi-hui-216-yi-ming-225458","浮世绘216","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[1155,85,104,89,7,2885,1196],"刀剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16098d1d06f30fc617fcd6e376c98a42.jpg",[],{"id":2889,"slug":2890,"title":2891,"dynasty":240,"author":182,"museum":82,"description":2892,"tags":2893,"thumbUrl":2896,"material":34,"size":34,"collection":34,"collections":2897,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":39},225429,"fu-shi-hui-187-yi-ming-225429","浮世绘187","画面以熙攘的桥头集市铺展开篇，贩夫走卒、相扑力士往来穿梭，推搡笑闹间将市井的鲜活烟火尽数铺陈。暖调天色晕染下，远景富士山静立，柔缓山巅裹着拂晓微光，与桥面上鼎沸的喧嚣形成动与静的绝妙对照。\n\n利落的线条勾画出町屋飞檐、河道舟楫，蓝棕底色晕开沉静暖意，将庶民生计的蓬勃鲜活与山海远景的清寂安然揉为一体，把旧时光里寻常一日的热络日常，凝在这一方画纸之上。",[1155,2769,85,104,595,249,2894,171,7,327,2895],"富士山","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0669401aca924e5de194d56108d74d.jpg",[],{"id":2899,"slug":2900,"title":2901,"dynasty":240,"author":182,"museum":82,"description":2902,"tags":2903,"thumbUrl":2905,"material":34,"size":34,"collection":34,"collections":2906,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},225312,"fu-shi-hui-46-yi-ming-225312","浮世绘46","靛蓝湖面晕开柔润水色，淡墨远山融在水天尽头晕出空濛侘寂。临水而立的红顶吊脚屋，枕着清波尽显水乡意趣。左侧石板山道上，两名町人作揖寒暄，衣褶舒展鲜活，将市井日常揉入雅致景致间。\n\n暖红檐角、苍绿林木撞色和谐，带着日式版画独有的平涂鲜亮质感，将闲淡乡居烟火与清寂湖光融为一体，藏起隐于山水间的温柔日常，引观者沉入这份松弛的和风诗意里。",[1155,2769,85,104,186,509,961,1479,310,89,31,7,2904],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d492b767333ad0eb94cc27d1af0c137.jpg",[],{"id":2908,"slug":2909,"title":2910,"dynasty":80,"author":2911,"museum":82,"description":2912,"tags":2913,"thumbUrl":2914,"material":34,"size":34,"collection":34,"collections":2915,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":39},224280,"shan-shui-hua-hui-ce-shi-er-fu-shan-224280","山水花卉冊(十二)","傅山","此作用笔简淡稚拙，以浅赭轻晕山峦，敷色清和柔润。近滩板桥轻横，浅渚疏林错落；中景红墙环绕，古寺隐现于茂林之间，城郭拱门洞开，晕开几分烟火清寂；远景峰峦平缓朦胧，晕染出空濛山意。全画无繁复皴擦，以简淡线条勾勒出幽寂山居，将林泉隐逸的萧散意趣融于尺幅之中。笔墨空灵简净，褪去雕琢之态，尽显超然出尘的林下之风，藏着寄情丘壑的文人雅怀，整体氛围静谧冲淡，意蕴悠远绵长。",[68,23,24,27,85,28,26,938,29,186,1510,509,90,310,89,7,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ed8a4cf428d9d61c7bc6b9cfbed48.jpg",[],{"id":2917,"slug":2918,"title":2919,"dynasty":80,"author":182,"museum":65,"description":2920,"tags":2921,"thumbUrl":2923,"material":34,"size":34,"collection":34,"collections":2924,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},223414,"ma-zu-qi-ji-e-yi-ming-223414","妈祖奇迹E","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[68,23,85,167,2369,104,186,2922,89,647,7,185],"船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f1096e57f0a741f1d7f0fdf0c487ec.jpg",[],{"id":2926,"slug":2927,"title":2928,"dynasty":100,"author":2604,"museum":321,"description":2605,"tags":2929,"thumbUrl":2930,"material":110,"size":2617,"collection":34,"collections":2931,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},219063,"xiao-xiang-ba-jing-ce-7-zhang-fu-219063","潇湘八景册-7",[68,23,48,27,85,25,28,1249,50,105,249,939,104,700,30,7,1480,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01daf9f4924b8c67e1bb62c82f7033f4.jpg",[],{"id":2933,"slug":2934,"title":2935,"dynasty":100,"author":182,"museum":164,"description":2936,"tags":2937,"thumbUrl":2938,"material":174,"size":34,"collection":34,"collections":2939,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":75},218427,"ming-qing-ren-hua-ce-zhi-shi-yi-ming-218427","明清人画册之十","青绿染就的崖壁与苍松虬枝占据左隅，藤蔓垂悬间透着古意。