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进行理想化的描绘，从而寄托了自己不耐人间烟火、向往逃俗离垢的厌世情结。\n图后另纸附作者草书节录《桃花源记》及作者自撰五言诗一段：“……赢氏乱天纪，贤者避其世。黄绮之南山，伊人亦云逝。往迹浸复湮，来径遂芜废。相命肆农耕，日人从所憩，桑竹垂余阴，菽稷随时艺春蚕取长丝，秩熟靡王税，荒路暖交通，鸡犬亘鸣犬。俎豆犹古法，衣裳无以制，音孺纵行歌，班白观游诣，草荣识节和，木衰知风励。虽无纪历志，四时自成岁。怡然有馀乐，于何劳智慧，奇踪隐五百，一朝敝神界，凉薄既异源，旋复还幽蔽。借问游方士，焉测尘嚣外。愿言蹑轻风，高举寻吾契。乾隆甲申冬月镓，黄慎。”\n此图打破了传统人物画代代相承的铁线、兰叶、行云流水等“十人描法”限制而汲取南宁梁楷阔笔写意和明初渐派水墨人物草廊疾写的技法，结合坚实的运笔根度和写真基础，完全从塑造客观对象、具体特征的需要上出发，灵活地运用各种描法及草书的笔意趣味，下笔或渺如鸿毛飘落，或重似泰山坠石，时而中锋勾写、精刻细划，时而侧笔拖扫、意到笔略。描绘人物则造型轩昂，体态准确详写神略写貌、垂与意略写形，达到神情兼备、谈谐含蓄的境界。如此在技法上既超越了前辈梁楷过于简逸的现实之感，也克服了浙派人物空疏草率的缺点，在气音上则避免了“有其形音不生，得其气位不稳”的画工之弊；一扫文人雅士冲和溱远、颓唐纤比的陋习，使中国人物画的现实主义传统得到了很好的发展。图中岩石的画法则有元代倪瓒横折带皴法而层次更显丰富豪迈。寓清代袁江之骷髅皱而愈加凝炼劲爽。树法四面有枝，出于李成而极尽变化展姿，造型奇崛郁勃，精神发越外拓。作为衬景的山水，虚实远近安排有序、屋舍舟桥精工细写，比例视赏合理，令观者有身临其境之感。全图气息纯朴鲜活，风格洒俊逸，线条粗简活脱，时现枯笔飞白。色彩明丽润泽，气息纯朴鲜活。仿佛一帖墨酣笔畅的抒情草书。体现了黄慎作为职业画家，在造型的真实感上所具有超越其他同代画家的成就，具有士气而兼作家之气。",[23,24,26,7,27,123,38,28,131,193,194,31,33],"人物","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6764b259026e1ccc2432d776735ad2.jpg","纸本设色","纵38厘米，横349厘米",[42,64],2497,26,{"id":202,"slug":203,"title":204,"dynasty":205,"author":206,"museum":92,"description":207,"tags":208,"thumbUrl":217,"material":218,"size":219,"collection":220,"collections":221,"showCount":223,"zanCount":224,"manualWeight":46,"mainColor":140},221288,"zao-chun-tu-guo-xi-221288","早春图","宋","郭熙","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,25,7,36,209,28,34,33,30,210,211,212,213,214,215,216],"三远法","瀑布","云雾","山峦","岩石","苔点","溪流","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分","宋画精选",[220,42,222],"水墨画精选",2376,17,{"id":226,"slug":227,"title":228,"dynasty":52,"author":53,"museum":92,"description":55,"tags":229,"thumbUrl":230,"material":61,"size":231,"collection":42,"collections":232,"showCount":233,"zanCount":234,"manualWeight":46,"mainColor":47},220766,"fu-chun-shan-ju-tu-huang-gong-wang-220766","富春山居图",[23,24,26,25,7,36,28,30,31,33,34,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa873bf9c7d320f1bd285caf802d29cd8.jpg","画卷已经被火烧成一大一小两段，原卷首小段经过修补后称为“剩山图”，横51.4公分，高31.8公分，占原画1\u002F14，后段画幅较长，称为“无用师卷”，横636.9公分，高33公分，占原画12\u002F14",[42,222],2315,28,{"id":236,"slug":237,"title":238,"dynasty":52,"author":239,"museum":120,"description":240,"tags":241,"thumbUrl":243,"material":98,"size":244,"collection":245,"collections":246,"showCount":247,"zanCount":169,"manualWeight":46,"mainColor":140},214293,"xiao-kai-luo-shen-fu-ce-1-zhao-meng-fu-214293","小楷洛神赋册-1","赵孟頫","笔触薄而有力，结体饶有兴味，风格清俊，让人在奢华中看到真正的朴素。",[23,25,37,242,74,7],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786b735d9237c068e6f611d7dced6895.jpg","25.7x12.6","书法精选",[245],2204,{"id":249,"slug":250,"title":251,"dynasty":18,"author":19,"museum":120,"description":252,"tags":253,"thumbUrl":255,"material":40,"size":256,"collection":42,"collections":257,"showCount":258,"zanCount":259,"manualWeight":46,"mainColor":47},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,24,25,26,7,36,254,37,38,80,28,180,33,30,212,211,31],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纵36.8厘米，横855厘米",[42],1987,11,{"id":261,"slug":262,"title":263,"dynasty":205,"author":264,"museum":265,"description":266,"tags":267,"thumbUrl":269,"material":98,"size":270,"collection":42,"collections":271,"showCount":272,"zanCount":273,"manualWeight":46,"mainColor":47},214316,"mo-tang-dai-lu-hong-cao-tang-shi-zhi-tu-li-gong-lin-214316","摹唐代卢鸿草堂十志图","李公麟","日本大阪市立美术馆","这两幅画在构图、风格和笔触上都有密切的联系，但人物的比例缩小了，放在更合理的自然空间里，而山水、树木和岩石的表现则更符合宋（或金）代的风格，在一定程度上反映了李公麟对卢鸿原作的临摹所产生的不同面貌。虽然这三幅画的具体临摹时间和具体制作时间还有待学者们进一步研究，但《草堂西施图》无疑在中国绘画史上占有很高的重要地位，因为它是中国文人隐居生活的经典形象，历来被人观赏、模仿和解读。大阪藏品的制作时间可能早于上述紫禁城画卷，晚于台北画卷，因为它与辽宁省博物馆收藏的北宋张继的《白莲社》画作比较接近。",[23,24,26,7,254,36,37,80,28,33,34,210,215,193,268],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccf5a7742967237a6a52cd2eb0fe914.jpg","30.3x867.2",[42],1944,14,{"id":275,"slug":276,"title":277,"dynasty":205,"author":278,"museum":92,"description":279,"tags":280,"thumbUrl":283,"material":284,"size":285,"collection":220,"collections":286,"showCount":287,"zanCount":288,"manualWeight":46,"mainColor":47},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,281,24,25,26,7,36,28,34,33,29,30,31,282,32,211,215,213],"名画","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[220,42,222],1772,19,{"id":290,"slug":291,"title":292,"dynasty":205,"author":293,"museum":294,"description":295,"tags":296,"thumbUrl":297,"material":298,"size":299,"collection":220,"collections":300,"showCount":301,"zanCount":302,"manualWeight":46,"mainColor":140},220341,"mo-zhu-tu-su-shi-220341","墨竹图","苏轼","美国大都会艺术博物馆","自苏轼而至元四家，墨竹之风大兴，竹常被文人高士用以表现清高拔俗的情趣，有正直的气节、虚心的品质和纯洁的思想感情，因此墨竹成了书、画、道的综合体，成了人格、人品的写照，寓意兴寄愈益丰厚。此作笔法谨严有致，具潇洒神态。",[23,24,7,126,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c9dbb225579521686a0829aa7646b7.jpg","纸本","54.3x33厘米",[220],1694,16,{"id":304,"slug":305,"title":306,"dynasty":205,"author":307,"museum":92,"description":308,"tags":309,"thumbUrl":313,"material":314,"size":315,"collection":166,"collections":316,"showCount":317,"zanCount":169,"manualWeight":46,"mainColor":140},287579,"xi-shan-xing-lv-tu-fan-kuan-287579","溪山行旅图","范宽","该图主体部分为巍峨高耸的山体，高山仰止，壮气夺人。山顶丛林茂盛，山谷深处一瀑如线，飞流百丈。山峰下巨岩突兀，林木挺直。画面前景溪水奔流，山径上一队运载货物的商旅缘溪行进，为幽静的山林增添了生气。",[281,24,25,95,7,36,28,34,30,210,310,311,312],"古树","古道","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e846606ac903e66fdd1eda93147a0.jpg","未知","纵长206.3公分，横宽103.3公分",[],1669,{"id":319,"slug":320,"title":321,"dynasty":52,"author":158,"museum":20,"description":322,"tags":323,"thumbUrl":325,"material":298,"size":326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有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,25,7,36,95,28,34,210,33,324,215,211,80,37,38],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纵141厘米，横42.2厘米",[42,222],1622,{"id":330,"slug":331,"title":332,"dynasty":18,"author":19,"museum":92,"description":333,"tags":334,"thumbUrl":336,"material":284,"size":337,"collection":42,"collections":338,"showCount":339,"zanCount":139,"manualWeight":46,"mainColor":140},222104,"lu-shan-gao-tu-shen-zhou-222104","庐山高图","此图描绘的是庐山的景象，画中有白云、杂树、石阶、小路以及人物等。这幅图在技法上借鉴元代画家王蒙的笔意，笔法稳健，气势雄沉，具有强烈的节奏感和力量感。山峰多用解索皴，皴染厚重灵动；中段山峦则用折带皴，皴笔精细，墨色较淡，表现出崖壁的险峻。左边崖壁先匀后皴，墨色较重，并以焦墨密点，显得苍郁幽深。",[23,24,28,7,36,95,335,210,30,162,180],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","纵193.8 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张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[23,281,24,25,26,7,37,80,123,348,349,211,350],"渲染","龙","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[220,83,222],1532,{"id":356,"slug":357,"title":358,"dynasty":359,"author":360,"museum":120,"description":361,"tags":362,"thumbUrl":368,"material":40,"size":369,"collection":83,"collections":370,"showCount":371,"zanCount":372,"manualWeight":46,"mainColor":47},216935,"hua-die-tu-zhou-qi-bai-shi-216935","花蝶图轴","民国","齐白石","画面以泼洒的蓝彩点染花朵，墨色线条勾勒叶片，苍劲中透着灵动。几株蓝花亭亭而立，叶片舒展如剑，与轻盈的花瓣相映成趣。花丛间，一只螳螂敛足欲动，姿态警觉；空中蝴蝶振翅，飞虫轻舞，小生灵的动态被捕捉得活灵活现。右上角题字与朱印相映，平衡构图之余更添文人意趣。整幅画作将自然生机与笔墨意趣相融，草虫的鲜活与花卉的雅致交织，尽显对生活细微之美的敏锐感知与精湛表现力。",[23,24,27,7,75,95,363,364,365,366,367],"花","蝶","螳螂","昆虫","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1010a81c5646f35a6bf665ff905dca.jpg","103x41.3cm",[83],1472,10,{"id":374,"slug":375,"title":376,"dynasty":174,"author":377,"museum":378,"description":379,"tags":380,"thumbUrl":383,"material":40,"size":384,"collection":42,"collections":385,"showCount":386,"zanCount":387,"manualWeight":46,"mainColor":47},214892,"shan-shui-tu-ce-shi-tao-214892","山水图册","石涛","大英博物馆","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,7,36,74,28,194,33,381,382,80],"远岫","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc4335799b8ab6338748c15eda11ad45.jpg","20.3x27.5cm",[42],1469,6,{"id":389,"slug":390,"title":391,"dynasty":18,"author":119,"museum":92,"description":392,"tags":393,"thumbUrl":399,"material":98,"size":400,"collection":83,"collections":401,"showCount":402,"zanCount":169,"manualWeight":46,"mainColor":47},218732,"he-hua-tu-xu-wei-218732","荷花图","这幅画的构图简洁明了，布局清新精致。荷叶用滴水不漏的方式画出，而荷花则是寥寥数笔，充满了情感和笔墨的意趣。",[24,25,95,7,123,37,80,394,395,396,397,398],"草书","荷花","荷叶","水草","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","141.7x37.2cm",[83],1397,{"id":404,"slug":405,"title":406,"dynasty":18,"author":407,"museum":265,"description":408,"tags":409,"thumbUrl":410,"material":98,"size":411,"collection":42,"collections":412,"showCount":413,"zanCount":372,"manualWeight":46,"mainColor":47},214259,"song-yan-xiao-si-tu-dai-jin-214259","松岩萧寺图","戴进","松岩萧寺图是明代画家戴进的一幅代表作。这幅画作描绘了萧寺的生活场景。\n\n在这幅画作中，戴进巧妙地捕捉了萧寺的生活状态。他用浓墨重彩的画法，勾勒出了萧寺的宏伟建筑。他还用细腻的线条勾勒出了萧寺内僧人修行的场景，让人感受到了萧寺内的宁静和谐。\n\n此外，戴进在这幅画作中还描绘了萧寺周围的景色。他用色彩丰富的画法，描绘了萧寺周围的山川和河流。这些景色与萧寺的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n松岩萧寺图是一幅能够唤起人们对萧寺的崇敬之情的画作。它展示了戴进的艺术才华，也是一幅能够让人们感受到明朝文化魅力的画作。",[23,24,7,28,36,127,34,194,29,30,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dadaa3dad497961e69e4dc516458e91.jpg","227x51.5",[42],1383,{"id":415,"slug":416,"title":417,"dynasty":174,"author":418,"museum":159,"description":419,"tags":420,"thumbUrl":422,"material":98,"size":423,"collection":83,"collections":424,"showCount":425,"zanCount":259,"manualWeight":46,"mainColor":47},216924,"hua-niao-si-tiao-ping-zhu-da-216924","花鸟四条屏","朱耷","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[23,24,25,95,7,123,75,77,421,34,363],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700f64005b95bf5fc96a186eb8e59446.jpg","182.5×49cm",[83],1374,{"id":427,"slug":428,"title":429,"dynasty":174,"author":377,"museum":430,"description":431,"tags":432,"thumbUrl":433,"material":40,"size":166,"collection":83,"collections":434,"showCount":435,"zanCount":436,"manualWeight":46,"mainColor":47},218130,"shui-xian-zhu-zhi-tu-shi-tao-218130","水仙竹枝图","美国弗利尔美术馆","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。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。",[23,24,7,27,123,126,132,180,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112234b8c56ae7eab1e3115341e7947f.jpg",[83],1313,3,{"id":438,"slug":439,"title":306,"dynasty":205,"author":206,"museum":159,"description":440,"tags":441,"thumbUrl":442,"material":110,"size":166,"collection":42,"collections":443,"showCount":444,"zanCount":445,"manualWeight":46,"mainColor":140},218625,"xi-shan-xing-lv-tu-guo-xi-218625","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[281,24,25,26,27,36,7,28,34,33,30,31,193,311,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg",[42],1280,7,{"id":447,"slug":448,"title":449,"dynasty":205,"author":344,"museum":450,"description":451,"tags":452,"thumbUrl":456,"material":457,"size":458,"collection":220,"collections":459,"showCount":460,"zanCount":445,"manualWeight":46,"mainColor":461},218607,"long-tu-chen-rong-218607","龙图","藏地不详","画面中龙的身形矫健盘绕，怒目圆睁，龙须飞扬，利爪遒劲，似欲破壁而出。水墨晕染间，云雾翻腾如墨浪奔涌，海浪卷动若白练横江，虚实相生中尽显龙的雄奇与威严。陈容以豪放笔法勾勒龙身鳞片，兼用泼墨与细描，浓淡干湿变化丰富，将龙的灵动与力量凝于绢素。整幅画作气韵生动，既存宋画的精工，又具文人画的写意豪情，把龙的神髓刻画得入木三分，为后世画龙范式立下标杆，尽显南宋绘画的艺术张力。",[24,281,25,95,7,36,349,453,454,455,350],"兽","云","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c956b8342baede8049fcb2307ef8f.jpg","绢本,水墨","103x64",[220],1255,"37474F",{"id":463,"slug":464,"title":465,"dynasty":18,"author":19,"museum":450,"description":466,"tags":467,"thumbUrl":470,"material":166,"size":166,"collection":42,"collections":471,"showCount":472,"zanCount":473,"manualWeight":46,"mainColor":47},237922,"shen-zhou-shan-shui-zhou-shen-zhou-237922","沈周山水轴","疏树数株，笔法中锋劲挺。后两峰并列，中有一坞系黏，左侧後方又延一峰，不施皴擦只以墨染，远峰亦以墨略勾勒淡烘染。通幅皴山画树，用笔疏朗，与黄公望名迹「富春山居」图卷有若干契合处；而大片水墨烘染山石则似又自米芾（1501-1107）出。自题云“米不米，黄不黄，淋漓水墨馀清苍。”落笔布墨间，盖心有所寄故能从腕底陶融调匀，蜕化而成。 年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[24,7,95,28,36,31,468,33,212,30,213,469],"蓑笠","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg",[42,222],1229,4,{"id":475,"slug":476,"title":477,"dynasty":174,"author":175,"museum":159,"description":478,"tags":479,"thumbUrl":483,"material":40,"size":166,"collection":166,"collections":484,"showCount":485,"zanCount":486,"manualWeight":46,"mainColor":47},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,25,281,74,179,27,75,76,480,481,482,7],"石头","工笔","草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg",[],1228,5,{"id":488,"slug":489,"title":490,"dynasty":174,"author":491,"museum":120,"description":492,"tags":493,"thumbUrl":497,"material":298,"size":166,"collection":42,"collections":498,"showCount":499,"zanCount":387,"manualWeight":46,"mainColor":47},214363,"xian-shan-lou-ge-tu-wang-shi-min-214363","仙山楼阁图","王时敏","王时敏（1722-1798）是清代著名的画家，他的作品《仙山楼阁图》是其代表作之一。\n\n《仙山楼阁图》描绘了一座仙山上的楼阁，周围是美丽的山林。王时敏在画中运用了精细的笔墨和细腻的造型，勾勒出楼阁的立体感和山林的秀美。\n\n《仙山楼阁图》被认为是王时敏写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仙山楼阁图》也是收藏家们青睐的经典之作。\n\n王时敏的《仙山楼阁图》是一幅描绘仙山楼阁的画作，它体现了中国传统文化中“仙山”的理念。在中国传统文化中，仙山象征着仙人悠闲的生活方式和高尚的品德，楼阁则是仙人的居所。王时敏的《仙山楼阁图》不仅是一幅精美的画作，更是一首关于仙人悠闲生活的诗篇。",[23,281,24,7,494,95,495,194,496,33,215,123],"山水画","仙山","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c70b5945091899c430b0a87afa1fa91.jpg",[42],1186,{"id":501,"slug":502,"title":503,"dynasty":18,"author":19,"museum":378,"description":504,"tags":505,"thumbUrl":508,"material":110,"size":166,"collection":42,"collections":509,"showCount":510,"zanCount":184,"manualWeight":46,"mainColor":140},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[23,24,7,27,36,95,28,29,30,32,127,34,194,506,507],"幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg",[42],1176,{"id":512,"slug":513,"title":514,"dynasty":18,"author":19,"museum":515,"description":516,"tags":517,"thumbUrl":520,"material":298,"size":521,"collection":42,"collections":522,"showCount":523,"zanCount":524,"manualWeight":46,"mainColor":47},220067,"hu-qiu-shi-er-jing-tu-ce-shen-zhou-220067","虎丘十二景图册","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,7,27,518,74,28,194,519,29,30,31,193,33,32],"界画","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","31.1×40.2cmx12",[42],1160,9,{"id":526,"slug":527,"title":528,"dynasty":174,"author":529,"museum":120,"description":530,"tags":531,"thumbUrl":536,"material":537,"size":166,"collection":166,"collections":538,"showCount":539,"zanCount":387,"manualWeight":46,"mainColor":47},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,25,26,254,7,27,28,36,37,38,34,33,30,29,32,35,164,193,215,532,324,533,534,535],"峭壁","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,{"id":541,"slug":542,"title":543,"dynasty":174,"author":175,"museum":544,"description":545,"tags":546,"thumbUrl":553,"material":110,"size":554,"collection":83,"collections":555,"showCount":556,"zanCount":387,"manualWeight":46,"mainColor":140},216110,"yun-shou-ping-hua-guo-shu-cai-ce-ye-yun-shou-ping-216110","恽寿平花果蔬菜册页","天津博物馆","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[281,24,25,74,547,7,27,75,548,549,550,551,367,552],"白描","蔬菜","花果","丝瓜","藤蔓","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm",[83],1136,{"id":558,"slug":559,"title":560,"dynasty":18,"author":19,"museum":120,"description":561,"tags":562,"thumbUrl":563,"material":564,"size":565,"collection":42,"collections":566,"showCount":567,"zanCount":486,"manualWeight":46,"mainColor":47},233832,"wo-you-tu-ce-qiu-shan-du-shu-shen-zhou-233832","卧游图册－秋山读书","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,25,74,7,28,193,147,34,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纸本，设色","纵27.8厘米，横37.3厘米",[42,83,64],1120,{"id":569,"slug":570,"title":571,"dynasty":205,"author":293,"museum":92,"description":572,"tags":573,"thumbUrl":574,"material":61,"size":166,"collection":220,"collections":575,"showCount":576,"zanCount":184,"manualWeight":46,"mainColor":140},218786,"yu-zhu-tu-su-shi-218786","雨竹图","展卷即见墨竹数竿，竹叶层叠如聚雨，浓淡相宜间，笔意随兴流转。竹枝以中锋行笔，挺而不僵，叶尖带露似垂非坠，尽得雨中之姿。墨色干湿互见，枯笔处显苍劲，湿笔处含润泽，如书家走笔般一气呵成。旁有题跋，字迹与竹枝笔意相通，墨痕交融，印鉴朱红点缀，更添古雅。整幅画无布景却意境丰满，竹之清劲与文人风骨相融，观之如闻雨声淅沥，见竹影婆娑，尽显文人画“以形写神”之妙，是笔墨与心性共生的典范，藏着宋元文人对自然与自我的深情观照。",[23,24,25,7,126,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33b2f2b006aa2ac63f2963676954dbf.jpg",[220],1106,{"id":578,"slug":579,"title":580,"dynasty":52,"author":581,"museum":120,"description":582,"tags":583,"thumbUrl":584,"material":457,"size":585,"collection":83,"collections":586,"showCount":587,"zanCount":5,"manualWeight":46,"mainColor":140},214260,"zhu-shi-tu-yi-ming-214260","竹石图","佚名","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[23,24,281,25,95,7,126,180,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","138x79",[83],1055,{"id":589,"slug":590,"title":591,"dynasty":205,"author":592,"museum":593,"description":594,"tags":595,"thumbUrl":598,"material":457,"size":599,"collection":600,"collections":601,"showCount":602,"zanCount":524,"manualWeight":46,"mainColor":140},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","美国克利夫兰艺术博物馆","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,281,24,25,26,7,27,36,28,193,194,29,30,33,32,596,35,597],"田园","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","34.6x566.4","人物画精选",[600],1013,{"id":604,"slug":605,"title":606,"dynasty":205,"author":607,"museum":120,"description":608,"tags":609,"thumbUrl":611,"material":612,"size":613,"collection":220,"collections":614,"showCount":615,"zanCount":616,"manualWeight":46,"mainColor":140},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[23,24,95,7,27,36,28,193,194,34,311,32,215,610,147,33],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","绢本，设色","纵192.5厘米，横111厘米",[220,42,222],995,8,{"id":618,"slug":619,"title":620,"dynasty":52,"author":621,"museum":92,"description":622,"tags":623,"thumbUrl":625,"material":98,"size":626,"collection":42,"collections":627,"showCount":628,"zanCount":473,"manualWeight":46,"mainColor":47},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[23,24,25,7,28,36,210,30,213,624,180],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","本幅 119.9x56.1公分、全幅 58公分",[42,222],972,{"id":630,"slug":631,"title":632,"dynasty":174,"author":633,"museum":54,"description":634,"tags":635,"thumbUrl":638,"material":196,"size":639,"collection":83,"collections":640,"showCount":641,"zanCount":5,"manualWeight":46,"mainColor":47},223230,"mei-hua-shi-nv-tu-ren-yi-223230","梅花仕女图","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,27,193,636,125,637,7,25],"美人","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09824e74b525459649eeeeac703e697c.jpg","103 1cmx36 6cm",[83,64],967,{"id":643,"slug":644,"title":645,"dynasty":18,"author":646,"museum":92,"description":647,"tags":648,"thumbUrl":649,"material":40,"size":650,"collection":600,"collections":651,"showCount":652,"zanCount":387,"manualWeight":46,"mainColor":47},214250,"shan-shui-tu-wen-zheng-ming-214250","山水图","文徵明","画面上有一对夫妇坐在一个开放的亭子里，一个男孩拿着围巾站着，另一个男孩拿着门槛上的花瓶。在小屋的前后，竹子、松树和柳树被浓密的树荫包围。根据题词，这幅画似乎是对夏日家居生活的描写，而且画得非常好。",[23,24,25,74,7,27,481,36,33,147,610,34,193,32,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e62ddd3da73b17a21cd499e257c992.jpg","66.7x34.8",[600],964,{"id":654,"slug":655,"title":656,"dynasty":174,"author":657,"museum":159,"description":658,"tags":659,"thumbUrl":660,"material":98,"size":166,"collection":222,"collections":661,"showCount":662,"zanCount":372,"manualWeight":46,"mainColor":47},216223,"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","金农","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[23,24,25,26,7,125,75,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg",[222],963,{"id":664,"slug":665,"title":666,"dynasty":52,"author":53,"museum":159,"description":667,"tags":668,"thumbUrl":675,"material":40,"size":166,"collection":42,"collections":676,"showCount":677,"zanCount":473,"manualWeight":46,"mainColor":47},216999,"cao-tang-yi-shi-tu-huang-gong-wang-216999","草堂遗世图","《草堂遗世图》是一幅著名的山水画。这幅画以浓烈的写意气息和精细的画工著称。黄公望在这幅画中描绘了一座废弃的草堂，静静地躺在草地上，被一片茂密的松林环绕。山川景色非常优美，清新宁静。画中还有一些杂草和枯萎的花朵，表现出草堂的荒凉和凋零。这幅画被认为是黄公望的代表作之一，因其精美的画工和深刻的哲理而广受赞誉。",[281,24,7,494,123,669,670,671,29,180,672,673,674],"草堂","松林","山川","杂草","荒凉","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42536421d16089efc731a376cc411ad2.jpg",[42],944,{"id":679,"slug":680,"title":681,"dynasty":205,"author":592,"museum":92,"description":682,"tags":683,"thumbUrl":684,"material":61,"size":685,"collection":220,"collections":686,"showCount":687,"zanCount":372,"manualWeight":46,"mainColor":140},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[281,24,25,95,36,7,27,28,624,34,210,33,213,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","188.7×139.8公分",[220,42,222],912,{"id":689,"slug":690,"title":691,"dynasty":18,"author":19,"museum":692,"description":693,"tags":694,"thumbUrl":695,"material":298,"size":696,"collection":42,"collections":697,"showCount":698,"zanCount":486,"manualWeight":46,"mainColor":47},220034,"dong-zhuang-tu-ce-zhi-bei-gang-shen-zhou-220034","东庄图册之北港","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,281,24,25,74,7,36,28,162,128,30,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce1469f2e7f5176c41428873c3177e.jpg","纵28.6厘米，横33厘米",[42,64],904,{"id":700,"slug":701,"title":702,"dynasty":174,"author":703,"museum":20,"description":704,"tags":705,"thumbUrl":707,"material":98,"size":708,"collection":83,"collections":709,"showCount":710,"zanCount":387,"manualWeight":46,"mainColor":47},214687,"mei-hua-zhu-shi-tu-ce-wang-shi-shen-214687","梅花竹石图册","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[24,25,74,7,547,125,126,706,80],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775e1c19a55ed4a95fa31138be1fa875.jpg","纵25 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“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[24,25,7,123,75,129,78,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58cc937edc184830f80264b72f580f3.jpg","纵28 厘米 横37.9 厘米",[83],853,{"id":804,"slug":805,"title":806,"dynasty":174,"author":377,"museum":450,"description":807,"tags":808,"thumbUrl":810,"material":811,"size":812,"collection":222,"collections":813,"showCount":814,"zanCount":436,"manualWeight":46,"mainColor":47},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，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《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,24,25,26,7,36,809,126,706,28,127,37,38,80],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米",[222],845,{"id":816,"slug":817,"title":818,"dynasty":174,"author":819,"museum":159,"description":820,"tags":821,"thumbUrl":822,"material":98,"size":166,"collection":83,"collections":823,"showCount":824,"zanCount":445,"manualWeight":46,"mainColor":47},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[23,24,25,26,7,123,37,38,80,133,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[83],816,{"id":826,"slug":827,"title":828,"dynasty":205,"author":307,"museum":544,"description":829,"tags":830,"thumbUrl":833,"material":834,"size":835,"collection":220,"collections":836,"showCount":837,"zanCount":445,"manualWeight":46,"mainColor":140},221395,"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","《雪景寒林图》描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[23,24,25,28,36,7,95,831,832,34,33,350,32],"雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","绢本 设色","纵193.5厘米 横160.3厘米",[220,42,222],800,{"id":839,"slug":840,"title":841,"dynasty":205,"author":842,"museum":843,"description":844,"tags":845,"thumbUrl":846,"material":61,"size":847,"collection":220,"collections":848,"showCount":849,"zanCount":524,"manualWeight":46,"mainColor":140},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,24,281,28,7,36,95,194,29,30,210,717,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[220,42,222],792,{"id":851,"slug":852,"title":853,"dynasty":854,"author":855,"museum":120,"description":856,"tags":857,"thumbUrl":859,"material":98,"size":860,"collection":245,"collections":861,"showCount":862,"zanCount":46,"manualWeight":46,"mainColor":47},214582,"yu-hou-tie-wang-xi-zhi-214582","雨后帖","晋","王羲之","《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。",[25,37,858,394,80,7,74],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65b1f972a6e224b50a9893ad0e555b0.jpg","25.7x14.9",[245],771,{"id":864,"slug":865,"title":866,"dynasty":359,"author":360,"museum":120,"description":867,"tags":868,"thumbUrl":870,"material":40,"size":871,"collection":83,"collections":872,"showCount":873,"zanCount":486,"manualWeight":46,"mainColor":47},216932,"hua-xia-zhou-qi-bai-shi-216932","画虾轴","墨痕流转间，虾的意态毕现。淡墨晕染虾身，层次细腻如见肌理通透；劲挺线条勾勒须足，纤细却藏弹性，似随水波轻颤。几只虾俯仰交错，须足相缠时竟有嬉戏之趣，留白处虽无池水，却满溢清灵之气。笔简神足，将虾的鲜活与水墨的韵致融于一纸，尽显生命的灵动与艺术的妙境。",[23,24,95,7,869,75],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0cba5480e9b60c0762bf4eec1cc7d9.jpg","68.4x34.5cm",[83],770,{"id":875,"slug":876,"title":877,"dynasty":18,"author":19,"museum":770,"description":878,"tags":879,"thumbUrl":880,"material":881,"size":882,"collection":42,"collections":883,"showCount":884,"zanCount":436,"manualWeight":46,"mainColor":47},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[23,24,25,95,7,36,37,38,80,28,32,193,147,335,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[42],763,{"id":886,"slug":887,"title":888,"dynasty":889,"author":890,"museum":120,"description":891,"tags":892,"thumbUrl":895,"material":61,"size":896,"collection":42,"collections":897,"showCount":884,"zanCount":273,"manualWeight":46,"mainColor":140},221154,"xiao-xiang-tu-dong-yuan-221154","潇湘图","五代十国","董源","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[23,24,25,26,28,7,27,893,58,33,894,31,193,211],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[42,222],{"id":899,"slug":900,"title":901,"dynasty":359,"author":360,"museum":159,"description":902,"tags":903,"thumbUrl":905,"material":40,"size":906,"collection":83,"collections":907,"showCount":908,"zanCount":387,"manualWeight":46,"mainColor":47},216112,"nan-gua-tu-qi-bai-shi-216112","南瓜图","泼墨如团的南瓜坠于藤蔓间，浓黑墨块裹着赭红瓜棱，憨拙中藏老笔苍劲。缠绕的藤蔓似游丝若铁线，飞白处见笔意灵动，与沉实瓜体形成虚实相生韵致。墨色层次分明，焦浓淡墨晕染叶片叠嶂，留白透气不拥塞。赭红点睛，让质朴多了暖意。笔墨纵逸却守法度，看似随意挥洒，实则每笔都透着生活熟稔——田间寻常物化为充满生命力的意象，既有大写意豪放，又藏文人画雅致，老辣带天真，朴拙满生机。",[24,7,27,123,95,37,80,904,551,367],"南瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f38d5ce9c88984c51b25fe54cc0d2bc.jpg","33.74x134.77cm",[83],757,{"id":910,"slug":911,"title":912,"dynasty":52,"author":726,"museum":120,"description":913,"tags":914,"thumbUrl":915,"material":916,"size":917,"collection":222,"collections":918,"showCount":920,"zanCount":486,"manualWeight":46,"mainColor":921},220780,"mo-zhu-po-shi-tu-wu-zhen-220780","墨竹坡石图","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[23,24,25,95,7,126,180,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162c658d1d21976ed1ec52ed3d2446e9.jpg","纸本 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横28.8厘米",[42],708,{"id":958,"slug":959,"title":960,"dynasty":18,"author":119,"museum":120,"description":961,"tags":962,"thumbUrl":963,"material":964,"size":965,"collection":166,"collections":966,"showCount":967,"zanCount":486,"manualWeight":46,"mainColor":47},222235,"shui-mo-mu-dan-tu-zhou-xu-wei-222235","水墨牡丹图轴","本幅自识：“四月九日，萧伯子觞吾辈于新复之兰亭，时费先生显父至自铅山，李兄子遂父至自建阳，并有作。余勉构一首，书小染似伯子。命驾皆千里，流觞复九回。马嘶不出谷，鸟影屡横杯。分水邻封会，双珠明月胎。今朝修褉地，益见永和才。天池中漱者渭。铅建两道，首尾相接，共分水一关，故颈联云。”钤：“文长氏”（白文）、“天池漱仙”（白文）、“青藤道士”（白文）印。鉴藏印：“苏士伯安珍藏”（朱文）、“正气斋鉴赏印”（白文）。\n牡丹是徐渭最喜欢画的花卉之一。徐渭的大笔写意牡丹前无古人。他不用色彩，仅以泼墨为之，无论花头及叶皆大笔点染而成，仅枝茎及叶脉用线条画出。此作牡丹花头用蘸墨法点花瓣，花瓣内端深外端浅，花头中部浅周边深。花头点成后，趁湿用重墨点花蕊。整幅作品无论布局、笔墨，均泼辣豪放，气势逼人，立意鲜明，水墨润泽，极有生意。虽是水墨画成，却有富贵庄严之相，属徐渭代表作之一。",[23,24,281,25,95,7,75,129,367,37,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1c40badc99d0d04f50672ffd7e4ff6.jpg","纸本，墨笔","纵109.2厘米，横33厘米",[],704,{"id":969,"slug":970,"title":971,"dynasty":205,"author":607,"museum":159,"description":972,"tags":973,"thumbUrl":974,"material":110,"size":166,"collection":83,"collections":975,"showCount":976,"zanCount":436,"manualWeight":46,"mainColor":140},218621,"han-jiang-du-diao-tu-ma-yuan-218621","寒江独钓图","寒江浩渺，孤舟一叶浮于烟波间。渔翁披蓑戴笠，垂纶独钓，孑然身影似与天地融为一体。近景枯树虬枝如铁，劲挺笔触勾勒出冬日萧瑟；山石以斧劈皴皴擦，棱角分明，冷峻刚硬，与江面空濛形成鲜明对照。画面大片留白，若皑皑白雪覆江天，又似寒雾弥漫四野，将“空”与“寂”推至极致。寥寥数笔，于极简中藏丰盈，孤寂里见超脱。水墨留白之妙尽显，观者于冷寂意境中，可感那份遗世独立的悠然旷达，仿佛听见寒江之上的风，拂过枯枝，掠过孤舟，漾开一圈圈清寂的涟漪。",[23,24,281,95,7,36,28,31,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2e94c6e14b8cb3f8a3e897c8b3b89c.jpg",[83],696,{"id":978,"slug":979,"title":980,"dynasty":52,"author":981,"museum":20,"description":982,"tags":983,"thumbUrl":984,"material":7,"size":166,"collection":83,"collections":985,"showCount":986,"zanCount":616,"manualWeight":46,"mainColor":140},219213,"mo-mei-tu-wang-mian-219213","墨梅图","王冕","墨笔绘就的梅树，老干如铁，新枝挺秀，虬曲间自有风骨。花朵以圈点法写成，清妍淡雅，不施粉黛却含雪魄冰魂。枝桠疏密有致，留白处见空灵，墨色的浓淡干湿晕染出自然生机。题款行书与朱红印章相映，诗书画印浑然一体，更添文心雅致。整幅画清气袭人，将梅花的傲霜之姿与文人的狷介情怀相融，观之如闻暗香，尽显元人画梅的高致。",[23,24,7,95,125,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00404bc2afa0c1bb049526819a65b91b.jpg",[83],685,{"id":988,"slug":989,"title":990,"dynasty":52,"author":53,"museum":120,"description":991,"tags":992,"thumbUrl":994,"material":40,"size":995,"collection":42,"collections":996,"showCount":997,"zanCount":473,"manualWeight":46,"mainColor":140},218531,"kuai-xue-shi-qing-tu-huang-gong-wang-218531","快雪时晴图","《快雪时晴图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。 画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[23,24,25,26,7,36,28,34,33,993,38,80],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[42,64],675,{"id":999,"slug":1000,"title":1001,"dynasty":52,"author":239,"museum":450,"description":1002,"tags":1003,"thumbUrl":1006,"material":166,"size":166,"collection":166,"collections":1007,"showCount":1008,"zanCount":184,"manualWeight":46,"mainColor":47},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,25,26,27,7,36,80,38,37,28,335,162,35,58,730,1004,59,1005],"芦苇","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":1010,"slug":1011,"title":1012,"dynasty":174,"author":418,"museum":120,"description":1013,"tags":1014,"thumbUrl":1016,"material":537,"size":1017,"collection":166,"collections":1018,"showCount":1019,"zanCount":46,"manualWeight":46,"mainColor":47},233459,"mao-shi-tu-juan-zhu-da-233459","猫石图卷","此图为朱耷71岁所作。全幅景致简洁，绘一只白猫蹲于石巅上拱背缩身，与山石浑然合成一体。它闭目养神，全然无心观赏四周荷花、兰花等俏丽的景致。作者显然运用了象征隐喻的手法，将客观的意象与主观的意识作了巧妙而含蓄的结合。他以心静如水的猫暗喻自己在清王朝统治下不闻不问，远离世俗的隐遁行为。图中荷叶及无名花草以墨气淋漓的泼墨法绘成，与白描勾勒，寥寥数笔的猫、石形成视觉上的黑白对比，不同色调的深浅变化，丰富了画面的空间层次，从而使全卷既充实又空灵。",[24,25,26,7,1015,180,80,123],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ca2edd6ab75301d011c83693dfa665.jpg","纵34厘米，横218厘米",[],656,{"id":1021,"slug":1022,"title":645,"dynasty":18,"author":19,"museum":92,"description":1023,"tags":1024,"thumbUrl":1025,"material":40,"size":1026,"collection":42,"collections":1027,"showCount":1028,"zanCount":436,"manualWeight":46,"mainColor":47},214745,"shan-shui-tu-shen-zhou-214745","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[24,25,95,7,36,80,37,38,28,147,29,30,148,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[42],653,{"id":1030,"slug":1031,"title":1032,"dynasty":18,"author":19,"museum":120,"description":1033,"tags":1034,"thumbUrl":1037,"material":1038,"size":1039,"collection":600,"collections":1040,"showCount":1041,"zanCount":486,"manualWeight":46,"mainColor":47},236332,"shen-zhou-liu-yin-zuo-diao-tu-zhou-shen-zhou-236332","沈周柳荫坐钓图轴","本幅自题五绝诗：“树根容我坐，八座未云安。芸屦春泥湿，荷衣晓露干。沈周。”钤“寄傲”印、“启南”印。图中画岩崖危耸，春湖柳溪，湖边老翁垂纶，神态安逸。作品布景自然，用笔苍润，设色以浅绛、花青为主，清淡秀冶，兼得天趣与人意之美。