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横55.3厘米","人物画精选",[261],55,{"id":265,"slug":266,"title":267,"dynasty":57,"author":268,"museum":59,"description":269,"tags":270,"thumbUrl":277,"material":132,"size":278,"collection":48,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":52},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","吴伟","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,24,125,25,7,184,26,28,271,272,63,273,65,274,275,276,31],"松","溪","渔者","山","石","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[48,261],49,{"id":282,"slug":283,"title":284,"dynasty":79,"author":285,"museum":20,"description":286,"tags":287,"thumbUrl":289,"material":290,"size":291,"collection":48,"collections":292,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":52},218164,"lin-ting-qiu-se-tu-yi-ming-218164","林亭秋色图","佚名","沿江罔陵起伏，霜气已深，岁将暮矣。满山寒林卓力，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收纲，朝起江村，各有所事。本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空濶，气象萧疏，使人凛然而有寒意。无款印。",[23,24,7,62,26,242,28,167,168,88,164,65,166,288,63,31,107],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","绢本,设色","纵27.3,横50.4公分",[48],45,{"id":295,"slug":296,"title":297,"dynasty":57,"author":298,"museum":20,"description":299,"tags":300,"thumbUrl":302,"material":303,"size":172,"collection":48,"collections":304,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":52},222526,"mo-bi-shan-shui-zhou-wang-fu-222526","墨笔山水轴","王绂","明代画家王绂（1362-1416）为无锡人，号九龙山人、鳌叟。其画以墨竹最为知名，山水则承续元代文人画风，为吴派前驱。王绂密布层迭岩垒及林木，近景临岸渔船，一艘似正炊煮，一艘则在用餐，船上张挂着披晒的衣物；中景船只则正收拾风帆；右方山路行旅也疾疾赶路入城，一派日暮归人景致。\n乾隆皇帝于旅程中欣赏此图时，并非草草展阅山水大势，而是连小小的舟中生活都注意到了，并成为他吟咏的重心，由此可感受到他品画时的细腻与留心。",[24,7,25,26,28,31,301,29,35],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f6a38fa5ce0f20cabdeca5c267ff32.jpg","绢本墨笔",[48,49],43,{"id":307,"slug":308,"title":309,"dynasty":79,"author":310,"museum":311,"description":312,"tags":313,"thumbUrl":315,"material":290,"size":316,"collection":48,"collections":317,"showCount":318,"zanCount":11,"manualWeight":11,"mainColor":52},219783,"shan-zhong-guan-shu-tu-yi-sheng-mao-219783","山中观书图(一)","盛懋","大英博物馆","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,24,7,242,102,26,28,64,301,89,185,29,65,31,314],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca7bc079a6d5dcc5b4be19f4c16a7a.jpg","纵97.3横29.2",[48],42,{"id":320,"slug":321,"title":322,"dynasty":79,"author":323,"museum":324,"description":325,"tags":326,"thumbUrl":328,"material":329,"size":172,"collection":49,"collections":330,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":74},220871,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220871","竹石幽兰图卷","赵孟頫","美国克利夫兰艺术博物馆","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,124,24,125,62,7,84,86,144,105,275,327,85],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf614e4a0ea6966b60de3926e9843bdd.jpg","纸本，水墨",[49,203],{"id":332,"slug":333,"title":334,"dynasty":18,"author":335,"museum":159,"description":336,"tags":337,"thumbUrl":341,"material":188,"size":172,"collection":48,"collections":342,"showCount":12,"zanCount":116,"manualWeight":11,"mainColor":52},218547,"han-lin-po-zhou-tu-huang-geng-218547","寒林泊舟图","黄庚","虬枝如铁，皴染出雪后寒林的苍劲。石矶覆素，茅舍隐于烟霭间，孤舟横卧岸侧，似待归人。云雾轻笼远岫，留白处漾开清寂。笔致简淡却含韵致，枯笔勾勒的枝桠带着凛冽的诗意。天地间素墨交融，静穆中藏着一丝暖意——或许是窗内的灯影，或许是舟畔的微雪。山风掠过枝梢，与寒林私语，时光在此放缓。素白的雪，墨色的树，朦胧的雾，交织成一幅冬日的静美画卷，让人心生安宁，仿佛能听见舟中茶烟袅袅，与天地同呼吸。",[24,7,25,26,28,338,339,63,88,340,85],"寒林","枯树","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9b66ef1b1a00835ad849fb37b80a87.jpg",[48],{"id":344,"slug":345,"title":346,"dynasty":179,"author":209,"museum":159,"description":210,"tags":347,"thumbUrl":348,"material":172,"size":172,"collection":113,"collections":349,"showCount":350,"zanCount":11,"manualWeight":11,"mainColor":74},237888,"wang-hui-ya-zhen-tu-heng-fang-ye-wang-hui-237888","王翚鸦阵图横方页",[24,7,214,26,188,148,339,29,65,31,199,85,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f77cb5f5efef0d0dd541b2a6f81ea3a.jpg",[113,49],37,{"id":352,"slug":353,"title":354,"dynasty":79,"author":355,"museum":20,"description":356,"tags":357,"thumbUrl":361,"material":150,"size":362,"collection":172,"collections":363,"showCount":364,"zanCount":116,"manualWeight":11,"mainColor":74},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","曹知白","《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。",[24,7,83,25,26,85,358,340,30,31,163,359,360,339,301],"群峰","山峦","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],31,{"id":366,"slug":367,"title":368,"dynasty":179,"author":369,"museum":59,"description":370,"tags":371,"thumbUrl":373,"material":91,"size":374,"collection":172,"collections":375,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":74},220327,"huang-shan-tu-ce-4-hong-ren-220327","黄山图册-4","弘仁","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,7,372,26,28,29,34,65,31,64],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ceb6ea4ddc9fb9c6fcb7d328c018253.jpg","21.5x18.3厘米",[],30,{"id":378,"slug":379,"title":380,"dynasty":57,"author":381,"museum":59,"description":382,"tags":383,"thumbUrl":384,"material":385,"size":386,"collection":172,"collections":387,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":74},233960,"zeng-jia-xuan-shan-shui-tu-zhou-dong-qi-chang-233960","赠稼轩山水图轴","董其昌","此画构图取势平远，树石简繁相参，敛放有致，与同年作者所作《佘山游境图》轴相比，在笔势运转上更显刚健挺拔。渲染则多湿笔浓墨，墨气纵横，得草树、坡石蓊郁润泽之态。\n据题跋可知此图为作者于丙寅年所作，三年后，即“己巳”（明崇祯二年，1629年）寄赠瞿稼轩。“稼轩”是瞿式耜的号。此图从一个侧面反映了明末文人之间以诗文书画相契赏的风尚。",[24,7,26,162,25,28,31,107,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6910377fde107bd3ffc655005365f6.jpg","纸本，墨笔","纵101.3cm，横46.3cm",[],28,{"id":390,"slug":391,"title":392,"dynasty":79,"author":285,"museum":393,"description":394,"tags":395,"thumbUrl":396,"material":290,"size":172,"collection":48,"collections":397,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":398},218194,"shan-shui-tu-dui-zhou-yi-ming-218194","山水图对轴","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[24,7,26,25,28,339,34,65,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bce89525f0d80cab8c2a4f7f1de6153.jpg",[48],"37474F",{"id":400,"slug":401,"title":402,"dynasty":179,"author":403,"museum":181,"description":404,"tags":405,"thumbUrl":406,"material":407,"size":408,"collection":48,"collections":409,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":74},237153,"shan-shui-tu-zhou-cha-shi-biao-237153","山水图轴","查士标","《山水图轴》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。\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。倪云林用笔枯淡静柔，查士标用笔疏散湿润。",[24,7,26,25,28,88,31,107,163,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b15f8c267c7e56aa7cb40b232377f45.jpg","纸本、设色","纵90.1厘米，横36.7厘米",[48,49],25,{"id":412,"slug":413,"title":208,"dynasty":179,"author":209,"museum":159,"description":210,"tags":414,"thumbUrl":415,"material":172,"size":172,"collection":172,"collections":416,"showCount":417,"zanCount":11,"manualWeight":11,"mainColor":74},237590,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237590",[24,7,212,26,144,372,28,87,105,275,164,360,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93ac8d5e23f56de21baeb4d646ef856.jpg",[],24,{"id":419,"slug":420,"title":421,"dynasty":422,"author":423,"museum":159,"description":424,"tags":425,"thumbUrl":427,"material":172,"size":172,"collection":172,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":52},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","不详","雪舟","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,124,24,7,25,28,340,426,339,29,129,164,26,188],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],23,{"id":431,"slug":432,"title":433,"dynasty":18,"author":434,"museum":59,"description":435,"tags":436,"thumbUrl":443,"material":444,"size":445,"collection":172,"collections":446,"showCount":447,"zanCount":116,"manualWeight":11,"mainColor":74},221611,"qiu-liu-shuang-ya-tu-ye-liang-kai-221611","秋柳双鸦图页","梁楷","纨扇页，行书署款“梁楷”二字。\n此图前人定名《秋柳双鸦》，实则写唐代诗人王维五言绝句《鸟鸣涧》诗意。王维的诗“人闲桂花落，夜静春山空。月出惊山鸟，时鸣春涧中。”描绘鸟鸣涧春山月出的夜景，既幽静，又有生气。梁楷的画，以渴笔焦墨绘一节断裂的枯柳，三两根枝条昂扬向上又飘拂而下，突兀地将整幅扇页中分为二，构图大胆，以奇致胜。大片空白处淡墨晕染出的薄云满月，给空谷春山平添了几分神秘。初升的月亮惊起的两只山鸟奋飞呼鸣，打破了夜空的静寂，老柳虽然细弱，枝条却仍坚韧，使观者感受到自然生命的搏动。\n梁楷作画，以“减笔”闻名，此幅亦不例外，寥寥几笔就生动地勾画出所表现物象的主要特征，描绘出花鸟的内在神韵。大片的空白使画面显得空濛含蓄，给人以笔墨有尽而意无穷的想象空间，达到了“于无画处皆成妙境”的艺术效果。",[23,24,7,437,438,214,125,439,440,185,441,442],"写意画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