暖黄底色晕开天光，水面如镜，一扁舟浮于其上，篷顶浅覆，舟中数人或对谈、或凭栏，船头一人持篙缓行，姿态悠然。岸畔苇草轻曳，似与水波低语。\n\n整幅画以雅致设色、简练笔触，勾勒出文人雅士江湖泛舟的闲逸图景。笔墨间藏着对自然与自在的向往，山石的苍劲与舟中人物的疏朗相映，尽显林下悠游之趣，观之令人心生旷达。",[23,24,27,85,325,28,104,86,89,30,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffde433e61fb118c2ed336362e0fb89.jpg",[],{"id":2941,"slug":2942,"title":2943,"dynasty":80,"author":182,"museum":120,"description":2944,"tags":2945,"thumbUrl":2947,"mate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and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[3027,3028,28,89,308,7,961,3029,3030],"陶瓷","青花","器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4cd4660015ffac45fa839a5c68cbed.jpg",[],{"id":3034,"slug":3035,"title":2412,"dynasty":80,"author":3036,"museum":82,"description":3037,"tags":3038,"thumbUrl":3039,"material":34,"size":34,"collection":34,"collections":3040,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":39},239167,"shan-shui-hua-hui-ce-chen-heng-ke-239167","陈衡恪","这幅小品以淡墨轻岚绘就江南春景，浅赭晕出水汀远岸，水墨点染洲渚林木，晕染出朦胧空濛的烟水之气。右下角以浓淡互破的焦墨写出苇丛杂木，野朴苍润。水面留白宽绰，一叶扁舟静泊波心，愈发衬出水天寥廓。\n\n配文取“春水碧于天，画船听雨眠”的诗意，将江南春日的慵懒闲寂融于尺幅之间，笔简意足，淡宕幽远。观之如浸身烟雨江南，仿佛能听见雨打船篷的轻响，文人画的澹泊隐逸之趣尽数铺陈，清寂温柔的氛围感扑面而来。",[23,24,27,25,85,28,86,7,428,31,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6953ee909949d974b7afda0477102ab7.jpg",[],{"id":3042,"slug":3043,"title":17,"dynasty":80,"author":3044,"museum":82,"description":3045,"tags":3046,"thumbUrl":3049,"material":34,"size":34,"collection":34,"collections":3050,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":75},239006,"shan-shui-ce-li-dong-239006","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[23,24,27,85,26,28,50,30,700,89,311,7,154,3047,3048],"树林","石堆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e5bc217d192b673344b8a2d8cf36cf.jpg",[],{"id":3052,"slug":3053,"title":3054,"dynasty":80,"author":3055,"museum":82,"description":3056,"tags":3057,"thumbUrl":3058,"material":253,"size":254,"collection":34,"collections":3059,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":39},238942,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238942","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[23,24,27,85,167,28,104,171,428,31,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624ce11958013751a41324b0385b82a1.jpg",[],{"id":3061,"slug":3062,"title":2412,"dynasty":100,"author":3063,"museum":82,"description":3064,"tags":3065,"thumbUrl":3066,"material":253,"size":254,"collection":34,"collections":3067,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":39},237506,"shan-shui-hua-hui-ce-jiang-shou-cheng-237506","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[23,24,27,560,85,28,186,86,105,31,7,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49d532a714dc960a0f0bb773b92a3b5f.jpg",[],{"id":3069,"slug":3070,"title":17,"dynasty":80,"author":3071,"museum":82,"description":3072,"tags":3073,"thumbUrl":3074,"material":1565,"size":34,"collection":34,"collections":3075,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":39},236501,"shan-shui-ce-cheng-ming-236501","程鸣","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[48,23,24,27,85,26,28,86,439,30,89,310,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f62b09b302b3dfcdae70acbbe3c525.jpg",[],{"id":3077,"slug":3078,"title":3079,"dynasty":80,"author":290,"museum":120,"description":3080,"tags":3081,"thumbUrl":3082,"material":2128,"size":34,"collection":34,"collections":3083,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":39},236146,"fang-yuan-ren-shan-shui-ce-he-yi-236146","仿元人山水册","赫奕 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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。",[23,24,27,25,139,28,89,30,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9086e85a250e4259f1e3d821ac962d.jpg",[],{"id":3085,"slug":3086,"title":3087,"dynasty":199,"author":182,"museum":120,"description":3088,"tags":3089,"thumbUrl":3090,"material":1565,"size":3091,"collection":34,"collections":3092,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":75},234012,"shui-mo-gu-ting-ye-yi-ming-234012","水末孤亭页","右方危崖壁立，孤亭凌然栖于崖巅，丹枫点染出秋意暖意，崖畔石阶蜿蜒，策杖二人徐行低语，为冷寂山景添了些许生趣。\n左方以大片留白铺展平远水色，淡墨轻勾汀渚寒林，寥寥数笔便晕染出空阔萧疏的江天暮色。整幅以实衬虚，简淡空灵，不着浓墨重彩，便将秋日郊野的荒远静谧藏于笔墨间，带着雅致禅意，尽显留白造境的精妙，引观者坠入这幽绝尘寰的天地，静赏江天寥廓，坐忘山亭秋晚。",[23,438,85,28,26,185,154,89,104,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3be7e0a2e0986debf75b93272d41c0.jpg","26x27cm",[],{"id":3094,"slug":3095,"title":3096,"dynasty":199,"author":182,"museum":120,"description":3097,"tags":3098,"thumbUrl":3100,"material":1565,"size":3101,"collection":34,"collections":3102,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":75},233208,"liu-tang-qiu-cao-tu-ye-yi-ming-233208","柳塘秋草图页","关于此图在本专栏的第十八期《宋画小品中的赵令穰风貌》一文中已有解读，在此不再赘述。画中描绘的正是秋日时节，为了表现秋天杨柳的特点，作者选择了以墨色为主，柳叶上依稀可见赭石的黄褐色。加之较为尖锐的用笔，这让看似丰茂的柳叶有了即将枯败之感。",[23,24,438,25,85,28,169,610,3099,89,7,26],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0963760525b6f61ff8bf061345edf339.jpg","22.5×24.5cm",[],{"id":3104,"slug":3105,"title":17,"dynasty":80,"author":3106,"museum":82,"description":3107,"tags":3108,"thumbUrl":3109,"material":253,"size":254,"collection":34,"collections":3110,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":39},230352,"shan-shui-ce-liu-yu-230352","柳堉","柳堉. 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为绘画开启了类似寄情寓性的功能。",[68,48,23,24,1613,2011,25,85,28,69,86,30,171,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7395055af78e9b5b1f31d83c41ca5f19.jpg",[],{"id":3120,"slug":3121,"title":3122,"dynasty":240,"author":182,"museum":82,"description":2883,"tags":3123,"thumbUrl":3127,"material":253,"size":254,"collection":34,"collections":3128,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":39},225530,"fu-shi-hui-288-yi-ming-225530","浮世绘288",[1155,2769,85,104,812,3124,1196,3125,89,7,3126],"武士","石墙","花纹服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99e84dd7c39d8e1ce4be60b67b36f71.jpg",[],{"id":3130,"slug":3131,"title":3132,"dynasty":80,"author":3133,"museum":3134,"description":3135,"tags":3136,"thumbUrl":3137,"material":3138,"size":3139,"collection":34,"collections":3140,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":34},220741,"shan-shui-ji-6-wang-shi-min-weng-ling-wu-hong-deng-220741","山水集6","王時敏,翁陵,吳宏等","香港中文大学文物馆","此作以虚实相生之笔绘就江崖小景。右侧危崖斜出，枯墨皴擦石体，淡晕石面肌理，浓墨点苔缀以古木，苍朴老硬的笔意尽显崖壁嶙峋。留白铺作烟江，一叶扁舟静泊水面，素帆悠然垂落，水色空濛，淡墨晕染出江天相融的悠远。\n\n崖畔古松探向江面，与孤舟遥遥相对，疏密开合间，将寥廓江天的清寂禅意藏于尺幅。