此作表现了沈周晚年的典型面貌，根据本幅所钤“墨林山人”、“项叔子”、“项元汴印”等鉴藏印，可知作品曾经明末收藏家项元汴收藏。",[24,95,7,36,28,1035,193,1036,34,30],"柳树","坐钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26e450d5af93a3a1c5b03a1c08feb02.jpg","绫本，设色","纵136.3厘米，横23.6厘米",[600,222,245],649,{"id":1043,"slug":1044,"title":1045,"dynasty":205,"author":344,"museum":1046,"description":1047,"tags":1048,"thumbUrl":1049,"material":457,"size":1050,"collection":83,"collections":1051,"showCount":1052,"zanCount":486,"manualWeight":46,"mainColor":461},219263,"yun-long-tu-chen-rong-219263","云龙图","广东省博物馆","陈容是南宋画家,生卒年不详,其绘画很有特点。《云龙图》是一幅足以代表陈容艺术风格的佳作。画中绘有一气势非凡、腾空飞跃的巨龙,其凌厉的龙爪,飞扬的龙须, 突兀的眼睛,锋利的牙齿,粗壮强劲的躯体,无不揭示了这是一条充满力量和超凡脱俗功力的神化了的龙。画上有画家自题: “扶河汉,触华嵩。普厥施,收成功。骑元气,游太空。所翁作。”画上钤有几方收藏印章。",[24,281,25,95,7,349,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35519b25bbea9229aa8a1232b23672c8.jpg","纵201.5厘米 横130.5厘米",[83],642,{"id":1054,"slug":1055,"title":1056,"dynasty":889,"author":1057,"museum":450,"description":1058,"tags":1059,"thumbUrl":1060,"material":314,"size":1061,"collection":166,"collections":1062,"showCount":1063,"zanCount":387,"manualWeight":46,"mainColor":461},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[281,24,25,95,7,36,28,34,29,30,194,717,311,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg","Xcm*Xcm",[],641,{"id":1065,"slug":1066,"title":1067,"dynasty":205,"author":1068,"museum":92,"description":1069,"tags":1070,"thumbUrl":1072,"material":110,"size":1073,"collection":83,"collections":1074,"showCount":1063,"zanCount":387,"manualWeight":46,"mainColor":140},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[23,281,24,25,481,7,27,126,1071,480,717,831,180,79],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米",[83,220],{"id":1076,"slug":1077,"title":157,"dynasty":18,"author":19,"museum":92,"description":1078,"tags":1079,"thumbUrl":1080,"material":196,"size":1081,"collection":42,"collections":1082,"showCount":1083,"zanCount":1084,"manualWeight":46,"mainColor":140},222101,"shan-shui-ce-shen-zhou-222101","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,24,281,25,74,7,36,28,147,30,468,729,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","37.4x58.8",[42,222],623,1,{"id":1086,"slug":1087,"title":1088,"dynasty":889,"author":1089,"museum":92,"description":1090,"tags":1091,"thumbUrl":1092,"material":61,"size":1093,"collection":166,"collections":1094,"showCount":1095,"zanCount":473,"manualWeight":46,"mainColor":140},231954,"kuang-lu-tu-jing-hao-231954","匡庐图","荆浩","全幅用水墨画出，画法皴染兼备，充分发挥了水墨画的长处。画幅上部危峰重叠，高耸入云，山巅树木丛生，山崖间飞瀑直泻而下，大有“银河落九天”之势。山腰密林之中深藏一处院落，从院落之中一路下山，山道蜿蜒盘旋，道旁溪流宛转曲折，最后注入山下湖中。山脚水边，巨石耸立，村居房舍掩映于密林之中。水上有渔人撑船，不远的坡旁路上，有一人正赶着毛驴慢行。画中只有两人，人物在画中只作为陪衬。其中有宋高宗所书“荆浩真迹神品”六个字，一般认为是其真迹。\n此画画中绝磴悬崖，平麓云林，虽看不出具体皴法。但笔墨间表现出了山的雄伟气势，烟岚的深远缥缈，比唐代山水大大前进了一步。\n图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[24,25,95,28,7,36,212,210,33,213,211,215,787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米",[],621,{"id":1097,"slug":1098,"title":1099,"dynasty":174,"author":1100,"museum":450,"description":1101,"tags":1102,"thumbUrl":1105,"material":166,"size":166,"collection":166,"collections":1106,"showCount":1107,"zanCount":5,"manualWeight":46,"mainColor":47},235409,"wu-chang-shuo-sui-chao-qing-gong-tu-zhou-wu-chang-shuo-235409","吴昌硕岁朝清供图轴","吴昌硕","此作疏密布局精妙，斜出红梅自瓶中探伸，古拙湖石苍劲拙朴，案头水仙舒展清隽，蒲草萧疏有灵，配搭饱满鲜果，雅俗共赏。\n以篆籀笔法入画，笔墨苍劲老辣，设色浓淡相宜，明丽而不艳俗。朴茂雄浑的行书题字与画面浑然一体，金石古意尽显。既饱含文人案头的清雅逸趣，又暗合新春纳福的吉庆意蕴，将写意洒脱与写实鲜活相融，勾勒出岁朝之际悠然年味，尽显写意花鸟的朴拙雅致。",[24,27,7,95,75,80,37,125,132,1103,180,1104],"柿子","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6c68b7d5407cedbe24b1255ca78c0.jpg",[],618,{"id":1109,"slug":1110,"title":1111,"dynasty":174,"author":418,"museum":159,"description":1112,"tags":1113,"thumbUrl":1115,"material":98,"size":166,"collection":83,"collections":1116,"showCount":1117,"zanCount":473,"manualWeight":46,"mainColor":47},216942,"yu-shi-tu-zhou-zhu-da-216942","鱼石图轴","朱耷的鱼石图轴是一件著名的绘画作品，它是朱耷在清朝时期创作的。这幅作品以细腻的线条和丰富的色彩，描绘了一幅生动的海洋图景，其中包括众多的海鱼和石头。鱼石图轴以其高超的绘画技巧和对海洋生物的生动描绘而闻名。",[23,24,25,95,7,123,1114,180],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d988e50b2be54a69df81067fcfd25.jpg",[83],610,{"id":1119,"slug":1120,"title":1121,"dynasty":18,"author":19,"museum":159,"description":1122,"tags":1123,"thumbUrl":1124,"material":110,"size":1125,"collection":42,"collections":1126,"showCount":1127,"zanCount":473,"manualWeight":46,"mainColor":140},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[281,24,25,95,7,36,254,28,34,33,35,29,30,210,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[42],606,{"id":1129,"slug":1130,"title":645,"dynasty":52,"author":1131,"museum":92,"description":1132,"tags":1133,"thumbUrl":1134,"material":98,"size":1135,"collection":42,"collections":1136,"showCount":1137,"zanCount":486,"manualWeight":46,"mainColor":140},214249,"shan-shui-tu-cao-zhi-bai-214249","曹知白","两棵松树相向而立，树枝向下延伸呈蟹爪状，是北宋时期李成和郭熙的典型画风。这幅画浓淡相间，尤其是在远处的山峰之间，淡墨层层渲染，云层模糊不清，似有似无。",[23,281,24,7,36,28,147,34,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57a8f96ed896461c7ff36507601cb6a.jpg","68.1x34.3",[42],602,{"id":1139,"slug":1140,"title":1141,"dynasty":205,"author":293,"museum":92,"description":1142,"tags":1143,"thumbUrl":1144,"material":98,"size":1145,"collection":245,"collections":1146,"showCount":1147,"zanCount":5,"manualWeight":46,"mainColor":47},214222,"su-shi-chi-du-su-shi-214222","苏轼尺牍","苏轼在奉旨前往凉州的途中，给他最好的朋友赵孟德写了这封信。这幅作品也被称为 "渡海帖"，是典型的苏轼风格，苍劲有力，沉着痛快，为其晚年的代表作。",[23,25,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61013e089b9077df0e32de8156aa212a.jpg","28.6x40.2",[245],601,{"id":1149,"slug":1150,"title":645,"dynasty":52,"author":621,"museum":92,"description":1151,"tags":1152,"thumbUrl":1154,"material":98,"size":1155,"collection":42,"collections":1156,"showCount":1157,"zanCount":486,"manualWeight":46,"mainColor":47},218740,"shan-shui-tu-ni-zan-218740","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,281,24,25,95,7,36,1153,28,34,210,30,33,31,468],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[42],579,{"id":1159,"slug":1160,"title":1161,"dynasty":205,"author":1162,"museum":92,"description":1163,"tags":1164,"thumbUrl":1165,"material":98,"size":1166,"collection":83,"collections":1167,"showCount":1168,"zanCount":259,"manualWeight":46,"mainColor":47},215109,"sui-han-san-you-tu-zhao-meng-jian-215109","岁寒三友图","赵孟坚","莹净的纸面上，画家以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹著如星芒般的松针与墨影般的竹叶，将它们横斜置於画面中央。这三株折枝植物的组合，不但是一件写生佳作，同时画中岁寒三友－松、竹、梅的组合，又代表当时文人认为应该具备的节操与美德。",[23,24,25,7,547,125,126,127,80,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb649cf50efa4be46ecb8b6ea14056db.jpg","32.2×53.4cm",[83],572,{"id":1170,"slug":1171,"title":1172,"dynasty":205,"author":1173,"museum":265,"description":1174,"tags":1175,"thumbUrl":1180,"material":98,"size":1181,"collection":83,"collections":1182,"showCount":1183,"zanCount":184,"manualWeight":46,"mainColor":47},218639,"mo-lan-tu-zheng-si-xiao-218639","墨兰图","郑思肖","这是一幅描绘两朵兰花的画，闲适而优雅，有一种侵入性的清晰。叶子是对称的，但花只在左边，重心稍微向左倾斜。叶子不多，但不是孤零零的散落，笔法轻重不一，大小不一，通篇使用淡墨，使画作更加优雅柔美。这幅画延续了南宋的写实风格，开创了元代文人画的先河。叶子分两组画，每组有三片叶子，笔法与图中对称，略带左右强调。笔触有轻有重，笔触准确。剑身略宽，给人以丰富和艳丽的美感。位于长叶子之间的短叶子，仍然用同样明亮的墨水和笔触绘制。画的是两朵花，一朵是盛开的四片花瓣，一朵是含苞待放的两片花瓣。两片长而弯曲的叶子被放在画框的底部中心，环绕着它们，这就是画的眼睛。花瓣也很饱满，笔触与画叶子的笔触相同。花蕊是用浓墨勾勒出来的，花的描绘方式是其他画作中所没有的。",[23,281,7,123,1153,133,1176,76,1177,1178,1179],"简笔","墨笔","文人花卉","水墨花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9c1a31515452db9f01aafbc38687bb.jpg","34.3x59.6",[83],570,{"id":1185,"slug":1186,"title":1187,"dynasty":359,"author":360,"museum":1188,"description":1189,"tags":1190,"thumbUrl":1193,"material":1194,"size":166,"collection":166,"collections":1195,"showCount":1196,"zanCount":5,"manualWeight":46,"mainColor":47},220590,"zhu-zi-he-kun-chong-qi-bai-shi-220590","竹子和昆虫","Oscar Niemeyer Museum","这幅画作以工写结合尽显意趣。焦墨挥就柳干，苍劲老拙，淡绿晕染柳叶，条缕垂坠如沐晚风，尽显柔曼舒展之态。枝头鸣蝉与藏于叶间的蚱蜢，用工笔细勾，翅脉纤毫毕现，身形灵动鲜活，仿佛能闻声感其振翅之姿。大写意的疏朗野逸，搭配工笔草虫的精致入微，将乡野秋日常见小景，化为充满生机的雅致画面，藏着画家对乡野闲趣的细腻体察，笔简而意足，平淡中尽显鲜活秋意。",[24,7,27,481,123,126,1191,365,1192],"蝉","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfeb1ed36cc88bbc8986e7ccf8468de5.jpg","Watercolor on paper",[],566,{"id":1198,"slug":1199,"title":1200,"dynasty":52,"author":239,"museum":120,"description":1201,"tags":1202,"thumbUrl":1203,"material":98,"size":1204,"collection":83,"collections":1205,"showCount":1196,"zanCount":436,"manualWeight":46,"mainColor":47},219899,"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[23,24,25,26,7,38,80,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米",[83],{"id":1207,"slug":1208,"title":580,"dynasty":52,"author":621,"museum":92,"description":1209,"tags":1210,"thumbUrl":1211,"material":457,"size":166,"collection":222,"collections":1212,"showCount":1213,"zanCount":486,"manualWeight":46,"mainColor":47},218759,"zhu-shi-tu-ni-zan-218759","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[23,24,281,25,95,7,547,180,126,717,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg",[222],561,{"id":1215,"slug":1216,"title":1217,"dynasty":205,"author":206,"museum":120,"description":1218,"tags":1219,"thumbUrl":1220,"material":1221,"size":1222,"collection":220,"collections":1223,"showCount":1224,"zanCount":486,"manualWeight":46,"mainColor":140},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[23,24,281,25,26,7,36,28,180,717,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[220,42,222],555,{"id":1226,"slug":1227,"title":1228,"dynasty":52,"author":158,"museum":120,"description":1229,"tags":1230,"thumbUrl":1231,"material":964,"size":1232,"collection":42,"collections":1233,"showCount":1234,"zanCount":5,"manualWeight":46,"mainColor":47},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,24,25,95,7,36,28,33,34,30,211,35,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纵118.1厘米，横36.2厘米",[42,222],552,{"id":1236,"slug":1237,"title":1238,"dynasty":174,"author":819,"museum":593,"description":1239,"tags":1240,"thumbUrl":1241,"material":1242,"size":166,"collection":83,"collections":1243,"showCount":1244,"zanCount":5,"manualWeight":46,"mainColor":47},223294,"lan-zhu-tu-zheng-ban-qiao-223294","兰竹图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[24,25,95,7,133,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681d28d4f5f08cb75a05b07ab8eceef3.jpg","水墨纸本",[83,222],547,{"id":1246,"slug":1247,"title":1248,"dynasty":18,"author":119,"museum":450,"description":1249,"tags":1250,"thumbUrl":1253,"material":166,"size":166,"collection":166,"collections":1254,"showCount":1255,"zanCount":445,"manualWeight":46,"mainColor":47},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,24,25,95,7,123,124,1251,1252,551,367,37,394],"泼墨","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg",[],528,{"id":1257,"slug":1258,"title":580,"dynasty":174,"author":819,"museum":450,"description":1259,"tags":1260,"thumbUrl":1261,"material":298,"size":166,"collection":83,"collections":1262,"showCount":1255,"zanCount":436,"manualWeight":46,"mainColor":47},220050,"zhu-shi-tu-zheng-ban-qiao-220050","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[23,24,25,95,7,123,38,80,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[83],{"id":1264,"slug":1265,"title":681,"dynasty":889,"author":1266,"museum":450,"description":1267,"tags":1268,"thumbUrl":1270,"material":314,"size":1061,"collection":166,"collections":1271,"showCount":1272,"zanCount":387,"manualWeight":46,"mainColor":140},289890,"wan-he-song-feng-tu-ju-ran-289890","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,281,24,7,28,95,36,624,210,30,29,194,212,1269],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":1274,"slug":1275,"title":1276,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":1278,"thumbUrl":1279,"material":314,"size":1061,"collection":166,"collections":1280,"showCount":1281,"zanCount":5,"manualWeight":46,"mainColor":47},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","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。",[23,281,24,7,95,75,128,180,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg",[],519,{"id":1283,"slug":1284,"title":1285,"dynasty":52,"author":621,"museum":92,"description":1286,"tags":1287,"thumbUrl":1288,"material":98,"size":1289,"collection":42,"collections":1290,"showCount":1291,"zanCount":436,"manualWeight":46,"mainColor":47},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，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此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，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。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[23,24,25,95,7,28,36,32,717,180,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[42,222],518,{"id":1293,"slug":1294,"title":1295,"dynasty":52,"author":158,"museum":92,"description":1296,"tags":1297,"thumbUrl":1298,"material":40,"size":1299,"collection":42,"collections":1300,"showCount":1301,"zanCount":1084,"manualWeight":46,"mainColor":47},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[24,25,95,7,27,28,30,33,34,210,193,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[42],512,{"id":1303,"slug":1304,"title":1305,"dynasty":174,"author":819,"museum":450,"description":1239,"tags":1306,"thumbUrl":1307,"material":284,"size":1308,"collection":83,"collections":1309,"showCount":1310,"zanCount":184,"manualWeight":46,"mainColor":47},223295,"mo-zhu-zheng-ban-qiao-223295","墨竹",[23,24,95,7,37,38,126,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","38*138CM",[83,222],509,{"id":1312,"slug":1313,"title":1314,"dynasty":889,"author":1089,"museum":450,"description":1315,"tags":1316,"thumbUrl":1317,"material":314,"size":1061,"collection":166,"collections":1318,"showCount":1319,"zanCount":387,"manualWeight":46,"mainColor":461},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[281,24,25,95,7,28,36,212,210,33,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,{"id":1321,"slug":1322,"title":1323,"dynasty":18,"author":19,"museum":770,"description":1324,"tags":1325,"thumbUrl":1326,"material":298,"size":1327,"collection":166,"collections":1328,"showCount":1329,"zanCount":436,"manualWeight":46,"mainColor":47},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[23,24,25,7,36,38,37,80,28,32,193,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":1331,"slug":1332,"title":1333,"dynasty":889,"author":890,"museum":1334,"description":1335,"tags":1336,"thumbUrl":1339,"material":98,"size":1340,"collection":42,"collections":1341,"showCount":1342,"zanCount":486,"manualWeight":46,"mainColor":140},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","美国波士顿博物馆","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,281,24,25,26,7,36,28,1337,33,212,211,31,30,1338,32],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[42,222],498,{"id":1344,"slug":1345,"title":971,"dynasty":205,"author":607,"museum":1346,"description":1347,"tags":1348,"thumbUrl":1353,"material":1354,"size":1355,"collection":220,"collections":1356,"showCount":1357,"zanCount":387,"manualWeight":46,"mainColor":140},221665,"han-jiang-du-diao-tu-ma-yuan-221665","日本京都国立博物馆","此画是宋代马远创作的一幅山水画。这幅画作者以严谨的铁线描，画一叶扁舟，上有一位老翁俯身垂钓，船旁以淡墨寥寥数笔勾出水纹，四周都是空白。画家画得很少，但画面并不空。反而令人觉得江水浩渺，寒气逼人。而且还觉得空白之处有一种语言难以表述的意趣，是空疏寂静，还是萧条淡泊，真令人思之不尽。这种诗—般耐人寻味的境界，是画家的心灵与自然结合的产物，在艺术上则是利用虚实结合而产生的结果。",[23,281,24,7,1349,1350,193,31,468,1351,1352],"留白","一角构图","寒江","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4397a99a1aaf5d5a5c49c8a75c016bec.jpg","绢本，水墨淡彩","纵26.7厘米，横50.6厘米",[220,42,64],495,{"id":1359,"slug":1360,"title":1361,"dynasty":52,"author":726,"museum":92,"description":1362,"tags":1363,"thumbUrl":1364,"material":98,"size":166,"collection":83,"collections":1365,"showCount":1366,"zanCount":473,"manualWeight":46,"mainColor":47},216597,"mo-zhu-pu-ce-ye-wu-zhen-216597","墨竹谱册页","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[23,24,25,281,74,7,80,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4166808e7bc40a42f776572d6d7608.jpg",[83],489,{"id":1368,"slug":1369,"title":1370,"dynasty":18,"author":1371,"museum":159,"description":1372,"tags":1373,"thumbUrl":1374,"material":98,"size":1375,"collection":42,"collections":1376,"showCount":1377,"zanCount":473,"manualWeight":46,"mainColor":47},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[23,24,25,28,7,36,95,335,162,193,32,30,180,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[42],484,{"id":1379,"slug":1380,"title":1381,"dynasty":205,"author":206,"museum":92,"description":1382,"tags":1383,"thumbUrl":1387,"material":218,"size":1388,"collection":220,"collections":1389,"showCount":1390,"zanCount":436,"manualWeight":46,"mainColor":140},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,281,24,25,95,7,28,194,29,1384,1385,1386,80,254,36],"村居","行旅","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[220,42,222],472,{"id":1392,"slug":1393,"title":1394,"dynasty":174,"author":377,"museum":20,"description":1395,"tags":1396,"thumbUrl":1397,"material":98,"size":1398,"collection":42,"collections":1399,"showCount":1400,"zanCount":436,"manualWeight":46,"mainColor":140},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[23,24,7,36,95,28,210,624,34,35,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[42,222],469,{"id":1402,"slug":1403,"title":1404,"dynasty":18,"author":91,"museum":92,"description":1405,"tags":1406,"thumbUrl":1407,"material":98,"size":1408,"collection":42,"collections":1409,"showCount":1410,"zanCount":473,"manualWeight":46,"mainColor":47},214297,"kan-shu-tu-wang-fu-214297","勘书图","王绂的画风继承了元代文人画的传统，强调笔墨的情感和趣味，是明代中期吴门画派的先驱。这是一幅画，画的是溪边的一座桥，三棵树挺立着，在树木和石头之间有一个栅栏和一个小屋，还有一个隐士坐在一个开放的亭子里看书。笔法优雅，墨色丰富，是即兴创作的杰作。",[23,24,95,28,7,36,335,350,162,213,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[42],468,{"id":1412,"slug":1413,"title":1414,"dynasty":18,"author":19,"museum":120,"description":1415,"tags":1416,"thumbUrl":1417,"material":196,"size":1418,"collection":42,"collections":1419,"showCount":1420,"zanCount":387,"manualWeight":46,"mainColor":47},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","此作曾在康熙年间被高士奇收藏，并著录于其《江村消夏录》。该作描绘万物竞发、重峦叠嶂、云蒸霞蔚、春水泛漾的春天景象。画面清新雅致，刻画细腻，具有元人画的风格。\n但此作历来有真伪之辩。《春云叠嶂图》的整体风格，似有些米家元素，虽同样横点干皴，但山峦单一，林木呆板，与沈周其他仿米真迹如《西山雨观图》相去甚远，完全不符沈周任何时期的书风。但究其题识，又非一般人所能书之。",[23,24,7,95,28,454,34,33,30,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纵152.2厘米，横43.2厘米",[42,222],463,{"id":1422,"slug":1423,"title":580,"dynasty":52,"author":1424,"museum":120,"description":1425,"tags":1426,"thumbUrl":1427,"material":40,"size":1428,"collection":83,"collections":1429,"showCount":1430,"zanCount":5,"manualWeight":46,"mainColor":140},214307,"zhu-shi-tu-li-kan-214307","李衎","这幅画中的竹子被整齐而优雅地画上了双色的轮廓，显示了大自然在春天的重生，老竹子旁边有两棵新竹子，让人想起雨后发芽的春笋。山坡上的悬崖被涂成漂亮的厚重的黑色，以突出形成的角落，岩石后面的小竹子和野树增加了多样性。",[23,281,24,25,95,7,36,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05faafdaaa730a5ac24d211025a2689.jpg","185.5x153.7",[83],456,{"id":1432,"slug":1433,"title":1434,"dynasty":205,"author":293,"museum":92,"description":1435,"tags":1436,"thumbUrl":1443,"material":298,"size":1444,"collection":245,"collections":1445,"showCount":1446,"zanCount":387,"manualWeight":46,"mainColor":47},221307,"han-shi-shi-su-shi-221307","寒食诗","《寒食帖》又名《黄州寒食诗帖》或《黄州寒食帖》。是苏轼撰诗并书，墨迹素笺本，行书十七行，129字，现藏台北故宫博物院，那时苏轼因宋朝最大的文字狱，被贬黄州第三年的寒食节作了二首五言诗：“自我来黄州，已过三寒食。年年欲惜春，春去不容惜。今年又苦雨，两月秋萧瑟。卧闻海棠花，泥污燕支雪。暗中偷负去，夜半真有力，何殊病少年，病起须已白。”；“春江欲入户，雨势来不已。小屋如渔舟，蒙蒙水云里。空庖煮寒菜，破灶烧湿苇。那知是寒食，但见乌衔纸。君门深九重，坟墓在万里。也拟哭途穷，死灰吹不起。”\n此帖是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发的 人生之叹。诗写得苍凉多情，表达了苏轼此时惆怅孤独的心情。此诗的书法也正是在这种心情和境况下，有感 而出的。通篇书法起伏跌宕，光彩照人，气势奔放，而无荒率之笔。《寒食诗帖》在书法史上影响很大， 被称为“天下第三行书”，也是苏轼书法作品中的上乘。正如黄庭坚在此诗后所跋：“此书兼颜鲁公，杨少师， 李西台笔意，试使东坡复为之，未必及此。",[23,37,38,26,80,7,1437,942,1438,454,1439,1440,1441,1442],"纸","雨","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","横34.2厘米，纵18.9厘米",[245],452,{"id":1448,"slug":1449,"title":1450,"dynasty":174,"author":377,"museum":430,"description":431,"tags":1451,"thumbUrl":1453,"material":40,"size":166,"collection":83,"collections":1454,"showCount":1455,"zanCount":1084,"manualWeight":46,"mainColor":47},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图",[23,24,25,281,74,7,27,123,128,396,1452,940,80],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[83],451,{"id":1457,"slug":1458,"title":1459,"dynasty":205,"author":607,"museum":20,"description":1460,"tags":1461,"thumbUrl":1465,"material":110,"size":166,"collection":220,"collections":1466,"showCount":1467,"zanCount":473,"manualWeight":46,"mainColor":140},218567,"song-xia-xian-yin-tu-ma-yuan-218567","松下闲吟图","老松盘枝如铁铸，松针以浓墨攒簇，垂藤轻曳间，苍劲里藏着几分柔韵。松下石畔，素衣人斜倚，似在沉吟——案上无纸笔，却有松风满袖为侣。右侧疏林瘦石，一抹飞影掠过天际，是归鸟还是流云？留白处，天地俱寂。线条简劲见筋骨，墨色浓淡相衬，将文人的清寂与旷达，凝入这方圆幅。不必喧嚣，不必繁复，只这松、这人、这飞影，便足以让时光放缓，与山水对吟。",[281,24,1462,7,193,127,180,282,32,1463,1464],"扇面","清寂","旷达","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d58c27d08d4106d2ba29dc444462bf0.jpg",[220],449,{"id":1469,"slug":1470,"title":1471,"dynasty":18,"author":119,"museum":692,"description":1472,"tags":1473,"thumbUrl":1479,"material":298,"size":1480,"collection":42,"collections":1481,"showCount":1482,"zanCount":46,"manualWeight":46,"mainColor":140},222233,"za-hua-tu-xu-wei-222233","杂花图","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,24,25,26,7,124,37,129,1474,395,1475,1476,904,1477,1478,1252,126],"石榴","梧桐","菊花","扁豆","紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米",[42,222],448,{"id":1484,"slug":1485,"title":1486,"dynasty":174,"author":377,"museum":430,"description":431,"tags":1487,"thumbUrl":1488,"material":40,"size":166,"collection":83,"collections":1489,"showCount":1490,"zanCount":486,"manualWeight":46,"mainColor":47},218131,"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图",[23,24,25,75,7,27,131,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[83],446,{"id":1492,"slug":1493,"title":980,"dynasty":52,"author":581,"museum":770,"description":1494,"tags":1495,"thumbUrl":1496,"material":110,"size":1497,"collection":83,"collections":1498,"showCount":1490,"zanCount":445,"manualWeight":46,"mainColor":140},215142,"mo-mei-tu-yi-ming-215142","墨梅图是元朝时期的一幅名画，作者是佚名。这幅画描绘了一棵梅花树，梅花盛开，瓣瓣舒展，散发出浓浓的花香。画面上有几只蝴蝶，它们在梅花树周围飞舞，与花朵相互辉映。整幅画清新淡雅，浓轻相宜，富有诗意。墨梅图是中国古代山水画的典范之作，在历史上有很高的艺术价值。",[24,25,7,75,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f7caa3d46ac3b4a7bc205ebabf73b9.jpg","24.4x20.3cm",[83],{"id":1500,"slug":1501,"title":1502,"dynasty":205,"author":592,"museum":120,"description":1503,"tags":1504,"thumbUrl":1505,"material":110,"size":1506,"collection":42,"collections":1507,"showCount":1508,"zanCount":486,"manualWeight":46,"mainColor":140},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[23,24,25,26,7,27,28,534,30,34,193,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","24.7x112.3cm",[42],445,{"id":1510,"slug":1511,"title":1512,"dynasty":52,"author":158,"museum":159,"description":160,"tags":1513,"thumbUrl":1514,"material":98,"size":166,"collection":166,"collections":1515,"showCount":1516,"zanCount":46,"manualWeight":46,"mainColor":47},214577,"shan-shui-ce-2-wang-meng-214577","山水册-2",[281,24,25,74,7,36,28,147,34,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff325b98c3fa5098a784a9932e0c4b3b3.jpg",[],442,{"id":1518,"slug":1519,"title":1520,"dynasty":52,"author":158,"museum":159,"description":1521,"tags":1522,"thumbUrl":1526,"material":98,"size":1527,"collection":42,"collections":1528,"showCount":1529,"zanCount":473,"manualWeight":46,"mainColor":47},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[24,281,25,494,7,36,28,33,1523,32,29,30,34,211,1524,1525],"秋林","路径","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[42],438,{"id":1531,"slug":1532,"title":1533,"dynasty":889,"author":1534,"museum":20,"description":1535,"tags":1536,"thumbUrl":1538,"material":457,"size":1539,"collection":83,"collections":1540,"showCount":1541,"zanCount":436,"manualWeight":46,"mainColor":461},220365,"xue-zhu-tu-xu-xi-220365","雪竹图","徐熙","描绘江南雪后严寒中的枯木竹石。石后三竿粗竹挺拔苍劲，其旁有弯曲和折断了的竹竿，又有一些细嫩丛杂的小竹参差其间，更觉情趣盎然、生机勃勃。此图无款识。画中大石右侧的竹竿上，有篆书体倒写“此竹价重黄金百两”八字。此画以线条墨色为主，工整精微而写实，构图新颖，层次丰富，为五代的佳作。",[23,889,24,281,25,1537,481,7,126,706,162,831],"落墨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22b918bbfe1d12ce62c14f33a7c8f3a.jpg","纵151.1厘米，横99.2厘米",[83],436,{"id":1543,"slug":1544,"title":1545,"dynasty":205,"author":842,"museum":450,"description":1546,"tags":1547,"thumbUrl":1551,"material":314,"size":1061,"collection":166,"collections":1552,"showCount":1553,"zanCount":473,"manualWeight":46,"mainColor":140},283686,"du-bei-ke-shi-tu-li-cheng-283686","读碑窠石图","图中残碑上应有小字二行，一书“李成画树石”，一书“王晓补人物”，但现存此图中已无此二行小字，所以一说为摹本。《读碑窠石图》为双拼绢绘制的大幅山水画，表现冬日田野上，一位骑骡的老人正停驻在一座古碑前观看碑文，近处陂陀上 生长着木叶尽脱的寒树。此画取景集中，以枯树、石碑和人物构成画面的主体，颇有荒寒冷寂的气氛。树枝以细线勾勒，再用墨染，枝干皆作“蟹爪”状，纵横交错，有苍劲之感。坡石为侧笔所绘的圆润而少有皴擦的线条构成，此为后世称之的“卷云皴”。枯树与石碑的组合，强化了幽凄惨澹的环境气氛，暗示出对遥远历史中那辉煌繁华往事的追忆。",[281,24,7,28,717,180,193,36,1548,1549,1550],"荒寒","孤寂","读碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1d93dc2ab3cb636e2aed48546013ef.jpg",[],435,{"id":1555,"slug":1556,"title":1557,"dynasty":52,"author":726,"museum":120,"description":1558,"tags":1559,"thumbUrl":1560,"material":1221,"size":1561,"collection":600,"collections":1562,"showCount":1563,"zanCount":436,"manualWeight":46,"mainColor":47},220778,"yu-fu-tu-wu-zhen-220778","渔父图","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。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。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。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。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[23,24,25,7,36,28,31,468,162,30,34,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","纵84.7厘米，横29.7厘米",[600,222],434,{"id":1565,"slug":1566,"title":1567,"dynasty":52,"author":158,"museum":92,"description":1568,"tags":1569,"thumbUrl":1570,"material":298,"size":1571,"collection":42,"collections":1572,"showCount":1573,"zanCount":1084,"manualWeight":46,"mainColor":140},220815,"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[23,24,95,7,28,36,34,33,29,30,32,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 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画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[23,24,7,26,28,32,717,180,31,193,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[220,42,222],387,{"id":1740,"slug":1741,"title":1742,"dynasty":889,"author":1266,"museum":92,"description":1743,"tags":1744,"thumbUrl":1745,"material":110,"size":1746,"collection":42,"collections":1747,"showCount":1748,"zanCount":1084,"manualWeight":46,"mainColor":140},219910,"qiu-shan-wen-dao-tu-ju-ran-219910","秋山问道图","《秋山问道图》是一幅秋景山水画，以立幅构图画重重叠起的山峦，下部清澈的溪水，曲折的小路通向山中，山坳处茅舍数间，屋中有二人对坐，境界清幽。",[23,24,281,7,36,95,28,335,162,480,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4122bb46b9b23056909f68c43afe04b.jpg","横77.2厘米，纵165.2厘米",[42],385,{"id":1750,"slug":1751,"title":1752,"dynasty":205,"author":842,"museum":770,"description":1753,"tags":1754,"thumbUrl":1756,"material":110,"size":1757,"collection":83,"collections":1758,"showCount":1748,"zanCount":436,"manualWeight":46,"mainColor":140},216925,"han-ya-tu-li-cheng-216925","寒鸦图","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,281,24,25,26,7,36,717,147,282,1755,993,28,180,80,37,38],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[83],{"id":1760,"slug":1761,"title":1762,"dynasty":205,"author":1763,"museum":92,"description":1764,"tags":1765,"thumbUrl":1766,"material":457,"size":1767,"collection":245,"collections":1768,"showCount":1769,"zanCount":473,"manualWeight":46,"mainColor":47},214341,"shu-qi-yan-lv-shi-tie-zhao-gou-214341","书七言律诗帖","赵构","释文：暮春三月巫峡长，皛皛行云浮日光。雷声忽送千峰雨， 花气浑如百和香。黄莺过水翻回去，燕子衔泥湿不妨。飞阁卷帘图画里，虚无只少对潇湘。赐亿年。宋高宗早年书法黄山谷，后改习二王，是幅字体均匀，结构图活，章法疏朗，乃高宗本色书法，原书后方有赵吴兴补图，惜为后人剪去。宋朝书家，崇尚意趣，往往轻率下笔，任意著墨，将晋唐端严书风大肆更变，有识之士有鉴于此，纷纷改弦易辙，回归传统，高宗亦是其中之功臣也。",[23,37,38,80,7,25,74,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6641a026cecbe41cd716299031cc973.jpg","27.1x48.7",[245],384,{"id":1771,"slug":1772,"title":1773,"dynasty":18,"author":19,"museum":843,"description":1774,"tags":1775,"thumbUrl":1780,"material":298,"size":1781,"collection":42,"collections":1782,"showCount":1783,"zanCount":1084,"manualWeight":46,"mainColor":47},222114,"zhang-li-yuan-tiao-tu-shen-zhou-222114","杖藜远眺图","为一幅充满诗意的小景之作。左下方的白云草草勾出，稍加淡墨渲染，便有徐缓飘荡之态。山石皱纹和林木屋宇，点画随意，干湿浓淡，浑然一体。远山则用整块淡墨。这样，近景见笔而实，远山见墨而虚。虚实结合，有空灵深远之感。画中人物登高杖藜眺望，意境引入青山尽头，白云深处。题识：“白云如带束山腰 ，石磴飞空细路遥。独倚杖藜舒眺望，欲因鸣涧答吹箫。",[23,24,7,28,194,34,1776,1777,193,1778,80,36,1779],"林木","白云","杖藜","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纵38厘米，横59厘米",[42,222],383,{"id":1785,"slug":1786,"title":1787,"dynasty":18,"author":1788,"museum":450,"description":1789,"tags":1790,"thumbUrl":1793,"material":166,"size":166,"collection":42,"collections":1794,"showCount":1795,"zanCount":46,"manualWeight":46,"mainColor":47},221983,"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文徴明","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,27,194,311,28,335,350,162,1791,1792,7,123,95,298],"房","桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[42,222],375,{"id":1797,"slug":1798,"title":1799,"dynasty":18,"author":581,"museum":378,"description":1800,"tags":1801,"thumbUrl":1802,"material":40,"size":166,"collection":42,"collections":1803,"showCount":1795,"zanCount":5,"manualWeight":46,"mainColor":47},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,25,7,27,74,28,31,282,147,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[42],{"id":1805,"slug":1806,"title":1807,"dynasty":174,"author":377,"museum":450,"description":1808,"tags":1809,"thumbUrl":1811,"material":166,"size":166,"collection":42,"collections":1812,"showCount":1813,"zanCount":436,"manualWeight":46,"mainColor":47},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[23,24,25,74,7,27,36,28,31,1810,1442,34,33,163,80],"帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[42,64],374,{"id":1815,"slug":1816,"title":1817,"dynasty":205,"author":344,"museum":1346,"description":1818,"tags":1819,"thumbUrl":1820,"material":298,"size":1821,"collection":220,"collections":1822,"showCount":1813,"zanCount":1084,"manualWeight":46,"mainColor":140},221458,"wu-long-tu-juan-chen-rong-221458","五龙图卷","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,281,24,25,26,7,36,349,34,210,211,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[220,42,222],{"id":1824,"slug":1825,"title":1476,"dynasty":174,"author":1100,"museum":450,"description":1826,"tags":1827,"thumbUrl":1828,"material":564,"size":1829,"collection":83,"collections":1830,"showCount":1831,"zanCount":1084,"manualWeight":46,"mainColor":47},224230,"ju-hua-wu-chang-shuo-224230","吴昌硕所作之菊，线条凝练遒劲，刚柔并济；墨色浓淡相间，不落俗格。并伴以山岩、野石、溪水，或插入孤高细瘦的古瓶，皆与秋菊幽独淡雅、冷逸傲世的情态相映成趣。",[23,24,25,95,7,27,75,1476,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e716d104f298492c68ba5d730a09c32.jpg","235*50cm",[83,64],373,{"id":1833,"slug":1834,"title":1835,"dynasty":18,"author":1836,"museum":120,"description":1837,"tags":1838,"thumbUrl":1842,"material":1843,"size":1844,"collection":42,"collections":1845,"showCount":1846,"zanCount":46,"manualWeight":46,"mainColor":47},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","董其昌","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,281,24,25,494,36,27,7,1153,28,624,34,58,1839,33,164,785,215,1840,211,1841],"牛","坡岸",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(立轴)","徐悲鸿","中央美术学院美术馆","此作以水墨写意勾勒骏马，笔力雄健遒劲。浓墨重绘鬃尾，似随风张扬，将骏马桀骜意气尽数铺展；淡墨晕染躯干，干湿浓淡间晕出皮毛的柔润光泽，筋骨起伏暗藏于晕染之中，肌肉的张力呼之欲出。\n骏马昂首伫立，双耳尖竖，目光远眺，静立间自带着即将驰骋的勃发之势，把骐骥的雄骏英武神态刻画得入木三分。画家以形写神，将胸中激荡的意气托于骏马，寥寥数笔便将写实造型与水墨意趣相融，尽显写意之精妙。",[23,24,25,95,7,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292911d57410c905d2fb580f3804218d.jpg","纸本水墨",[],362,{"id":1881,"slug":1882,"title":1883,"dynasty":18,"author":19,"museum":430,"description":1884,"tags":1885,"thumbUrl":1886,"material":110,"size":1887,"collection":42,"collections":1888,"showCount":1889,"zanCount":1084,"manualWeight":46,"mainColor":140},219436,"chun-xi-mi-ju-tu-shen-zhou-219436","春溪觅句图","画面中山峰巍峨，峭壁如削，墨色皴染间尽显苍劲之势。松枝虬劲，枝叶繁茂，与嶙峋山石相映成趣。近景处，文人拄杖而立，衣袂飘飘，似于春溪之畔凝思觅句。山间云雾轻笼，流水潺潺，松涛与泉声相和，营造出清幽雅致的意境。笔墨苍润浑厚，线条灵动，将自然之美与文人的诗意情怀融为一体，尽显吴门画派的雅致风骨，观者仿佛能随画中人步入山林，感受那份远离尘嚣的宁静与悠然。",[24,25,95,7,36,28,193,624,96,34,215,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57fb947c644f27d6774a57fced47050.jpg","横54.5纵162cm",[42],359,{"id":1891,"slug":1892,"title":1893,"dynasty":205,"author":1682,"museum":1894,"description":1895,"tags":1896,"thumbUrl":1897,"material":1898,"size":166,"collection":42,"collections":1899,"showCount":1889,"zanCount":436,"manualWeight":46,"mainColor":47},219195,"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[23,1714,24,281,26,7,28,31,147,282,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本",[42,220],{"id":1901,"slug":1902,"title":292,"dynasty":18,"author":1788,"museum":120,"description":1903,"tags":1904,"thumbUrl":1905,"material":964,"size":1906,"collection":222,"collections":1907,"showCount":1908,"zanCount":436,"manualWeight":46,"mainColor":47},221978,"mo-zhu-tu-wen-zheng-ming-221978","本幅绘坡石兰竹、荆棘溪流，无作者款识，钤“悟言室印”、“徵仲”、“徵仲父”、“惟庚寅吾以降”。接纸文徵明自题一段，款署：“徵明題於玉磬山房”。钤“文徵明印”、“衡山”及引首章“停云”。\n图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。\n清顾文彬《过云楼书画记》著录。",[23,24,25,95,7,126,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec347ecd188da74ed1c680f3cb0f115.jpg","纵26.8厘米，横730厘米",[222,919],352,{"id":1910,"slug":1911,"title":1912,"dynasty":359,"author":360,"museum":1913,"description":1914,"tags":1915,"thumbUrl":1918,"material":166,"size":166,"collection":166,"collections":1919,"showCount":1920,"zanCount":486,"manualWeight":46,"mainColor":47},220597,"lian-hua-yu-long-fei-qi-bai-shi-220597","莲花与龙飞","Indianapolis Museum of Art at Newfields","枯墨勾勒荷茎与水草，苍劲老辣带着风霜质感，赭石晕染残荷，铺展出秋塘的疏淡萧瑟。朱砂点就的红莲，浓艳醒目，在枯寂里绽出鲜活暖意，稚拙圆润的莲蓬，藏着乡野间的朴拙意趣。翅羽轻颤的小虫寥寥数笔便形神兼具，翩然灵动，和沉郁静穆的残荷形成鲜明动静反差。\n\n整幅画以少胜多，大写意笔墨里藏着对自然的细微体察，将秋塘的清寂生机揉合一处，平淡天真间尽是悠然意韵。",[23,24,7,27,123,95,80,395,398,1916,396,1917],"蜻蜓","花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],351,{"id":1922,"slug":1923,"title":106,"dynasty":52,"author":53,"museum":92,"description":55,"tags":1924,"thumbUrl":1928,"material":61,"size":111,"collection":42,"collections":1929,"showCount":1930,"zanCount":5,"manualWeight":46,"mainColor":47},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767",[23,24,25,26,7,36,28,31,30,33,942,212,29,1925,894,180,324,211,1926,1927],"渔舟","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg",[42,222],349,{"id":1932,"slug":1933,"title":1934,"dynasty":174,"author":1100,"museum":450,"description":1935,"tags":1936,"thumbUrl":1937,"material":166,"size":166,"collection":83,"collections":1938,"showCount":1939,"zanCount":436,"manualWeight":46,"mainColor":47},236535,"ju-hua-zhou-wu-chang-shuo-236535","菊花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,25,95,7,75,1476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ffe773aea11dae9ed7c7699653a8ef.jpg",[83,222],348,{"id":1941,"slug":1942,"title":1943,"dynasty":205,"author":293,"museum":430,"description":1944,"tags":1945,"thumbUrl":1946,"material":7,"size":166,"collection":245,"collections":1947,"showCount":1939,"zanCount":436,"manualWeight":46,"mainColor":140},218610,"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[23,281,24,25,26,7,126,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg",[245],{"id":1949,"slug":1950,"title":1951,"dynasty":174,"author":819,"museum":20,"description":1239,"tags":1952,"thumbUrl":1953,"material":284,"size":1954,"collection":83,"collections":1955,"showCount":1956,"zanCount":5,"manualWeight":46,"mainColor":47},223298,"zhu-shi-tu-2-zheng-ban-qiao-223298","竹石图2",[23,24,25,95,7,126,180,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e983ebb0ad92b6de26b6800638f4370.jpg","纵217.4厘米，横120.6厘米",[83,222],346,{"id":1958,"slug":1959,"title":1960,"dynasty":18,"author":796,"museum":120,"description":1961,"tags":1962,"thumbUrl":1963,"material":196,"size":1964,"collection":83,"collections":1965,"showCount":1966,"zanCount":387,"manualWeight":46,"mainColor":47},222552,"mei-hua-shui-xian-tu-zhou-chen-chun-222552","梅花水仙图轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,25,95,7,75,125,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4232f4f2ae738877a1f8edd9442b7c.jpg","72.8x35",[83,222],345,{"id":1968,"slug":1969,"title":1970,"dynasty":889,"author":890,"museum":1971,"description":1972,"tags":1973,"thumbUrl":1976,"material":457,"size":1977,"collection":222,"collections":1978,"showCount":1979,"zanCount":5,"manualWeight":46,"mainColor":461},219166,"han-lin-zhong-ting-tu-dong-yuan-219166","寒林重汀图","日本兵库县黑川文学院","此图皴笔粗,苔点则兼用渴笔、焦黑、乱锋为素的空处相掩映,黑白对比变化多端。垂柳分列面相之,而运笔迅疾,力量饱满。除长披麻外,复于岸之顾盼,村舍延,远景近景连成一片。此画技法高超,阴面以碎笔打点,或聚或散,不仅线、点的墨色和乃难得的绝世佳作。",[23,24,7,27,36,28,832,894,1974,33,35,29,1975],"水域","平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d474576e331ddcfa77cd48b6650a19.jpg","纵181.5、横116.5厘米",[222],343,{"id":1981,"slug":1982,"title":1983,"dynasty":18,"author":19,"museum":450,"description":1984,"tags":1985,"thumbUrl":1986,"material":196,"size":166,"collection":166,"collections":1987,"showCount":1988,"zanCount":5,"manualWeight":46,"mainColor":47},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,281,24,25,26,7,27,28,30,32,193,31,34,36,126,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":1990,"slug":1991,"title":929,"dynasty":18,"author":19,"museum":92,"description":1078,"tags":1992,"thumbUrl":1993,"material":298,"size":1994,"collection":83,"collections":1995,"showCount":1988,"zanCount":5,"manualWeight":46,"mainColor":47},222106,"yu-lan-shen-zhou-222106",[23,281,24,25,74,7,27,929,147,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","34.8×56.5厘米",[83,64],{"id":1997,"slug":1998,"title":204,"dynasty":205,"author":206,"museum":92,"description":207,"tags":1999,"thumbUrl":2000,"material":2001,"size":219,"collection":166,"collections":2002,"showCount":2003,"zanCount":1084,"manualWeight":46,"mainColor":140},231408,"zao-chun-tu-guo-xi-231408",[23,24,281,25,95,7,27,36,28,212,213,33,30,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,{"id":2005,"slug":2006,"title":2007,"dynasty":174,"author":418,"museum":120,"description":2008,"tags":2009,"thumbUrl":2011,"material":964,"size":2012,"collection":166,"collections":2013,"showCount":2014,"zanCount":46,"manualWeight":46,"mainColor":47},233829,"he-shi-shui-niao-tu-zhou-zhu-da-233829","荷石水鸟图轴","图绘荷叶下一只水鸟栖于孤石上，形成全图之焦点。水鸟形状独特，单足独立，神态凄凉，它似在休憩，更似在冷眼观望这冰凉的世界。作者孤寂凄凉的处境、强烈的反清复明思想，以及面对清廷统治日益稳固而无可奈何的心境，或多或少地呈现于作品之中。",[24,7,95,75,180,128,2010,147,80],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60eb12ec5354ccf0a9bdd707a4d098.jpg","纵127厘米，横46厘米",[],336,{"id":2016,"slug":2017,"title":2018,"dynasty":18,"author":119,"museum":120,"description":2019,"tags":2020,"thumbUrl":2022,"material":298,"size":2023,"collection":600,"collections":2024,"showCount":2014,"zanCount":436,"manualWeight":46,"mainColor":47},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,281,24,25,95,7,124,75,395,2021,80,37,38],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm x 29.7cm",[600,222],{"id":2026,"slug":2027,"title":2028,"dynasty":174,"author":2029,"museum":294,"description":2030,"tags":2031,"thumbUrl":2034,"material":166,"size":166,"collection":42,"collections":2035,"showCount":2036,"zanCount":1084,"manualWeight":46,"mainColor":47},222627,"shui-mo-shan-shui-gong-xian-222627","水墨山水","龚贤","这组作品画风浑厚沉郁，秀气灵动。作者采用积墨法，用润墨一点点积累。墨色中留有空间，使画面极富层次感。独特的构图更是带给读者耳目一新的感觉。龚贤，明末清初著名画家，金陵八大家之一，早年曾参加复社活动，明末战乱时漂泊流离，生活清苦。他工诗文，善行草，著有《香草堂集》。",[23,281,24,25,7,28,2032,212,33,32,213,2033],"积墨法","层次感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35053c93def9c553bcb519e4e19a558e.jpg",[42,222],335,{"id":2038,"slug":2039,"title":2040,"dynasty":205,"author":607,"museum":843,"description":2041,"tags":2042,"thumbUrl":2044,"material":298,"size":2045,"collection":220,"collections":2046,"showCount":2047,"zanCount":436,"manualWeight":46,"mainColor":140},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,24,25,7,27,26,36,28,193,31,126,312,30,2043,213,33,729],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[220,42,64],334,{"id":2049,"slug":2050,"title":2051,"dynasty":174,"author":418,"museum":20,"description":2052,"tags":2053,"thumbUrl":2054,"material":98,"size":2055,"collection":83,"collections":2056,"showCount":2057,"zanCount":1084,"manualWeight":46,"mainColor":47},218897,"hu-shi-shuang-niao-tu-zhou-zhu-da-218897","湖石双鸟图轴","此画中湖石的勾勒简洁，寥寥几笔圆转的皴法，显出灵动之势。石尖和石旁坡地上各蹲立一只小鸟，给画面平添一股生气。小鸟缩头弓背的形态，流溢出嘲讽的神气。作者用饱满的软毫，中锋运转，笔笔藏锋，圆浑含蓄。全图形体简约而寓意深晦，有很强的形式感。在创作上他取法自然，笔墨简练，大气磅礴，独具新意，创造了高旷纵横的风格。",[24,25,95,7,180,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533c58e6d213b70b15fc5e48b8b42a2.jpg","纵136厘米，横48.7厘米",[83],328,{"id":2059,"slug":2060,"title":376,"dynasty":174,"author":418,"museum":159,"description":2061,"tags":2062,"thumbUrl":2063,"material":40,"size":166,"collection":42,"collections":2064,"showCount":2065,"zanCount":1084,"manualWeight":46,"mainColor":47},214378,"shan-shui-tu-ce-zhu-da-214378","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[23,24,7,74,36,80,28,34,717,1974,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg",[42],324,{"id":2067,"slug":2068,"title":2069,"dynasty":52,"author":239,"museum":120,"description":2070,"tags":2071,"thumbUrl":2072,"material":298,"size":2073,"collection":222,"collections":2074,"showCount":2075,"zanCount":445,"manualWeight":46,"mainColor":921},220865,"xiu-shi-shu-lin-tu-zhao-meng-fu-220865","秀石疏林图","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[23,24,25,7,180,147,126,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纵27.5cm，横62.8cm",[222,919],322,{"id":2077,"slug":2078,"title":2079,"dynasty":205,"author":581,"museum":120,"description":2080,"tags":2081,"thumbUrl":2083,"material":7,"size":166,"collection":220,"collections":2084,"showCount":2075,"zanCount":1084,"manualWeight":46,"mainColor":921},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[23,24,25,7,27,481,547,36,37,80,193,35,33,34,2082,1104],"茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[220],{"id":2086,"slug":2087,"title":2088,"dynasty":174,"author":1100,"museum":120,"description":2089,"tags":2090,"thumbUrl":2091,"material":564,"size":2092,"collection":83,"collections":2093,"showCount":2094,"zanCount":1084,"manualWeight":46,"mainColor":47},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,24,25,95,27,7,38,80,123,75,125,132,180,1103,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[83,64],321,{"id":2096,"slug":2097,"title":2098,"dynasty":174,"author":1100,"museum":450,"description":2099,"tags":2100,"thumbUrl":2101,"material":27,"size":166,"collection":83,"collections":2102,"showCount":2103,"zanCount":1084,"manualWeight":46,"mainColor":2104},224225,"mu-dan-tu-wu-chang-shuo-224225","牡丹图","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,281,24,25,95,27,7,75,129,38,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[83,64],320,"FFFFFF",{"id":2106,"slug":2107,"title":2108,"dynasty":205,"author":264,"museum":92,"description":2109,"tags":2110,"thumbUrl":2112,"material":98,"size":2113,"collection":42,"collections":2114,"showCount":2115,"zanCount":1084,"manualWeight":46,"mainColor":47},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,281,26,547,481,7,28,34,33,210,193,2111,29,30,535,215,213],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg","28.9x364.6",[42],318,{"id":2117,"slug":2118,"title":2119,"dynasty":52,"author":158,"museum":159,"description":160,"tags":2120,"thumbUrl":2121,"material":98,"size":166,"collection":166,"collections":2122,"showCount":2123,"zanCount":46,"manualWeight":46,"mainColor":47},214576,"shan-shui-ce-3-wang-meng-214576","山水册-3",[281,24,7,36,74,28,33,1839,30,1840,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef6f289b0869c501494295442e78b88.jpg",[],317,{"id":2125,"slug":2126,"title":645,"dynasty":52,"author":2127,"museum":92,"description":2128,"tags":2129,"thumbUrl":2130,"material":98,"size":2131,"collection":42,"collections":2132,"showCount":2123,"zanCount":1084,"manualWeight":46,"mainColor":140},214248,"shan-shui-tu-sheng-mao-214248","盛懋","岸畔枯树疏柳，枝桠虬曲如篆，垂丝轻拂似诉。一舟横卧矶边，舱内人影半隐，或凭舷观水，或抱膝沉思，将天地的空阔收于方寸之间。笔墨兼工带写，山石皴染沉稳，草木勾勒灵动，枯润相生间晕开元人特有的清旷之气。无繁复景致，却以极简构图载起无尽悠远——是独处的安然，亦是与自然对谈的从容。整幅画如淡茶一盏，初看寻常，细品则唇齿留甘，心魂被那无声静谧轻轻包裹，顿觉尘嚣远遁，胸臆渐宽。山石的沉稳与草木的灵动交织，枯笔的苍劲与湿墨的柔润相映，每一处线条都藏着对天地的敬畏，每一抹晕染都浸着对心境的描摹，于简淡中见深致，于静默里藏深情。",[23,52,24,25,95,7,36,28,31,147,34,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a77d5c354804d75fd535e1b40cf2362.jpg","67.1x33.5",[42],{"id":2134,"slug":2135,"title":2136,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":2137,"thumbUrl":2139,"material":314,"size":1061,"collection":166,"collections":2140,"showCount":2141,"zanCount":46,"manualWeight":46,"mainColor":47},288502,"yu-jing-xin-zhu-da-288502","鱼镜心",[24,7,1114,80,75,37,2138,123],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17bf60f144734e219fe785cbacc5ded.jpg",[],316,{"id":2143,"slug":2144,"title":2145,"dynasty":359,"author":1588,"museum":1873,"description":2146,"tags":2147,"thumbUrl":2149,"material":1877,"size":166,"collection":166,"collections":2150,"showCount":2141,"zanCount":1084,"manualWeight":46,"mainColor":47},220455,"song-ying-pan-tian-shou-220455","松鹰","此作以顶天立地的章法铺陈画面，斜出的苍松老干以赭墨勾绘，皴点兼具，苔斑错落，尽显虬劲古拙；浓焦墨写出的松针如戟，攒簇之间满溢森然气势。\n踞于高枝的雄鹰以泼墨写就翎羽，黑墨酣畅厚重，留白衬出羽间层次，利喙劲爪刻画传神，昂首远眺间，桀骜猛悍的英豪气魄喷薄而出。\n左侧题款排布奇崛，篆隶笔意融于书法，与画面刚健气质浑然一体，以书入画尽显金石风骨。整幅笔墨苍雄老辣，将古松坚韧与雄鹰悍勇相融，沉雄霸悍的写意风骨尽显无遗。",[23,24,7,123,624,2148,480],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895cd60cb9d35a171c557835ae11656f.jpg",[],{"id":2152,"slug":2153,"title":2154,"dynasty":52,"author":158,"museum":159,"description":160,"tags":2155,"thumbUrl":2156,"material":98,"size":166,"collection":166,"collections":2157,"showCount":2141,"zanCount":1084,"manualWeight":46,"mainColor":47},214569,"shan-shui-ce-8-wang-meng-214569","山水册-8",[24,7,27,36,74,28,624,324,212,480,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa979705b9e03b4cc5259e511244f05ad.jpg",[],{"id":2159,"slug":2160,"title":2161,"dynasty":205,"author":307,"museum":378,"description":2162,"tags":2163,"thumbUrl":2164,"material":110,"size":2165,"collection":220,"collections":2166,"showCount":2167,"zanCount":1084,"manualWeight":46,"mainColor":140},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,281,24,25,26,28,993,36,7,27,335,706,162,717,624,831,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[220,42],315,{"id":2169,"slug":2170,"title":2171,"dynasty":52,"author":2172,"museum":159,"description":2173,"tags":2174,"thumbUrl":2176,"material":457,"size":2177,"collection":42,"collections":2178,"showCount":2167,"zanCount":5,"manualWeight":46,"mainColor":140},214732,"zhu-lin-mao-she-tu-guan-dao-sheng-214732","竹林茅舍图","管道升","管道升（公元665-744）是中国元代著名画家，代表作品有《竹林茅舍图》。《竹林茅舍图》是管道升的杰作之一，也是他最著名的作品之一。该画作描绘了一幅荒凉的竹林山水画，画中的茅舍与周围的竹林形成了鲜明的对比。画面中的茅舍虽然很小，但却被描绘得格外细腻，使得整幅画充满了生动的气息。管道升的《竹林茅舍图》被誉为元代山水画的巅峰之作，具有极高的艺术价值。",[23,24,25,7,2175,28,126,324,29,36,34,1524],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","26x44cm",[42],{"id":2180,"slug":2181,"title":2182,"dynasty":52,"author":158,"museum":159,"description":160,"tags":2183,"thumbUrl":2184,"material":98,"size":166,"collection":166,"collections":2185,"showCount":2167,"zanCount":1084,"manualWeight":46,"mainColor":47},214567,"shan-shui-ce-10-wang-meng-214567","山水册-10",[24,25,74,7,36,28,30,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6f01f557728430d33136d8c56a8203.jpg",[],{"id":2187,"slug":2188,"title":2189,"dynasty":18,"author":796,"museum":1334,"description":2190,"tags":2191,"thumbUrl":2193,"material":196,"size":2194,"collection":83,"collections":2195,"showCount":2196,"zanCount":5,"manualWeight":46,"mainColor":47},222557,"hua-hui-tu-ce-chen-chun-222557","花卉图册","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,24,25,75,74,123,7,27,76,129,480,78,2192],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[83,64],314,{"id":2198,"slug":2199,"title":2200,"dynasty":174,"author":491,"museum":120,"description":2201,"tags":2202,"thumbUrl":2205,"material":98,"size":2206,"collection":83,"collections":2207,"showCount":2196,"zanCount":473,"manualWeight":46,"mainColor":47},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[23,281,24,25,95,7,27,75,481,76,2203,367,552,2204],"植物","菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[83],{"id":2209,"slug":2210,"title":2211,"dynasty":18,"author":1788,"museum":843,"description":1789,"tags":2212,"thumbUrl":2213,"material":61,"size":2214,"collection":166,"collections":2215,"showCount":2216,"zanCount":46,"manualWeight":46,"mainColor":47},221985,"shan-shui-li-zhou-wen-zheng-ming-221985","山水立轴",[23,24,28,335,350,162,7,123,95,298,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee332f86c87306407e318e216c5c719a.jpg","169×97cm",[],313,{"id":2218,"slug":2219,"title":2220,"dynasty":174,"author":175,"museum":120,"description":2221,"tags":2222,"thumbUrl":2224,"material":612,"size":2225,"collection":166,"collections":2226,"showCount":2227,"zanCount":436,"manualWeight":46,"mainColor":140},234922,"fu-chun-shan-tu-zhou-yun-shou-ping-234922","富春山图轴","图绘林木葱茂、山峦起伏的雄秀景色。此图是作者仿元黄公望《富春山图》画意之作，线条勾勒粗犷，笔势潇洒而秀润。淡墨皴染，墨色透明而不失凝重，显现出作者对黄氏笔墨技法的娴熟运用能力。",[24,25,95,7,36,28,33,34,58,35,29,2223],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e6255603844435afcc8c4427ea5fcc.jpg","纵168cm，横69.2cm",[],312,{"id":2229,"slug":2230,"title":2231,"dynasty":174,"author":377,"museum":120,"description":2232,"tags":2233,"thumbUrl":2234,"material":537,"size":166,"collection":166,"collections":2235,"showCount":2227,"zanCount":473,"manualWeight":46,"mainColor":47},234231,"yuan-ji-shan-shui-tu-juan-shi-tao-234231","原济山水图卷","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。",[23,24,7,26,36,28,29,30,34,33,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98857fb9227e3d88875c038ee2e558af.jpg",[],{"id":2237,"slug":2238,"title":2239,"dynasty":18,"author":1836,"museum":92,"description":2240,"tags":2241,"thumbUrl":2242,"material":284,"size":2243,"collection":42,"collections":2244,"showCount":2245,"zanCount":5,"manualWeight":46,"mainColor":47},220923,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-220923","临倪瓒东冈草堂图轴","注意画叶也要讲究笔法，不是胡乱的点画的，要“写”出来，画的叶子要有笔力。在开始画的时候，先浅墨而后蘸取浓墨在笔尖，由内到外，还需要有位置经营概念，去写画出来。",[23,24,7,254,95,28,162,34,30,193,80,36,717,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0364821d55f9583be7c7bb15bf0fc.jpg","87.4x65",[42,222],311,{"id":2247,"slug":2248,"title":2249,"dynasty":889,"author":890,"museum":770,"description":2250,"tags":2251,"thumbUrl":2252,"material":61,"size":2253,"collection":42,"collections":2254,"showCount":2255,"zanCount":46,"manualWeight":46,"mainColor":140},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,24,281,25,26,28,30,31,33,893,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[42,222],309,{"id":2257,"slug":2258,"title":2259,"dynasty":18,"author":19,"museum":430,"description":2260,"tags":2261,"thumbUrl":2262,"material":40,"size":2263,"collection":42,"collections":2264,"showCount":2255,"zanCount":1084,"manualWeight":46,"mainColor":140},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。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”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[23,24,25,28,27,7,36,254,29,30,34,33,210,193,194,533,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 cm",[42,64],{"id":2266,"slug":2267,"title":2268,"dynasty":205,"author":607,"museum":92,"description":2269,"tags":2270,"thumbUrl":2272,"material":110,"size":2273,"collection":42,"collections":2274,"showCount":2275,"zanCount":436,"manualWeight":46,"mainColor":140},218286,"yue-ye-bo-ruan-tu-ma-yuan-218286","月夜拨阮图","淡墨晕染的远山如黛，似笼着一层薄纱，与昏黄天色相融成朦胧梦境。左侧山石嶙峋，几竿修竹斜逸而出，枝叶疏朗，墨线劲挺如剑。竹下茅舍半隐，一人凭栏拨阮，指尖流转间，琴声似随晚风漫过江面，与竹影婆娑和鸣。画面构图简括，以边角之景见天地辽阔，留白处尽是月夜空寂与悠远。山石用斧劈皴勾勒，笔触刚健；竹子笔法灵动，尽显生机；人物神态闲适，藏着文人清雅况味。整幅画于简约中蕴无限情韵，将月夜静谧与文人诗意诠释得淋漓尽致，是南宋山水小品的妙笔，尽显水墨写意的空灵之美。",[23,24,281,25,95,7,27,28,126,34,164,282,940,2271,80],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe316cc25382668a97677ff3d3ec2d844.jpg","111.5x53.1cm",[42],308,{"id":2277,"slug":2278,"title":2279,"dynasty":174,"author":581,"museum":159,"description":2280,"tags":2281,"thumbUrl":2284,"material":110,"size":2285,"collection":83,"collections":2286,"showCount":2287,"zanCount":46,"manualWeight":46,"mainColor":140},216676,"long-bao-tu-yi-ming-216676","龙豹图","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[23,281,24,25,27,481,7,349,2282,453,34,2283,211],"豹","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","87x82cm",[83],306,{"id":2289,"slug":2290,"title":2291,"dynasty":174,"author":491,"museum":544,"description":2292,"tags":2293,"thumbUrl":2294,"material":40,"size":2295,"collection":64,"collections":2296,"showCount":2297,"zanCount":1084,"manualWeight":46,"mainColor":47},219998,"shan-shui-hua-fang-wang-meng-wang-shi-min-219998","山水画-仿王蒙","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,25,28,7,36,254,335,162,34,147,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141e072f99f2e84347ac1605ee180625.jpg","22.5x27.5",[64],305,{"id":2299,"slug":2300,"title":2301,"dynasty":205,"author":307,"museum":92,"description":2302,"tags":2303,"thumbUrl":2304,"material":298,"size":2305,"collection":220,"collections":2306,"showCount":2307,"zanCount":1084,"manualWeight":46,"mainColor":140},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[23,24,25,281,95,28,30,193,33,213,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[220,222],303,{"id":2309,"slug":2310,"title":2311,"dynasty":205,"author":607,"museum":92,"description":2312,"tags":2313,"thumbUrl":2317,"material":98,"size":166,"collection":220,"collections":2318,"showCount":2319,"zanCount":5,"manualWeight":46,"mainColor":140},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[23,281,24,25,7,494,36,2314,127,2315,335,32,2316,350,706,33,215,213],"边角构图","溪","远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[220,42],302,{"id":2321,"slug":2322,"title":2323,"dynasty":205,"author":842,"museum":92,"description":2324,"tags":2325,"thumbUrl":2326,"material":110,"size":2327,"collection":220,"collections":2328,"showCount":2319,"zanCount":5,"manualWeight":46,"mainColor":140},218908,"han-lin-tu-li-cheng-218908","寒林图","老树虬枝如铁，皴裂躯干似承霜雪低语。蟹爪般枝桠向上伸展，墨色浓淡晕染清寂寒意。溪流蜿蜒穿林，坡石错落间远近层次渐铺，平远之境顿生。淡墨皴擦见长，清润雅致中透着荒寒之气，尽显北方山水萧索静谧。林间风声与水流轻响似可听闻，引人入幽深之境，于简淡笔墨里藏着无尽悠远意韵，仿佛能触到寒林深处的清冷与安宁。",[23,24,7,36,95,28,610,147,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00763436e1ca42c45455bf4e9f3abae8.jpg","146.8x75.2",[220,42],{"id":2330,"slug":2331,"title":2332,"dynasty":205,"author":1682,"museum":92,"description":2333,"tags":2334,"thumbUrl":2339,"material":98,"size":2340,"collection":83,"collections":2341,"showCount":2319,"zanCount":387,"manualWeight":46,"mainColor":47},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,24,25,26,7,1852,123,75,76,2335,126,128,129,1114,77,2336,2337,904,398,2338,130,131,132],"蔬果","白菜","萝卜","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[83],{"id":2343,"slug":2344,"title":2345,"dynasty":359,"author":360,"museum":120,"description":2346,"tags":2347,"thumbUrl":2349,"material":98,"size":2350,"collection":83,"collections":2351,"showCount":2352,"zanCount":1084,"manualWeight":46,"mainColor":47},216929,"wu-ya-song-shu-tu-qi-bai-shi-216929","乌鸦松树图","乌鸦松树图是齐白石的一幅著名画作。这幅画描绘了一棵古老的松树，上面停满了乌鸦。树上的乌鸦象征着松树的历史和沧桑。这幅画被认为是齐白石最伟大的作品之一，因为它成功地将自然与人类的悲剧融合在一起。乌鸦松树图也被认为是中国画中最具有感染力的作品之一。",[23,24,7,95,38,1592,624,2348,123],"松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba80710e587f7a5c2c36e7bf418b96d.jpg","182.8x48.7cm",[83],300,{"id":2354,"slug":2355,"title":2356,"dynasty":174,"author":418,"museum":450,"description":2357,"tags":2358,"thumbUrl":2359,"material":166,"size":166,"collection":166,"collections":2360,"showCount":2361,"zanCount":46,"manualWeight":46,"mainColor":47},237931,"ku-cha-dun-ying-zhou-zhu-da-237931","枯槎蹲鹰轴","大片留白晕开萧索空寂的底色，枯槎以寥寥皴擦写就虬曲老态，墨点留作木疤，沉凝间尽诉岁月剥蚀的沧桑。\n\n蹲立槎头的猛禽，白眼斜睨，倨傲桀骜的神情藏着化不开的孤愤。干湿浓淡的墨色晕染羽翼，蓬松绒羽与锐厉气势相融，利爪紧扣枯木，静穆中暗蓄振翅即发的张力。\n\n整幅画以少胜多，笔墨极简却意蕴沉厚，将孤傲不屈的心绪寄于毫端，清冷禅意与嶙峋风骨跃然纸上，尽显水墨写意的极致妙趣。",[24,7,95,123,80,717,2148,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6320940ea9a227340fd5d2b614e82497.jpg",[],298,{"id":2363,"slug":2364,"title":2365,"dynasty":359,"author":1872,"museum":2366,"description":2367,"tags":2368,"thumbUrl":2370,"material":166,"size":166,"collection":166,"collections":2371,"showCount":2361,"zanCount":1084,"manualWeight":46,"mainColor":47},220522,"xu-bei-hong-xiong-ji-tu-zhou-xu-bei-hong-220522","徐悲鸿雄鸡图轴","四川博物院","此作以大写意落笔，雄鸡身姿轩昂抖擞，红冠如灼灼丹火，浓墨泼就的翎羽苍劲如铁，留白晕出颈腹白羽，浓淡相生尽显神采。利爪紧扣崖岩，似将引吭长鸣，尽显昂扬不屈的气魄。\n\n崖石以淡赭泼染，枯笔勾皴出嶙峋质感，间杂数丛浅绿新篁，柔枝衬出顽石刚劲，刚柔相济。整幅画作笔力爽利简练，形神兼备，将雄鸡的英武风骨跃然纸上，寄寓着浩然正气，寥寥数笔便勾勒出禽石相融的生机，尽显写意花鸟的精妙意趣。",[23,24,25,95,7,27,75,2369,126,80],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe115ec61c0c6ef5f425bf65a2f50841a.jpg",[],{"id":2373,"slug":2374,"title":2375,"dynasty":18,"author":2376,"museum":450,"description":2377,"tags":2378,"thumbUrl":2379,"material":166,"size":166,"collection":166,"collections":2380,"showCount":2381,"zanCount":5,"manualWeight":46,"mainColor":47},230882,"lan-hua-tu-zhou-zhou-tian-qiu-230882","兰花图轴","周天球","《明陈元素兰花图轴》是明朝陈元素所创作的画作。\n陈元素，生卒年不详，字古白，长洲(今江苏苏州)人。\n早负才名，工诗文、书画。\n擅山水，尤善墨兰。\n此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。\n明谓王榖祥、周天球所不及。",[281,24,25,95,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c31f43667a27327d9f6e11d682c75a8.jpg",[],296,{"id":2383,"slug":2384,"title":2385,"dynasty":174,"author":418,"museum":120,"description":2386,"tags":2387,"thumbUrl":2390,"material":98,"size":166,"collection":42,"collections":2391,"showCount":2381,"zanCount":436,"manualWeight":46,"mainColor":47},218774,"bai-lu-tu-zhu-da-218774","柏鹿图","虬枝如铁，苍柏孑立，似承霜雪之重。白鹿昂首，长颈引向天际，目含清寂，身姿简括却筋骨隐现。墨色浓淡相济，枝干的枯涩与鹿身的柔劲相映，留白处更显空远孤高。画面无喧嚷，唯有冷寂中透出的坚守，恰如画家心境——于乱世中抱守孤洁，以物寄情，将满腔郁勃化入简淡笔墨，自成一派清绝之境。笔意纵逸却不失沉稳，每一处线条都藏着内敛的力量，让苍柏与白鹿成为跨越时空的精神载体，静静诉说着那份独属于旧朝遗民的孤傲与怅惘。",[23,24,7,95,123,36,453,2388,2389,147,180],"鹿","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33c355a23e9081c6ca7d116aca7e485.jpg",[42,83],{"id":2393,"slug":2394,"title":2395,"dynasty":52,"author":2396,"museum":1346,"description":2397,"tags":2398,"thumbUrl":2399,"material":61,"size":2400,"collection":83,"collections":2401,"showCount":2402,"zanCount":445,"manualWeight":46,"mainColor":47},221703,"lan-tu-xue-chuang-221703","兰图","雪窗","简洁而秀逸的兰花，生于幽谷，遗世独立，清雅高洁。在历朝历代文人雅士的笔下，以兰花为表现对象的作品比比皆是。 画兰究竟始于何时已无法考证。《全唐诗》载有牟融《山寺律僧画兰竹》诗。查阅 唐宋绘画史专著，未见有关唐宋画家画兰的记载。史传宋杨补之画过兰花，但作品没有流传下来。有作品流传的画兰名家，当以徐禹功、赵孟坚、郑思肖为最早。其次如赵孟頫、赵雍、王英孙、释道隐、释明雪窗、李至规等亦擅画兰。\n释明雪窗 （？－约1352），元代僧人，画家，以画兰花闻名于世。俗姓曹，号雪窗，法号普明，通称明雪窗，松江（今属上海市）人，在平江出家。至元四年（1338）曾为平江虎丘云岩寺主持，后改为承天能仁主持。精于针灸，擅画兰。与释柏子庭齐名，时称“家家恕斋（班惟志）字，户户雪窗兰”。\n四海出家，同称释氏，中国佛教的出家人都姓释迦牟尼的“释”。在中国美术史上，都把这位元代画兰高僧称为“释明雪窗”，其实应该和石涛、髡残一样，把他称为“明雪窗”。雪窗和尚的画和他的名字一样，在今天鲜为人知，但在大师辈出的元代，雪窗和尚的兰花可谓是家喻户晓，我们无法想象“家家恕斋字，户户雪窗兰”所描述的是一种怎样的景象。\n元人孔齐撰《至正直记》（又名《静斋至正直记》、《静斋类稿》）是作者避兵四明时写的一部见闻杂记，内容包括当时政治、经济状况，器物制作情况，文学、艺术成就和当时的人文社会习俗，是一部很有资料价值的笔记。《至正直记》卷二有《画兰法》一文，记载了一位名叫郎玄隐的道士向孔齐传授明雪窗画兰技法，这些方法和今天画兰教科书里的方法并无二致。",[23,24,25,7,75,133,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c046834cdc068347a37c68ff699feb.jpg","32.9 36.0",[83,222],295,{"id":2404,"slug":2405,"title":2406,"dynasty":18,"author":19,"museum":176,"description":2407,"tags":2408,"thumbUrl":2409,"material":2410,"size":2411,"collection":42,"collections":2412,"showCount":2413,"zanCount":5,"manualWeight":46,"mainColor":47},222133,"qing-yuan-tu-juan-shen-zhou-222133","青园图卷","《明沈周青园图》现藏于旅顺博物馆，此图绘湖山秋色，为沈周传世珍品。该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。",[23,24,25,26,7,36,37,80,28,35,96,33,29,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923acb9824eda51981b302865ea46a85.jpg","纸本水墨淡着色","画心纵29.1、横188.7厘米",[42,64],293,{"id":2415,"slug":2416,"title":2417,"dynasty":52,"author":621,"museum":92,"description":2418,"tags":2419,"thumbUrl":2420,"material":98,"size":2421,"collection":83,"collections":2422,"showCount":2413,"zanCount":5,"manualWeight":46,"mainColor":47},218666,"zhu-zhi-ni-zan-218666","竹枝","竹枝以中锋铁线勾勒，瘦劲如屈铁，竹叶疏疏落落，墨色清润中见骨力。枝干挺拔却不僵滞，叶片似含风微动，寥寥数笔便逸气横生。右侧题跋与竹影相映，书法萧散古雅，笔墨与文字浑然一体，尽显文人画“书画同源”之妙。画面留白空灵，古纸的淡褐底色衬得竹影愈发清寂，仿佛风过竹梢的轻响穿透纸面，窥见画家淡泊孤高的心境——不逐繁艳，独守疏朗，以极简之笔写尽竹之神韵与文人风骨。",[23,24,25,74,7,547,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec0cb571fce64d130bde86f086a5564.jpg","55.1x31.8cm",[83],{"id":2424,"slug":2425,"title":2426,"dynasty":52,"author":158,"museum":159,"description":160,"tags":2427,"thumbUrl":2428,"material":98,"size":166,"collection":166,"collections":2429,"showCount":2413,"zanCount":46,"manualWeight":46,"mainColor":47},214568,"shan-shui-ce-9-wang-meng-214568","山水册-9",[24,25,7,36,74,28,29,30,33,34,212,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577bb7f080f7a1cc56e6588d150fe042.jpg",[],{"id":2431,"slug":2432,"title":2433,"dynasty":52,"author":621,"museum":120,"description":2434,"tags":2435,"thumbUrl":2436,"material":964,"size":2437,"collection":222,"collections":2438,"showCount":2439,"zanCount":1084,"manualWeight":46,"mainColor":47},220804,"zhu-zhi-tu-juan-ni-zan-220804","竹枝图卷","倪瓒的《清閟阁全集》卷九中有一段著名的《跋画竹》：“……余之竹聊以写胸中逸气耳，岂复较其似与非，叶之繁与疏，枝之斜与直哉！或涂抹久之，它人视以为麻为芦，仆亦不能强辩为竹，真没耐览者何……”。观此图，竹干与枝节形态宛然，竹叶偃仰疏密布置得当，生意十足，可知作者并非真的不求形似，而是在形似的基础上进一步强调神似，追求笔墨的逸趣，并借以抒发自己的心性。正如倪瓒自己所说：“下笔能形萧散趣，要须胸次有筼筜！”图中用笔峭劲灵动，似懒实苍，实已得墨竹画萧散清逸的旨趣。只有真正做到“胸中有成竹”并辅以高超的笔墨技巧，才能创作出如此优秀的艺术作品。",[23,281,24,25,26,7,126,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d030d476c04d5be58a178a4a413fb1.jpg","纵34厘米，横76.4厘米。",[222,919],291,{"id":2441,"slug":2442,"title":2443,"dynasty":18,"author":19,"museum":294,"description":2444,"tags":2445,"thumbUrl":2447,"material":1877,"size":2448,"collection":42,"collections":2449,"showCount":2450,"zanCount":473,"manualWeight":46,"mainColor":47},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[23,281,24,25,2446,1153,7,36,28,624,34,1776,212,123],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纵154厘米，横60.39厘米",[42,64],290,{"id":2452,"slug":2453,"title":2454,"dynasty":174,"author":819,"museum":450,"description":2455,"tags":2456,"thumbUrl":2457,"material":166,"size":166,"collection":83,"collections":2458,"showCount":2459,"zanCount":473,"manualWeight":46,"mainColor":47},237929,"zheng-xie-lan-zhu-ju-tu-zhou-zheng-ban-qiao-237929","郑燮兰竹菊图轴","清代官吏、书画家、文学家。名燮，字克柔，江苏兴化人。康熙秀才、雍正举人、乾隆元年进士。“扬州八怪”之一。历官山东范县、潍县知县，有惠政。以请臻饥民忤大吏，乞疾归。诗书画均旷世独立，人称三绝。有《板桥全集》。",[24,7,123,38,95,133,126,134,1104,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c9ee82db8bf4c30827b6a0b1e18900.jpg",[83,222],289,{"id":2461,"slug":2462,"title":2463,"dynasty":205,"author":2464,"museum":2465,"description":2466,"tags":2467,"thumbUrl":2468,"material":110,"size":2469,"collection":42,"collections":2470,"showCount":2471,"zanCount":445,"manualWeight":46,"mainColor":47},218391,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-218391","潇湘八景-江天暮雪","王洪","美国普林斯顿大学美术馆","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,24,281,25,7,36,28,162,211,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","90.7×23.4厘米",[42],286,{"id":2473,"slug":2474,"title":681,"dynasty":205,"author":592,"museum":450,"description":2475,"tags":2476,"thumbUrl":2478,"material":314,"size":1061,"collection":166,"collections":2479,"showCount":2480,"zanCount":5,"manualWeight":46,"mainColor":461},287739,"wan-he-song-feng-tu-li-tang-287739","《万壑松风图》画面山峰高峙，山石巉岩，峭壁悬崖间有飞瀑鸣泉，山腰间白云缭绕清岚浮动。