笔简而意足，淡墨见空灵，浓墨醒生机，寥寥数笔便勾勒出秋江独往的澹澹闲意，尽显山水写意的悠远情致。",[23,25,26,27,28,86,52,89,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54953b7e58196476470f08eeb101c783.jpg","水墨,紙本,冊","各約22 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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。",[23,24,27,25,85,26,90,560,28,86,89,1293,30,7,2126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae106783de638295d0620605d596ec4.jpg",[],{"id":3335,"slug":3336,"title":2422,"dynasty":80,"author":3337,"museum":82,"description":3338,"tags":3339,"thumbUrl":3340,"material":253,"size":254,"collection":34,"collections":3341,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":1019},237777,"shan-shui-tu-ce-ye-xin-237777","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。",[23,24,27,25,85,28,86,186,31,7,154,26,2097],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0700988862f83bc2c809af1994bab9.jpg",[],{"id":3343,"slug":3344,"title":17,"dynasty":80,"author":3345,"museum":82,"description":3346,"tags":3347,"thumbUrl":3348,"material":253,"size":254,"collection":34,"collections":3349,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":75},237422,"shan-shui-ce-chen-jia-le-237422","陈嘉乐","陈嘉乐（生卒年不详），又名陈嘉荣，字子显，号东原。清代济南历城人。善诗，工书画，尤长于山水。画学王原祁风格，乾隆年间闻名于画坛。后被道光皇帝第九子、孚敬郡王奕譓请到京邸，跟其学画。",[23,24,27,25,28,26,30,89,310,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8c1e280edc57deb69f761ba5a017d78.jpg",[],{"id":3351,"slug":3352,"title":17,"dynasty":80,"author":3106,"museum":82,"description":3107,"tags":3353,"thumbUrl":3354,"material":253,"size":254,"collection":34,"collections":3355,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":39},235495,"shan-shui-ce-liu-yu-235495",[23,24,27,25,26,560,153,28,86,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14194520488d9c42591df0a9dd3f8d78.jpg",[],{"id":3357,"slug":3358,"title":3359,"dynasty":100,"author":182,"museum":82,"description":3360,"tags":3361,"thumbUrl":3362,"material":253,"size":254,"collection":34,"collections":3363,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":39},235139,"chen-dan-zhong-shan-shui-ce-yi-ming-235139","陈丹衷山水册","此作以淡笔绘就江南烟景，近岸苍松虬劲蓊翠，浅滩烟波氤氲，一叶扁舟悠然浮于水面，漾出闲淡野趣。中渚林木葱郁，远山层叠晕染，以留白衬出水雾空濛，村舍隐现山麓间，尽显幽寂清旷之致。\n诗画合璧，将倦客归思寄于山水林泉。浅绛设色清润柔和，笔墨松秀简淡，不事雕琢，以简驭繁，将江南水乡温润诗意与萧散林下之风相融，淡远意境暗合文人幽居林泉、寄情江湖的隐逸意趣，尽显雅致清远的文人山水意韵。",[48,23,24,27,85,28,31,140,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb02be495cd4d500c2fac8adda0e5905.jpg",[],{"id":3365,"slug":3366,"title":3367,"dynasty":80,"author":3368,"museum":82,"description":3369,"tags":3370,"thumbUrl":3371,"material":34,"size":34,"collection":34,"collections":3372,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":39},234358,"you-niao-shi-tu-ce-jin-kun-234358","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[23,24,27,85,560,90,28,29,1185,31,140,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad041c21a79ac98fee5e6b835d4b67d.jpg",[],{"id":3374,"slug":3375,"title":3367,"dynasty":80,"author":3368,"museum":82,"description":3369,"tags":3376,"thumbUrl":3377,"material":34,"size":34,"collection":34,"collections":3378,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":39},234345,"you-niao-shi-tu-ce-jin-kun-234345",[23,24,27,560,90,85,28,171,50,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51d9be8cf617714b87349dbb806480b.jpg",[],{"id":3380,"slug":3381,"title":3382,"dynasty":240,"author":3383,"museum":82,"description":3384,"tags":3385,"thumbUrl":3390,"material":253,"size":254,"collection":34,"collections":3391,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":39},231805,"chun-ri-quan-xian-yan-ji-hui-tu-juan-gao-jie-long-jian-231805","春日権现验记绘图卷","高阶隆兼","镰仓时代 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van de Velde II--The French Vessel Courtisan","这幅素描以精准细腻的笔触，将风帆战舰的威仪尽显。