深山中幽僻的崖谷间，奔跃的泉水和郁茂的松林，衬托山峰高峙，山石危岩。其在构图上，大胆裁剪、提炼，整体看来空间立体感强，层次分明。双峰交错，堂堂正正，厚重而拙实，给人以浑厚大气之感，表现为“万壑松风”之境。\n《万壑松风图》为简括画的表现开了先河，对南宋初期的山水画具有开派作用。 其与郭熙《早春图》、范宽《溪山行旅图》，合称为“宋画之三大精品”",[281,24,494,7,36,34,624,30,2477,210],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg",[],285,{"id":2482,"slug":2483,"title":2484,"dynasty":174,"author":2485,"museum":176,"description":2486,"tags":2487,"thumbUrl":2488,"material":98,"size":166,"collection":42,"collections":2489,"showCount":2480,"zanCount":1084,"manualWeight":46,"mainColor":47},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","仿古山水图","程庭鹭","清代画家程庭鹭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，体现了程庭鹭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程庭鹭是清代著名的画家，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，程庭鹭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，也体现了程庭鹭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庭鹭的画风魅力，还能了解中国传统的山水风情。",[24,7,36,254,25,80,38,28,180,30,212,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[42],{"id":2491,"slug":2492,"title":2493,"dynasty":205,"author":2494,"museum":120,"description":2495,"tags":2496,"thumbUrl":2497,"material":61,"size":2498,"collection":220,"collections":2499,"showCount":2500,"zanCount":436,"manualWeight":46,"mainColor":140},221341,"xiang-long-shi-tu-juan-zhao-ji-221341","祥龙石图卷","赵佶","卷首画有一块立状太湖石，石顶端生有异草几株。太湖石宛如一条上下翻滚的蛟龙，其形貌占据了奇石必备的五个审美条件：瘦、漏、皱、透、丑。细看石上，有楷书“祥龙”二字。宋徽宗将此类奇石异草的出现，视为大宋国运之祥兆，赞之“挺然为瑞”，竭尽全力绘之。图左有宋徽宗为祥龙石而作的瘦金体题诗：“祥龙石者，立于环碧池之南，芳洲桥之西，相对则胜瀛也。其势胜湧，若虬龙出为瑞应之状，奇容巧态，莫能具绝妙而言之也。廼亲绘缣素，聊以四韵纪之。彼美蜿蜒势若龙，挺然为瑞独称雄。云凝好色来相借，水润清辉更不同。常带瞑烟疑振鬣，每乘宵雨恐凌空。故凭彩笔亲模写，融结功深未易穷。”署款“御制御画并书”，押署“天下一人”，钤朱文印“御书”、“宣和殿宝”，徐邦达先生认为此印“不佳，真伪待考”（徐邦达《古书画伪讹考辨》），但《祥龙石图》卷被公认为是宋徽宗的真迹。鉴定徽宗真迹的标尺除了瘦金体“御制御画并书”、“天下一人”画押及朱印“御书”和双龙御玺外，书画风格也是一项重要依据，即结合赵宋家族的书画历史特别是徽宗本人的美学思想及北宋绘画的历史发展状况，寻找其中存在的风格上的逻辑关系，再结合当时及晚一辈名人的题识，综合多种因素来判断。\n当时的徽宗特别迷恋太湖石，为了加大采运力度，特设苏杭应奉局专门在太湖周围开挖湖石。石工们因长期泡在水里挖石，导致肢体皮肤溃烂。运送巨石时，甚至不惜拆桥过船，靡费国资不计其数。徽宗根据一些湖石的形状封其为“盘固侯”、“蹲螭坐狮”、“金鳌玉龟”等吉祥名号，画中的“祥龙石”可能就是其中的一块。宋徽宗处心积虑地寻找花石纲和各种祥瑞之物，欲借此稳定朝廷、安抚民心，同时也为他提供了艺术创作的素材。在充满了道教神仙思想的宋徽宗看来，描绘祥瑞之物的绘画活动不仅仅是单纯的艺术创作，而且也是祈祷国家和民族福祉的独特形式和粉饰太平的最好的政治工具，《祥龙石图》卷正是这种思想的反映。\n有史以来，宋徽宗第一个在艺术创作上实现了诗书画印的完整统一。在《祥龙石图》卷中，徽宗的题画诗不在卷尾，而是作为画面构成的一个部分，这必定是作者将构思和构图同时经营的结果，这在中国绘画史上有着划时代的重要意义。该卷构图极简，用色颇精，格调雅致，具有典型的北宋院体绘画的艺术风格。画家以墨笔层层渲染出太湖石的坑眼，结构分明，笔墨细腻入微，极其工整精雅，极可能是写生之作。该卷钤有元内府“天历之宝”等印玺，拖尾有清代陈仁涛、吴荣光的题跋，《辛丑消夏记》著录。",[23,24,25,26,481,7,180,126,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d21118b231b6391de049a9701658812.jpg","纵53.8厘米，横127.5厘米",[220,222,919],283,{"id":2502,"slug":2503,"title":2504,"dynasty":52,"author":158,"museum":159,"description":160,"tags":2505,"thumbUrl":2506,"material":98,"size":166,"collection":166,"collections":2507,"showCount":2500,"zanCount":46,"manualWeight":46,"mainColor":47},214571,"shan-shui-ce-6-wang-meng-214571","山水册-6",[24,25,74,7,36,28,147,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a5c5bcdebd737e04aa98f91fe3ade1.jpg",[],{"id":2509,"slug":2510,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":2513,"thumbUrl":2514,"material":298,"size":2515,"collection":42,"collections":2516,"showCount":2517,"zanCount":436,"manualWeight":46,"mainColor":47},234083,"wu-zhong-shan-shui-ce-shen-zhou-234083","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,25,74,7,28,38,80,36,32,30,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[42],282,{"id":2519,"slug":2520,"title":70,"dynasty":174,"author":418,"museum":159,"description":2521,"tags":2522,"thumbUrl":2523,"material":98,"size":166,"collection":83,"collections":2524,"showCount":2517,"zanCount":1084,"manualWeight":46,"mainColor":47},216365,"hua-niao-ce-zhu-da-216365","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,25,74,7,28,717,180,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[83],{"id":2526,"slug":2527,"title":2528,"dynasty":174,"author":377,"museum":159,"description":2529,"tags":2530,"thumbUrl":2532,"material":40,"size":2533,"collection":83,"collections":2534,"showCount":2517,"zanCount":1084,"manualWeight":46,"mainColor":47},214566,"mo-zui-za-hua-tu-ce-shi-tao-214566","墨醉杂画图册","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!",[23,281,24,25,74,7,27,28,193,180,1035,2531],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe201a3420f1c56b81b5ab47c63b832a.jpg","纵51.4厘米，横35.4厘米",[83],{"id":2536,"slug":2537,"title":2538,"dynasty":205,"author":2539,"museum":450,"description":2540,"tags":2541,"thumbUrl":2542,"material":2543,"size":2544,"collection":245,"collections":2545,"showCount":2546,"zanCount":473,"manualWeight":46,"mainColor":140},221221,"dao-gu-zhan-chang-yue-fei-221221","悼古战场","岳飞","岳飞我国历史上一位杰出的民族英雄。字鹏举，相州汤阴(今河南汤阴县)人。\n岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[23,281,24,25,26,37,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[245],280,{"id":2548,"slug":2549,"title":2550,"dynasty":205,"author":607,"museum":92,"description":2551,"tags":2552,"thumbUrl":2553,"material":40,"size":2554,"collection":42,"collections":2555,"showCount":2546,"zanCount":436,"manualWeight":46,"mainColor":47},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,281,25,26,7,27,36,28,34,33,30,31,29,32,282,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[42,64],{"id":2557,"slug":2558,"title":2559,"dynasty":359,"author":2560,"museum":2561,"description":2562,"tags":2563,"thumbUrl":2565,"material":298,"size":2566,"collection":166,"collections":2567,"showCount":2568,"zanCount":46,"manualWeight":46,"mainColor":47},220478,"jiang-shan-ru-ci-duo-jiao-tu-fu-bao-shi-220478","江山如此多娇图","傅抱石","北京人民大会堂","这幅作品以全景视角铺展山河盛景，云海翻涌间，群峰若隐若现如苍龙腾跃于天地间，右侧近景山峦沉稳苍劲，古松虬枝挺拔，稳稳锚定画面重心。暖调霞光晕染穹宇，赤日高悬天际，将流云远山晕化作鎏金暖色，泼墨晕染与精细勾勒兼用，既带着传统山水画的空灵悠远，又以宏阔格局尽显山河的雄浑壮阔。笔墨之间满怀着对神州大地的热忱礼赞，将山河的厚重底蕴与东方诗意熔铸尺幅间，尽显吞吐天地的泱泱气度，让观者于画中窥见万里山河的磅礴生机。",[23,24,27,36,28,335,211,2564,33,7],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da411854c3290546e3eecb3a5aa3288.jpg","纵6.5米，横9米",[],279,{"id":2570,"slug":2571,"title":1238,"dynasty":18,"author":1788,"museum":120,"description":1903,"tags":2572,"thumbUrl":2573,"material":964,"size":1906,"collection":222,"collections":2574,"showCount":2575,"zanCount":1084,"manualWeight":46,"mainColor":47},221972,"lan-zhu-tu-wen-zheng-ming-221972",[23,24,25,95,7,133,126,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f2b2285d9f379fc589aa9f5071a31f.jpg",[222,919],278,{"id":2577,"slug":2578,"title":2579,"dynasty":52,"author":158,"museum":159,"description":160,"tags":2580,"thumbUrl":2581,"material":98,"size":166,"collection":166,"collections":2582,"showCount":2575,"zanCount":46,"manualWeight":46,"mainColor":47},214570,"shan-shui-ce-7-wang-meng-214570","山水册-7",[24,281,25,74,7,36,28,147,610,31,34,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7721b1ffd15bca0c3f537a750918a292.jpg",[],{"id":2584,"slug":2585,"title":376,"dynasty":174,"author":2586,"museum":92,"description":2587,"tags":2588,"thumbUrl":2589,"material":1242,"size":166,"collection":42,"collections":2590,"showCount":2591,"zanCount":1084,"manualWeight":46,"mainColor":47},220968,"shan-shui-tu-ce-dai-xi-220968","戴熙","戴熙山水木石，所作笔调清雅，墨色腴润，颇得江浙山川韵致。虽然也是从王翚一路入手，却能别出心裁。加上清末考据与金石学的兴盛，戴熙也融入了倡导碑学的潮流，在绘画中吸取了书法篆刻的长处，以金石入画，形成了一种极其微妙的、富有创造性的绘画风格。他的山水画用笔扎实，笔笔有入木三分之感，山岚河川也由于厚重的墨笔而罩上了老成的色调，形成了画面空旷的意境。",[23,24,7,36,74,25,28,335,350,33,35,213,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f484b706b2fa645c1a92dd87054aad.jpg",[42,222],276,{"id":2593,"slug":2594,"title":2595,"dynasty":18,"author":19,"museum":2596,"description":2597,"tags":2598,"thumbUrl":2599,"material":98,"size":166,"collection":83,"collections":2600,"showCount":2591,"zanCount":1084,"manualWeight":46,"mainColor":47},214925,"mo-hua-ce-shen-zhou-214925","墨花册","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,281,24,7,74,75,76,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f196629d6204bca22e9e6f450463f95.jpg",[83],{"id":2602,"slug":2603,"title":2604,"dynasty":174,"author":2605,"museum":120,"description":2606,"tags":2607,"thumbUrl":2608,"material":2609,"size":2610,"collection":83,"collections":2611,"showCount":2612,"zanCount":1084,"manualWeight":46,"mainColor":47},216100,"song-mei-tu-hong-ren-216100","松梅图","弘仁","此卷分前后两段。前段画末有弘仁书写的程守蚀庵《省静堂集·一年诗》中的七言绝句《遍阅山中诸碑》，款署：“丙申春日偶写揭蚀庵集因一绝。渐江学人。”钤“渐江僧”白文印。\n前段图绘虬龙盘曲的苍松和棱角分明的怪石。弘仁的松石是对黄山松石的真实写照，石涛言：“公游黄山最久，故得黄山之真性情也，即一木一石，皆黄山本色。”图中的松石以粗犷霸悍的行笔、淋漓酣畅的施墨表现，具有弘仁晚年豪放洒脱的画风特点，简洁的构图体现出诗意中的空寂。\n后段图绘水墨梅花。梅不畏严寒、高标独立的精神正是作者所追求的人生品格。弘仁一生最喜画梅，自号“梅花古衲”，创作出大量以梅为主题的佳作，此卷便是其中之一。图中的梅枝如曲铁，婉转中呈现刚毅不屈之态。其简约的格局，精谨的笔墨，结构出一派纯净、幽旷而又俊逸的意境。",[23,24,25,26,7,36,37,80,127,125,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fadfb3b3275d62e25c91b495f8cfe05.jpg","绢本,设色,水墨","前段设色，纵27.8厘米，横269.7厘米；后段墨笔，纵27.8厘米，横86.7厘米",[83],275,{"id":2614,"slug":2615,"title":2616,"dynasty":174,"author":1100,"museum":450,"description":2617,"tags":2618,"thumbUrl":2619,"material":166,"size":166,"collection":166,"collections":2620,"showCount":2621,"zanCount":436,"manualWeight":46,"mainColor":2104},224215,"mo-mei-wu-chang-shuo-224215","墨梅","此作用笔以篆籀之法写梅干，顿挫老辣，枝桠如屈铁盘虬，尽现老梅饱经霜雪的嶙峋傲骨。淡墨圈点花朵，疏密错落缀于枝梢，素洁清雅，如暗香盈盈浮动。\n\n左上题诗行书挥洒，笔意与梅枝苍劲意趣呼应，诗书画印浑融一体。全幅以水墨写意，留白空灵疏朗，苍润相生，刚柔并济，将寒梅孤高清逸的品格尽显无余，寥寥笔墨间，既有金石书法的雄强骨力，又饱含文人淡泊出尘的雅致意韵。",[23,24,25,95,7,75,125,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4cd64462b75de0e38b9506dffabba6.jpg",[],274,{"id":2623,"slug":2624,"title":2625,"dynasty":52,"author":158,"museum":92,"description":2626,"tags":2627,"thumbUrl":2628,"material":284,"size":2629,"collection":42,"collections":2630,"showCount":2621,"zanCount":1084,"manualWeight":46,"mainColor":47},220810,"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[23,24,25,95,7,28,127,193,30,34,324,36,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[42,64],{"id":2632,"slug":2633,"title":2634,"dynasty":174,"author":377,"museum":770,"description":2635,"tags":2636,"thumbUrl":2638,"material":98,"size":2639,"collection":42,"collections":2640,"showCount":2641,"zanCount":436,"manualWeight":46,"mainColor":140},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,24,25,95,7,36,28,2637,34,30,211,32,33,180,80],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[42],273,{"id":2643,"slug":2644,"title":2645,"dynasty":174,"author":739,"museum":92,"description":2646,"tags":2647,"thumbUrl":2648,"material":40,"size":166,"collection":166,"collections":2649,"showCount":2650,"zanCount":1084,"manualWeight":46,"mainColor":47},214863,"xie-sheng-ce-2-hua-yan-214863","写生册-2","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,7,481,1852,2021,80,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912e29096b40d434d041c6da838db51a.jpg",[],272,{"id":2652,"slug":2653,"title":1238,"dynasty":174,"author":703,"museum":450,"description":2654,"tags":2655,"thumbUrl":2656,"material":298,"size":166,"collection":83,"collections":2657,"showCount":2658,"zanCount":486,"manualWeight":46,"mainColor":140},220147,"lan-zhu-tu-wang-shi-shen-220147","汪士慎工诗及八分书，画水仙、梅花清妙独绝。金农谓其画梅之妙，与高西唐（翔）异曲同工。汪士慎画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。西唐画疏枝半开蝉朵，用玉楼人口脂抹一点红，良缣精楮，各臻其微。汪士慎老而目瞽，为人画梅，或作八分书，工妙胜于未瞽时。精篆刻，与张潜乙、金筋齐名",[23,24,25,95,7,547,133,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02b3c39e8909994e36da16ef7bad4da.jpg",[83],270,{"id":2660,"slug":2661,"title":2662,"dynasty":52,"author":53,"museum":92,"description":2663,"tags":2664,"thumbUrl":2665,"material":457,"size":166,"collection":42,"collections":2666,"showCount":2658,"zanCount":1084,"manualWeight":46,"mainColor":47},219479,"ji-gu-tu-hui-ce-shan-shui-tu-huang-gong-wang-219479","集古图绘册 山水图","此作用笔简淡松灵，以披麻皴慢写江南山峦，墨色干湿互济，晕染出峰峦浑厚苍润的质感。平缓坡峦间，杂木错落萧疏，枝桠以枯笔勾勒，尽显清秋疏朗之态。江畔茅舍临水而栖，静水无澜，铺陈出林泉幽寂的空阔意境。\n\n画面右上题跋与山水相映成趣，诗画交融，以笔墨寄寓林泉之志，褪去雕琢刻画之迹，直抒胸中丘壑，尽显文人山水简淡悠远的意韵，藏万千丘壑于浅淡之间，尽得元人山水萧散简远的风神。",[24,7,74,36,28,162,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378b06d34e0b7e450bf7a6cb0c9d4047.jpg",[42],{"id":2668,"slug":2669,"title":2670,"dynasty":52,"author":726,"museum":120,"description":913,"tags":2671,"thumbUrl":2672,"material":964,"size":2673,"collection":222,"collections":2674,"showCount":2675,"zanCount":473,"manualWeight":46,"mainColor":140},220774,"mo-zhu-po-shi-tu-zhou-wu-zhen-220774","墨竹坡石图轴",[23,24,25,281,95,7,37,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d252d4771dcd257aaed5371ff0080f.jpg","纵103.4厘米，横33厘米。",[222,919],269,{"id":2677,"slug":2678,"title":2679,"dynasty":52,"author":158,"museum":159,"description":160,"tags":2680,"thumbUrl":2681,"material":98,"size":166,"collection":166,"collections":2682,"showCount":2683,"zanCount":1084,"manualWeight":46,"mainColor":47},214575,"shan-shui-ce-4-wang-meng-214575","山水册-4",[24,7,36,74,28,147,610,180,312,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5504fc38b09d31f62673a31f0f0e94.jpg",[],268,{"id":2685,"slug":2686,"title":2687,"dynasty":205,"author":2688,"museum":430,"description":2689,"tags":2690,"thumbUrl":2691,"material":98,"size":2692,"collection":600,"collections":2693,"showCount":2694,"zanCount":473,"manualWeight":46,"mainColor":47},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,281,24,25,26,547,7,193,35,33,28,312,80,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 x 436.2",[600,245],267,{"id":2696,"slug":2697,"title":2698,"dynasty":18,"author":19,"museum":120,"description":2699,"tags":2700,"thumbUrl":2701,"material":564,"size":2702,"collection":166,"collections":2703,"showCount":2704,"zanCount":436,"manualWeight":46,"mainColor":47},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,25,26,7,27,36,28,212,33,127,30,34,32,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":2706,"slug":2707,"title":2708,"dynasty":174,"author":657,"museum":450,"description":2709,"tags":2710,"thumbUrl":2711,"material":166,"size":166,"collection":166,"collections":2712,"showCount":2713,"zanCount":1084,"manualWeight":46,"mainColor":47},230238,"mei-hua-tu-ce-ye-9-jin-nong-230238","梅花图册页-9","此作用枯笔焦墨写老干，如铁铸横斜，皴擦出斑驳苍古的肌理，尽显梅枝饱经霜雪的虬劲风骨。淡墨圈瓣点蕊，繁花开处疏密错落，留白铺陈出清寂空阔的意境，无半分艳冶之态。\n\n以书入画，笔意朴拙古雅，将梅花疏淡冷逸之姿，与清冷高洁的品格融为一体。墨色浓淡交织，淡写繁花、重绘老干，明暗相生间勾勒出冬梅凌霜绽放的清逸之态，寥寥笔墨便把孤高脱俗的隐逸襟怀寄寓其中。",[23,24,25,74,7,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93535ffaf23a10cb1e78f850f322be37.jpg",[],264,{"id":2715,"slug":2716,"title":2717,"dynasty":205,"author":782,"museum":20,"description":2718,"tags":2719,"thumbUrl":2720,"material":298,"size":2721,"collection":245,"collections":2722,"showCount":2713,"zanCount":473,"manualWeight":46,"mainColor":47},214380,"can-zheng-tie-mi-fei-214380","参政帖","这件作品的书法笔力流畅，结构严谨，字体秀丽。文字中蕴含着米芾对皇帝的敬意和对宋朝文化的尊重。他运用了楷书和行书的特点，使得整件作品显得庄重而富有美感。\n\n米芾是宋代著名的书法家，他的作品擅长运用笔力和结构来表现书法的美感。在参政帖书法中，他运用了流畅的笔力和严谨的结构来描绘文字，使得整件作品显得庄重而有品位。同时，他还运用了秀丽的字体来表现文字的美感，使得这件作品充满生命力和真实感。",[23,37,38,80,7,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe208556c106dec4d231c4319420b8a.jpg","19.6x6.8",[245],{"id":2724,"slug":2725,"title":2726,"dynasty":205,"author":2727,"museum":450,"description":2728,"tags":2729,"thumbUrl":2730,"material":314,"size":1061,"collection":166,"collections":2731,"showCount":2732,"zanCount":445,"manualWeight":46,"mainColor":47},288524,"xiao-xiang-qi-guan-tu-mi-you-ren-288524","潇湘奇观图","米友仁","《潇湘奇观图》用淋漓水墨画江上云山、云雾变幻的奇境，山峰、江水、树木并未作具体细致的描写，追求的是苍茫雨雾中自然界的特殊韵致。\n《潇湘奇观图》的画法用泼墨又参加积墨、破墨，使墨气淋漓，氤蕴浑厚。笔法甚少勾勒，而信笔横点，积点成山，藏锋其内，与墨浑然结合。树法似草，但与画面浑然一体。",[23,281,24,26,7,28,211,33,148,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99980652bf55d8e34d046ae41cea3fe6.jpg",[],262,{"id":2734,"slug":2735,"title":2736,"dynasty":174,"author":2737,"museum":450,"description":2738,"tags":2739,"thumbUrl":2740,"material":314,"size":1061,"collection":83,"collections":2741,"showCount":2732,"zanCount":5,"manualWeight":46,"mainColor":47},239058,"shan-shui-hua-niao-ce-yang-jin-239058","山水花鸟册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[24,25,74,7,27,75,128,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2612a5bb23dac773d1efcf83ecb99dd1.jpg",[83,64],{"id":2743,"slug":2744,"title":2745,"dynasty":52,"author":158,"museum":92,"description":2746,"tags":2747,"thumbUrl":2749,"material":110,"size":2750,"collection":42,"collections":2751,"showCount":2732,"zanCount":1084,"manualWeight":46,"mainColor":140},218657,"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[23,24,25,95,7,36,28,335,624,2748,33,34,215],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[42],{"id":2753,"slug":2754,"title":645,"dynasty":18,"author":2755,"museum":430,"description":2756,"tags":2757,"thumbUrl":2758,"material":98,"size":2759,"collection":42,"collections":2760,"showCount":2732,"zanCount":46,"manualWeight":46,"mainColor":47},214298,"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[23,24,25,26,7,36,28,33,34,211,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[42],{"id":2762,"slug":2763,"title":2764,"dynasty":18,"author":119,"museum":120,"description":2765,"tags":2766,"thumbUrl":2768,"material":1877,"size":2769,"collection":83,"collections":2770,"showCount":2771,"zanCount":46,"manualWeight":46,"mainColor":47},233464,"ren-wu-hua-hui-ce-xu-wei-233464","人物花卉册","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。",[24,25,281,74,7,123,395,396,2767],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351e01471d4a02f5b5c49d72a35b166f.jpg","纵26.9厘米 横38.3厘米",[83,222],260,{"id":2773,"slug":2774,"title":2775,"dynasty":205,"author":307,"museum":92,"description":2776,"tags":2777,"thumbUrl":2778,"material":61,"size":2779,"collection":220,"collections":2780,"showCount":2781,"zanCount":46,"manualWeight":46,"mainColor":140},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,281,24,25,95,36,7,28,335,831,717,194,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[220,42,222],259,{"id":2783,"slug":2784,"title":2785,"dynasty":359,"author":360,"museum":1913,"description":2786,"tags":2787,"thumbUrl":2790,"material":166,"size":166,"collection":166,"collections":2791,"showCount":2792,"zanCount":46,"manualWeight":46,"mainColor":47},220592,"yi-pan-ying-tao-qi-bai-shi-220592","一盘樱桃","以大写意之笔将寻常鲜果绘就满幅生机。朱砂点染樱桃，颗颗圆润饱满，色泽浓艳透亮，仿佛带着刚摘下的清甜鲜活，攒簇盈盘，尽显丰实意趣。墨笔勾勒案几枝桠，笔法老辣简劲，浓淡相宜，与朱红鲜果撞出强烈视觉张力，素净留白更衬果色鲜亮。散落的两枚樱桃添得灵动野趣，毫无刻意雕琢之感。整画删繁就简，将日常烟火提炼成雅俗共赏的文人意趣，笔底藏着天真烂漫，于极简中见至味，把平淡日常晕染成动人的诗意图景。",[23,24,25,27,7,123,38,80,2788,2789,1104],"樱桃","木盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":2794,"slug":2795,"title":2796,"dynasty":205,"author":344,"museum":2797,"description":2798,"tags":2799,"thumbUrl":2800,"material":98,"size":2801,"collection":83,"collections":2802,"showCount":2792,"zanCount":473,"manualWeight":46,"mainColor":140},219265,"xi-zhu-long-tu-chen-rong-219265","戏珠龙图","苏宁博物馆","墨色淋漓间，矫健龙身腾跃于云雾之中，鳞爪飞扬，气势磅礴。龙首昂扬，双目炯炯，似与宝珠相戏，动感十足。画家以浓淡干湿的笔墨变化，勾勒出龙的刚劲体态与云雾的缥缈朦胧，虚实相生间尽显龙的威严与神秘。画面中题跋与印章错落，承载着历史印记，更添古朴厚重之感。整幅作品将龙的祥瑞之气与艺术的笔墨神韵融为一体，是传统龙题材绘画中的经典之作，尽显东方美学的独特魅力。",[281,24,25,26,7,349,211,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc419787f4a611822757835e84e90923c.jpg","纵32.5横237.5厘米",[83],{"id":2804,"slug":2805,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":2807,"thumbUrl":2808,"material":314,"size":1061,"collection":83,"collections":2809,"showCount":2810,"zanCount":46,"manualWeight":46,"mainColor":47},237935,"za-hua-ce-zhu-da-237935","杂画册",[24,7,74,123,1071,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70d916505230aa21d22544d3ff8bc6d.jpg",[83],256,{"id":2812,"slug":2813,"title":2814,"dynasty":174,"author":1100,"museum":450,"description":1935,"tags":2815,"thumbUrl":2817,"material":166,"size":166,"collection":83,"collections":2818,"showCount":2810,"zanCount":46,"manualWeight":46,"mainColor":47},236555,"mei-hua-zhou-wu-chang-shuo-236555","梅花轴",[281,24,25,95,7,27,2816,180,123,80],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cde97128964b36df30a12461f59e8a.jpg",[83,64],{"id":2820,"slug":2821,"title":2822,"dynasty":174,"author":2823,"museum":20,"description":2824,"tags":2825,"thumbUrl":2826,"material":537,"size":2827,"collection":64,"collections":2828,"showCount":2810,"zanCount":5,"manualWeight":46,"mainColor":140},223253,"he-hua-tu-zhou-pu-hua-223253","荷花图轴","蒲华","画荷叶枝，叶面宽阔，或像伞一样张开，或水面，微卷而翠绿； 花有三枝，两枝盛开，花瓣层层叠叠，另一枝含待放置的枝条，只露出尖尖的莲花。 朴华喜欢以水墨作画，与八大山人相似。",[23,24,25,95,7,123,75,395,396,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","146X80cm",[64],{"id":2830,"slug":2831,"title":2832,"dynasty":854,"author":2833,"museum":120,"description":2834,"tags":2835,"thumbUrl":2836,"material":2837,"size":2838,"collection":245,"collections":2839,"showCount":2810,"zanCount":436,"manualWeight":46,"mainColor":47},221021,"zhong-qiu-tie-wang-xian-zhi-221021","中秋帖","王献之","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,37,394,26,7,298,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab6dd85baee9f73028d89815dd2fd5a.jpg","纸本，手卷","纵27厘米，横11.9厘米",[245],{"id":2841,"slug":2842,"title":971,"dynasty":205,"author":307,"museum":92,"description":2843,"tags":2844,"thumbUrl":2845,"material":61,"size":166,"collection":220,"collections":2846,"showCount":2810,"zanCount":1084,"manualWeight":46,"mainColor":140},218922,"han-jiang-du-diao-tu-fan-kuan-218922","枯树虬枝如铁，在寒风中伸展筋骨，枝桠间似凝着霜雪的清冷。江面浩渺无垠，水波敛去喧嚣，只留一片沉静褐调，将天地空旷铺展到极致。孤舟一叶，钓者独倚，身影与舟楫融入江天，仿佛与自然达成无声默契。笔触简练却含深意，线条勾勒景物骨韵，色调晕染冬日萧寒。没有繁复铺陈，仅以极简元素，便营造出“天地一孤舟”的寂寥与超脱——那是文人心中对宁静的向往，是喧嚣外的片刻澄明，千年后仍能让观者触摸到穿透时光的静谧安然。",[23,24,7,1462,28,31,468,147,36,942],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ef92a86d76f6756a5cc670fe8e2a88.jpg",[220],{"id":2848,"slug":2849,"title":2850,"dynasty":18,"author":2851,"museum":20,"description":2852,"tags":2853,"thumbUrl":2854,"material":40,"size":166,"collection":600,"collections":2855,"showCount":2856,"zanCount":436,"manualWeight":46,"mainColor":47},219407,"qiu-feng-wan-shan-tu-tang-yin-219407","秋风纨扇图","唐寅","图绘庭园一角，一女子手执纨扇，在坡前沉思徘徊。图中的仕女体态端庄，风姿婉约，秀发挽成高髻，饰以淡色鬓朵，越发衬托出发光乌亮。披帛和衣裙随风飘拂，巧妙地寓“秋”意于其中。从她眉宇间微露忧伤感的神色，和欲行又止的动态，表明她正陷入沉思之中：忧郁、怅惘，却又无可奈何！背景仅用细竹数枝、湖石一角来点缀，显得疏落空旷，令人联想到引申画外的僻静境界，平添几分萧瑟气象。整幅画的笔墨凝练明快，极其传神。",[24,25,95,547,7,27,193,636,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5374ce013b2c7f9c2a6c4ac31ecab.jpg",[600],255,{"id":2858,"slug":2859,"title":2860,"dynasty":52,"author":621,"museum":20,"description":2861,"tags":2862,"thumbUrl":2864,"material":98,"size":2865,"collection":42,"collections":2866,"showCount":2867,"zanCount":436,"manualWeight":46,"mainColor":47},220082,"guai-shi-cong-huang-tu-ni-zan-220082","怪石丛篁图","怪石丛篁图轴，这一幅系倪瓒60 岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[24,7,28,95,36,2863,126,210,32,33,34],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[42],254,{"id":2869,"slug":2870,"title":2871,"dynasty":18,"author":2872,"museum":20,"description":2873,"tags":2874,"thumbUrl":2876,"material":40,"size":2877,"collection":42,"collections":2878,"showCount":2867,"zanCount":5,"manualWeight":46,"mainColor":47},214674,"san-jue-tu-yao-shou-214674","三绝图","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,25,27,7,28,193,624,2875,480,729,164,163],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 厘米 横48.3 厘米",[42],{"id":2880,"slug":2881,"title":2882,"dynasty":18,"author":119,"museum":120,"description":2883,"tags":2884,"thumbUrl":2887,"material":964,"size":2888,"collection":42,"collections":2889,"showCount":2890,"zanCount":436,"manualWeight":46,"mainColor":47},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,24,25,26,7,124,2885,37,75,125,133,126,134,128,180,76,2886,551,34],"题跋","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[42,222],253,{"id":2892,"slug":2893,"title":2894,"dynasty":174,"author":1100,"museum":120,"description":2895,"tags":2896,"thumbUrl":2897,"material":166,"size":166,"collection":83,"collections":2898,"showCount":2899,"zanCount":5,"manualWeight":46,"mainColor":47},236892,"ba-jiao-mu-dan-zhou-wu-chang-shuo-236892","芭蕉牡丹轴","此画充分利用了水、墨二者的结合及浸渍变化，以饱含水分的笔触，率性而作，洗练简阔，却有神情气爽之感。\n吴昌硕（1844年~1927年），初名俊，后改俊卿，字昌硕，号缶庐、苦铁等，浙江安吉人。善书法，精篆刻，工诗擅画。其大写意花鸟，博取徐渭、八大、石涛、李鱓、赵之谦诸家之长，以篆、隶、狂草笔意入画，用笔雄健古拙，用墨酣畅淋漓，着色艳丽富贵，可谓匠心独运，为中国近代杰出的艺术家，海派主要画家之一。",[281,24,25,95,27,7,75,123,129,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b7aefc21c35bfdb8ce148ec1e96f63.jpg",[83,64],252,{"id":2901,"slug":2902,"title":2903,"dynasty":52,"author":158,"museum":450,"description":2904,"tags":2905,"thumbUrl":2907,"material":314,"size":1061,"collection":166,"collections":2908,"showCount":2909,"zanCount":46,"manualWeight":46,"mainColor":140},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,281,24,7,28,95,36,34,33,194,29,30,32,80,37,2906],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":2911,"slug":2912,"title":391,"dynasty":174,"author":2913,"museum":120,"description":2914,"tags":2915,"thumbUrl":2916,"material":196,"size":2917,"collection":166,"collections":2918,"showCount":2919,"zanCount":5,"manualWeight":46,"mainColor":47},222643,"he-hua-tu-gao-feng-han-222643","高凤翰","图绘荷塘秋色，荷花于秋风中若俯若仰，似显似藏。荷叶或以浓墨泼染，以示勃勃生机，或以赭色晕染，以示萧索凋败。全图在墨彩交融中表现了满池风动、“接天莲叶无穷碧”的意境。作者以洒脱不羁的笔墨抒发了豪放的情怀。",[23,24,25,95,7,123,395,396,2767,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe153b110743b11a6b88ea2620ed2d20a.jpg","纵172厘米，横62厘米",[],250,{"id":2921,"slug":2922,"title":990,"dynasty":52,"author":53,"museum":120,"description":2923,"tags":2924,"thumbUrl":2926,"material":298,"size":995,"collection":42,"collections":2927,"showCount":2919,"zanCount":46,"manualWeight":46,"mainColor":47},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,24,25,26,7,28,36,37,80,335,831,717,213,1442,533,2925],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg",[42,222],{"id":2929,"slug":2930,"title":2931,"dynasty":205,"author":607,"museum":92,"description":2932,"tags":2933,"thumbUrl":2934,"material":110,"size":2935,"collection":42,"collections":2936,"showCount":2919,"zanCount":486,"manualWeight":46,"mainColor":140},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[24,25,95,7,27,36,28,624,147,193,29,940,34,211,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[42],{"id":2938,"slug":2939,"title":2940,"dynasty":174,"author":2605,"museum":450,"description":2941,"tags":2942,"thumbUrl":2943,"material":166,"size":2944,"collection":42,"collections":2945,"showCount":2946,"zanCount":46,"manualWeight":46,"mainColor":47},238025,"hong-ren-shan-shui-tu-ce-hong-ren-238025","弘仁山水图册","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。",[24,25,74,7,36,28,180,29,35,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9315c7f3e025c62edc1ed00bd692088d.jpg","50×36",[42,64],249,{"id":2948,"slug":2949,"title":2950,"dynasty":52,"author":621,"museum":294,"description":2951,"tags":2952,"thumbUrl":2954,"material":98,"size":2955,"collection":42,"collections":2956,"showCount":2946,"zanCount":5,"manualWeight":46,"mainColor":47},220052,"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[23,281,24,25,95,7,36,1523,33,34,32,1974,180,2953],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[42],{"id":2958,"slug":2959,"title":2960,"dynasty":205,"author":293,"museum":450,"description":2961,"tags":2962,"thumbUrl":2963,"material":314,"size":1061,"collection":166,"collections":2964,"showCount":2965,"zanCount":46,"manualWeight":46,"mainColor":140},288989,"xiao-xiang-zhu-shi-tu-su-shi-288989","潇湘竹石图","潇湘竹石图采用长卷式构图，展现湖南省零陵县西潇、湘二水合流处，遥接洞庭巨浸的苍茫景色。整幅画作以潇湘二水的交汇点为中心，远山烟水，风雨瘦竹，近水与云水、蹲石与远山、筱竹与烟树产生强烈对比，让人在窄窄画幅内如阅千里江山。",[281,24,25,7,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14407e88ebd5d78263a6e38373b327a6.jpg",[],248,{"id":2967,"slug":2968,"title":2969,"dynasty":18,"author":1836,"museum":120,"description":2970,"tags":2971,"thumbUrl":2972,"material":1843,"size":2973,"collection":42,"collections":2974,"showCount":2965,"zanCount":46,"manualWeight":46,"mainColor":47},220909,"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,281,24,25,74,7,36,28,335,162,211,213,670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纵26.3厘米，横25.5厘米",[42,222],{"id":2976,"slug":2977,"title":2978,"dynasty":18,"author":19,"museum":120,"description":760,"tags":2979,"thumbUrl":762,"material":298,"size":196,"collection":42,"collections":2980,"showCount":2965,"zanCount":1084,"manualWeight":46,"mainColor":47},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,25,26,28,1153,7,27,36,38,37,34,33,30,29,31,32],[42],{"id":2982,"slug":2983,"title":2984,"dynasty":18,"author":1836,"museum":378,"description":2985,"tags":2986,"thumbUrl":2988,"material":98,"size":2989,"collection":42,"collections":2990,"showCount":2965,"zanCount":46,"manualWeight":46,"mainColor":47},219732,"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","以淡墨晕染层叠山峦，留白铺就出空寂清灵的幽远氛围。近景苍松虬曲古拙，扎根嶙峋怪石，枝干舒展自带灵动生机。中景幽谷藏村居，流泉蜿蜒穿林而过，山林郁秀空灵。\n\n以干笔皴擦勾勒山石肌理，淡墨晕出山岚氤氲，笔墨简淡却意蕴悠长，尽显文人画萧散简远之趣。题诗与画面浑然相融，诗画一体，寄寓着林泉高致的隐逸情怀，整体格调清润雅致，将笔墨意趣与山水意境相融，尽显通透疏朗的超然意态，是文人山水的绝佳范本。",[23,24,25,7,36,95,28,335,706,127,162,2987],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[42,222],{"id":2992,"slug":2993,"title":2994,"dynasty":18,"author":1836,"museum":92,"description":2995,"tags":2996,"thumbUrl":2997,"material":811,"size":2998,"collection":42,"collections":2999,"showCount":3000,"zanCount":436,"manualWeight":46,"mainColor":47},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,281,24,25,95,7,36,254,1153,28,33,34,35,58,164,785,717,624,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","96.3 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44.8cm",[42,222],246,{"id":3002,"slug":3003,"title":3004,"dynasty":52,"author":726,"museum":20,"description":3005,"tags":3006,"thumbUrl":3007,"material":7,"size":166,"collection":222,"collections":3008,"showCount":3000,"zanCount":436,"manualWeight":46,"mainColor":140},219738,"zhu-pu-tu-wu-zhen-219738","竹谱图","此作用淡墨铺就底色，开篇幽草伴湖石，渐入修竹成林。竹竿劲挺如君子立世，以浓墨撇写竹叶，错落生姿，或迎风欹斜，或垂梢含露，墨色干湿浓淡交织，层次分明。后半段湖石渐耸，竹影疏密掩映，尽显野逸之趣。\n\n左侧题笔与画境相融，以书入画，笔墨老辣苍润，将隐逸林下的清寂意韵藏于一笔一划中，简淡之间尽是萧散出尘的林下风神，把竹之孤高与文人风骨晕染在卷幅里。",[23,24,7,26,126,706,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c704a7c558d314bd1858ec21db613.jpg",[222],{"id":3010,"slug":3011,"title":3012,"dynasty":205,"author":206,"museum":20,"description":3013,"tags":3014,"thumbUrl":3016,"material":457,"size":3017,"collection":42,"collections":3018,"showCount":3019,"zanCount":5,"manualWeight":46,"mainColor":140},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[23,281,24,25,95,7,36,28,213,33,164,3015],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 横53.6cm",[42,220],243,{"id":3021,"slug":3022,"title":3023,"dynasty":359,"author":1872,"museum":2366,"description":3024,"tags":3025,"thumbUrl":3026,"material":166,"size":166,"collection":166,"collections":3027,"showCount":3028,"zanCount":46,"manualWeight":46,"mainColor":47},220545,"xu-bei-hong-hua-ma-tu-zhou-xu-bei-hong-220545","徐悲鸿画马图轴","以淋漓水墨写就奔马，浓淡晕染间，骏马肌肉的起伏张力尽显。昂首扬鬃，四蹄腾跃似踏风而来，马尾与颈鬃以狂放飞白扫出，裹挟着呼啸劲风，将奔马桀骜不羁的野性全然挥洒而出。\n\n舍弃繁复布景，将视线尽数锁于奔马之上，寥寥数笔便让马儿挣脱纸面桎梏，静帧画作仿若能闻蹄声惊雷，把中式写意传神的特质推至极致，尽显生命蓬勃昂扬的野性力量。",[23,281,24,25,95,7,312,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f81de666dcbcb1927f785be1e3e6f3.jpg",[],242,{"id":3030,"slug":3031,"title":1934,"dynasty":174,"author":1100,"museum":20,"description":3032,"tags":3033,"thumbUrl":3034,"material":298,"size":3035,"collection":83,"collections":3036,"showCount":3037,"zanCount":1084,"manualWeight":46,"mainColor":47},237437,"ju-hua-zhou-wu-chang-shuo-237437","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,95,7,27,75,134,1104,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纵119.9 厘米横51.6",[83],241,{"id":3039,"slug":3040,"title":3041,"dynasty":174,"author":377,"museum":430,"description":3042,"tags":3043,"thumbUrl":3044,"material":40,"size":3045,"collection":166,"collections":3046,"showCount":3037,"zanCount":1084,"manualWeight":46,"mainColor":47},214533,"yi-jin-ling-ce-shi-tao-214533","忆金陵册","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。",[24,25,7,27,28,194,29,30,31,34,33,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9786c88deb9d34c1413b59771dba7d8.jpg","纵23.8厘米，横19.2厘米",[],{"id":3048,"slug":3049,"title":3050,"dynasty":205,"author":842,"museum":92,"description":3051,"tags":3052,"thumbUrl":3055,"material":314,"size":1061,"collection":166,"collections":3056,"showCount":3057,"zanCount":486,"manualWeight":46,"mainColor":140},289341,"han-lin-ping-ye-tu-li-cheng-289341","寒林平野图","图绘萧瑟的隆冬平野中，长松亭立，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。该图正是李成最擅长表现的场景。",[24,281,25,95,7,28,832,3053,717,147,36,80,3054],"平野","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a367dd49badf8d7559fae79a915a52.jpg",[],240,{"id":3059,"slug":3060,"title":3061,"dynasty":205,"author":3062,"museum":92,"description":3063,"tags":3064,"thumbUrl":3065,"material":284,"size":3066,"collection":166,"collections":3067,"showCount":3057,"zanCount":473,"manualWeight":46,"mainColor":47},221608,"po-mo-xian-ren-tu-juan-liang-kai-221608","泼墨仙人图卷","梁楷","《泼墨仙人图》可以说是梁楷与画院画风决绝后,在绘画创作中自辟蹊径、独树一帜的具体体现。画面除面、胸部用细笔勾出轮廓外,其他皆用巨笔阔笔横扫,每一笔既有墨色的酣畅,又有水分的淋漓,十分纵肆狂放,已达到旁若无人的程度。从人物造型来看,作者有意夸张其头额部分,几乎占去整个头的三分之二,而把五官挤在下部很小的面积上,垂眉、细眼,鼻扁而大,嘴角下垂,既显得醉态可掬,却又诙谐滑稽,令人发笑,以生动的形象表现了作者的思想和生活态度,极尽嬉笑怒骂之态,从而体现了作品的思想深度。应该说梁楷画的不是“仙人”,而是他自己。",[23,24,25,7,1251,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da57b80a95a59b5229a6aa6845663ed.jpg","48×27公分",[],{"id":3069,"slug":3070,"title":3071,"dynasty":174,"author":1100,"museum":92,"description":3072,"tags":3073,"thumbUrl":3075,"material":98,"size":3076,"collection":245,"collections":3077,"showCount":3057,"zanCount":5,"manualWeight":46,"mainColor":47},214200,"shi-gu-zhong-tang-wu-chang-shuo-214200","石鼓中堂","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。",[23,37,3074,38,95,7,80],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27cb1550e1e5adda3feedc0573082333.jpg","134.8x39.6",[245],{"id":3079,"slug":3080,"title":3081,"dynasty":18,"author":796,"museum":120,"description":3082,"tags":3083,"thumbUrl":3084,"material":964,"size":3085,"collection":83,"collections":3086,"showCount":3087,"zanCount":46,"manualWeight":46,"mainColor":47},222553,"mu-dan-hua-hui-tu-chen-chun-222553","牡丹花卉图","本幅上部行草书自题：“春是花时节，红紫各自赋。勿言薄脂粉，适足表贞素。道復。”后钤“陈道復氏”、“陈淳之印”印。\n作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n陈道復创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如故宫博物院藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及上海博物馆藏《洛阳春色图卷》、《玉楼春色图卷》等等。这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家李日华为此幅作品所题云：“破一滴墨水，作种种妖妍。改旦暮之观，备四时之气”。",[23,24,25,7,75,129,367,38,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ca64f679df2ecd19978f86c81b89a.jpg","纵54.8厘米，横30.8厘米",[83,64],239,{"id":3089,"slug":3090,"title":3091,"dynasty":52,"author":621,"museum":92,"description":3092,"tags":3093,"thumbUrl":3094,"material":7,"size":166,"collection":42,"collections":3095,"showCount":3087,"zanCount":46,"manualWeight":46,"mainColor":47},218823,"qiu-lin-yuan-shan-tu-ni-zan-218823","秋林远山图","疏木萧疏，枝桠挺劲如铁，带着秋的清寒。远山淡抹，似笼轻烟，与空阔的水面相映成趣。笔墨枯淡却含韵致，枯笔皴擦见骨力，淡墨晕染显空灵。留白处意蕴悠长，仿佛天地间只剩风声掠过林梢，尘俗尽散。画面极简却藏深致，将文人的孤高与对自然的静观融入丘壑，清冷中透着宁静，空寂里含着哲思，恰是元人山水那份超脱尘世的清逸之境。",[23,24,25,7,36,28,147,610,164,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f642f6154c24c8d6629652c8982480.jpg",[42],{"id":3097,"slug":3098,"title":3099,"dynasty":52,"author":53,"museum":120,"description":3100,"tags":3101,"thumbUrl":3103,"material":61,"size":3104,"collection":42,"collections":3105,"showCount":3106,"zanCount":5,"manualWeight":46,"mainColor":140},220764,"tian-chi-shi-bi-tu-huang-gong-wang-220764","天池石壁图","此图描绘的是苏州城西吴县境内天池山的景色。天池山与灵岩山、天平山一脉相连，峰巅矗立巨石，远望巧若莲花，人称“华山”。山一侧的半山坳中长年积有一泓碧水，名曰“天池”，故山之这一面亦被称为“天池山”。\n画面兼用高远和深远的构图方法。近景丘陵溪涧，长松茂树。山径迂曲，通向主峰。画面正中层峦叠嶂，天池居于右上，两侧石壁对峙，池中水阁数椽。主峰两侧烟云流润，使画面虚实相生。\n此幅构图繁复，高坡陡崖错落分布，雄秀多姿。画家状物之笔虽较简略，杂树多用横点，山石作披麻皴，但线条却显得自然流畅，起落有序；笔法朴厚苍润，变化多端。设色采用“浅绛法”，多用淡赭，并以墨青、墨绿合染，冷暖互补，极佳地表现出山色的青葱与阳光的和煦。正如清吴修所云：“赭色微黄画里春，墨青墨绿染精神。”\n黄公望擅长的“浅绛法”在中国古代山水画的发展中具有重要地位，此图即其典范作品。另，本幅柳贯长题中称黄公望为“吴兴室内大弟子”，说明黄公望曾就学于赵孟頫，这是画史研究中的重要资料。",[23,36,7,27,28,212,3102,1776,215,213,162,32],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","纵139.4厘米，横57.3厘米",[42,222],237,{"id":3108,"slug":3109,"title":3110,"dynasty":205,"author":592,"museum":92,"description":3111,"tags":3112,"thumbUrl":3113,"material":457,"size":3114,"collection":220,"collections":3115,"showCount":3106,"zanCount":473,"manualWeight":46,"mainColor":140},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,24,281,26,7,36,37,80,28,29,30,31,468,147,729,324,34,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[220],{"id":3117,"slug":3118,"title":3119,"dynasty":174,"author":819,"museum":450,"description":1239,"tags":3120,"thumbUrl":3121,"material":284,"size":166,"collection":83,"collections":3122,"showCount":3123,"zanCount":473,"manualWeight":46,"mainColor":47},223300,"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1",[23,24,25,95,7,126,706,133,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg",[83,222],236,{"id":3125,"slug":3126,"title":3127,"dynasty":52,"author":621,"museum":92,"description":3128,"tags":3129,"thumbUrl":3130,"material":98,"size":3131,"collection":42,"collections":3132,"showCount":3123,"zanCount":5,"manualWeight":46,"mainColor":47},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[24,25,95,7,28,32,162,126,706,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[42,222],{"id":3134,"slug":3135,"title":3136,"dynasty":174,"author":377,"museum":120,"description":3137,"tags":3138,"thumbUrl":3139,"material":298,"size":3140,"collection":42,"collections":3141,"showCount":3142,"zanCount":1084,"manualWeight":46,"mainColor":47},233123,"yuan-ji-shan-shui-ce-shi-tao-233123","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,123,27,7,74,36,28,624,32,193,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123c2863fe8464093b6bc302b984f3bf.jpg","纵33.2cm，横22.8cm",[42,64],235,{"id":3144,"slug":3145,"title":3146,"dynasty":174,"author":491,"museum":544,"description":2292,"tags":3147,"thumbUrl":3148,"material":40,"size":2295,"collection":42,"collections":3149,"showCount":3142,"zanCount":5,"manualWeight":46,"mainColor":47},219994,"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春",[24,25,7,28,36,335,350,162,29,480,268,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg",[42],{"id":3151,"slug":3152,"title":3153,"dynasty":205,"author":206,"museum":3154,"description":3155,"tags":3156,"thumbUrl":3158,"material":110,"size":3159,"collection":42,"collections":3160,"showCount":3161,"zanCount":1084,"manualWeight":46,"mainColor":140},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[23,24,25,28,7,36,95,34,33,35,30,164,3157],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[42],234,{"id":3163,"slug":3164,"title":645,"dynasty":205,"author":607,"museum":3165,"description":3166,"tags":3167,"thumbUrl":3168,"material":110,"size":3169,"collection":220,"collections":3170,"showCount":3161,"zanCount":46,"manualWeight":46,"mainColor":140},218658,"shan-shui-tu-ma-yuan-218658","维多利亚和阿尔伯特博物馆","虬枝如屈铁，斜出嶙峋崖壁，枯枝疏朗间透着苍劲风骨，垂悬的藤蔓似牵一缕寒烟。山石以斧劈皴斫出棱角分明，刚硬笔触衬得崖岸陡峭。远景以淡墨晕染，山峦隐现于虚渺雾霭，近景石畔或有幽人凭栏，小景点染更显天地空阔。边角构图不逐满幅，留白处藏尽清寂萧瑟，恰是宋人山水的空灵之境。笔底丘壑虽只一角，却以简驭繁、以小见大，藏无尽江山意趣，尽显马远山水的独特韵味——于有限画面中，铺展无限悠远的诗意与哲思，让人于尺幅间窥见宋人的山水情怀与审美境界。",[24,1462,7,36,28,147,34,30,31,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82362b63dc9e0b444518f5ec9c4176a.jpg","25.5x25.7",[220],{"id":3172,"slug":3173,"title":3174,"dynasty":52,"author":158,"museum":92,"description":3175,"tags":3176,"thumbUrl":3178,"material":40,"size":3179,"collection":42,"collections":3180,"showCount":3161,"zanCount":5,"manualWeight":46,"mainColor":140},218134,"dong-shan-cao-tang-tu-wang-meng-218134","东山草堂图","此幅系王蒙三十六岁（1343年）作。隔水茅堂，背山重叠，磊石、布屋、开湖，形制皆偏向于方。通幅用笔，皆切实而稳厚。树干钩藤，山间苔点，极细微处，均无轻纵之笔，别有一种稳重苍郁意象。后人中如沈周，得力于此者甚多。",[23,24,7,28,36,34,33,669,268,3177,215],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8557e18d738285b863560f57991f9e.jpg","111.4x61cm",[42],{"id":3182,"slug":3183,"title":3184,"dynasty":174,"author":175,"museum":544,"description":3185,"tags":3186,"thumbUrl":3187,"material":27,"size":3188,"collection":83,"collections":3189,"showCount":3190,"zanCount":436,"manualWeight":46,"mainColor":47},220987,"ou-xiang-guan-xie-yi-ce-lu-xie-yun-shou-ping-220987","瓯香馆写意册-芦蟹","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[23,281,24,25,74,123,7,1004,2021,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7632b42ef28d0c95b7691b56f54951.jpg","31.8x37.2厘米",[83,222],233,{"id":3192,"slug":3193,"title":3194,"dynasty":174,"author":3195,"museum":92,"description":3196,"tags":3197,"thumbUrl":3198,"material":98,"size":166,"collection":222,"collections":3199,"showCount":3190,"zanCount":1084,"manualWeight":46,"mainColor":47},219381,"fang-ni-zan-shan-shui-tu-wang-jian-219381","仿倪瓒山水图","王鉴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。",[24,25,95,7,254,80,36,28,717,180,163,164,785],"https:\u002F\u002Foss.chuangqi.store\u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食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,281,24,25,26,7,36,28,335,706,162,454,210,215,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[42,222],229,{"id":3279,"slug":3280,"title":3281,"dynasty":174,"author":418,"museum":159,"description":419,"tags":3282,"thumbUrl":3283,"material":98,"size":423,"collection":166,"collections":3284,"showCount":3277,"zanCount":436,"manualWeight":46,"mainColor":47},216909,"hua-niao-si-tiao-ping-4-zhu-da-216909","花鸟四条屏-4",[23,24,7,123,95,128,396,77,180,75,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e75a5ceb8b50523c17e63136acafff.jpg",[],{"id":3286,"slug":3287,"title":3288,"dynasty":359,"author":3289,"museum":159,"description":3290,"tags":3291,"thumbUrl":3294,"material":40,"size":166,"collection":83,"collections":3295,"showCount":3277,"zanCount":1084,"manualWeight":46,"mainColor":47},216600,"mo-he-si-lian-ping-3-zhang-da-qian-216600","墨荷四联屏-3","张大千","泼墨淋漓处，荷叶如层云翻涌，浓淡干湿交织出万千层次，苍劲中透着灵动。几朵白莲亭亭玉立，瓣尖以淡墨轻勾，与墨叶的雄浑形成柔刚相映之趣。茎秆以劲挺线条穿引画面，似有清风暗度，摇曳生姿。留白如薄雾轻笼，晕染出荷塘的清幽野逸，笔意纵逸却不失雅致，疏朗中藏生机。墨色的晕化与线条的利落交织，将荷塘的静谧与鲜活凝于尺幅，仿佛能嗅到花叶间浮动的淡香，尽显墨荷的神韵与风骨。",[24,25,7,123,3292,395,396,3293,75],"屏条","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca7db73862a36d7500f1fd596d38685.jpg",[83],{"id":3297,"slug":3298,"title":580,"dynasty":174,"author":819,"museum":120,"description":3299,"tags":3300,"thumbUrl":3301,"material":964,"size":3302,"collection":166,"collections":3303,"showCount":3304,"zanCount":46,"manualWeight":46,"mainColor":47},234675,"zhu-shi-tu-zheng-ban-qiao-234675","郑燮所画之竹，形象千姿百态，笔墨变化多端。同样是数竿竹枝，却有新竹、驼竹、凤竹、晴竹、盆景之竹、庭院之竹、山野之竹、水乡之竹的区别，并呈现各自不同的情态，给人以美的感受。画面上翠竹两竿，瘦劲挺拔，枝叶偃仰，萧疏清逸。竹枝下有山石及竹笋数支，恰当衬托出春竹之勃发郁茂，颇富自然之趣。其言将竹笋与鲥鱼相佐，又创美食之竹，新颖别致，独具匠心。",[24,7,123,36,38,80,95,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c732c7221c80d6d805a69736b50619.jpg","纵120厘米，横59.7厘米",[],228,{"id":3306,"slug":3307,"title":3308,"dynasty":174,"author":377,"museum":450,"description":3309,"tags":3310,"thumbUrl":3311,"material":166,"size":166,"collection":166,"collections":3312,"showCount":3304,"zanCount":486,"manualWeight":46,"mainColor":47},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,24,25,26,7,123,36,38,37,80,28,212,58,33,180,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],{"id":3314,"slug":3315,"title":2161,"dynasty":205,"author":581,"museum":159,"description":3316,"tags":3317,"thumbUrl":3318,"material":40,"size":166,"collection":42,"collections":3319,"showCount":3304,"zanCount":473,"manualWeight":46,"mainColor":47},217118,"xue-jing-shan-shui-tu-yi-ming-217118","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[23,24,25,281,1714,7,36,28,993,624,335,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[42],{"id":3321,"slug":3322,"title":3323,"dynasty":174,"author":739,"museum":92,"description":2646,"tags":3324,"thumbUrl":3327,"material":40,"size":166,"collection":166,"collections":3328,"showCount":3304,"zanCount":1084,"manualWeight":46,"mainColor":47},214862,"xie-sheng-ce-3-hua-yan-214862","写生册-3",[24,25,74,7,27,481,3325,3326,453,551,367,1593,80],"松鼠","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479bc39b276eae548d0b8940a600d55f.jpg",[],{"id":3330,"slug":3331,"title":3332,"dynasty":205,"author":278,"museum":450,"description":3333,"tags":3334,"thumbUrl":3336,"material":110,"size":3337,"collection":42,"collections":3338,"showCount":3339,"zanCount":1084,"manualWeight":46,"mainColor":140},218589,"yue-xia-song-ting-tu-xia-gui-218589","月下松亭图","月色如纱，淡墨晕开空濛的夜。虬松枝桠似铁，斜探天际，松针苍劲点染其间，笔意简练却见筋骨。坡岸一隅，草亭静立，檐角轻拂晚风；树下人影依稀，或凭栏凝睇，渺小身影藏着悠远哲思。留白处尽是宋人的雅致空灵，山水的静谧与人文的幽怀交织，如清辉漫过岁月，仍漾着沁人的诗意。画面虽简，却以少胜多，将自然之美与心境之远融于尺幅，似能听见松涛与月色的私语，触到千年之前那缕清寂的幽情。",[3335,24,25,95,7,28,127,32,940,468,36],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a70b337ac97e73bbcb8ee83512b58b6.jpg","58x25",[42],227,{"id":3341,"slug":3342,"title":3343,"dynasty":174,"author":1100,"museum":450,"description":3344,"tags":3345,"thumbUrl":3346,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6","百雁图","马贲","檀香山艺术博物馆","老愚离群影久孤，客来笑示百雁图。揩眵试数失两箇，莫喻画意翻令呼。得非长门报秋使，或是大窖传书奴。不然一举千里高鸿俱，其余淟泪碌琐徒，且唼且息翔且呼。营营郑圃田之稷，睢睢齐海隅之菰。遑知尔更衔尔芦，瓠肥卒至充人厨。小而曰鶀亦就笯，迩闻泽梁弛禁官罢虞，麋鹿鱼鳖同少苏，羽仪好在春云。河中马贲元佑、绍圣间人，长于百雁百鸦百鹿百牛等图，虽极繁伙而位置不乱。此卷尤为杰出也，可不宝哉！王逢并识。",[23,24,25,26,7,481,282,1004,3492],"群鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d77751cddde9611521a50fab81cbde3.jpg","579x45cm",[83],{"id":3497,"slug":3498,"title":3499,"dynasty":18,"author":19,"museum":450,"description":3500,"tags":3501,"thumbUrl":3502,"material":166,"size":166,"collection":166,"collections":3503,"showCount":3504,"zanCount":5,"manualWeight":46,"mainColor":47},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,25,26,7,27,28,32,96,162,30,80,37,38,35,34,1035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":3506,"slug":3507,"title":912,"dynasty":52,"author":3508,"museum":120,"description":3509,"tags":3510,"thumbUrl":3511,"material":537,"size":3512,"collection":222,"collections":3513,"showCount":3504,"zanCount":436,"manualWeight":46,"mainColor":140},221692,"mo-zhu-po-shi-tu-gao-ke-gong-221692","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[23,24,281,25,95,7,126,180,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纵121.6厘米，横42.1厘米",[222,919],{"id":3515,"slug":3516,"title":3517,"dynasty":359,"author":1872,"museum":1873,"description":3518,"tags":3519,"thumbUrl":3521,"material":166,"size":166,"collection":166,"collections":3522,"showCount":3504,"zanCount":436,"manualWeight":46,"mainColor":47},220526,"lan-mao-xu-bei-hong-220526","懒猫","明黄葵朵肆意盛放，苍劲枝叶舒展铺陈，将晴日生机晕染满幅。两只猫儿卧于石上，一猫懒腰哈欠，蓬松毛发纤毫毕现，娇憨慵懒之态跃然纸面；另一猫蜷身假寐，神态松弛安适。\n\n画作融西画写实与东方笔墨，以水墨晕染葵叶苍润质感，重彩点亮花瓣明妍鲜活，生灵造型精准生动，于日常闲景中，将繁花蓬勃与猫儿慵懒相映成趣，静动之间晕开松弛悠然的雅致意韵，尽显闲淡生机。",[23,24,25,27,7,123,3520,1015,79,367],"向日葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56021136e3f49aa5e8fa268f00e74249.jpg",[],{"id":3524,"slug":3525,"title":3526,"dynasty":889,"author":1266,"museum":92,"description":3527,"tags":3528,"thumbUrl":3529,"material":110,"size":3530,"collection":42,"collections":3531,"showCount":3504,"zanCount":473,"manualWeight":46,"mainColor":140},218904,"xiao-yi-zhuan-lan-ting-tu-ju-ran-218904","萧翼赚兰亭图","这幅画描绘萧翼赚兰亭图的故事。唐太宗酷爱王羲之、王献之的书法，听说辩才和尚藏有羲之兰亭序真迹，于是派遣御史萧翼设法谋取。翼便以书生的打扮，先与辩才交游，两人常以诗文酬答，情感融洽，渐渐地，辩才对翼不加防备。有一天，趁辩才和尚外出，翼便偷走兰亭真迹",[23,24,95,7,36,28,33,29,30,213,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f67dfbeda3e115e84b0798018f410e.jpg","144.1x59.6",[42],{"id":3533,"slug":3534,"title":3535,"dynasty":18,"author":19,"museum":450,"description":3536,"tags":3537,"thumbUrl":3538,"material":314,"size":1061,"collection":166,"collections":3539,"showCount":3540,"zanCount":1084,"manualWeight":46,"mainColor":47},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[23,24,7,36,95,37,80,28,31,717,180,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],218,{"id":3542,"slug":3543,"title":3544,"dynasty":18,"author":2851,"museum":120,"description":3545,"tags":3546,"thumbUrl":3547,"material":564,"size":3548,"collection":42,"collections":3549,"showCount":3550,"zanCount":5,"manualWeight":46,"mainColor":140},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,24,25,26,7,27,28,193,324,33,34,30,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[42,64],217,{"id":3552,"slug":3553,"title":3554,"dynasty":205,"author":264,"museum":159,"description":3555,"tags":3556,"thumbUrl":3558,"material":457,"size":166,"collection":220,"collections":3559,"showCount":3550,"zanCount":1084,"manualWeight":46,"mainColor":140},218087,"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,24,25,74,547,7,3557,193,180,610,147,34],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg",[220,600],{"id":3561,"slug":3562,"title":3563,"dynasty":205,"author":607,"museum":92,"description":3564,"tags":3565,"thumbUrl":3566,"material":110,"size":3567,"collection":42,"collections":3568,"showCount":3569,"zanCount":46,"manualWeight":46,"mainColor":140},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[23,24,25,95,7,27,36,126,193,28,80,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[42,600],216,{"id":3571,"slug":3572,"title":1248,"dynasty":18,"author":119,"museum":120,"description":3573,"tags":3574,"thumbUrl":3586,"material":964,"size":3587,"collection":166,"collections":3588,"showCount":3589,"zanCount":1084,"manualWeight":46,"mainColor":47},233375,"shui-mo-pu-tao-tu-zhou-xu-wei-233375","此图曾经清代李佐贤、陈希濂等收藏。\n图中画一架葡萄，叶片茂盛，藤蔓缠绕，果实累累。作者以草书笔法作画，行笔豪迈而不肆野，叶、果用淡墨加胶矾挥洒，墨气淋漓酣畅，产生了极佳的晕散效果。\n画中所题诗见于《徐文长集三》卷十一，是徐渭作画时常书写的诗作之一，抒发了作者一生不遇的坎坷痛苦的心境。画中题字受米芾行书风格影响，结体紧凑，运笔舒缓大气，竖笔、捺笔流畅雄健，收锋沉稳，体现了其身为晚明大书家的深厚的艺术功力。",[24,25,95,7,123,1252,551,367,1593,76,2335,124,3575,3576,3577,3578,3579,3580,2203,3581,3582,3583,3584,3585],"墨色变化","藤蔓缠绕","果实垂挂","枝叶舒展","水墨淋漓","文人画风格","水墨植物","墨叶","墨果","藤蔓线条","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ac2949f65bdc9dc171950992c953d5d.jpg","纵 165.4厘米，横 64.5厘米",[],215,{"id":3591,"slug":3592,"title":3593,"dynasty":205,"author":1682,"museum":159,"description":3594,"tags":3595,"thumbUrl":3597,"material":40,"size":3598,"collection":83,"collections":3599,"showCount":3589,"zanCount":5,"manualWeight":46,"mainColor":140},218942,"he-tu-mu-xi-218942","鹤图","鹤独立苍岩畔，长颈微俯，似敛神听风。羽翅以墨色分层晕染，绒羽轻细如絮，飞羽劲挺带势，墨痕间藏自然生趣。背景淡墨虚笼，松枝疏影横斜，留白处若含烟岚，无一笔繁饰却得空寂之境。禅意融于笔墨，不逐形骸而追神韵，鹤的清逸与天地的虚静相契，尽显南宋文人画的空灵韵致，观之如临幽境，心随鹤远。",[1714,24,25,281,95,7,123,3596,624],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77380f8e0d7d4b9318d3de05bfb0672.jpg","129x80.5cm",[83],{"id":3601,"slug":3602,"title":3603,"dynasty":174,"author":418,"museum":450,"description":3604,"tags":3605,"thumbUrl":3606,"material":166,"size":166,"collection":222,"collections":3607,"showCount":3608,"zanCount":46,"manualWeight":46,"mainColor":47},237886,"mo-he-zhou-zhu-da-237886","墨荷轴","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。 明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少。\n八大山人由于他明朝宗室的特殊身世，和所处的时代背景，使他的画作不能像其它画家那样直抒胸臆，而是通过他那晦涩难解的题画诗和那种怪怪奇奇的变形画来表现。例如他所画的鱼和鸟，寥寥数笔，或拉长身子，或紧缩一团，倾是而非。特别是那对眼睛，有时是个椭圆形，都不是我们生活中所看的鱼、鸟的眼睛，生活中鱼、鸟的眼睛都是圆圆的，眼珠子在中央也不会转动。八大山人的鱼、鸟的眼珠子都能转动，有时还会翻白眼瞪人哩。他画的山石也不像平常画家画那个样子，浑浑圆圆，上大下小，头重脚轻，他想搁在哪里就在哪里，也不管它是不是稳当，立不立得住。他画的树，老干枯枝，仅仅几个杈椰，几片树叶，在森林中几万棵树也挑不出这样一颗树来。他画的风景、山、光秃秃的树，东倒西歪，荒荒凉凉，果真有这么个地方，我想谁也不肯到这里来安家落户。\n还有，他画上的题诗、签名和印章，也是怪怪的。例如他自号“八大山人”，解释的人很多，至今学者们还有不同争论。他有一方印章，印文刻作 ，有人说它是由“八大山人”四字组成，有的人则持慎重态度，称之为“屐形印”，因为它的形状像只木屐。至于他画上的题诗，许多句子更是令人难解。\n然而，八大山人明确地告诉我们：“横流乱世杈椰树，留得文林细揣摩”。又说：“想见时人解图画”。他是很希望人们能够理解他的画中之意的。因此许多学者经细心的研究，从他的画意和字里字间，探听出许多真消息。例如他有一个画押写作 ，很长时间人们一直称它为龟形画押，因为其形状特别像一只乌龟。后来才看出，原来是由“三月十九日”几个字变形组成，这恰好是明代最末一个皇帝崇祯自杀的日子，标志着明朝的灭亡。那么这个画押，也就表示对 亡国的纪念。\n康熙二十一年他曾经画了一幅《古梅图》，树的主干已空心，虬根露出，光秃的几枝杈椰，寥寥的点缀几个花朵，像是饱经风霜雷电劫后余生的样子。其上题了三首诗，第一首写道：“分付梅花吴道人，幽幽翟翟莫相亲。南山之南北山北，老得焚鱼扫虏尘。”“梅花吴道人”是指元代画家吴镇，自号“梅花道人”。方框内的字，显然是被当时或稍后的收藏者有意剜去，以避免文字狱灾祸。不难猜测，这个字不是“胡”，即是“虏”。清代统始者以满族入主中原，最忌讳的也是这两字。要在“南山之南北山北”扫除“胡尘”，朱耷非常明确地表达了他的反清复明思想。第二首诗写道：“得本还时末也非，曾无地瘦与天肥。梅花画里思思肖，和尚如何如采薇。”诗中用了两个典故，一是元初遗民画家郑思肖，在南宋灭亡之后隐居吴下，画兰花露根不画坡土，人问何故，他回答说：“土地都被人抢夺去了，你难道不知吗？”二是殷遗民伯夷、叔齐在周灭殷以后，耻不食周粟，隐居首阳山采薇而食，直至饿死。原来八大这幅《古梅图》虬根外露，也不画坡土，是仿照郑思肖画兰之意，暗含着国土被清人所抢夺，他这个明代宗室子孙，之所以成了和尚，正如伯夷、叔齐采薇首阳山那样，不肯臣服于新王朝。国破家亡，复国无望，这使他不能不“苦泪交千点”了。\n八大山人题画诗，是解开他画意的钥匙，然幽涩难解，如迷如雾，许多学者都下过一番功夫进行破释。例如康熙二十三年所作《甲子花鸟册》，其中第七页画一只八哥站在枯枝上，题诗曰：“衿翠鸟唤哥，吭圆哥换了。八哥语三虢，南飞鹧鸪少。”此诗之意，香港中文大学饶宗颐教授经过引经据典考释后结论说：“此诗画是讥‘虢’（指明）亡后，忠臣如鹧鸪之志切怀南，殊不多见。”这就是说，八大的作品，除了一般的国破家亡的情绪表达之外，有时还具体有所指。《瓜月图》亦是件有所指的作品，在题诗之后他记录说：“己巳润八月十五夜画所得”。面对着天上的圆月，和人间家家户户吃月饼，他的心被触动了，那么他“所得”是什么呢？画上题诗曰：“眼光饼子一面，月圆西瓜上时。个个指月饼子，驴年瓜熟为期。”有人根据吃月饼的风俗来源于反清义军传递起事暗号的民间故事，说八大在期盼着这一天到来。然而却要等到何年（驴年）呢？“驴年马月”是俗语，表示遥无定期。果真如此，则八大的心迹，就不只是徒有国亡余痛了。\n八大山人长于水墨写意，为其划时代的人物。 在水墨写意画中，又有专擅山水和专擅花鸟之别，八大山人则两者兼而善之。他的山水画，近师董其昌，远法董源、巨然、郭熙、米芾、黄公望、倪瓒诸家。例如康熙四十一年所作《书画册》（上海博物馆藏）共画了六幅山水小品，就可以看出深受董其昌的影响，其远笔的圆润则有着董、巨和黄公望的遗踪，墨法参照了米氏云山，而某些树石的组合形式，显然取自倪瓒。但是，我们在欣赏这些作品时，却又强烈地感觉到朱耷的个性，上述那些古人的法则，不过是他随手拈来为自己服务的。那些山、石、树、草，以及茅亭、房舍等，逸笔草草，看似漫不经心，随手拾掇，而干湿浓淡、疏密虚实、远近高低，笔笔无出法度之外，意境全在法度之中。这种无法而法的境界，是情感与技巧的高度结合，使艺术创作进入到一个自由王国。\n比起山水画来，八大山人的花鸟画创作，更具有他风格个性的典型性。顺治十六年所作《传綮写生册》（台北故宫博物院藏），和康熙五年作的《墨花卷》（北京故宫博物院藏），是八大早期作品，从中可以看到他的水墨写意花鸟画创作，深受沈周、陈淳、徐渭的影响，其用笔较方硬，题材、布局也未脱离前人窠臼，但是画中所表现出的兀傲之气，以及不拘一格的大胆剪裁，如不求物象的完整性，却已预示着他的未来的发展。\n八大山人花鸟画最突出特点是“少”，用他的话说是“廉”。少，一是描绘的对象少；二是塑造对象时用笔少。如康熙三十一年所作《花果鸟虫册》，其《涉事》一幅，只画一朵花瓣，总共不过七、八笔便成一幅画。在八大那里，每每一条鱼，一只鸟，一只雏鸡，一棵树，一朵花，一个果，甚至一笔不画，只盖一方印章，便都可以构成一幅完整的画面，可以说少到不可再少了的程度。前人所云“惜墨如金”，又说“以少少许胜多多许”，只有八大才真正做到了这点，可谓前无古人，后难继者。\n少，也许能有人作到，但是少而不薄，少而不贫，少而不单调，少而有味，少而有趣，透过少而给读者一个无限的思想空间，这是难有人作到的，八大山人却具备了如上的要求，这里大有文章。首先是他在用笔用墨上的功夫。他的用笔由方硬变圆润，饱和墨汁与运笔的方法相结合，一下笔就给人以浑厚丰富之感。他是第一个充分主动利用生宣纸特性以加强艺术表现力的画家。生宣纸的吸水能力强，容易使墨汁扩散（洇），这本来是缺点，而八大却把它变为优点，不但为水墨写意画开辟了一个广阔的前景，而且也创造了人们对水墨写意画的新观念，其功不朽。\n其次是形象的塑造。八大山人的花鸟造型，不是简单的变形，而是形与趣、与巧、与意的紧密结合，所以我们在欣赏时，就不会感到单薄和寂寞。再次是他的布局，特别讲究少许物象在二维空间中摆放的位置。其诀窍是充分利用空白，即前人所谓“计白当黑”。与此同时，并充分调动题跋、署款、印章在布局中的均衡、对称、疏密、虚实等的作用。他不像一般画家那样，先画好画，然后在恰当的位置题款和押印，而是有总体的规划设想，使每一点都在布局中起到举足轻重的作用，不多，不少，不奢侈，不节约。例如康熙三十三年所作《花鸟山水册》（上海博物馆藏），第一幅仅画一只雏鸡。小鸡置于画面中右偏下，这一位置的重心，将画面分割成四大块空间，每块空间的大小都不一样，平衡而有变化。由于小鸡头部方向朝左，故题诗在右第二大块空间中，使空荡的背景顿时活跃起来，视觉上起到突破平衡和内容丰富的作用。小鸡的刻画生动传神，动态像小孩刚学走路，蹒跚得十分可爱。瞪着大眼警惕着前方，特别是眼后加三撇，像电波一样，好似前方有什么声响传来，使小鸡心惊胆怯。这只小雏鸡我们可以理解为它刚出蛋壳，表示出对这个世界的惊异与警惕；也可以理解为走失了群体，找不到妈妈，感到孤独而害怕，如何理解，任人们驰骋想象的翅膀，所以有时候少画，反而思想的容量更大。\n少，不是目的而是手段，否则越少越好，艺术又会走入另一条邪径。少是相对的，例如康熙四十二年所作的《杨柳浴禽图》（北京故宫博物院藏），相对上述作品来说是“多”了，但比起一般画家处理同类题材的作品来，却少了许多许多。例如他对柳枝的处理，约有十二笔，就占住了整个画面上部的空间，不但表现出杨柳的老干新枝的质，也表现了枝条迎风的势。在春风料峭之中，八哥在洗刷自己的羽毛将振翅欲飞。这一生活小景，表现出无限的生意。康熙十六年所作的《河上花图》（天津艺术博物馆藏），是八大山人一生作品中仅见的长篇巨制，也是他笔墨最多、布局最复杂的一幅，但他仍然体现着少的原则。例如开卷的一丛荷花，总共超不出三十笔，笔减而意繁，一开卷便引人入胜。\n八大山人，前承古人，后启来者。白石老人曾有诗曰：“青藤（徐渭）雪个（八大山人）远凡胎，缶老（吴昌硕）当年别有才。我原九泉为走狗，三家门下转轮来。”其倾倒如此。今天随着东西方文化的交流，欣赏和理解他艺术的人越来越多。",[24,25,95,7,123,395,128,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg",[222],214,{"id":3610,"slug":3611,"title":3612,"dynasty":174,"author":189,"museum":450,"description":3613,"tags":3614,"thumbUrl":3615,"material":40,"size":3616,"collection":600,"collections":3617,"showCount":3608,"zanCount":5,"manualWeight":46,"mainColor":47},214670,"zhong-kui-tu-huang-shen-214670","钟馗图","这幅画描绘的是钟馗在吃石榴，而一个小孩子和他一起玩。这是黄慎委托的一幅吉祥画",[23,24,25,95,7,547,193,3557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6631ced5ea11c63e64cba3d283250e.jpg","149x110",[600],{"id":3619,"slug":3620,"title":3621,"dynasty":18,"author":1836,"museum":92,"description":3622,"tags":3623,"thumbUrl":3624,"material":298,"size":3625,"collection":42,"collections":3626,"showCount":3627,"zanCount":46,"manualWeight":46,"mainColor":47},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[23,281,24,25,95,7,28,254,36,38,80,180,33,2316,58,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[42,222],213,{"id":3629,"slug":3630,"title":3631,"dynasty":18,"author":2851,"museum":92,"description":3632,"tags":3633,"thumbUrl":3634,"material":7,"size":3635,"collection":42,"collections":3636,"showCount":3627,"zanCount":1084,"manualWeight":46,"mainColor":47},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅（1470—1523），字伯虎，一字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，据传于明宪宗成化六年庚寅年寅月寅日寅时生，故名唐寅。汉族，吴县（今江苏苏州）人。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文征明、徐祯卿并称“江南四才子”，画名更著，与沈周、文征明、仇英并称“吴门四家”。",[24,25,95,7,36,28,624,210,34,193,532,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分",[42],{"id":3638,"slug":3639,"title":292,"dynasty":52,"author":726,"museum":3640,"description":3641,"tags":3642,"thumbUrl":3643,"material":457,"size":3644,"collection":83,"collections":3645,"showCount":3627,"zanCount":473,"manualWeight":46,"mainColor":47},216101,"mo-zhu-tu-wu-zhen-216101","耶鲁大学艺术博物馆","这件作品是一幅描绘竹叶的图画，以其精细的绘画技巧和精美的艺术品质而闻名。墨竹图的名字来源于其使用的墨色，以及它描绘的竹子。墨竹图被认为是中国古代绘画艺术中最优秀的作品之一，并被许多人所珍视。",[23,24,25,1462,7,126,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b830328da9d88aa4e298e550fe00be.jpg","23.2x22.9cm",[83],{"id":3647,"slug":3648,"title":292,"dynasty":174,"author":819,"museum":450,"description":3649,"tags":3650,"thumbUrl":3651,"material":166,"size":166,"collection":166,"collections":3652,"showCount":3653,"zanCount":1084,"manualWeight":46,"mainColor":921},230140,"mo-zhu-tu-zheng-ban-qiao-230140","修竹挺拔舒展，以浓淡墨色铺陈枝叶，虚实错落间尽显萧疏清劲，仿佛携着晚来林风，簌簌有声。画竹以书入笔，笔意兼具行书灵动与隶书沉厚，竹叶如“个”似“介”，爽利遒劲，将竹的孤傲磊落全然铺展。左侧题诗与墨竹相映成趣，诗画交融，以竹为寄，把超脱世俗的清介襟怀藏进笔墨。寥寥数笔便写尽竹之神韵，将文人逸致与君子品性合而为一，尽显文人画托物言志、诗画同源的绝妙意境。",[23,24,25,95,7,38,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f843406125e3d7d75445cdef277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地，举头缈缈似瑶宫。”",[24,25,7,28,95,36,212,33,3660,34,3661,532,211,3662,3663,1840,3664,3665,3666],"雾气","小筑","晴岚","杂树","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[220,222],{"id":3671,"slug":3672,"title":3673,"dynasty":889,"author":1057,"museum":450,"description":3674,"tags":3675,"thumbUrl":3676,"material":314,"size":1061,"collection":166,"collections":3677,"showCount":3678,"zanCount":46,"manualWeight":46,"mainColor":461},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 此画用墨饱满，笔法简炼雄劲。",[281,24,28,7,36,95,34,30,29,32,1776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg",[],211,{"id":3680,"slug":3681,"title":3682,"dynasty":18,"author":19,"museum":450,"description":3683,"tags":3684,"thumbUrl":3688,"material":314,"size":1061,"collection":166,"collections":3689,"showCount":3678,"zanCount":1084,"manualWeight":46,"mainColor":140},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,281,24,26,25,494,7,27,36,212,1776,535,3685,29,30,3686,3687,38,37,80],"山居","亭舍","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],{"id":3691,"slug":3692,"title":1238,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":3693,"thumbUrl":3694,"material":314,"size":1061,"collection":166,"collections":3695,"showCount":3678,"zanCount":5,"manualWeight":46,"mainColor":47},287444,"lan-zhu-tu-shi-tao-287444",[281,24,25,95,7,126,133,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78897544684d19c2db3989df6b58bf38.jpg",[],{"id":3697,"slug":3698,"title":3699,"dynasty":18,"author":19,"museum":294,"description":3700,"tags":3701,"thumbUrl":3702,"material":40,"size":3703,"collection":42,"collections":3704,"showCount":3678,"zanCount":5,"manualWeight":46,"mainColor":461},219718,"qiu-lin-xian-diao-tu-shen-zhou-219718","秋林闲钓图","《秋林闲钓图》以士人悠游林下的生活场景为主线，画一老者，端坐于河边树下坡地，全神执竿垂钓。画树错落有致，姿态优美，笔力古健。此图于成化十一年乙未（1475年）所作，作者沈周时年四十九岁。图上有沈周的题款：“繫舟烟浪夕，笑语溢柴闗。淡墨灯前画，故情江上山。相交父子者，岂在酒杯间。与君将白发，共对钓丝閒。予谬交志刚彭君父子间几三十年，志刚有古道，通予有无，非市郭拍肩执袂者比也。乙未长至后一日志刚擕酌至有竹居，秉烛写此图并题其上，聊寓感感而已，诗画云乎哉。沈周。",[24,7,36,95,28,193,147,180,729,610,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59ec7decf5cf8b949fc64e7998369.jpg","纵152.4厘米，横62.9厘",[42],{"id":3706,"slug":3707,"title":3708,"dynasty":174,"author":418,"museum":20,"description":3709,"tags":3710,"thumbUrl":3712,"material":98,"size":3713,"collection":83,"collections":3714,"showCount":3678,"zanCount":46,"manualWeight":46,"mainColor":47},218898,"yu-ya-tu-juan-zhu-da-218898","鱼鸭图卷","朱耷，号八大山人。八大山人被人们所称道不仅是因为他是一个独具个性的画家，还因为坚守民族气节的品质。明末崇祯皇帝自缢时，八大山人已九岁，作为一个宗室后裔遭到国破家亡的命运，其悲痛可以想象的。他佯狂避世，杜绝交往，甘于贫困，沉溺于书画的创作中。他的作品独具一种“笔意纵恣”的画风。这件《鱼鸭图》是他晚年艺术创作成熟阶段的代表作品 。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[23,24,25,26,7,1114,3711,180,80],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纵23.2厘米 横569.5厘米",[83],{"id":3716,"slug":3717,"title":3718,"dynasty":18,"author":646,"museum":692,"description":3719,"tags":3720,"thumbUrl":3721,"material":98,"size":3722,"collection":42,"collections":3723,"showCount":3724,"zanCount":1084,"manualWeight":46,"mainColor":47},218246,"zhong-ting-bu-yue-tu-wen-zheng-ming-218246","中庭步月图","《中庭步月图》描绘的是文徵明自京师返回六年后（1532）一个初冬的月夜与来客啜茶聚餐后步于园中赏月话旧的真实记录，款有“风檐石鼎燃湘竹，夜久香浮乳花熟”和“命僮子烹苦茗等茶事记录。该图与苏东坡《记承天寺夜游》一文中描写的境界相同，全画笔墨洒脱清雅，画风平稳细净、明秀简雅，恰如其分地表现了这个特定环境中的情感世界。画风兼乎于“粗文”“细文”之间，工整文静中不失粗放清旷，雄浑气象，是文征明在这一年龄阶段所呈现出来的特有的风格特色，从中可明确感受到文征明绘画风格演变的一些基本脉络。",[24,25,7,36,38,37,193,33,940,268,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe584a4868045e12b6c6e719755dcfb31.jpg","纵147.6厘米，横50.5厘米",[42],210,{"id":3726,"slug":3727,"title":3728,"dynasty":205,"author":293,"museum":450,"description":3729,"tags":3730,"thumbUrl":3731,"material":314,"size":1061,"collection":166,"collections":3732,"showCount":3733,"zanCount":5,"manualWeight":46,"mainColor":140},283690,"ku-mu-guai-shi-tu-su-shi-283690","枯木怪石图","《枯木怪石图》又名《木石图》，是北宋苏轼任徐州太守时曾亲往萧县圣泉寺时所创作的一幅纸本墨笔画，该画作现存于中国。\n该画作画面内容很简单，是一株枯木状如鹿角，一具怪石形如蜗牛，怪石后伸出星点矮竹。用笔看似疏野草草，不求形似，其实行笔的轻重缓急，盘根错节，都流露出作者很深的毛笔功底。",[281,24,7,180,809,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5c0c052b16d8867694167b7bda19b9.jpg",[],209,{"id":3735,"slug":3736,"title":3737,"dynasty":18,"author":1836,"museum":159,"description":3738,"tags":3739,"thumbUrl":3740,"material":40,"size":166,"collection":42,"collections":3741,"showCount":3733,"zanCount":1084,"manualWeight":46,"mainColor":47},217035,"fang-gu-shan-shui-ce-liu-kai-dong-qi-chang-217035","仿古山水册六开","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,74,7,27,28,180,33,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c86fc6883114d3cb2271f4635b98dd.jpg",[42],{"id":3743,"slug":3744,"title":3745,"dynasty":18,"author":3746,"museum":92,"description":3747,"tags":3748,"thumbUrl":3749,"material":98,"size":3750,"collection":600,"collections":3751,"showCount":3733,"zanCount":5,"manualWeight":46,"mainColor":47},214252,"luo-han-tu-li-yu-214252","罗汉图","李遹","罗汉图是明代画家李遹的一幅代表作。这幅画作描绘了罗汉的神圣形象。\n\n罗汉是佛教中的神，被认为是佛教徒的保护神。在这幅画作中，李遹巧妙地捕捉了罗汉的神圣形象。他用浓墨重彩的画法，勾勒出了罗汉的宏伟身形。他还用细腻的线条勾勒出了罗汉的面容，让人感受到了罗汉的慈祥和仁慈。\n\n此外，李遹在这幅画作中还描绘了罗汉周围的景色。他用色彩丰富的画法，描绘了罗汉周围的山川和河流。这些景色与罗汉的神圣形象形成了鲜明的对比，让人感受到了自然与神的和谐统一。\n\n总之，罗汉图是一幅精美的画作，描绘了罗汉的神圣形象。它让我们感受到了明代画家李遹对佛教的崇敬之情，也让我们感受到了明代文化的魅力。\n\n在这幅画作中，李遹运用了丰富的色彩和细腻的线条，将罗汉的神圣形象展现得淋漓尽致。他还用精美的画法描绘了罗汉周围的景色，让人感受到了自然与神的和谐统一。\n\n罗汉图是明代文化中的经典之作，也是李遹的代表作之一。