作者以严谨的排线铺陈明暗，刻画出船体敦实的体积感，艏部极尽繁复的巴洛克浮雕群像层次分明，神祇、贵族饰纹错落交织，还原出王室舰船奢华无匹的装饰工艺。\n\n画面截取半侧船体静泊水面，留白的浅淡水色晕开沉稳氛围，写实的海事绘图技法糅合古典美学张力，将大航海时代舰船的巅峰装饰美学凝于纸面，静静铺陈着风帆纪元的荣光与匠心。",[3414,3415,3416,2922,7,698,3417],"素描","西洋画","古帆船","浮雕装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f05661b97e8ad6efd648a614eff0c79.jpg",[],{"id":3421,"slug":3422,"title":17,"dynasty":80,"author":3163,"museum":82,"description":3164,"tags":3423,"thumbUrl":3424,"material":253,"size":254,"collection":34,"collections":3425,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},238704,"shan-shui-ce-dong-bang-da-238704",[23,24,27,25,26,28,86,89,30,669,7,2721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12118ff6e5c78b4472fc11e81ddee697.jpg",[],{"id":3427,"slug":3428,"title":17,"dynasty":80,"author":3163,"museum":82,"description":3164,"tags":3429,"thumbUrl":3430,"material":253,"size":254,"collection":34,"collections":3431,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},238694,"shan-shui-ce-dong-bang-da-238694",[23,48,24,27,1440,26,25,28,89,310,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F597b597603574f8cd11ed629ac8d49eb.jpg",[],{"id":3433,"slug":3434,"title":17,"dynasty":80,"author":3435,"museum":82,"description":3436,"tags":3437,"thumbUrl":3438,"material":253,"size":254,"collection":34,"collections":3439,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},238087,"shan-shui-ce-lu-yao-238087","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。",[23,25,27,28,171,89,310,7,52,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d0819ad7d8d4540a63595027e9fd58b.jpg",[],{"id":3441,"slug":3442,"title":17,"dynasty":80,"author":3171,"museum":82,"description":3443,"tags":3444,"thumbUrl":3445,"material":34,"size":34,"collection":34,"collections":3446,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},238015,"shan-shui-ce-lu-zun-shu-238015","以淡墨晕染铺就空濛夜色，江天相接处轻笔扫过，晕开清寂寥廓的氛围感。水岸村居错落排布，黛瓦茅舍依水偎依，三两舟楫静系埠头，似在等候晚归旅人。右侧林木疏朗，简笔勾勒枝桠便见生趣，浓淡墨色区分开前后层次，衬出水乡的安闲静谧。\n\n淡墨写意，不作繁复皴擦，只以晕染烘托出江南夜泊松弛淡远的况味。题字朱印作为点缀，晕开文人情致，整幅小品简而意足，把深夜水乡的清宁藏在每一笔淡墨之中，空濛悠远，尽显文人山水的空灵意趣。",[23,25,27,28,29,310,1510,7,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5127db98ab08bd52c4c2fb2bac6bfa64.jpg",[],{"id":3448,"slug":3449,"title":2422,"dynasty":80,"author":3450,"museum":82,"description":3451,"tags":3452,"thumbUrl":3453,"material":253,"size":254,"collection":34,"collections":3454,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237125,"shan-shui-tu-ce-yao-song-237125","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。",[23,25,27,28,30,89,86,669,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5696fc3a4d208e8856ce1a6a1e85e448.jpg",[],{"id":3456,"slug":3457,"title":2403,"dynasty":80,"author":3458,"museum":82,"description":3459,"tags":3460,"thumbUrl":3462,"material":253,"size":254,"collection":34,"collections":3463,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":75},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。",[438,23,28,25,85,26,938,1185,29,581,456,331,3461