它不仅展现了李遹的艺术才华，也是一幅能够唤起人们对佛教的崇敬之情的画作。",[23,24,25,3557,547,7,193,349,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120eeb39e103b48205756344a5362f0a.jpg","56.6x32.6",[600],{"id":3753,"slug":3754,"title":645,"dynasty":205,"author":607,"museum":1346,"description":3755,"tags":3756,"thumbUrl":3757,"material":3758,"size":3759,"collection":220,"collections":3760,"showCount":3761,"zanCount":46,"manualWeight":46,"mainColor":140},221521,"shan-shui-tu-ma-yuan-221521","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[23,24,25,7,27,36,28,335,350,147,32,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[220,42,222],208,{"id":3763,"slug":3764,"title":3765,"dynasty":359,"author":360,"museum":3766,"description":3767,"tags":3768,"thumbUrl":3769,"material":1877,"size":166,"collection":166,"collections":3770,"showCount":3761,"zanCount":46,"manualWeight":46,"mainColor":47},220609,"xia-tu-qi-bai-shi-220609","虾图","中国现当代美术文献研究中心","这幅虾群灵动鲜活，是水墨写意的神来之笔。以淡墨晕染虾身，晕染出甲壳的通透质感，浓墨点睛、重笔挥毫虾枪与虾脑，寥寥数笔便勾勒出河虾的挺拔神气。细劲飘逸的长须似有若无，仿佛随水流轻颤，将群虾在清水中自在穿梭的姿态描摹得淋漓尽致。\n\n群虾排布错落有致，聚散得宜，画面留白暗藏水意，让观者仿佛能窥见池水清浅。左侧题诗与绘画面面相映，尽显晚年笔力的老辣生趣。写实与写意浑然相融，将文人意趣与自然生机揉合无间，寥寥水墨尽显国画留白写意的精妙，把河虾灵动活泼的天性尽数展现，勾勒出鲜活悠游的池底意趣。",[24,7,123,38,869,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be1b5af9ae4beb75fd1a48ec1b40bd.jpg",[],{"id":3772,"slug":3773,"title":3774,"dynasty":52,"author":239,"museum":92,"description":3775,"tags":3776,"thumbUrl":3777,"material":298,"size":3778,"collection":245,"collections":3779,"showCount":3780,"zanCount":5,"manualWeight":46,"mainColor":47},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,281,24,25,26,38,547,7,27,193,28,31,30,940,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[245],207,{"id":3782,"slug":3783,"title":3784,"dynasty":205,"author":278,"museum":92,"description":3785,"tags":3786,"thumbUrl":3787,"material":457,"size":3788,"collection":220,"collections":3789,"showCount":3780,"zanCount":1084,"manualWeight":46,"mainColor":140},218864,"xi-shan-gao-yi-tu-xia-gui-218864","溪山高逸图","山石以劲挺斧劈皴勾勒，棱角如剑刃划破烟岚，却含苍润之气。树木疏朗，枝干屈铁盘结，墨色浓淡相济，叶簇攒云般摇曳，似在风中低语清寂。构图于层峦间藏空灵：远山隐黛，近树扶疏，溪涧凉意从林木间隙渗出，未绘却已感知。\n\n整幅画以极简笔墨写尽“高逸”：无喧嚣，唯山风穿林轻响；无俗事，唯隐者静观天地。树后茅舍隐约，似有高士凭窗，将尘心托付烟霞，精神游弋林泉。苍劲中见温婉，疏淡里藏深情——恰如宋人对自然的敬畏，对自由的向往，尽在咫尺画卷间，让观者也随笔墨潜入山林，暂忘尘扰。",[23,24,28,36,7,95,147,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83a500324062626de8322a3fc16b72d.jpg","45.5x36.5厘米",[220,42],{"id":3791,"slug":3792,"title":3793,"dynasty":174,"author":633,"museum":176,"description":3794,"tags":3795,"thumbUrl":3797,"material":40,"size":3798,"collection":600,"collections":3799,"showCount":3780,"zanCount":1084,"manualWeight":46,"mainColor":47},217065,"san-yang-kai-tai-tu-ren-yi-217065","三羊开泰图","这是一幅三羊开泰的画作，象征着三羊开泰 的含义。这幅画画在生纸上，是艺术的杰作，人物形象显著，有老莲的传承。三只羊的排列也很引人注目，黑羊只露出眼睛和两个长角，进一步显示了作者的创造性和天才。",[23,24,27,7,481,95,193,3796,453],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaf294ec271b5da04f59a3aa051ce5f.jpg","145x75",[600],{"id":3801,"slug":3802,"title":3803,"dynasty":18,"author":19,"museum":450,"description":3683,"tags":3804,"thumbUrl":3806,"material":314,"size":1061,"collection":166,"collections":3807,"showCount":3808,"zanCount":436,"manualWeight":46,"mainColor":921},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,281,24,25,26,7,27,28,324,126,33,34,29,32,38,80,3805],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":3810,"slug":3811,"title":3812,"dynasty":52,"author":239,"museum":120,"description":3813,"tags":3814,"thumbUrl":3815,"material":1221,"size":3816,"collection":222,"collections":3817,"showCount":3808,"zanCount":5,"manualWeight":46,"mainColor":140},220869,"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[23,24,25,95,7,36,126,180,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","纵108.2厘米，横48.8厘米",[222,919],{"id":3819,"slug":3820,"title":3821,"dynasty":174,"author":377,"museum":430,"description":431,"tags":3822,"thumbUrl":3824,"material":40,"size":166,"collection":83,"collections":3825,"showCount":3808,"zanCount":5,"manualWeight":46,"mainColor":47},218126,"yu-xiang-jiao-ye-tu-shi-tao-218126","雨乡蕉叶图",[23,24,7,27,38,80,3823,2875],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d80c7cb86c795587ab382481f9fcbed.jpg",[83],{"id":3827,"slug":3828,"title":3829,"dynasty":205,"author":293,"museum":450,"description":3830,"tags":3831,"thumbUrl":3832,"material":166,"size":166,"collection":166,"collections":3833,"showCount":3834,"zanCount":1084,"manualWeight":46,"mainColor":140},227548,"su-mi-he-bi-juan-su-shi-227548","苏米合壁卷","宋四家是中国北宋时期四位书法家苏轼、黄庭坚、米芾和蔡襄的合称。这四个人大致可以代表宋代的书法风格，而且成就最高，故称“宋四家”。\n\n明清以来，有一些人认为宋四家中的“蔡”原本应该是蔡京，后人不齿其为人，所以把蔡京换为蔡襄，并认为蔡襄的艺术成就在蔡京之上。",[23,281,24,25,26,38,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29cc290566e8c44a8299b10e7320bf6.jpg",[],204,{"id":3836,"slug":3837,"title":3838,"dynasty":205,"author":3839,"museum":92,"description":3840,"tags":3841,"thumbUrl":3847,"material":61,"size":3848,"collection":220,"collections":3849,"showCount":3834,"zanCount":1084,"manualWeight":46,"mainColor":140},221618,"qian-li-jiang-shan-tu-juan-jiang-can-221618","千里江山图卷","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[23,281,24,26,7,28,3842,3256,3843,2283,3844,3845,29,32,59,193,3846],"群峰","溪壑","农舍","栈道","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[220,42,64],{"id":3851,"slug":3852,"title":888,"dynasty":889,"author":890,"museum":120,"description":891,"tags":3853,"thumbUrl":3856,"material":61,"size":896,"collection":42,"collections":3857,"showCount":3834,"zanCount":5,"manualWeight":46,"mainColor":47},221155,"xiao-xiang-tu-dong-yuan-221155",[23,24,26,25,494,7,27,36,28,894,3854,1925,193,211,3855],"苇渚","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg",[42,222],{"id":3859,"slug":3860,"title":3861,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":3862,"thumbUrl":3863,"material":314,"size":1061,"collection":166,"collections":3864,"showCount":3865,"zanCount":46,"manualWeight":46,"mainColor":47},240255,"ba-da-shan-ren-xi-yuan-ya-ji-tu-ji-juan-zhu-da-240255","八大山人西园雅集图记卷",[23,24,25,26,37,38,7,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f9f166a40fcf4ec139f19c82aed61.jpg",[],203,{"id":3867,"slug":3868,"title":3869,"dynasty":18,"author":581,"museum":450,"description":3870,"tags":3871,"thumbUrl":3872,"material":166,"size":166,"collection":166,"collections":3873,"showCount":3865,"zanCount":436,"manualWeight":46,"mainColor":47},235322,"shen-zhou-xi-shan-wan-zhao-tu-zhou-yi-ming-235322","沈周溪山晚照图轴","此作用高远章法铺陈，上部危崖耸峙，飞泉自谷间垂落，苍劲皴笔勾勒出嶙峋厚重的山石肌理。下部溪岸错落，疏林亭亭，茅舍隐于陂岸之后，淡墨晕染出薄暮空濛之境。\n\n笔墨带着吴门画派的文人情致，枯湿浓淡相宜，简淡中见苍润。诗画合璧，将山居暮色里的幽寂禅意娓娓道来，林泉高致的雅兴融于尺幅，静穆空远，尽显晚照溪山的澹然逸趣。",[24,25,95,7,28,30,210,33,34,2925,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bbddeb071a1e562b0706ec6e36e9088.jpg",[],{"id":3875,"slug":3876,"title":3877,"dynasty":174,"author":1100,"museum":120,"description":3878,"tags":3879,"thumbUrl":3882,"material":3883,"size":3884,"collection":166,"collections":3885,"showCount":3865,"zanCount":5,"manualWeight":46,"mainColor":47},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[24,95,27,123,75,3880,551,3881,7,3074],"紫藤","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米",[],{"id":3887,"slug":3888,"title":3889,"dynasty":174,"author":819,"museum":770,"description":3890,"tags":3891,"thumbUrl":3892,"material":3893,"size":3894,"collection":83,"collections":3895,"showCount":3865,"zanCount":46,"manualWeight":46,"mainColor":47},223297,"you-lan-tu-zheng-ban-qiao-223297","幽兰图","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[23,24,7,123,38,133,126,180,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[83,222,245],{"id":3897,"slug":3898,"title":3899,"dynasty":18,"author":119,"museum":120,"description":3900,"tags":3901,"thumbUrl":3903,"material":298,"size":3904,"collection":600,"collections":3905,"showCount":3865,"zanCount":1084,"manualWeight":46,"mainColor":140},222238,"lv-bei-yin-shi-tu-zhou-xu-wei-222238","驴背吟诗图轴","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”（《琅嬛文集·跋徐青藤小品画》）",[23,24,7,123,95,193,3902,37,80],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纵112.2厘米，横30厘米",[600,222],{"id":3907,"slug":3908,"title":3909,"dynasty":3910,"author":581,"museum":3911,"description":3912,"tags":3913,"thumbUrl":3915,"material":98,"size":166,"collection":222,"collections":3916,"showCount":3865,"zanCount":46,"manualWeight":46,"mainColor":140},218498,"fu-hu-luo-han-tu-yi-ming-218498","伏虎罗汉图","隋","纳尔逊·阿特金森艺术博物馆","松枝苍劲如铁，虬干盘曲间洒落清寂。罗汉衣袂简淡，手持念珠，眉目舒展，静定之气溢于笔端。猛虎伏身于侧，斑纹墨线勾勒得古朴生动，却无往日凶戾，似被禅意悄然驯服，尾梢轻卷，与罗汉相望成趣。画面以淡墨晕染，线条洗练，每一笔皆藏古雅之韵。禅者的澄明与猛兽的温顺在此交融，于简素构图中铺展一方物我相忘的天地，仿佛能闻松风低语，见禅心照彻，尽显传统水墨中“以静制动”的妙趣与哲思。",[24,25,7,547,3557,193,3914,453,147,34,809,80],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874aa5c9ffd1e8999c79d811f94fa79.jpg",[222],{"id":3918,"slug":3919,"title":3920,"dynasty":174,"author":418,"museum":159,"description":419,"tags":3921,"thumbUrl":3922,"material":98,"size":423,"collection":166,"collections":3923,"showCount":3865,"zanCount":1084,"manualWeight":46,"mainColor":47},216912,"hua-niao-si-tiao-ping-2-zhu-da-216912","花鸟四条屏-2",[23,24,25,95,7,123,77,180,717,96,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg",[],{"id":3925,"slug":3926,"title":3927,"dynasty":174,"author":3928,"museum":20,"description":3929,"tags":3930,"thumbUrl":3932,"material":298,"size":166,"collection":83,"collections":3933,"showCount":3934,"zanCount":46,"manualWeight":46,"mainColor":47},233182,"hua-hui-ce-ju-hua-hai-tang-ye-zhao-zhi-qian-233182","花卉册-菊花海棠页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[24,25,74,27,7,123,75,134,3931],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5edbc8bd73f1dd91029ea9127ec59094.jpg",[83,64],201,{"id":3936,"slug":3937,"title":3938,"dynasty":889,"author":1266,"museum":92,"description":3939,"tags":3940,"thumbUrl":3944,"material":218,"size":3945,"collection":166,"collections":3946,"showCount":3934,"zanCount":5,"manualWeight":46,"mainColor":140},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[23,281,24,25,95,7,36,28,3941,1386,34,33,212,3942,1776,3943],"层岩","叠嶂","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","纵144.1厘米，横55.4厘米",[],{"id":3948,"slug":3949,"title":3950,"dynasty":889,"author":1266,"museum":92,"description":3951,"tags":3952,"thumbUrl":3953,"material":7,"size":3954,"collection":42,"collections":3955,"showCount":3934,"zanCount":5,"manualWeight":46,"mainColor":140},218919,"han-lin-wan-xiu-tu-ju-ran-218919","寒林晚岫图","这幅画，是朱兰的作品，不属于这个时代，紧邻的岩石有范宽后来的点画作品。",[23,24,281,95,7,36,28,33,717,213,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[42],{"id":3957,"slug":3958,"title":1557,"dynasty":205,"author":278,"museum":450,"description":3959,"tags":3960,"thumbUrl":3961,"material":110,"size":3962,"collection":42,"collections":3963,"showCount":3934,"zanCount":5,"manualWeight":46,"mainColor":140},218591,"yu-fu-tu-xia-gui-218591","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[281,24,25,95,7,27,36,28,162,31,507,164,729],"https:\u002F\u002Foss.chuangqi.store\u002Ft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23.8厘米",[42],{"id":4019,"slug":4020,"title":4021,"dynasty":205,"author":206,"museum":92,"description":4022,"tags":4023,"thumbUrl":4024,"material":110,"size":4025,"collection":220,"collections":4026,"showCount":4007,"zanCount":1084,"manualWeight":46,"mainColor":140},220227,"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,24,494,36,7,335,831,33,268,210,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[220,42],{"id":4028,"slug":4029,"title":306,"dynasty":52,"author":581,"museum":120,"description":4030,"tags":4031,"thumbUrl":4032,"material":110,"size":4033,"collection":42,"collections":4034,"showCount":4007,"zanCount":1084,"manualWeight":46,"mainColor":140},218083,"xi-shan-xing-lv-tu-yi-ming-218083","溪山行旅图是元朝时期的一幅名画，出自佚名画家之手。这幅画描绘了一位旅人在溪山间游玩的情景。\n\n在画面的左侧，可以看到一座小山丘，上面种满了树木。旅人正站在山丘的山顶上，俯视着前方的景色。他手持竹筒，似乎是在欣赏周围的美景。\n\n在画面的右侧，是一条清澈的小溪，溪水潺潺流过。旅人似乎正准备沿着小溪走去，去寻找下一个游玩的地方。\n\n整幅画的画风浑然天成，笔触轻柔，描绘了大自然的美丽景色。这幅画不仅是一幅艺术作品，也是对元朝时期生活的一个精彩纪录。",[24,7,27,36,28,31,34,147,30,212,33,1385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f2b220aace68ac2f2e8d66ba147f2c.jpg","110.5x176.5cm",[42],{"id":4036,"slug":4037,"title":4038,"dynasty":174,"author":1100,"museum":120,"description":4039,"tags":4040,"thumbUrl":4042,"material":537,"size":166,"collection":83,"collections":4043,"showCount":4044,"zanCount":5,"manualWeight":46,"mainColor":47},237157,"lan-hua-zhou-wu-chang-shuo-237157","兰花轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,95,7,4041,80,37],"兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6b4b3f9192dc4eaf607bfc0f395f74.jpg",[83],197,{"id":4046,"slug":4047,"title":2814,"dynasty":174,"author":1100,"museum":120,"description":4039,"tags":4048,"thumbUrl":4049,"material":537,"size":166,"collection":83,"collections":4050,"showCount":4051,"zanCount":1084,"manualWeight":46,"mainColor":47},237158,"mei-hua-zhou-wu-chang-shuo-237158",[24,25,95,7,38,80,37,2816,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ddc2ba3abfecbf7d18533654b3d87.jpg",[83],196,{"id":4053,"slug":4054,"title":4055,"dynasty":205,"author":344,"museum":294,"description":4056,"tags":4057,"thumbUrl":4058,"material":98,"size":4059,"collection":83,"collections":4060,"showCount":4051,"zanCount":473,"manualWeight":46,"mainColor":140},218750,"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","这幅无名画据说是宋代著名龙画家陈容的作品，与波士顿博物馆的标准九龙图相比，它最接近波士顿博物馆的收藏。两条龙盘踞在岩石间的缝隙中，墨色苍白而古老，笔触滴水不漏。这幅画可以说是陈所翁画派的一个精品。",[23,24,25,26,7,36,349,162,34,454,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[83],{"id":4062,"slug":4063,"title":4064,"dynasty":174,"author":749,"museum":378,"description":4065,"tags":4066,"thumbUrl":4067,"material":40,"size":4068,"collection":42,"collections":4069,"showCount":4051,"zanCount":5,"manualWeight":46,"mainColor":47},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,24,25,28,7,36,254,34,33,215,32,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[42],{"id":4071,"slug":4072,"title":4073,"dynasty":174,"author":491,"museum":544,"description":2292,"tags":4074,"thumbUrl":4076,"material":40,"size":2295,"collection":64,"collections":4077,"showCount":4078,"zanCount":1084,"manualWeight":46,"mainColor":47},220000,"shan-shui-hua-han-shi-hou-yi-ri-hua-yu-xi-tian-mao-she-wang-shi-min-220000","山水画-寒食后一日画于西田茅舍",[24,25,7,27,36,28,335,706,33,148,211,533,4075],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a4fe667946ab4386529b843dc33e21.jpg",[64],195,{"id":4080,"slug":4081,"title":157,"dynasty":174,"author":377,"museum":450,"description":4082,"tags":4083,"thumbUrl":4084,"material":166,"size":166,"collection":42,"collections":4085,"showCount":4086,"zanCount":1084,"manualWeight":46,"mainColor":47},224497,"shan-shui-ce-shi-tao-224497","此作以峡谷江流铺展画卷，春水澹澹载扁舟穿峡而过，舱中旅人静对山光。浅绛轻施晕染山石，清润柔和间见嶙峋风骨，枯笔皴擦点染枯枝，苍劲朴拙，与柔缓水色相映成趣。\n题诗伴画，将羁旅闲愁融进山岚烟波，画随诗添寂廖清旷之致。笔意灵动不拘一格，以淡墨轻岚晕开早春空蒙水雾，把文人隐逸襟怀寄寓在山水间，简淡画面中藏着悠长余韵，尽得山水写意之妙。",[23,24,27,7,36,74,28,31,30,34,147,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ec00a8f9b85ce3fb668f29eabc877.jpg",[42,64],194,{"id":4088,"slug":4089,"title":4090,"dynasty":52,"author":621,"museum":92,"description":4091,"tags":4092,"thumbUrl":4093,"material":98,"size":4094,"collection":166,"collections":4095,"showCount":4096,"zanCount":5,"manualWeight":46,"mainColor":47},232638,"rong-xi-zhai-tu-ni-zan-232638","容膝斋图","该图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，中幅为湖光波色，图上部的远岫遥岑横于波际。这种三段式的构图，是倪瓒山水画的特征之一。其山水取法于董源，石上横拖披麻，皴法清逸。其树法参差变化，结体有骨力，而树头枝梢，每多生意。枯树擦以枯笔，墨色浓淡错综而滋润浑厚。\n此画分近、中、远三景， 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。",[24,7,494,36,37,80,28,32,162,180,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":4098,"slug":4099,"title":4100,"dynasty":174,"author":819,"museum":20,"description":4101,"tags":4102,"thumbUrl":4103,"material":537,"size":4104,"collection":83,"collections":4105,"showCount":4096,"zanCount":46,"manualWeight":46,"mainColor":47},223290,"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[23,24,25,95,7,75,126,134,1104,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[83,222],{"id":4107,"slug":4108,"title":4109,"dynasty":52,"author":4110,"museum":92,"description":4111,"tags":4112,"thumbUrl":4113,"material":284,"size":4114,"collection":42,"collections":4115,"showCount":4096,"zanCount":486,"manualWeight":46,"mainColor":140},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,24,25,26,7,36,28,32,29,30,33,193,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[42,222],{"id":4117,"slug":4118,"title":4119,"dynasty":205,"author":4120,"museum":20,"description":4121,"tags":4122,"thumbUrl":4124,"material":3471,"size":4125,"collection":220,"collections":4126,"showCount":4096,"zanCount":46,"manualWeight":46,"mainColor":140},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[23,24,25,2446,7,27,36,28,610,147,4123,312,193,311,180,215,335],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[220,42,222],{"id":4128,"slug":4129,"title":4130,"dynasty":18,"author":4131,"museum":450,"description":4132,"tags":4133,"thumbUrl":4134,"material":98,"size":166,"collection":42,"collections":4135,"showCount":4096,"zanCount":436,"manualWeight":46,"mainColor":140},216322,"xi-xiang-ji-zhen-ben-tu-ce-chen-hong-shou-216322","西厢记真本图册","陈洪绶","双石并置构出幽境，左石奇崛如骨，线条凝涩似铁，皴擦间露嶙峋之态；右石小巧玲珑，与左石相顾成趣。石畔淡扫苔痕，暗合《西厢》月下幽会的静谧氛围。题字笔墨古雅，与山石苍劲相融，整体气息静穆含情。画家以独特造型意趣，将文人画韵致注入画中，简淡处见深致，似在无声传递戏文里的婉转情愫，尽显古雅奇倔的艺术风格。每一笔墨皆藏匠心，于方寸间铺展戏文外的悠长余韵，让观者在石影苔痕里，触碰到那份含蓄的古典情致。",[24,74,547,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35f624afc5dc33ed7f8dd1e142d2bf7.jpg",[42],{"id":4137,"slug":4138,"title":4139,"dynasty":18,"author":4140,"museum":294,"description":4141,"tags":4142,"thumbUrl":4144,"material":110,"size":166,"collection":600,"collections":4145,"showCount":4096,"zanCount":1084,"manualWeight":46,"mainColor":47},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,25,26,7,27,481,36,28,193,32,29,30,33,706,37,4143],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[600],{"id":4147,"slug":4148,"title":4149,"dynasty":359,"author":360,"museum":1188,"description":4150,"tags":4151,"thumbUrl":4157,"material":1194,"size":166,"collection":166,"collections":4158,"showCount":4159,"zanCount":1084,"manualWeight":46,"mainColor":47},220586,"li-zi-shu-he-san-zhi-kun-chong-qi-bai-shi-220586","李子树和三只昆虫","以焦墨挥写虬曲枝干，苍劲老辣带着朴拙野趣。明黄果实以没骨点染，圆厚饱满，鲜亮明快。墨色叶片兼工带写，叶缘焦墨棘刺点缀，粗粝间暗藏灵动。\n\n蝉踞枝桠、蝼蛄游于纸间，草虫刻画纤毫毕现，与大写意的花果形成强烈的工写对比，一简一繁，将乡野小景的生机尽致铺展。构图疏密错落，斜逸的枝条串联起满幅花果，鲜活虫趣让静态画幅瞬间鲜活，尽显自然天趣与田园诗意，于平淡中晕开醇厚的烟火意趣。",[281,24,4152,95,7,27,1642,1191,4153,4154,4155,4156],"花鸟画","蝼蛄","草虫","工写结合","田园意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2ed094ae70ff55be21c091139f419b.jpg",[],192,{"id":4161,"slug":4162,"title":4163,"dynasty":205,"author":2494,"museum":843,"description":4164,"tags":4165,"thumbUrl":4166,"material":110,"size":166,"collection":220,"collections":4167,"showCount":4159,"zanCount":5,"manualWeight":46,"mainColor":47},219112,"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[24,26,481,547,75,77,125,126,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[220,83],{"id":4169,"slug":4170,"title":4171,"dynasty":359,"author":360,"museum":120,"description":4172,"tags":4173,"thumbUrl":4176,"material":40,"size":4177,"collection":83,"collections":4178,"showCount":4159,"zanCount":46,"manualWeight":46,"mainColor":47},216931,"zong-shu-guo-guo-tu-qi-bai-shi-216931","棕树蝈蝈图","赭色树干以浓淡墨线勾皴，如老藤盘结，墨叶纷披似风过梢头，洒脱不羁。画面一隅，蝈蝈翅脉分明，肢足灵动，朱红与赭黄晕染出鲜活质感，似欲振翅而鸣。工细的虫与豪放的树形成鲜明对照，笔意间藏着对生活的细腻观察。简淡的纸本上，墨色苍劲与设色明丽相映成趣，寻常景物里溢出盎然生机，尽显白石老人以小见大、以俗见雅的艺术妙趣。",[23,24,27,7,481,75,4174,4175,80],"棕树","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34160a48a9de7587fb99671f3678ca1f.jpg","69.5x34.3cm",[83],{"id":4180,"slug":4181,"title":4182,"dynasty":205,"author":4183,"museum":294,"description":4184,"tags":4185,"thumbUrl":4186,"material":3471,"size":4187,"collection":220,"collections":4188,"showCount":4189,"zanCount":436,"manualWeight":46,"mainColor":140},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","刘松年","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,281,25,26,481,36,7,28,831,717,34,35,58,31,468,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[220,42,64],191,{"id":4191,"slug":4192,"title":4193,"dynasty":52,"author":53,"museum":120,"description":4194,"tags":4195,"thumbUrl":4196,"material":564,"size":4197,"collection":42,"collections":4198,"showCount":4189,"zanCount":5,"manualWeight":46,"mainColor":47},220762,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-220762","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[24,25,95,7,28,34,33,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47a387eca670a16b7feb78d3aa3088.jpg","纵101.3厘米，横43.8厘米",[42,222],{"id":4200,"slug":4201,"title":4202,"dynasty":174,"author":2029,"museum":20,"description":4203,"tags":4204,"thumbUrl":4205,"material":298,"size":4206,"collection":42,"collections":4207,"showCount":4189,"zanCount":1084,"manualWeight":46,"mainColor":47},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","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。",[24,281,25,7,36,28,29,30,32,624,324,213,210,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[42],{"id":4209,"slug":4210,"title":4211,"dynasty":52,"author":53,"museum":450,"description":4212,"tags":4213,"thumbUrl":4214,"material":166,"size":166,"collection":166,"collections":4215,"showCount":4216,"zanCount":46,"manualWeight":46,"mainColor":47},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","以淡墨干皴晕染富春丘壑，峰峦坡陀缓缓铺展，林木萧疏错落，晕开江南初秋的空寂淡远。用笔松秀灵动，线条温润苍劲，墨色干湿浓淡层次丰盈，晕染出山川悠远的氤氲清气。\n卷后题跋与山水相映，文心画意相融无间，尽显文人画的雅致意趣。整卷意境简远高迈，将天地山川的沉静澹泊与文人林下襟怀合而为一，如一首悠然山水长诗，引观画人步入富春烟岚之间，沉醉在清和淡远的隐逸之美中。",[24,25,26,7,28,36,80,37,38,34,33,147,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":4218,"slug":4219,"title":4220,"dynasty":174,"author":4221,"museum":92,"description":4222,"tags":4223,"thumbUrl":4224,"material":166,"size":166,"collection":83,"collections":4225,"showCount":4216,"zanCount":46,"manualWeight":46,"mainColor":140},224119,"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[23,24,25,7,80,37,38,147,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[83,222],{"id":4227,"slug":4228,"title":4229,"dynasty":205,"author":1682,"museum":4230,"description":4231,"tags":4232,"thumbUrl":4233,"material":98,"size":4234,"collection":222,"collections":4235,"showCount":4216,"zanCount":473,"manualWeight":46,"mainColor":47},218647,"dong-ting-qiu-yue-tu-mu-xi-218647","洞庭秋月图","德川美术馆","据东京大学专门研究中国绘画史的小川裕中教授说，这幅《洞庭秋月》应该是潇湘八景中的第七幅。使用最简单的材料--水和墨，穆克希出色地捕捉到了潇湘地区的潮湿空气和朦胧的光线。",[23,24,7,28,31,940,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2680a913c7b3b674cc9769c96fa43ce.jpg","29.4x93.1",[222],{"id":4237,"slug":4238,"title":888,"dynasty":205,"author":2727,"museum":20,"description":4239,"tags":4240,"thumbUrl":4241,"material":98,"size":166,"collection":42,"collections":4242,"showCount":4243,"zanCount":5,"manualWeight":46,"mainColor":47},218592,"xiao-xiang-tu-mi-you-ren-218592","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[24,25,26,7,36,28,211,33,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[42],188,{"id":4245,"slug":4246,"title":4247,"dynasty":52,"author":239,"museum":120,"description":4248,"tags":4249,"thumbUrl":4250,"material":98,"size":4251,"collection":42,"collections":4252,"showCount":4243,"zanCount":5,"manualWeight":46,"mainColor":140},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[23,24,26,7,28,36,37,29,30,31,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[42],{"id":4254,"slug":4255,"title":3402,"dynasty":174,"author":4256,"museum":450,"description":4257,"tags":4258,"thumbUrl":4259,"material":314,"size":1061,"collection":166,"collections":4260,"showCount":4261,"zanCount":436,"manualWeight":46,"mainColor":47},235426,"he-hua-zhou-lu-hui-235426","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）。",[24,25,95,27,7,75,395,396,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e20f7c46d85cc1273ebbc0538eb92b.jpg",[],187,{"id":4263,"slug":4264,"title":1015,"dynasty":174,"author":633,"museum":544,"description":634,"tags":4265,"thumbUrl":4266,"material":196,"size":4267,"collection":166,"collections":4268,"showCount":4261,"zanCount":436,"manualWeight":46,"mainColor":47},223234,"mao-ren-yi-223234",[23,24,27,7,123,453,1015,421,2203,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a86222d0db22e107ac26316d3450be.jpg","150cmx40cm",[],{"id":4270,"slug":4271,"title":4272,"dynasty":18,"author":1836,"museum":92,"description":4273,"tags":4274,"thumbUrl":4275,"material":4276,"size":166,"collection":42,"collections":4277,"showCount":4261,"zanCount":46,"manualWeight":46,"mainColor":47},220936,"fang-dong-yuan-shan-shui-dong-qi-chang-220936","仿董源山水","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,25,28,254,36,7,74,34,33,215,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[42,222],{"id":4279,"slug":4280,"title":4281,"dynasty":205,"author":206,"museum":92,"description":4282,"tags":4283,"thumbUrl":4284,"material":110,"size":4285,"collection":220,"collections":4286,"showCount":4261,"zanCount":5,"manualWeight":46,"mainColor":140},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[24,281,95,28,7,36,34,717,194,29,30,31,210,3664,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[220],{"id":4288,"slug":4289,"title":4290,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":4291,"thumbUrl":4292,"material":314,"size":1061,"collection":166,"collections":4293,"showCount":4294,"zanCount":1084,"manualWeight":46,"mainColor":47},288173,"hu-shi-ju-qin-tu-li-zhou-zhu-da-288173","湖石聚禽图立轴",[23,281,24,25,95,7,75,282,180,37,394,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c97905d89105cc7edd24a3f909cf39.jpg",[],186,{"id":4296,"slug":4297,"title":4298,"dynasty":174,"author":418,"museum":450,"description":4299,"tags":4300,"thumbUrl":4301,"material":166,"size":166,"collection":83,"collections":4302,"showCount":4294,"zanCount":46,"manualWeight":46,"mainColor":47},237958,"qi-niao-tu-ye-zhu-da-237958","棲鸟图页","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,7,75,74,123,77,3443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718ef12d519eafc2f08711a7fa23271f.jpg",[83,222],{"id":4304,"slug":4305,"title":4306,"dynasty":889,"author":890,"museum":450,"description":4307,"tags":4308,"thumbUrl":4309,"material":314,"size":1061,"collection":166,"collections":4310,"showCount":4311,"zanCount":5,"manualWeight":46,"mainColor":461},289944,"xia-shan-tu-dong-yuan-289944","夏山图","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。",[23,281,24,26,7,28,33,58,31,32,1839,36,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ceabacb99b9da3101f03c4570459283.jpg",[],184,{"id":4313,"slug":4314,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":4317,"thumbUrl":4318,"material":811,"size":4319,"collection":83,"collections":4320,"showCount":4311,"zanCount":46,"manualWeight":46,"mainColor":47},233867,"mei-hua-ce-jin-nong-233867","梅花册","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[24,25,74,7,75,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbe7cac7b0e706ab10260032bfba2d34.jpg","25.4cm 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它是怀素流传下来篇幅最长的作品，人称“天下第一草书”。 正如北京大学教授、引碑入草开创者的李志敏评价：怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。",[23,37,394,26,80,858,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2b523ef15a110b2a5489755e76b49e.jpg","纵28.3厘米，横775厘米",[245,4372],"碑帖精选",{"id":4374,"slug":4375,"title":4376,"dynasty":18,"author":119,"museum":120,"description":4377,"tags":4378,"thumbUrl":4380,"material":298,"size":4381,"collection":222,"collections":4382,"showCount":4383,"zanCount":1084,"manualWeight":46,"mainColor":47},222237,"xie-yu-tu-xu-wei-222237","蟹鱼图","《蟹鱼图》“走笔如飞，泼墨淋漓”，在用笔上他强调一个“气”字，看似草草，若断若连，实际上笔与笔之间有着气势在贯通，观他的作品，能体会出他是在借物吟咏人生情怀，由此可见，画家徐渭以他的才情，将中国大写意花鸟画推上了艺术的最高峰，此图不愧为大写意艺术的巨匠的杰作。",[23,24,7,26,123,4379,1114,397,1004],"蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0c23795adba5be0f62953199fed27d.jpg","28.7cmx98cm",[222],182,{"id":4385,"slug":4386,"title":4387,"dynasty":205,"author":344,"museum":92,"description":4388,"tags":4389,"thumbUrl":4390,"material":457,"size":4391,"collection":83,"collections":4392,"showCount":4393,"zanCount":46,"manualWeight":46,"mainColor":140},219210,"lei-yu-sheng-long-tu-chen-rong-219210","雷雨升龙图","陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,24,25,281,26,7,349,454,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517aa1aaeada469a2fccc91ffd164825.jpg","纵29.6横56.6cm",[83],181,{"id":4395,"slug":4396,"title":4397,"dynasty":359,"author":3289,"museum":159,"description":4398,"tags":4399,"thumbUrl":4403,"material":40,"size":166,"collection":83,"collections":4404,"showCount":4393,"zanCount":1084,"manualWeight":46,"mainColor":140},216601,"mo-he-si-lian-ping-2-zhang-da-qian-216601","墨荷四联屏-2","泼墨淋漓间，荷叶以焦墨泼洒，浓黑如漆却层次分明，边缘晕染淡墨朦胧，似雨打荷叶的湿润。荷花留白衬淡墨勾勒，花瓣舒展如凝脂，于浓墨丛中亭亭玉立，清妍脱俗。荷杆挺拔如剑，穿插有致，疏密藏章法。整幅墨韵流转，既有泼墨豪放，又含细腻笔触，将荷塘清幽与生机凝于尺幅。观之如临夏日清池，荷风拂面，心宁气静，尽显文人画雅致风骨，墨色浓淡间藏自然意趣，豪放与婉约相融，尽得笔墨之妙。",[24,7,4152,1251,395,396,4400,4401,1153,4402],"荷杆","清幽","夏日荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b01bf97167e7cb59dfefbd32f1a87fd.jpg",[83],{"id":4406,"slug":4407,"title":4408,"dynasty":18,"author":19,"museum":450,"description":4409,"tags":4410,"thumbUrl":4411,"material":166,"size":166,"collection":166,"collections":4412,"showCount":4413,"zanCount":1084,"manualWeight":46,"mainColor":47},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,18,24,25,26,27,7,36,28,126,35,33,34,29,30,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":4415,"slug":4416,"title":4417,"dynasty":359,"author":360,"museum":4418,"description":4419,"tags":4420,"thumbUrl":4421,"material":4422,"size":166,"collection":166,"collections":4423,"showCount":4413,"zanCount":1084,"manualWeight":46,"mainColor":47},220587,"hua-he-kun-chong-qi-bai-shi-220587","花和昆虫","Hwajeong Museum","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,281,24,25,26,27,7,481,123,75,363,366,3995,550,551,367,3996,1916,1192,2283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg","color on paper",[],{"id":4425,"slug":4426,"title":4427,"dynasty":205,"author":278,"museum":92,"description":4428,"tags":4429,"thumbUrl":4430,"material":110,"size":4431,"collection":220,"collections":4432,"showCount":4413,"zanCount":5,"manualWeight":46,"mainColor":140},218917,"guan-pu-tu-xia-gui-218917","观瀑图","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[23,24,7,27,1462,36,28,624,210,730,34,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[220],{"id":4434,"slug":4435,"title":4436,"dynasty":205,"author":4437,"museum":450,"description":4438,"tags":4439,"thumbUrl":4440,"material":314,"size":1061,"collection":166,"collections":4441,"showCount":4442,"zanCount":46,"manualWeight":46,"mainColor":140},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,281,24,25,26,7,28,212,4348,211,194,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":4444,"slug":4445,"title":4446,"dynasty":174,"author":2029,"museum":692,"description":4447,"tags":4448,"thumbUrl":4449,"material":298,"size":4450,"collection":42,"collections":4451,"showCount":4442,"zanCount":1084,"manualWeight":46,"mainColor":140},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,281,26,7,36,28,212,213,33,210,211,31,1974,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[42,222],{"id":4453,"slug":4454,"title":4455,"dynasty":359,"author":360,"museum":1188,"description":4456,"tags":4457,"thumbUrl":4459,"material":1194,"size":166,"collection":166,"collections":4460,"showCount":4442,"zanCount":46,"manualWeight":46,"mainColor":47},220588,"shu-cai-he-san-zhong-kun-chong-qi-bai-shi-220588","蔬菜和三种昆虫","以大写意挥毫白菜，浓墨铺陈菜叶，枯湿浓淡间尽显舒展之姿，朴拙厚重藏着清新生气，寥寥数笔便写出白菜的莹润鲜活。朱红辣椒点缀，艳色跳脱墨色，冷暖撞色生出明快野趣。\n\n工笔草虫细致入微，蜻蜓薄翼通透纤毫毕现，鸣虫灵动宛似欲振翅低吟，将草野生机凝于尺幅。题字苍劲老辣，书画印浑然相融，将田家寻常蔬食化为清趣盎然的雅境，以烟火日常寄寓冲淡天真的意趣，把乡野小景晕染成饱含诗意的鲜活画卷，尽显雅俗共赏的笔墨情致。",[23,24,7,27,123,481,95,37,80,2336,4458,1916,1192],"辣椒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02273d02cbd82e57c1882fb536b59302.jpg",[],{"id":4462,"slug":4463,"title":4464,"dynasty":205,"author":607,"museum":92,"description":4465,"tags":4466,"thumbUrl":4469,"material":110,"size":4470,"collection":83,"collections":4471,"showCount":4442,"zanCount":46,"manualWeight":46,"mainColor":47},219203,"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[23,24,281,25,1462,27,481,7,36,126,125,4467,180,4468,75],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[83,220],{"id":4473,"slug":4474,"title":4475,"dynasty":52,"author":4476,"museum":120,"description":4477,"tags":4478,"thumbUrl":4479,"material":964,"size":4480,"collection":222,"collections":4481,"showCount":4482,"zanCount":1084,"manualWeight":46,"mainColor":47},221834,"qing-bi-ge-mo-zhu-tu-zhou-ke-jiu-si-221834","清閟阁墨竹图轴","柯九思","本幅自识：“至元後戊寅十二月十三日，留清閟閣，因作此卷。丹丘生題。”钤“柯氏敬仲”。\n竹，由于被传统文人赋予了“虚心异众草，节劲逾凡木”的人格象征，因此，自宋代文同等人倡导始，到元代已成为极受欢迎的绘画题材。从技法上看，有勾勒填色的“画竹”与墨笔写意的“写竹”之分。此图即属于“写竹”一路画法。柯九思曾主张：“画竹写干用篆法，枝用草书法，写叶用八分或用鲁公撇笔法。”（《珊瑚网·画跋·卷八》）观此图画法，拳石皴法浑厚，实源于董巨一派，而墨竹则全法文同。作者以淡墨写干，用笔挺拔圆浑，宛如篆书，竹节两端再复垂墨，不勾节却连属自然。竹叶行笔沉着稳健，一如后人形容他的墨竹 “大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[23,24,25,7,95,126,180,80,37,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[222,919],177,{"id":4484,"slug":4485,"title":4486,"dynasty":205,"author":3062,"museum":1346,"description":4487,"tags":4488,"thumbUrl":4490,"material":298,"size":4491,"collection":220,"collections":4492,"showCount":4482,"zanCount":436,"manualWeight":46,"mainColor":47},221605,"tai-bai-xing-yin-tu-liang-kai-221605","太白行吟图","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,24,7,4489,123,193,80],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceb68802f7eb8ed417349f2db1071bb.jpg","纵向81.2厘米，横向30.4厘米",[220,600,222],{"id":4494,"slug":4495,"title":4496,"dynasty":52,"author":621,"museum":92,"description":4497,"tags":4498,"thumbUrl":4499,"material":284,"size":4500,"collection":42,"collections":4501,"showCount":4482,"zanCount":46,"manualWeight":46,"mainColor":47},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[24,25,95,7,494,36,180,32,126,162,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[42,222],{"id":4503,"slug":4504,"title":4505,"dynasty":174,"author":4506,"museum":92,"description":4507,"tags":4508,"thumbUrl":4509,"material":98,"size":4510,"collection":245,"collections":4511,"showCount":4482,"zanCount":486,"manualWeight":46,"mainColor":47},214231,"shi-xie-shi-he-chao-214231","食蟹诗","何焯","墨痕清润，笔锋起落间藏着严谨法度，却不失灵动之致。结体端稳如磐石，笔画牵丝若隐若现，似蟹螯轻张的意趣。诗中食蟹的闲雅况味，透过一行行秀逸字迹缓缓流露——仿佛能见案头蟹肥酒暖，挥毫者指尖带笑，将唇齿鲜意与心头闲适，尽数化入横竖撇捺。章法疏朗有致，每字皆经得起细品，既见学者沉稳，又藏文人雅趣，墨香与诗味交织，晕染出一段清隽时光。",[23,37,38,7,95,25,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf41c7623c0f59c57bcc8df2bec020dc.jpg","136.8x45.6",[245],{"id":4513,"slug":4514,"title":4515,"dynasty":359,"author":4516,"museum":2366,"description":4517,"tags":4518,"thumbUrl":4520,"material":166,"size":166,"collection":166,"collections":4521,"showCount":4522,"zanCount":1084,"manualWeight":46,"mainColor":47},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,24,25,95,27,7,75,128,395,1916,4519,396,397,123],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],176,{"id":4524,"slug":4525,"title":4526,"dynasty":18,"author":646,"museum":92,"description":4527,"tags":4528,"thumbUrl":4529,"material":98,"size":4530,"collection":42,"collections":4531,"showCount":4522,"zanCount":473,"manualWeight":46,"mainColor":47},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[24,25,95,7,27,28,193,32,30,33,34,80,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[42],{"id":4533,"slug":4534,"title":4535,"dynasty":205,"author":4536,"museum":430,"description":4537,"tags":4538,"thumbUrl":4539,"material":110,"size":4540,"collection":42,"collections":4541,"showCount":4522,"zanCount":1084,"manualWeight":46,"mainColor":140},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[24,281,95,7,36,28,29,312,193,717,624,34,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[42],{"id":4543,"slug":4544,"title":4545,"dynasty":205,"author":607,"museum":3640,"description":4546,"tags":4547,"thumbUrl":4548,"material":110,"size":4549,"collection":600,"collections":4550,"showCount":4551,"zanCount":1084,"manualWeight":46,"mainColor":140},218409,"yu-le-tu-ma-yuan-218409","渔乐图","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。",[24,281,25,7,36,28,193,31,624,164,3157,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg","218.2x148",[600],175,{"id":4553,"slug":4554,"title":4555,"dynasty":52,"author":2127,"museum":20,"description":4556,"tags":4557,"thumbUrl":4559,"material":110,"size":4560,"collection":42,"collections":4561,"showCount":4551,"zanCount":436,"manualWeight":46,"mainColor":140},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[24,25,28,27,4558,36,193,30,31,468,729,147,610,7],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[42],{"id":4563,"slug":4564,"title":4565,"dynasty":18,"author":581,"museum":4566,"description":4567,"tags":4568,"thumbUrl":4570,"material":40,"size":4571,"collection":42,"collections":4572,"showCount":4551,"zanCount":1084,"manualWeight":46,"mainColor":140},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[281,24,25,26,28,7,36,254,624,31,164,4569,532,33,730,787,211],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[42],{"id":4574,"slug":4575,"title":4576,"dynasty":18,"author":91,"museum":92,"description":4577,"tags":4578,"thumbUrl":4579,"material":98,"size":4580,"collection":42,"collections":4581,"showCount":4551,"zanCount":473,"manualWeight":46,"mainColor":140},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,24,25,95,7,36,28,33,210,215,324,624,164,211,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[42],{"id":4583,"slug":4584,"title":4585,"dynasty":174,"author":4586,"museum":450,"description":4587,"tags":4588,"thumbUrl":4591,"material":166,"size":166,"collection":83,"collections":4592,"showCount":4593,"zanCount":1084,"manualWeight":46,"mainColor":47},237149,"he-hua-yan-zi-zhou-wang-zhen-237149","荷花燕子轴","王震","此作为大写意花鸟佳作，淡墨晕染荷叶，留白衬出白荷莹润雅洁。荷茎瘦劲挺拔，枯墨点苔尽显苍古意趣。燕子栖于茎杆之上，以浓淡笔墨晕染羽翼，侧目远眺灵动有神，静穆之中暗涌生机。\n\n下方浓墨绘叶，丹色花串垂落，冷暖对比提亮画面层次。左上角题字笔力苍浑朴拙，书画相映成趣，兼具海派写意的纵肆洒脱，亦不失文人水墨的清雅意韵，于极简构图里铺陈夏日荷塘清寂，留白淡墨中尽显通透灵秀，平淡间藏满生机雅趣。",[24,25,95,75,7,27,123,395,4589,396,4590,551],"燕子","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b37c204f1cdc5992283504ca234ed3c.jpg",[83,64],172,{"id":4595,"slug":4596,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":4597,"thumbUrl":4598,"material":314,"size":1061,"collection":83,"collections":4599,"showCount":4593,"zanCount":46,"manualWeight":46,"mainColor":47},235500,"za-hua-ce-zhu-da-235500",[24,25,74,7,128,395,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff29ff50245c3b93043a1ab132f67fec.jpg",[83,222],{"id":4601,"slug":4602,"title":4603,"dynasty":205,"author":344,"museum":450,"description":4604,"tags":4605,"thumbUrl":4607,"material":166,"size":166,"collection":166,"collections":4608,"showCount":4593,"zanCount":46,"manualWeight":46,"mainColor":140},227690,"mo-long-tu-juan-chang-juan-chen-rong-227690","墨龙图卷(长卷)","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[23,281,24,26,7,349,454,4606],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeade678f60985fee28594e370dca39b.jpg",[],{"id":4610,"slug":4611,"title":4612,"dynasty":205,"author":782,"museum":120,"description":4613,"tags":4614,"thumbUrl":4615,"material":298,"size":4616,"collection":245,"collections":4617,"showCount":4593,"zanCount":436,"manualWeight":46,"mainColor":140},220393,"yan-shan-ming-mi-fei-220393","研山铭","《研山铭》与《虹县诗》用力稍过和《多景楼》的颇显急躁相比，此作以闲适纵逸的笔调显示出对所藏研山倍加珍重的得意与自信，点画如刀劈斧斫，气势如虹；粗者大笔如椽，几成块面，如“五、出、极、化”，细者劲似发条，弹槽欲出，如“怪、痕、震”。\n《研山铭》善于在正侧、偃仰、向背、转折、顿挫中形成飘逸超迈的气势、沉着痛快的风格。字的起笔往往颇重，到中间稍轻，遇到转折时提笔侧锋直转而下。捺笔的变化也很多，下笔的着重点有时在起笔，有时在落笔，有时却在一笔的中间，对于较长的横画还有一波三折。勾也富有特色。 侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[23,281,24,25,26,38,7,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[245],{"id":4619,"slug":4620,"title":4621,"dynasty":4342,"author":4343,"museum":92,"description":4622,"tags":4623,"thumbUrl":4624,"material":61,"size":4625,"collection":42,"collections":4626,"showCount":4593,"zanCount":5,"manualWeight":46,"mainColor":140},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,25,26,7,36,37,38,831,28,717,29,30,31,468,32,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[42],{"id":4628,"slug":4629,"title":3812,"dynasty":174,"author":819,"museum":450,"description":1239,"tags":4630,"thumbUrl":4631,"material":284,"size":166,"collection":83,"collections":4632,"showCount":4633,"zanCount":1084,"manualWeight":46,"mainColor":47},223302,"zhu-shi-tu-zhou-zheng-ban-qiao-223302",[23,24,25,95,7,126,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[83,222],171,{"id":4635,"slug":4636,"title":4637,"dynasty":205,"author":592,"museum":92,"description":4638,"tags":4639,"thumbUrl":4640,"material":457,"size":4641,"collection":220,"collections":4642,"showCount":4633,"zanCount":1084,"manualWeight":46,"mainColor":140},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[23,24,25,281,28,193,180,454,147,36,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[220],{"id":4644,"slug":4645,"title":4646,"dynasty":18,"author":19,"museum":515,"description":516,"tags":4647,"thumbUrl":4648,"material":298,"size":521,"collection":166,"collections":4649,"showCount":4633,"zanCount":46,"manualWeight":46,"mainColor":47},220065,"hu-qiu-shi-er-jing-tu-ce-2-shen-zhou-220065","虎丘十二景图册-2",[23,24,7,36,74,518,28,194,32,193,33,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb0d3e152596b1384655b09d2103c65.jpg",[],{"id":4651,"slug":4652,"title":4653,"dynasty":205,"author":607,"museum":92,"description":4654,"tags":4655,"thumbUrl":4656,"material":4657,"size":4658,"collection":220,"collections":4659,"showCount":4633,"zanCount":46,"manualWeight":46,"mainColor":47},218868,"he-gan-xu-ge-tu-ma-yuan-218868","河干虚阁图","这幅画描绘了一个站在河岸桂花树下的亭子，远处的柳树岸上有一个雕花的栅栏和一个月亮。这幅画在笔法和形式上都是马远的典型风格。",[23,24,1462,28,518,194,33,34,36,7,27,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78455ff7832d3c26e3468c39f388dd57.jpg","设色,绢本","22.1x24.3",[220],{"id":4661,"slug":4662,"title":4663,"dynasty":52,"author":53,"museum":4664,"description":4665,"tags":4666,"thumbUrl":4668,"material":40,"size":4669,"collection":42,"collections":4670,"showCount":4633,"zanCount":1084,"manualWeight":46,"mainColor":140},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[24,281,25,7,36,28,34,31,33,194,717,993,4667,148,215,832,164,3941],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[42],{"id":4672,"slug":4673,"title":4674,"dynasty":174,"author":657,"museum":450,"description":4675,"tags":4676,"thumbUrl":4677,"material":298,"size":4678,"collection":83,"collections":4679,"showCount":4680,"zanCount":5,"manualWeight":46,"mainColor":47},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放，红色花朵娇艳欲滴，红花丛中绿叶渐渐长开，一个春天即将到来。",[23,24,25,95,7,27,125,79,2816,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d44ddc3ccfb0f322631c48caa18fc7.jpg","61cmx33cm",[83,64],170,{"id":4682,"slug":4683,"title":4684,"dynasty":52,"author":726,"museum":92,"description":4685,"tags":4686,"thumbUrl":4687,"material":298,"size":4688,"collection":222,"collections":4689,"showCount":4680,"zanCount":1084,"manualWeight":46,"mainColor":47},220770,"mo-zhu-ce-wu-zhen-220770","墨竹册","《元吴镇墨竹册》是吴镇创作的水墨画，作品创作于元代，作品所画的是墨竹。页高403厘米，宽52厘米。现藏于台北故宫博物院。\n吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。 吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病。",[281,24,25,7,74,123,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed6606134c966f2275eb0bcfe36c8f6.jpg","纵40.3厘米，横52厘米",[222,919],{"id":4691,"slug":4692,"title":4693,"dynasty":18,"author":2851,"museum":294,"description":4694,"tags":4695,"thumbUrl":4696,"material":98,"size":4697,"collection":600,"collections":4698,"showCount":4680,"zanCount":524,"manualWeight":46,"mainColor":47},219700,"jiao-ye-shui-nv-tu-tang-yin-219700","蕉叶睡女图","唐寅是明中叶时期重要的人物画家，他多才多艺，不仅擅长画人物画，在文学、山水、花鸟，书法都有卓越的成就。唐寅，字子畏，另字伯虎，晚号六如居士，1470年出生于苏州，卒于1524年，与祝允明、文徵明、徐祯卿并称“吴中四才子”。\n明代仕女画的人物造型在经过魏晋时期的秀骨清像，隋唐的丰肥腴丽，宋元的端庄矜持后，逐渐变为明艳清瘦、削肩狭背。而唐寅作为“明四家”之一，他的仕女画师承唐代传统，飘洒高雅，人物造型优美，细巧秀逸，成为明代仕女画的典型代表。\n唐寅仕女画独特的艺术风格在中国美术史上有一定的地位，其绘画的风格对后世人物画的发展与创作有着重要影响，在各种拍卖会上也经常崭露头角。",[23,24,25,26,547,7,38,80,193,636,3823],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b3649559e91e7d9b4530da531e4c8.jpg","纵20.3cm，横61.0 cm",[600],{"id":4700,"slug":4701,"title":4702,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":4704,"thumbUrl":4707,"material":314,"size":1061,"collection":166,"collections":4708,"showCount":4709,"zanCount":46,"manualWeight":46,"mainColor":47},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,281,25,95,7,27,75,125,132,180,4705,37,80,1103,76,4706],"器物","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg",[],169,{"id":4711,"slug":4712,"title":4713,"dynasty":52,"author":4714,"museum":4715,"description":4716,"tags":4717,"thumbUrl":4720,"material":110,"size":4721,"collection":83,"collections":4722,"showCount":4709,"zanCount":46,"manualWeight":46,"mainColor":140},219260,"tao-zhu-jin-ji-tu-wang-yuan-219260","桃竹锦鸡图","王渊","山西省博物馆","画面以水墨晕染出清雅意境，锦鸡昂首伫立石间，墨笔勾勒的羽翼间，浓淡层次晕染出如锦似绣的质感，尾羽拖曳如墨色流苏。桃枝蜿蜒斜逸，嫩芽初绽；竹叶疏朗挺劲，与奇崛山石构成疏密有致的布局。几只小鸟或栖于枝头，或振翅欲飞，为静谧添上灵动一笔。\n\n笔墨融工致与写意于一体：山石以斧劈皴显苍劲厚重，花鸟以细劲线条勾形见精致。无艳丽设色，却以墨之五色绘尽自然生机——浓墨点染的枝干、淡墨晕开的花叶、干笔皴擦的岩石，干湿浓淡间尽显文人画的雅致韵致。静穆中藏着蓬勃生气，清雅里透着逸趣，似在诉说元代文人对自然的细腻观照与笔墨风骨。",[24,281,25,75,7,481,27,4718,126,77,180,4719],"桃","禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade754c62acc1771f2885153f324fff0.jpg","纵162.5横133厘米",[83],{"id":4724,"slug":4725,"title":2161,"dynasty":889,"author":1089,"museum":843,"description":4726,"tags":4727,"thumbUrl":4728,"material":110,"size":4729,"collection":42,"collections":4730,"showCount":4709,"zanCount":1084,"manualWeight":46,"mainColor":140},218624,"xue-jing-shan-shui-tu-jing-hao-218624","荆浩专注于真山真水，善于画北方的雄伟山河，在艺术上有所创造和突破。他曾说：吴道子有笔无墨，向荣有墨无笔，我应取二子之长，成一家之体。同时，荆浩也很好地运用了章法，在为自己的画作营造意境方面有独特的天赋。这幅画是一个站立的山形构图，以游动的人物为点缀，山形弯曲，色彩浓重，画上刻有小字 红谷子。据传，这幅画是在一座古墓中出土的，西方一些艺术史学家认为这是荆浩的作品，而另一些人则认为这是一幅早期山水画的摹本。",[24,28,36,7,993,335,213,717,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450b815bffc67a9837fae7bb49477ec6.jpg","纵138.3厘米,横75.5厘米",[42],{"id":4732,"slug":4733,"title":4734,"dynasty":174,"author":657,"museum":159,"description":4735,"tags":4736,"thumbUrl":4737,"material":98,"size":166,"collection":83,"collections":4738,"showCount":4739,"zanCount":5,"manualWeight":46,"mainColor":47},216333,"jin-nong-ba-kai-hua-niao-tu-jin-nong-216333","金农八开花鸟图","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,7,25,74,75,1853,4718,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6b3e80250eba394b60f585bca7d31f.jpg",[83],168,{"id":4741,"slug":4742,"title":4743,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":4744,"thumbUrl":4746,"material":314,"size":1061,"collection":166,"collections":4747,"showCount":4748,"zanCount":486,"manualWeight":46,"mainColor":47},239116,"xing-hua-tu-zhou-wu-chang-shuo-239116","杏花图轴",[24,95,27,75,7,4745,180,80],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6ca2bb7e61d6bea1db2179b23ef156.jpg",[],167,{"id":4750,"slug":4751,"title":4752,"dynasty":174,"author":1100,"museum":450,"description":4753,"tags":4754,"thumbUrl":4755,"material":166,"size":166,"collection":166,"collections":4756,"showCount":4748,"zanCount":5,"manualWeight":46,"mainColor":47},224212,"leng-yan-juan-er-yu-wu-chang-shuo-224212","冷艳捐二玉","此作用笔写意纵逸，水仙以浓淡层次的绿意绘就叶片，线条苍劲舒展，尽显清挺柔韧之姿。白花点缀其间，浓墨点染花心，明暗交织里，将水仙冰肌玉骨的冷艳之气铺陈开来。右侧湖石以泼墨为之，墨色淋漓斑驳，虚实相生间尽显古朴厚重，与水仙的清雅柔润形成刚柔反差。\n全画以书入画，笔力苍浑雅致，借水仙与顽石的组合托物言志，将文人孤傲清逸的品格寄于冷艳花姿中，寥寥数笔便将物象神韵与作者襟怀相融，意韵悠长。",[23,24,25,7,27,123,75,132,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01fb6c3d805917e235f7564f6f357b2.jpg",[],{"id":4758,"slug":4759,"title":4760,"dynasty":174,"author":2029,"museum":4761,"description":4762,"tags":4763,"thumbUrl":4765,"material":98,"size":4766,"collection":222,"collections":4767,"showCount":4748,"zanCount":1084,"manualWeight":46,"mainColor":921},220419,"xi-shan-yin-ju-tu-gong-xian-220419","溪山隐居图","昆仑堂美术馆","画面为宁静秋山，疏林草堂，实中带虚，意境清旷，堪称晚年佳构。上有自题，下有当代名家朱屺瞻鉴藏印。",[23,24,25,95,7,36,28,162,213,1442,4764],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd095417aca99ae94bd643be38542b71.jpg","11×42.5厘米",[222],{"id":4769,"slug":4770,"title":4771,"dynasty":18,"author":19,"museum":120,"description":561,"tags":4772,"thumbUrl":4773,"material":564,"size":565,"collection":166,"collections":4774,"showCount":4775,"zanCount":5,"manualWeight":46,"mainColor":47},233840,"wo-you-tu-ce-qiu-jing-shan-shui-shen-zhou-233840","卧游图册－秋景山水",[281,24,25,74,7,36,28,162,34,29,193,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904338a5938de41cde644a080fbf2525.jpg",[],165,{"id":4777,"slug":4778,"title":4779,"dynasty":205,"author":2494,"museum":92,"description":4780,"tags":4781,"thumbUrl":4782,"material":284,"size":4783,"collection":220,"collections":4784,"showCount":4785,"zanCount":46,"manualWeight":46,"mainColor":140},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,24,25,26,481,547,7,75,282,395,398,1004,397,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[220,83,222],164,{"id":4787,"slug":4788,"title":4789,"dynasty":52,"author":158,"museum":92,"description":4790,"tags":4791,"thumbUrl":4792,"material":98,"size":4793,"collection":222,"collections":4794,"showCount":4785,"zanCount":46,"manualWeight":46,"mainColor":47},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[23,24,25,7,27,36,28,212,33,34,35,215,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[222],{"id":4796,"slug":4797,"title":4798,"dynasty":18,"author":19,"museum":450,"description":3683,"tags":4799,"thumbUrl":4800,"material":314,"size":1061,"collection":166,"collections":4801,"showCount":4802,"zanCount":46,"manualWeight":46,"mainColor":47},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山",[24,25,74,7,28,36,212,33,1384,311,193,312,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg",[],163,{"id":4804,"slug":4805,"title":4806,"dynasty":174,"author":377,"museum":450,"description":4807,"tags":4808,"thumbUrl":4809,"material":166,"size":166,"collection":222,"collections":4810,"showCount":4802,"zanCount":1084,"manualWeight":46,"mainColor":47},235889,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235889","原济黄山游图册","此作用笔疏密相宜，淡墨铺陈烟林远景，以浓墨点染近木。几株杂木高低错立，或繁枝遒劲，或疏桠寥落，极简笔触便写尽枯荣姿态。篱边茅斋素朴安然，黛瓦白墙隐于林间，将江南山居的清寂野趣娓娓铺展。\n\n右上角题诗与画作相映成趣，诗书画印融为一体，禅意漫溢其间。笔墨间藏着春日山居的悠然意趣，把胸中林泉化作纸上丘壑，淡远清和，朴拙天真，观之恍若踏入画中，静赏春景，沉潜于物我两忘的幽谧意境之中。",[24,25,7,74,36,28,162,324,96,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04027f2c689ff46da102ff937cdb3245.jpg",[222,42],{"id":4812,"slug":4813,"title":4814,"dynasty":174,"author":633,"museum":120,"description":4815,"tags":4816,"thumbUrl":4818,"material":3471,"size":4819,"collection":166,"collections":4820,"showCount":4802,"zanCount":46,"manualWeight":46,"mainColor":47},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[23,24,25,281,95,27,7,75,395,396,4817,350],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","纵138厘米，横42厘米",[],{"id":4822,"slug":4823,"title":4824,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":4825,"thumbUrl":4826,"material":166,"size":166,"collection":42,"collections":4827,"showCount":4828,"zanCount":473,"manualWeight":46,"mainColor":47},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴",[24,7,36,95,25,37,38,80,28,29,30,33,35,193,34,210,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[42,222],162,{"id":4830,"slug":4831,"title":4832,"dynasty":205,"author":782,"museum":430,"description":4833,"tags":4834,"thumbUrl":4835,"material":98,"size":4836,"collection":42,"collections":4837,"showCount":4828,"zanCount":436,"manualWeight":46,"mainColor":921},218566,"yun-shan-tu-mi-fei-218566","云山图","这幅画画的是烟波浩渺的海岸上的渔船，雾锁山腰，笔墨淋漓。山峰都是用米氏的方法画的，用的是湿笔，虽然有后人伪造的痕迹，但仍然是难得的水墨游戏杰作。",[24,25,95,7,36,28,454,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252b41bf8de2207a07dcd8bb3debcc4.jpg","55.2x27.7cm",[42],{"id":4839,"slug":4840,"title":4841,"dynasty":18,"author":119,"museum":450,"description":4842,"tags":4843,"thumbUrl":4844,"material":314,"size":1061,"collection":166,"collections":4845,"showCount":4846,"zanCount":46,"manualWeight":46,"mainColor":140},289875,"xue-zhu-xu-wei-289875","雪竹","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[24,7,126,831,180,37,80,95,123,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg",[],161,{"id":4848,"slug":4849,"title":4850,"dynasty":174,"author":377,"museum":450,"description":4851,"tags":4852,"thumbUrl":4853,"material":537,"size":4854,"collection":222,"collections":4855,"showCount":4846,"zanCount":436,"manualWeight":46,"mainColor":47},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[23,24,26,7,28,36,37,80,33,213,58,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纵20厘米，横762厘米",[222],{"id":4857,"slug":4858,"title":4859,"dynasty":205,"author":4860,"museum":120,"description":4861,"tags":4862,"thumbUrl":4863,"material":537,"size":4864,"collection":220,"collections":4865,"showCount":4846,"zanCount":5,"manualWeight":46,"mainColor":47},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[23,24,26,7,494,36,28,4348,212,211,33,31,1792,1338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[220,42,222],{"id":4867,"slug":4868,"title":4869,"dynasty":205,"author":4870,"museum":770,"description":4871,"tags":4872,"thumbUrl":4873,"material":27,"size":4874,"collection":245,"collections":4875,"showCount":4846,"zanCount":5,"manualWeight":46,"mainColor":461},221203,"hou-chi-bi-fu-quan-juan-zhao-shen-221203","后赤壁赋全卷","赵昚","由于该作之末没有作者的款识，因此对于书写人是谁这一问题，从元代起就有不同的说法：有人认为是宋徽宗赵佶所书，有人认为是宋高宗赵构之作，还有人认为是宋孝宗赵昚手笔。（注：关于书作者问题，元朝的俞贞木认为是赵佶所书，但遭到了同为元朝人黄本等人的质疑。杨仁恺指出，《后赤壁赋》为赵昚作品，并提出了相关论据。具体详见《关于宋孝宗赵昚的几点考察》，载《杨仁恺书画鉴定集》）赵昚学赵构书法很像，几可乱真。从书写上分析，赵昚作字较之赵构，往往落笔凝重不够，结字略显松懈。检视此卷，正有这样的欠缺。再则，赵昚更喜爱苏轼诗文，因此这件草书《后赤壁赋》卷当出自赵昚之手。\n书法是历代帝王在登基之前的必修课，它关乎一国之君的脸面和尊严。他们学习、接受诗文、书画之类的传统文化，表示出对文化的崇敬和亲近，这样做有利于稳固统治地位。上述徽宗赵佶、高宗赵构、孝宗赵昚即是例证。\n在各种书体的书写中，草书最为简洁洗练。一个十分复杂的汉字，可以简略成几根线条；一 件草书作品，只需连续几个动作，连绵而下，便告成功。如果说楷、隶、篆书行笔舒缓，如端人正襟危坐，那么草书则更具动感，兼能含纳激越之情。可以这么说，人人都能写楷、隶、篆书，但草书绝不会是人人都可以写好的。由于草书省去了许多笔画，使空间结构产生了很大变化，更须理清脉络，这对书家的技巧要求就更高、更精。如果不明草理、不依草法，而任墨成形、信笔为体，就难免会产生失误，作品也就会演变成无法辨识的“天书”。草书书写全然是精神化的漫游，是人精神的一种外现。依此来审视这卷草书，我们就会发现赵昚是具备书写技巧的书法家。他以心灵对草书作出深刻体验，使性情与功力相得益彰。\n在南宋，以赵构为中心，学习书法风气甚浓，成为小朝廷“中兴”的一种点缀。赵昚受这种气氛的影响，爱好书法也是理所当然的事。他曾自称“无他嗜好，或得暇，惟读书写字为娱”（马宗霍《书林纪事》）。在书法上，赵昚秉承家法，并有机会得到赵构的亲授，故明陶宗仪在《书史会要》中说：“孝宗书有家庭法度。”这件草书《后赤壁赋》卷结字循规蹈矩，草法纯熟而严谨，笔画秀劲匀整，笔意圆润，行笔圆转流畅，又具有沉着遒劲的韵致，颇具流畅而能浑厚、飞动而兼沉着之美。作品通篇气象浑穆，一气呵成，可见书者书写时神完气足、兴致清畅。面对此作，我们仿佛看到赵昚把笔濡墨，在那一段磁青绢上舒心挥毫，营造出一片春云浮空、卷舒起伏、变化多端的图景。此作虽为草书，读之却使人感受到不温不火、从容自如的大将风范。赵昚书法无连绵苟且之习，用笔起讫分明，笔笔清楚，字字独立而气脉连贯，易于辨识。我们可以从中抽出单个的字来一一欣赏，即便脱离整幅的语言环境也不碍观瞻。赵昚此卷有自家面貌，但也渊源有自，从笔意、字势中均可看到唐、宋书家对他的影响。注重法度是赵昚书法之长，这与苏轼主张“真生行，行生草，真如立，行如行，草如走，未有未能行立而能走者”是一致的。世云“唐人尚法，宋人尚意”，是就唐与宋的整体书风而言的；倘若专论草书，宋人也是“尚法”的。赵昚书法即可印证这一点。",[23,26,37,25,38,3074,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cd876766aeb129bded31c4aa34e7c0.jpg","26.9x621",[245],{"id":4877,"slug":4878,"title":4879,"dynasty":205,"author":293,"museum":20,"description":4880,"tags":4881,"thumbUrl":4882,"material":98,"size":4883,"collection":245,"collections":4884,"showCount":4846,"zanCount":5,"manualWeight":46,"mainColor":47},218559,"da-xie-min-shi-tie-juan-su-shi-218559","答谢民师帖卷","释文：“轼启。是文之意疑若不然，求物之妙如系风捕影，能使是物了然于心者，盖千万人而不一遇也。而况能使了然于口与手者乎。是之谓词达，词至于能达，则文不可胜用矣。扬雄好为艰深之词，以文浅易之说，若正言之，则人人知之矣，此正所谓琱虫篆刻者。其《太玄》《法言》皆是物也，而独悔于赋何哉?终身琱虫而独变其音节，便谓之经，可乎。屈原作《离骚》经，盖风雅之再变者。虽与日月争光可也，可以其似赋而谓之琱虫乎。使贾谊见孔子，升堂而有余矣。而乃以赋鄙之，至与司马相如同科。雄之陋如此比者甚众，可与知者道，难与俗人言也，因论文偶及之耳。欧阳文忠公言，文章如精金美玉，市有定价，非人所能以口舌贵贱也。纷纷多言，岂能有益于左右，愧悚不已。所须惠力法雨堂字，轼本不善作大字，强作终不佳。又舟中局迫难写，未能如教，然则方过临江，当往游焉。或僧有所欲记录，当为作数句留院中，慰左右念亲之意。今日已至峡山寺，少留即去，愈远惟万万以时自爱不宣。轼顿首再拜。民师帐句推官阁下，十一月五日。” 此帖卷首已残，晚明以降，藏家王衡请娄坚仿苏轼书体补写阙文。录如下:“近奉违亟辱问讯，具审起居佳胜，感慰深矣。受性刚简，学迂材下，坐废累年，不敢复齿缙绅。自海还北，见平生亲旧，惘然如隔世人，与左右无一日之雅，而敢求交乎?数赐见临，倾盖如放，幸甚。过望不可言也。所示书教及杂文，视之熟矣。大略如行云流水，初无定质，但常行于所当行，常止于不可不止。文理自然，姿态横生。孔子曰:言之不文，行之不远。又曰:词达而已矣。夫词止于达意，则疑若不文，是大不然。”",[25,26,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895dee5b027d4fad9b0c1f3a56c8960f.jpg","27x96.5cm",[245],{"id":4886,"slug":4887,"title":4888,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":4889,"thumbUrl":4890,"material":314,"size":1061,"collection":166,"collections":4891,"showCount":4892,"zanCount":46,"manualWeight":46,"mainColor":47},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图",[23,281,24,25,95,7,75,421,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e433e949bf49ac3086bddbbf9d0c776.jpg",[],160,{"id":4894,"slug":4895,"title":4896,"dynasty":205,"author":278,"museum":120,"description":4897,"tags":4898,"thumbUrl":4900,"material":196,"size":4901,"collection":220,"collections":4902,"showCount":4892,"zanCount":46,"manualWeight":46,"mainColor":140},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,24,25,7,27,36,28,831,4899,31,717,34,58,33],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[220,42,222],{"id":4904,"slug":4905,"title":4906,"dynasty":205,"author":1682,"museum":4907,"description":4908,"tags":4909,"thumbUrl":4910,"material":98,"size":4911,"collection":83,"collections":4912,"showCount":4892,"zanCount":436,"manualWeight":46,"mainColor":47},216941,"fei-cui-ji-ling-tu-mu-xi-216941","翡翠鹡鸰图","日本MOA美术馆","翡翠鹡鸰图是宋朝画家牧溪的一幅著名作品。这幅画的主题是一只鹡鸰坐在一棵松树上，周围是密密麻麻的松枝和松针。画面上方是一片蓝天和白云。整幅画表现了牧溪独特的写实主义画风，细腻的线条和精确的造型使得画面栩栩如生。翡翠鹡鸰图被认为是牧溪的代表作之一，也是宋朝画风的典范。",[23,24,7,75,80,123,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5813acf30d16cb9177b3dd4d6e6c3b.jpg","79x31cm",[83],{"id":4914,"slug":4915,"title":4916,"dynasty":174,"author":739,"museum":92,"description":4917,"tags":4918,"thumbUrl":4921,"material":40,"size":4922,"collection":600,"collections":4923,"showCount":4892,"zanCount":46,"manualWeight":46,"mainColor":47},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[23,24,25,27,7,123,193,1035,180,3465,4919,4920,80,3467,34,469],"伞","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[600],{"id":4925,"slug":4926,"title":4927,"dynasty":205,"author":4928,"museum":4929,"description":4930,"tags":4931,"thumbUrl":4932,"material":457,"size":166,"collection":600,"collections":4933,"showCount":4892,"zanCount":46,"manualWeight":46,"mainColor":47},214651,"bu-dai-he-shang-tu-hu-zhi-fu-214651","布袋和尚图","胡直夫","日本京都野村博物馆","这是一幅简单的佛教僧侣回望尘世并返回斗室宫的画作。南宋画家胡直夫主要活跃在宋末元初，从事山水和人物画创作。他的白描技术来自于李公麟，他的笔触强而有力。他的人字形线描继续出现在后来的一般佛教色彩画中，并成为道教和佛教主题人物的一种特殊风格。他的大部分画作现在都被日本人收藏了。这幅画得到了景山比丘如燕的赞许。",[23,24,25,95,547,7,3557,193,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093d29532ba9d45dca29e6f299658810.jpg",[600],{"id":4935,"slug":4936,"title":4937,"dynasty":18,"author":796,"museum":20,"description":797,"tags":4938,"thumbUrl":4939,"material":98,"size":800,"collection":166,"collections":4940,"showCount":4892,"zanCount":46,"manualWeight":46,"mainColor":47},214645,"hua-hui-ce-2-chen-chun-214645","花卉册-2",[24,25,74,7,123,75,1103,3443,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b87db533064cfbc2864f3c0073898.jpg",[],{"id":4942,"slug":4943,"title":4944,"dynasty":174,"author":418,"museum":450,"description":4945,"tags":4946,"thumbUrl":4947,"material":314,"size":1061,"collection":166,"collections":4948,"showCount":4949,"zanCount":46,"manualWeight":46,"mainColor":47},288133,"gu-mu-shuang-ying-tu-zhu-da-288133","古木双鹰图","前一时期题款中常见的“八大山人画”的“画”字，此时已经改为“写”字，这是画家后期典型的写法，而双鹰也是晚期常见的绘画题材。作为画面主体的双鹰憩息于盘石之上，一瑟索凝伫，一神情如铸，外形与神情均十分到位，笔墨造型上几乎无懈可击。不过与先贤林良有所不同的是，画家似乎并不仅仅着意于对禽鸟状貌的真实再现，作为画家笔下的一个艺术符号，它们更多传达的是孤傲荒寒的心灵感悟。画面背景古木寒槎，虬干疏枝，树身用劲笔复笔，益见沧桑枯寂之感。下方盘石内方外圆，危如累卵，益增险仄之势。画家借助古木、怪石这些元代大师们常绘的主题，辅以静默凝重的禽鸟，暗示出生命的枯涸风蚀，苛刻寂寥，笔墨极简而意境丰满，元气充溢，体现了凝重、冷峻、朗润、含蓄、静谧的艺术特征。",[23,24,281,7,75,95,2148,2637,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8855abe2ec0d96961f6c1c6e272c49d6.jpg",[],159,{"id":4951,"slug":4952,"title":4953,"dynasty":52,"author":239,"museum":120,"description":4954,"tags":4955,"thumbUrl":4957,"material":298,"size":4958,"collection":245,"collections":4959,"showCount":4949,"zanCount":473,"manualWeight":46,"mainColor":47},220841,"huang-ting-jing-zhao-meng-fu-220841","黄庭经","《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。《黄庭经》引，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开朗之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》， 因此，又俗称《换鹅帖》，无款，末署“永和十二年（356）五月”，现今留传的只是后世的摹刻本了。",[23,37,4956,242,26,7,80],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a6a4cd3ec1c6039daa34a804981861.jpg","26.5X485.4cm",[245],{"id":4961,"slug":4962,"title":4963,"dynasty":205,"author":842,"museum":430,"description":4964,"tags":4965,"thumbUrl":4966,"material":110,"size":4967,"collection":600,"collections":4968,"showCount":4949,"zanCount":46,"manualWeight":46,"mainColor":140},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,281,25,95,7,36,28,193,624,34,210,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[600,220],{"id":4970,"slug":4971,"title":4972,"dynasty":52,"author":621,"museum":20,"description":4973,"tags":4974,"thumbUrl":4975,"material":98,"size":4976,"collection":83,"collections":4977,"showCount":4949,"zanCount":46,"manualWeight":46,"mainColor":47},219890,"qi-shu-qiu-feng-tu-ni-zan-219890","琪树秋风图","以淡墨侧锋皴出坡上乔柯拳石，浓墨写细竹三五茎，苍古之中饶有秀润之气。倪瓒的作品，被时人称为“殊无市朝尘埃气”。画面总是平远小景，疏疏落落，悄无人影，枝头无绿叶，仅有萧疏瘦硬的干枝，具清冷、寂寞、淡然之意。与其说他表现的是景色，莫如说是心情的写照。",[24,7,717,96,180,36,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb4cceff0554e3c0f7b5a3c8e2d7ab.jpg","纵62厘米，横43.3厘米",[83],{"id":4979,"slug":4980,"title":4981,"dynasty":205,"author":607,"museum":294,"description":4982,"tags":4983,"thumbUrl":4984,"material":457,"size":166,"collection":42,"collections":4985,"showCount":4949,"zanCount":5,"manualWeight":46,"mainColor":140},218590,"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[23,24,281,95,7,36,28,32,624,193,34,35,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg",[42],{"id":4987,"slug":4988,"title":4989,"dynasty":174,"author":377,"museum":378,"description":379,"tags":4990,"thumbUrl":4991,"material":40,"size":384,"collection":166,"collections":4992,"showCount":4949,"zanCount":46,"manualWeight":46,"mainColor":47},214891,"shan-shui-tu-ce-2-shi-tao-214891","山水图册-2",[23,24,7,36,74,28,30,31,148,33,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd319f48bef574dd573647e67866a3b95.jpg",[],{"id":4994,"slug":4995,"title":4996,"dynasty":18,"author":19,"museum":450,"description":4997,"tags":4998,"thumbUrl":4999,"material":298,"size":5000,"collection":42,"collections":5001,"showCount":5002,"zanCount":5,"manualWeight":46,"mainColor":47},222121,"shi-zhu-tu-shen-zhou-222121","石竹图","石竹图，设色淡雅清幽，线条笔墨饱满有力，将竹的青翠挺拔，山石的坚硬如数展现，为其传世不多的佳品。画面中的竹、石、树体现了生物的灵气，体现了作者心灵与天地共呼吸，随悠云自来往的悠然心境。虽然整幅画面仅有很少的景物，但是作者的心境已经很自然的流露出来。 沈周在画中题识：“石丈有芳姿，此君无俗气。