,7,329],"近岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef854c1188bba4c5b7d7ba3e0b16df8a.jpg",[],{"id":3465,"slug":3466,"title":3467,"dynasty":80,"author":3468,"museum":82,"description":3469,"tags":3470,"thumbUrl":3471,"material":34,"size":34,"collection":34,"collections":3472,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},236516,"sun-shan-shui-ce-wang-ji-236516","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。",[23,25,27,26,28,86,89,669,31,140,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75639b7bc79d45de93aac6a8678288ab.jpg",[],{"id":3474,"slug":3475,"title":3476,"dynasty":80,"author":3477,"museum":82,"description":3478,"tags":3479,"thumbUrl":3480,"material":34,"size":34,"collection":34,"collections":3481,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},235363,"shan-shui-ren-wu-tu-ce-huang-shen-235363","山水人物图册","黄慎","此作用淡墨晕染出水汀空寂之境，枯笔劲写汀渚兰草，叶态舒展恣肆，野趣盎然。水鸭浮波仅以数笔点就，憨然悠然，灵动传神。右上角狂草题识，笔势与画中野逸之气相融，书画相映，更添文韵。\n全幅删繁就简，以极简写意手法勾勒乡野闲景，萧疏淡远，尽得文人逸笔之趣，将幽澹林下之思藏于水墨间，观之令人心神松弛，如临其境得享乡野闲静。",[23,24,27,25,1440,28,104,106,51,154,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60720fc54410d8b98cc92a29ba63eb4c.jpg",[],{"id":3483,"slug":3484,"title":3476,"dynasty":80,"author":3477,"museum":82,"description":3485,"tags":3486,"thumbUrl":3487,"material":34,"size":34,"collection":34,"collections":3488,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},235361,"shan-shui-ren-wu-tu-ce-huang-shen-235361","此作用淡墨晕染铺就烟雨天色，水面烟波朦胧浩渺，扁舟轻泛江上，舟中人意态悠然，仿佛正随波漫行。岸渚间以浓墨点簇林木，苍润错落，远近层次尽在虚实之间。远处楼台隐没在烟霭之中，似有若无，将江南烟雨的空寂诗意拉满。\n笔法简括老辣，以水墨浓淡变化晕出朦胧幽澹的氛围感，虚实相生间，把江南烟雨中的清寂禅意尽数铺展。寥寥数笔便勾勒出江上行旅的闲逸意境，笔墨极简却余韵悠长，尽显水墨写意的精妙，将观者带入这静穆悠远的烟雨江南之中。",[23,25,27,28,86,186,89,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e37e98c6e2264b8789e028b05d1299.jpg",[],{"id":3490,"slug":3491,"title":17,"dynasty":80,"author":3163,"museum":120,"description":3492,"tags":3493,"thumbUrl":3494,"material":34,"size":34,"collection":34,"collections":3495,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},234795,"shan-shui-ce-dong-bang-da-234795","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。",[23,24,27,25,26,28,86,89,31,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7569ec9639f6c205b4a0873ac5131de9.jpg",[],{"id":3497,"slug":3498,"title":3499,"dynasty":240,"author":3500,"museum":82,"description":3501,"tags":3502,"thumbUrl":3507,"material":253,"size":254,"collection":34,"collections":3508,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":75},232068,"de-jia-36-de-jia-232068","德加36","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。",[245,244,3503,3504,7,327,249,535,3505,3506],"裸体人物","多人","动态","人体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f46ccca586070288e85421932c3c04.jpg",[],{"id":3510,"slug":3511,"title":3512,"dynasty":240,"author":695,"museum":82,"description":696,"tags":3513,"thumbUrl":3516,"material":253,"size":254,"collection":34,"collections":3517,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":75},230630,"rembrandt-harmensz-van-rijn-0264-lun-bo-lang-230630","Rembrandt Harmensz.van Rijn - 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的山林意境，尽显传统山水的笔墨意趣与自然之美。",[23,24,27,28,25,26,938,1185,89,266,279,3047,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c78dda31f83ddbcaa9c31a4bdeb156.jpg",[],1777535699126]