其中佳趣多，容我自来去。”",[23,281,24,25,7,36,180,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[42,222],158,{"id":5004,"slug":5005,"title":5006,"dynasty":174,"author":3195,"museum":159,"description":5007,"tags":5008,"thumbUrl":5009,"material":40,"size":166,"collection":42,"collections":5010,"showCount":5002,"zanCount":1084,"manualWeight":46,"mainColor":47},215031,"fang-gu-shan-shui-ce-wang-jian-215031","仿古山水册","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,7,3217,36,74,28,33,34,215,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f5870a1a3d56961655bf14bd82552d.jpg",[42],{"id":5012,"slug":5013,"title":5014,"dynasty":18,"author":19,"museum":515,"description":516,"tags":5015,"thumbUrl":5016,"material":298,"size":521,"collection":166,"collections":5017,"showCount":5018,"zanCount":46,"manualWeight":46,"mainColor":921},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12",[23,24,25,74,7,36,28,193,32,147,213,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg",[],157,{"id":5020,"slug":5021,"title":90,"dynasty":205,"author":1577,"museum":92,"description":5022,"tags":5023,"thumbUrl":5024,"material":110,"size":166,"collection":220,"collections":5025,"showCount":5018,"zanCount":46,"manualWeight":46,"mainColor":47},218747,"zhu-tu-wen-tong-218747","墨竹挺秀于素绢之上，枝干如铁线盘旋，墨色浓淡交织出老嫩层次。竹叶以“个”“人”形错落铺陈，笔意洒脱却不失矩度，似有风过叶舞之灵韵。文同“胸有成竹”的妙谛在此尽显：每枝每叶皆从心臆而出，无半分迟疑滞涩。老干苍劲如古松，新枝清逸若嫩柳，墨色干湿变化间藏盎然生机。留白处意蕴悠远，仿佛能闻竹间飒飒风声，见月下疏影横斜，将宋时文人画的意境与笔墨之美融于一纸。竹之坚贞与君子风骨相契，画者胸臆借竹抒发，尽展文人画的雅致气韵与精神内核。",[23,281,24,25,7,74,80,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6f635d98c2a3862422c3f72b140031.jpg",[220],{"id":5027,"slug":5028,"title":5029,"dynasty":52,"author":4110,"museum":294,"description":5030,"tags":5031,"thumbUrl":5032,"material":1877,"size":5033,"collection":42,"collections":5034,"showCount":5035,"zanCount":1084,"manualWeight":46,"mainColor":47},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[23,24,25,26,7,36,28,126,706,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纵25.7厘米，横380厘米",[42,222],156,{"id":5037,"slug":5038,"title":5039,"dynasty":52,"author":726,"museum":54,"description":5040,"tags":5041,"thumbUrl":5042,"material":298,"size":5043,"collection":222,"collections":5044,"showCount":5035,"zanCount":1084,"manualWeight":46,"mainColor":140},220777,"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\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。",[23,281,24,7,36,123,809,126,706,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纵103.3厘米 横33.3厘米",[222,919],{"id":5046,"slug":5047,"title":5048,"dynasty":174,"author":2605,"museum":159,"description":5049,"tags":5050,"thumbUrl":5058,"material":98,"size":5059,"collection":42,"collections":5060,"showCount":5035,"zanCount":1084,"manualWeight":46,"mainColor":47},220092,"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","根据《中国画史馨香录》书中所记，此题画诗原出自郑旼康熙戊申（1668年）录“渐公题诗二十三首”手钞本，1934年，许承尧录寄黄宾虹。渐江和尚画笔师法云林，又得徽州山水特别是黄山松壑云泉的蒙养，加之性格刚硬，所以其画并不为云林所囿。磊磊落落，逋峭冷隽，笔底山川，或幽深邃密，或峻拔嵯峨，气象高华而趣味淡宕，人品画品皆为时称道，是新安派中首屈一指的领军人物。观此卷气象，以平远式构图表现，岩壑奇秀，奇松点缀其中，沿江景物，用笔瘦硬，皴染枯淡而墨韵清润。以刚劲凝练的笔线勾勒，折带皴、披麻皴交互为用，山峰之间，礁石垒叠，疏疏密密、大大小小，形成参差错落的“矾块”，山峰中的涧溪，曲折逶迤而下，形如盘龙出水，跳荡击石，泠然有声。清人杨翰曾评论其突出的风格：“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”当时本幅之写照。此卷诗题：“清秋凝目郁苍苍，百里嶙峋一草堂。世代频更人不到，未燔书尽此中藏。",[24,26,7,494,36,5051,893,5052,5053,5054,5055,669,5056,5057,3805,37,38],"折带皴","岩壑","奇松","礁石","涧溪","清润","冷隽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689de6099893b4044c6746888a67279c.jpg","引首17.5×66.5cm；画心17.5×131cm；题跋17.5×83.5cm",[42,222],{"id":5062,"slug":5063,"title":5064,"dynasty":359,"author":3289,"museum":450,"description":5065,"tags":5066,"thumbUrl":5067,"material":98,"size":166,"collection":600,"collections":5068,"showCount":5035,"zanCount":436,"manualWeight":46,"mainColor":47},218177,"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,25,74,7,394,38,193,128,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg",[600,222],{"id":5070,"slug":5071,"title":5072,"dynasty":205,"author":307,"museum":450,"description":5073,"tags":5074,"thumbUrl":5075,"material":314,"size":1061,"collection":166,"collections":5076,"showCount":5077,"zanCount":5,"manualWeight":46,"mainColor":461},289985,"lin-liu-du-zuo-tu-fan-kuan-289985","临流独坐图","《临流独坐图》表现层峦叠蟑，山势起伏，溪谷间，云烟弥漫动荡，使深山幽小充盈着活力。",[281,24,25,28,7,36,212,34,1776,1442,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg",[],155,{"id":5079,"slug":5080,"title":5081,"dynasty":205,"author":581,"museum":92,"description":5082,"tags":5083,"thumbUrl":5084,"material":457,"size":5085,"collection":220,"collections":5086,"showCount":5077,"zanCount":5,"manualWeight":46,"mainColor":47},218670,"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[23,24,7,36,28,335,454,33,282,213,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","28.9x50.4cm",[220,42],{"id":5088,"slug":5089,"title":5006,"dynasty":174,"author":5090,"museum":159,"description":5091,"tags":5092,"thumbUrl":5093,"material":40,"size":166,"collection":42,"collections":5094,"showCount":5077,"zanCount":46,"manualWeight":46,"mainColor":140},214603,"fang-gu-shan-shui-ce-wang-hui-214603","王翚","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,7,36,3217,28,335,350,162,717,215,210,213,194,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[42],{"id":5096,"slug":5097,"title":5098,"dynasty":174,"author":1100,"museum":450,"description":5099,"tags":5100,"thumbUrl":5101,"material":166,"size":166,"collection":166,"collections":5102,"showCount":5103,"zanCount":46,"manualWeight":46,"mainColor":47},235225,"ju-hua-juan-wu-chang-shuo-235225","菊花卷","此作以金石笔意入画，运笔苍厚朴拙。淡墨写就的白菊清雅疏朗，胭脂点染的红菊饱满明丽，浓淡对比间，尽显秋菊凌霜逸姿。水墨枝叶以篆籀笔法写出，顿挫老辣，墨色干湿浓淡富于层次，将菊枝柔韧与叶片舒展淋漓展现。\n\n右侧题字朴茂雄浑，与画作金石意趣浑然一体，诗画相映间，将东篱秋菊的野逸傲骨尽显，尽显文人画诗书画印的交融意韵，苍劲中暗含秀雅，勾勒出深秋篱边秋菊的盎然生机。",[24,25,26,7,27,123,75,134,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede1ca6c977a93b9dd98f70687fa6e3.jpg",[],154,{"id":5105,"slug":5106,"title":4832,"dynasty":18,"author":19,"museum":120,"description":5107,"tags":5108,"thumbUrl":5109,"material":40,"size":5110,"collection":42,"collections":5111,"showCount":5103,"zanCount":46,"manualWeight":46,"mainColor":921},219865,"yun-shan-tu-shen-zhou-219865","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,24,7,28,36,95,33,211,34,58,32,164,785,786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[42],{"id":5113,"slug":5114,"title":5115,"dynasty":205,"author":278,"museum":450,"description":5116,"tags":5117,"thumbUrl":5120,"material":110,"size":3337,"collection":42,"collections":5121,"showCount":5103,"zanCount":436,"manualWeight":46,"mainColor":140},218593,"feng-yu-gui-zhou-tu-xia-gui-218593","风雨归舟图","画面墨气淋漓，骤雨如丝斜织，远山隐入烟霭，近树被风揉得枝叶翻卷。蓑衣客躬身疾行，斗笠遮不住风雨，脚步却向着归途匆匆；江畔小舟半隐雾中，舟子撑篙破雨而来，船篷上似有雨珠滚落。墨色浓淡相济，湿笔晕染出天地苍茫，干笔勾勒出人物的急切与树石的坚韧。风雨的喧嚣仿佛透过绢素传来，归人的匆忙与自然的浩渺相映，既有生活的烟火气，又藏着山水间的悠远意境。寥寥几笔便将骤雨归舟的情景写尽，湿墨晕开的雨雾里，似能触到那份湿润的诗意，以及归心似箭的温暖底色。",[24,7,28,36,2223,193,33,212,282,5118,5119],"风雨","蓑衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeefa85c6c7e634a1e82deccf9bee42a.jpg",[42],{"id":5123,"slug":5124,"title":5125,"dynasty":18,"author":19,"museum":92,"description":5126,"tags":5127,"thumbUrl":5128,"material":40,"size":5129,"collection":166,"collections":5130,"showCount":5131,"zanCount":1084,"manualWeight":46,"mainColor":140},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[24,25,95,7,27,28,36,193,312,29,30,32,33,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],153,{"id":5133,"slug":5134,"title":5135,"dynasty":174,"author":418,"museum":450,"description":5136,"tags":5137,"thumbUrl":5138,"material":166,"size":166,"collection":166,"collections":5139,"showCount":5131,"zanCount":46,"manualWeight":46,"mainColor":47},230272,"hua-he-ce-zhu-da-230272","画荷册","这幅墨荷以水墨写意铺陈，阔笔泼墨挥写荷叶，浓淡干湿交叠，晕染出叶片俯仰向背的错落姿态，墨色氤氲间尽显苍润厚重。荷花以极简的线条勾勒，舒展清癯，留白衬出花瓣的莹洁，孤高冷逸之态尽显。细劲挺拔的水草与厚重荷叶虚实相映，简淡空灵。\n\n画面以少胜多，寥寥数笔便将荷塘清寂之境铺展，清冷出尘的意趣藏于淡墨之中，以形写神，把幽独超迈的文人风骨融在笔墨间，尽显写意水墨以简驭繁的精妙。",[24,25,7,74,128,395,396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470063c37b35045e9c6772f0cfa86f81.jpg",[],{"id":5141,"slug":5142,"title":5143,"dynasty":174,"author":819,"museum":450,"description":5144,"tags":5145,"thumbUrl":5146,"material":284,"size":5147,"collection":83,"collections":5148,"showCount":5131,"zanCount":46,"manualWeight":46,"mainColor":47},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[23,281,24,25,95,7,38,80,36,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[83,222],{"id":5150,"slug":5151,"title":5152,"dynasty":359,"author":1588,"museum":3766,"description":5153,"tags":5154,"thumbUrl":5155,"material":196,"size":166,"collection":166,"collections":5156,"showCount":5131,"zanCount":46,"manualWeight":46,"mainColor":47},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,24,25,95,27,7,36,28,213,30,4920,33,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":5158,"slug":5159,"title":5160,"dynasty":18,"author":2851,"museum":294,"description":5161,"tags":5162,"thumbUrl":5163,"material":110,"size":5164,"collection":42,"collections":5165,"showCount":5131,"zanCount":5,"manualWeight":46,"mainColor":140},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,25,26,7,27,28,481,36,38,80,29,30,32,194,31,282,193,147,729,311,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[42,64],{"id":5167,"slug":5168,"title":5169,"dynasty":205,"author":307,"museum":20,"description":5170,"tags":5171,"thumbUrl":5172,"material":98,"size":166,"collection":220,"collections":5173,"showCount":5131,"zanCount":46,"manualWeight":46,"mainColor":461},219928,"wan-jing-tu-fan-kuan-219928","晚景图","此图山峦圆浑高峻，水边巨石垒垒，用密集的小斧劈皴和雨点皴皴染，山顶密植树木。山形和技法的确出于范宽，但是山峦间充满虚渺云雾、远山淡墨一抹以及笔法短促简率等画法，都带有南宋李唐画派的技法因子，画面缺乏范宽那种雄伟森严的气势，应是出于南宋早期继承范宽画风的画家之手。可惜作者姓名佚失，然亦是了解由范宽画风向南宋院体画风递变时期艺术面貌的重要实迹。",[23,24,36,7,28,335,33,213,2925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d38b2ea5d8305bc68e3d6e69a76fe72.jpg",[220],{"id":5175,"slug":5176,"title":645,"dynasty":18,"author":5177,"museum":92,"description":5178,"tags":5179,"thumbUrl":5180,"material":40,"size":5181,"collection":42,"collections":5182,"showCount":5131,"zanCount":1084,"manualWeight":46,"mainColor":47},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[24,25,95,7,36,80,28,213,33,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[42],{"id":5184,"slug":5185,"title":5186,"dynasty":52,"author":981,"museum":294,"description":5187,"tags":5188,"thumbUrl":5189,"material":457,"size":5190,"collection":83,"collections":5191,"showCount":5131,"zanCount":46,"manualWeight":46,"mainColor":140},214295,"han-mei-tu-wang-mian-214295","寒梅图","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[23,24,25,95,7,37,38,125,147,3443,552,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","113x50.2",[83],{"id":5193,"slug":5194,"title":5195,"dynasty":205,"author":5196,"museum":92,"description":5197,"tags":5198,"thumbUrl":5199,"material":98,"size":5200,"collection":245,"collections":5201,"showCount":5131,"zanCount":5,"manualWeight":46,"mainColor":140},214223,"xing-shu-qi-yan-jue-ju-zhou-wu-ju-214223","行书· 七言绝句轴","吴琚","这首七字诗是根据蔡襄的诗句写的，是宋代罕见的书法作品。吴氏的字俊美优雅，形体和姿态都与米芾一脉相承，但与北宋书法家的作品相比，吴琚的用笔快速有力，偶尔有飞白，显示出南宋书法家更注重渲染上下和整体的主旨，而不是对每个单字的提炼和完善。",[23,281,24,25,95,38,37,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb61b45191b67798358ba3eb2af0473.jpg","98.6x55.3",[245],{"id":5203,"slug":5204,"title":5205,"dynasty":174,"author":418,"museum":450,"description":5206,"tags":5207,"thumbUrl":5208,"material":166,"size":166,"collection":166,"collections":5209,"showCount":5210,"zanCount":46,"manualWeight":46,"mainColor":140},231001,"song-lu-tu-zhu-da-231001","松鹿图","《松鹿图》纵28厘米，横75厘米，纸本，作者朱耷。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。\n图中画一老松，根浅干高，上粗下细，枝枯叶疏，似病5人躯干，显示出生命的衰弱和意志的消沉。\n树后画一头重脚轻、摇摇欲坠的怪石，石旁画一只形体扭曲、双目圆瞪的鹿，地上是稀少短小的枯草。\n画面布局得当，笔法苍劲，流畅生动，寓意极深。\n《松鹿图》笔墨极简，然简中有味，能在寥寥几笔中传达出许多“余味”，需要极高深的功力和极高尚的笔墨趣味。\n松树取折枝意境，几根墨线，萧条淡泊，闲和严静，画面的萧索反映出他精神世界里的孤寂，完全从八大山人的精神状态中走出，既有文人的雅致，又含着僧人的禅意，还透着些道家的出世散淡，还带着些许皇家的富贵气息。\n此画最大的佳处就在于气息湮润，格调高雅，平淡天真，不着人间烟火气。\n梅花鹿是高雅富贵之物，被视为君子，与八大山人看空世事的情怀有不谋而合之处。\n此外“松鹿题材”也是传统的吉祥题材，“鹿”与“禄”同音，松树象征着高寿，《松鹿图》寄托着福禄长寿的美好寓意。\n八大山人的造诣不仅体现在书画创作和艺术成就上，就连他的精神境界，也是拈花微笑、艺术到家的，这从《松鹿图》的气韵上可见一斑。\n朱耷（1624—175年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『17』，小名耷。\n清顺治五年（1648年）落发为僧，法名传棨。\n一生字、号、别号甚多，有个山、驴屋驴、人屋等。\n康熙二十三年（1684年）始号八大山人。\n坎坷的命运影响着他的人生观及艺术创作思想，其绘画作品中多寄托着对清王朝的痛恨，对明王朝的眷恋之情。\n山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。\n花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。\n晚年署款将自己的号“八大山人”四个字以草书体连缀写，似“哭之”、“笑之”，借此暗寓他面对富于戏剧性变幻的人生，哭笑不得，百般无奈的感慨之情。\n他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。\n书法宗王献之、颜真卿，淳朴圆润，自成一格。\n朱耷中晚年，在书画作品款署中多使用“八大山人”。",[23,24,7,547,95,127,2388,126,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd179297b507ca3cef1bcc70058d3b3d.jpg",[],152,{"id":5212,"slug":5213,"title":5214,"dynasty":205,"author":5215,"museum":92,"description":5216,"tags":5217,"thumbUrl":5218,"material":284,"size":5219,"collection":220,"collections":5220,"showCount":5210,"zanCount":1084,"manualWeight":46,"mainColor":140},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",[23,281,24,25,74,7,27,36,28,32,33,31,57,164,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[220,42],{"id":5222,"slug":5223,"title":5224,"dynasty":174,"author":491,"museum":378,"description":5225,"tags":5226,"thumbUrl":5227,"material":98,"size":5228,"collection":42,"collections":5229,"showCount":5210,"zanCount":1084,"manualWeight":46,"mainColor":47},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,24,7,95,254,36,28,29,30,33,34,210,35,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[42],{"id":5231,"slug":5232,"title":5233,"dynasty":359,"author":360,"museum":159,"description":5234,"tags":5235,"thumbUrl":5238,"material":40,"size":5239,"collection":83,"collections":5240,"showCount":5210,"zanCount":46,"manualWeight":46,"mainColor":47},216934,"deng-shu-zhou-qi-bai-shi-216934","灯鼠轴","案头油灯亮着红芯，剪刀斜倚灯旁，两只灰鼠各有姿态——一只攀柱啃噬灯芯，长尾垂落；一只蹲坐地上，抬首望灯，胡须微颤似嗅暖意。笔墨极简，鼠的憨态却跃然纸上：浓淡墨色晕染出绒绒质感，细长尾巴勾勒灵动，寥寥几笔便捉住鼠的机警与贪馋。灯柱线条稚拙却稳当，红烛芯如点睛之笔，在素净纸面上添了一抹鲜活。题字与画面相映，把日常小景写成逸趣，没有刻意雕琢，却藏着对生活细微处的体察，似在说寻常烟火里也有这般可爱的瞬间。",[23,24,7,27,95,123,3326,5236,5237,1104,80,37],"灯","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1eaa5d9a0084397f64b5881322f7b2d.jpg","67.5x33.5cm",[83],{"id":5242,"slug":5243,"title":5244,"dynasty":174,"author":2913,"museum":265,"description":5245,"tags":5246,"thumbUrl":5247,"material":40,"size":166,"collection":83,"collections":5248,"showCount":5210,"zanCount":1084,"manualWeight":46,"mainColor":47},214821,"shan-shui-hua-hui-tu-ce-gao-feng-han-214821","山水花卉图册","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,25,74,7,27,34,129,96,76,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cf54d8ff98e36838fdc0046806b6e0.jpg",[83],{"id":5250,"slug":5251,"title":606,"dynasty":205,"author":607,"museum":120,"description":608,"tags":5252,"thumbUrl":5255,"material":612,"size":613,"collection":166,"collections":5256,"showCount":5257,"zanCount":46,"manualWeight":46,"mainColor":140},233880,"ta-ge-tu-zhou-ma-yuan-233880",[24,281,95,7,27,28,34,33,717,5253,193,194,211,30,36,5254],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg",[],151,{"id":5259,"slug":5260,"title":2822,"dynasty":174,"author":1100,"museum":120,"description":5261,"tags":5262,"thumbUrl":5263,"material":564,"size":5264,"collection":166,"collections":5265,"showCount":5257,"zanCount":5,"manualWeight":46,"mainColor":47},233735,"he-hua-tu-zhou-wu-chang-shuo-233735","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[281,24,7,27,95,123,75,128,395,396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],{"id":5267,"slug":5268,"title":5269,"dynasty":205,"author":344,"museum":92,"description":5270,"tags":5271,"thumbUrl":5272,"material":61,"size":166,"collection":220,"collections":5273,"showCount":5257,"zanCount":46,"manualWeight":46,"mainColor":140},219648,"hua-long-tu-chen-rong-219648","画龙图","此作用墨晕染出翻涌浓云，神龙隐现其间，或露利角锐爪，或显虬劲龙身，虚实相生间，将神龙见首不见尾的玄妙尽显。龙纹勾勒雄健苍劲，鳞爪细节锋芒暗藏，裹挟着磅礴威压，仿佛只需振鳍摆尾，便要冲破云烟扶摇直上。\n墨色浓淡铺陈得宜，云雾的氤氲空濛与龙身的沉凝质感相互映衬，把龙的神性与威仪藏在晦暝云气之中，营造出幽邃缥缈的天地灵韵，尽显笔下神兽的不凡风骨。",[24,25,26,7,349,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb84b5cd562245554495403c27198d7.jpg",[220],{"id":5275,"slug":5276,"title":5277,"dynasty":359,"author":3289,"museum":159,"description":5278,"tags":5279,"thumbUrl":5280,"material":40,"size":166,"collection":83,"collections":5281,"showCount":5257,"zanCount":1084,"manualWeight":46,"mainColor":47},216602,"mo-he-si-lian-ping-1-zhang-da-qian-216602","墨荷四联屏-1","墨色淋漓间，荷叶或浓泼如积云，或淡染似流烟，焦墨勾筋见骨，湿笔晕染含情。荷花亭亭，瓣尖带露，留白处凝清韵；含苞待放者敛藏生机，似语未发。荷茎挺秀如剑，线条刚劲中藏柔婉，穿插交错成疏密有致的骨架。整幅画笔墨纵横却不失雅致，浓淡干湿互映成趣，于水墨交融间透出清逸出尘之态，仿佛能闻荷风送香，见碧波微动，尽显君子之姿与自然之妙，令人观之忘俗，沉醉于这份静谧与生机。",[24,25,7,95,395,396,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a911d419cf2bdb27af6f664cf482a33.jpg",[83],{"id":5283,"slug":5284,"title":5285,"dynasty":174,"author":2605,"museum":450,"description":5286,"tags":5287,"thumbUrl":5288,"material":314,"size":1061,"collection":166,"collections":5289,"showCount":5290,"zanCount":1084,"manualWeight":46,"mainColor":47},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[281,24,95,7,28,717,32,30,34,164,254,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],150,{"id":5292,"slug":5293,"title":2040,"dynasty":205,"author":607,"museum":450,"description":5294,"tags":5295,"thumbUrl":5301,"material":314,"size":1061,"collection":166,"collections":5302,"showCount":5290,"zanCount":1084,"manualWeight":46,"mainColor":140},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","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。",[23,281,24,26,7,193,28,624,717,210,34,194,29,30,5296,5297,5298,5299,5300],"竹丛","舟船","马匹","文人雅集","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],{"id":5304,"slug":5305,"title":5306,"dynasty":205,"author":842,"museum":430,"description":5307,"tags":5308,"thumbUrl":5309,"material":98,"size":5310,"collection":42,"collections":5311,"showCount":5290,"zanCount":1084,"manualWeight":46,"mainColor":140},218609,"shan-ju-xiao-si-tu-li-cheng-218609","山居萧寺图","积雪覆峦，寒林瘦劲，蟹爪枝如墨线垂曳，勾连起冬日山野的清寂。山间茅舍隐现，古寺檐角微露，溪流凝冰，石径蜿蜒，似藏着隐士的幽居岁月。笔墨苍劲中透着秀逸，卷云皴晕染出山峦肌理，留白处漾着雪意空濛。整体意境悠远淡远，尽显北宋山水的空灵与哲思，仿佛能听见林梢风过，窥见文人胸次里的丘壑万千。",[24,95,28,7,36,34,33,268,35,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ad420f8495b67d554fa9e28bec96d.jpg","127.3x63.7cm",[42],{"id":5313,"slug":5314,"title":5315,"dynasty":205,"author":581,"museum":92,"description":5316,"tags":5317,"thumbUrl":5319,"material":110,"size":5320,"collection":166,"collections":5321,"showCount":5322,"zanCount":436,"manualWeight":46,"mainColor":140},290765,"shang-yue-kong-shan-zhou-yi-ming-290765","赏月空山轴","秋江如练，扁舟缓行。舱内雅士对坐把盏，侍童在侧、舟子摇橹，将闲雅逸兴揉进烟波里。右侧崖壁高耸沉郁，木叶萧疏间月色晕开，江雾漫漶，晕染出朦胧空寂的天地。\n\n画作以边角取景，留白铺陈出清旷意境，苍劲水墨晕染烟水气象，把寄情山水的襟怀藏在冷寂江色中。简淡笔触勾勒江湖散人雅集的意趣，冷雾里晕开知己对晤的温煦暖意，虚实相生间尽显诗意禅心，将秋夜赏月的悠然尽揽卷中。",[24,7,27,28,31,193,5318,941,1776,34,30],"赏月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc70193e460b155d3c81c96521c7014.jpg","71.7x93.3",[],149,{"id":5324,"slug":5325,"title":5326,"dynasty":52,"author":239,"museum":120,"description":5327,"tags":5328,"thumbUrl":5332,"material":537,"size":5333,"collection":42,"collections":5334,"showCount":5322,"zanCount":5,"manualWeight":46,"mainColor":47},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[23,24,25,26,7,28,38,80,36,335,350,5329,33,58,5330,5331],"村庄","山丘","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[42,222],{"id":5336,"slug":5337,"title":5338,"dynasty":174,"author":491,"museum":544,"description":2292,"tags":5339,"thumbUrl":5340,"material":40,"size":2295,"collection":64,"collections":5341,"showCount":5322,"zanCount":473,"manualWeight":46,"mainColor":47},219999,"shan-shui-hua-fang-ju-ran-wang-shi-min-219999","山水画-仿巨然",[24,25,95,7,36,254,28,147,32,29,180,610,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc743492f61b4c5c3ac9b8e7474dea8ce.jpg",[64],{"id":5343,"slug":5344,"title":5345,"dynasty":18,"author":91,"museum":92,"description":5346,"tags":5347,"thumbUrl":5348,"material":40,"size":5349,"collection":42,"collections":5350,"showCount":5322,"zanCount":46,"manualWeight":46,"mainColor":140},214825,"song-ting-gao-shi-tu-wang-fu-214825","松亭高士图","这幅画展示了一群矗立在云端的山峰，山坡上的建筑结构，飞翔的喷泉和下面的小溪。附近岸边的松树林，水面上的小桥，以及两位高士摊开画卷的小亭子，都是面对面的。岩石是用湿的笔触和剥离相结合的方式绘制的。笔墨似乎与我们收藏的王绂的其他作品不同。",[24,25,95,7,36,28,127,32,193,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e34794de7373f042b12a8297a0a70b.jpg","254.2x53.6",[42],{"id":5352,"slug":5353,"title":2088,"dynasty":174,"author":3928,"museum":5354,"description":5355,"tags":5356,"thumbUrl":5357,"material":5358,"size":5359,"collection":166,"collections":5360,"showCount":5361,"zanCount":1084,"manualWeight":46,"mainColor":47},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","荣宝斋","岁朝图是中国传统绘画的重要题材之一。岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[23,24,25,95,27,7,75,129,128,1103,180,1104,80,3074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],148,{"id":5363,"slug":5364,"title":5365,"dynasty":18,"author":19,"museum":92,"description":5126,"tags":5366,"thumbUrl":5367,"material":40,"size":5368,"collection":42,"collections":5369,"showCount":5361,"zanCount":1084,"manualWeight":46,"mainColor":140},222110,"chun-hua-zhou-jin-zhou-shen-zhou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122公分",[42,222],{"id":5371,"slug":5372,"title":5373,"dynasty":359,"author":1872,"museum":3766,"description":5374,"tags":5375,"thumbUrl":5376,"material":1877,"size":166,"collection":166,"collections":5377,"showCount":5361,"zanCount":1084,"manualWeight":46,"mainColor":47},220575,"ben-ma-tu-xu-bei-hong-220575","奔马图","以淋漓水墨晕染出骏马的健硕肌理，浓淡干湿间，筋骨转折清晰可见，将写实的精准与写意的挥洒融为一体。鬃尾以狂放飞白扫就，裹挟着疾风肆意飞扬，四蹄腾跃间，尽显奔腾向前的悍勇姿态，不见鞍辔束缚，尽显龙马不羁神魂。\n\n整幅画面留白恰到好处，似将天地长风纳入尺幅，把骏马挣脱桎梏、一往无前的昂扬生命力，尽数铺陈在宣纸上，让观者仿佛能听见马蹄踏破长风的轰鸣，触摸到那份挣脱羁縻的自由豪情。",[24,7,312,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d34a4ac0759f407077ca59f5e4ee3f5.jpg",[],{"id":5379,"slug":5380,"title":5381,"dynasty":5382,"author":581,"museum":450,"description":5383,"tags":5384,"thumbUrl":5386,"material":314,"size":1061,"collection":166,"collections":5387,"showCount":5388,"zanCount":1084,"manualWeight":46,"mainColor":47},290029,"long-hu-tu-ping-feng-yi-ming-290029","龙虎图屏风","不详","左屏苍龙穿云破浪，墨色晕开翻涌云水，鳞爪张弛间尽显遒劲威严，龙神腾跃于江海云雾，动静间裹挟磅礴气势。右屏玄豹踞于苍松危岩，身姿沉凝雄健，斑纹写实灵动，山涧飞瀑与留白云雾衬出山野幽寂，静穆中暗藏猛兽蛰伏的张力。\n\n整作以水墨晕染写意，留白营造空濛禅意，笔力苍劲老辣，将神兽威仪与山水意境相融，尽显东方水墨走兽画的古典意韵。",[23,24,7,5385,349,3914,454,455,126,34,210],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf2facc69f5f4dd4ac4b11950993457.jpg",[],147,{"id":5390,"slug":5391,"title":2816,"dynasty":18,"author":5392,"museum":92,"description":5393,"tags":5394,"thumbUrl":5395,"material":298,"size":5396,"collection":166,"collections":5397,"showCount":5388,"zanCount":46,"manualWeight":46,"mainColor":47},222412,"mei-hua-zhou-zhi-mian-222412","周之冕","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[23,24,25,1462,7,75,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbd89ea65005058bae7f1df5879f312.jpg","58x55.6厘米",[],{"id":5399,"slug":5400,"title":4211,"dynasty":18,"author":581,"museum":92,"description":5401,"tags":5402,"thumbUrl":5403,"material":218,"size":166,"collection":166,"collections":5404,"showCount":5388,"zanCount":1084,"manualWeight":46,"mainColor":47},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,25,26,7,28,36,37,80,254,335,350,33,31,29,30,32,282,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],{"id":5406,"slug":5407,"title":5408,"dynasty":18,"author":19,"museum":92,"description":5409,"tags":5410,"thumbUrl":5411,"material":1735,"size":5412,"collection":42,"collections":5413,"showCount":5388,"zanCount":5,"manualWeight":46,"mainColor":140},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,24,25,494,7,36,335,454,162,30,34,32,610,147,215,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","152 2x43 2cm",[42,222],{"id":5415,"slug":5416,"title":5417,"dynasty":205,"author":278,"museum":450,"description":5418,"tags":5419,"thumbUrl":5421,"material":110,"size":5422,"collection":42,"collections":5423,"showCount":5388,"zanCount":46,"manualWeight":46,"mainColor":140},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[281,24,25,95,7,36,28,210,624,193,5420,213,30],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 cm",[42],{"id":5425,"slug":5426,"title":5427,"dynasty":205,"author":581,"museum":5428,"description":5429,"tags":5430,"thumbUrl":5432,"material":110,"size":5433,"collection":42,"collections":5434,"showCount":5388,"zanCount":5,"manualWeight":46,"mainColor":140},218232,"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[24,25,95,518,7,27,28,194,31,147,213,5431,164],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","纵97.4厘米，横54.6厘米",[42],{"id":5436,"slug":5437,"title":5438,"dynasty":174,"author":418,"museum":450,"description":5439,"tags":5440,"thumbUrl":5442,"material":166,"size":166,"collection":166,"collections":5443,"showCount":5444,"zanCount":1084,"manualWeight":46,"mainColor":47},234226,"hua-hui-tu-juan-zhu-da-234226","花卉图卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[23,24,25,26,7,38,394,80,75,129,131,5441,547],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9b90b90faf27fd07bc9d5bfdfb023.jpg",[],146,{"id":5446,"slug":5447,"title":5448,"dynasty":174,"author":5090,"museum":450,"description":5449,"tags":5450,"thumbUrl":5451,"material":166,"size":166,"collection":166,"collections":5452,"showCount":5444,"zanCount":1084,"manualWeight":46,"mainColor":47},224470,"xi-shan-xing-lv-tu-juan-wang-hui-224470","溪山行旅图卷","此作用长卷铺展千里江山，起首烟水澹澹，汀洲村舍隐在轻岚淡墨之中，随卷徐徐铺陈，峰岭渐次崛立。山石以披麻皴写就，笔力苍秀沉厚，林木攒簇郁茂，晕染出葱茏古雅的生机。\n\n山道、津渡间错落行旅身影，暗合林泉行游之趣，云烟流荡于峰腰谷壑，虚实相生，将平远、高远、深远诸法相融，层层延伸出咫尺含千里的山水格局。笔墨兼取元人松灵与宋人丘壑之密，既摹写出实景山水的清润幽深，亦藏着文人寄情林泉的澹然意绪，整卷气息静雅浑融，尽揽山川悠远之致。",[23,24,26,7,28,36,34,33,211,210,215,212,193,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa1cd0866746b8aa5e4cf195a58da69.jpg",[],{"id":5454,"slug":5455,"title":5456,"dynasty":52,"author":726,"museum":544,"description":5457,"tags":5458,"thumbUrl":5459,"material":5460,"size":5461,"collection":222,"collections":5462,"showCount":5444,"zanCount":436,"manualWeight":46,"mainColor":47},220775,"duo-fu-tu-zhou-wu-zhen-220775","多福图轴","吴镇画墨竹自称是“戏写”，表现了他画竹时怡然自得的心境，这必须做到“心手两相忘，融化同造物”。他通过题画诗来使墨竹人格化，强调竹子的坚韧个性。他以“虚心抱节”来赞颂竹子既虚怀若谷、又坚守气节的人格化的植物特性。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。墨梅流派的发展，从释仲仁开始，在写实的形态上以清淡疏简为宗。至扬无咎，更把仲仁的点墨变为直率的带有飞白的用笔。《多福图》以墨笔绘树石丛竹，格调简率遒劲，信笔挥洒，墨色淋漓，布局错落有致。吴镇在画古梅的枝干时，显示了能放能收、力能扛鼎的沉郁超旷。此图表现老梅一枝，峭石一块，疏竹一丛，显得老辣沉浑。\n画面右上草书自题五言诗一首，“长忆古多福，三茎四茎曲。一叶动机舂，清风自然足。”署款“梅花道人戏墨”。",[23,281,24,25,95,7,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6205111b6eff3ed5d23ced59c90d8da.jpg","纸本,墨笔","96×28.5cm",[222,919],{"id":5464,"slug":5465,"title":5466,"dynasty":205,"author":607,"museum":450,"description":5467,"tags":5468,"thumbUrl":5469,"material":40,"size":5470,"collection":600,"collections":5471,"showCount":5444,"zanCount":5,"manualWeight":46,"mainColor":47},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,281,24,25,26,7,27,193,28,127,282,180,30,80,37,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[600],{"id":5473,"slug":5474,"title":5475,"dynasty":174,"author":1639,"museum":450,"description":5476,"tags":5477,"thumbUrl":5478,"material":314,"size":1061,"collection":166,"collections":5479,"showCount":5480,"zanCount":46,"manualWeight":46,"mainColor":47},237155,"xu-gu-mao-die-tu-zhou-xu-gu-237155","虚谷猫蝶图轴","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,25,95,7,27,123,1015,364,134,180,75,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac0781a23a4a9e539a1cd4f736c5b1f.jpg",[],145,{"id":5482,"slug":5483,"title":5484,"dynasty":174,"author":418,"museum":450,"description":5485,"tags":5486,"thumbUrl":5491,"material":166,"size":166,"collection":166,"collections":5492,"showCount":5480,"zanCount":46,"manualWeight":46,"mainColor":921},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[23,24,25,37,254,38,7,80,335,5487,126,30,5488,5489,5490],"林","天","风","鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],{"id":5494,"slug":5495,"title":5496,"dynasty":205,"author":278,"museum":294,"description":5497,"tags":5498,"thumbUrl":5499,"material":457,"size":5500,"collection":42,"collections":5501,"showCount":5480,"zanCount":1084,"manualWeight":46,"mainColor":47},215111,"bu-yu-tu-xia-gui-215111","捕鱼图","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[23,281,24,25,1462,7,36,28,31,468,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[42],{"id":5503,"slug":5504,"title":5505,"dynasty":18,"author":1836,"museum":92,"description":5506,"tags":5507,"thumbUrl":5508,"material":98,"size":166,"collection":42,"collections":5509,"showCount":5480,"zanCount":1084,"manualWeight":46,"mainColor":47},214616,"fang-huang-gong-wang-dou-he-mi-lin-dong-qi-chang-214616","仿黄公望陡壑密林","董其昌是一位著名的明代画家，他的作品《仿黄公望陡壑密林》是一幅杂乱的山林画，充分展现了董其昌对自然的描绘能力。\n\n在这幅画中，董其昌通过细致的笔触和细腻的色彩，精确地描绘出了山林中的每一个细节。他使用浓密的线条和暗色调描绘出了树木，使得整幅画呈现出一种茂密的森林氛围。同时，董其昌还使用了浅色调和柔和的线条描绘出了山谷的景色，使得画面显得更加生动。\n\n总的来说，《仿黄公望陡壑密林》是一幅令人印象深刻的山林画，展示了董其昌的画风独特，也诠释了他对自然的热爱和描绘能力。",[24,25,7,36,254,74,28,335,33,215,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c809d6e5fc35ec243b8d09d730397b.jpg",[42],{"id":5511,"slug":5512,"title":5513,"dynasty":174,"author":5514,"museum":450,"description":5515,"tags":5516,"thumbUrl":5517,"material":314,"size":1061,"collection":166,"collections":5518,"showCount":5519,"zanCount":46,"manualWeight":46,"mainColor":47},290384,"lan-hua-tu-juan-yun-xiang-290384","兰花图卷","韵香","女道士。能书擅画，尤擅画兰。主要作品有《空山听雨图册》",[23,281,24,25,26,7,133,180,80,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346cbb87cd3ed3e666639bdd70f910b5.jpg",[],144,{"id":5521,"slug":5522,"title":5523,"dynasty":52,"author":621,"museum":450,"description":5524,"tags":5525,"thumbUrl":5526,"material":314,"size":1061,"collection":166,"collections":5527,"showCount":5519,"zanCount":473,"manualWeight":46,"mainColor":47},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[23,281,24,95,7,28,717,180,30,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],{"id":5529,"slug":5530,"title":5531,"dynasty":174,"author":819,"museum":5532,"description":5533,"tags":5534,"thumbUrl":5535,"material":166,"size":166,"collection":83,"collections":5536,"showCount":5519,"zanCount":5,"manualWeight":46,"mainColor":47},237887,"zheng-xie-lan-shi-zhou-zheng-ban-qiao-237887","郑燮兰石轴","重庆中国三峡博物馆","此展品为清代的书画，此轴以水墨绘石上兰竹。笔墨洒脱，竹枝新发，兰草妙曼。山石以侧锋勾勒，微微点苔。布局疏密相间，别致雅趣。",[24,7,95,133,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491c7eb56947056680423de9cd451ae.jpg",[83,222],{"id":5538,"slug":5539,"title":5540,"dynasty":205,"author":5541,"museum":92,"description":5542,"tags":5543,"thumbUrl":5544,"material":2001,"size":5545,"collection":220,"collections":5546,"showCount":5519,"zanCount":1084,"manualWeight":46,"mainColor":47},221466,"si-mei-hua-tu-juan-yang-wu-jiu-221466","四梅花图卷","扬无咎","四梅花图画面分四段画梅，自题跋语中说：“范瑞伯要予画梅四枝，一未开，一欲开，一盛开，一将残。”四梅纯以水墨绘成，花朵作白描圈线，不加晕染，即为“圈花法”，用笔轻快洗练，毫不拘板。新枝用劲直线条一笔写成，极为挺秀。粗干则用“飞白法”，显笔复加乾皴，虚实相间，墨色变化丰富。全幅呈现出匀协恬静、清淡闲野的气氛，诚如时人所谓的“村梅”格调。作品有借梅言情、迟暮感伤之意。",[23,24,25,26,7,123,547,2816,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adde438dc6811236efafbe596d17dfd.jpg","纵27.2厘米，横358.8厘米",[220,83,64],{"id":5548,"slug":5549,"title":1731,"dynasty":205,"author":206,"museum":294,"description":5550,"tags":5551,"thumbUrl":5553,"material":1735,"size":1736,"collection":220,"collections":5554,"showCount":5519,"zanCount":5,"manualWeight":46,"mainColor":140},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,25,26,7,36,5552,28,32,610,147,180,30,31,80],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[220,42,222],{"id":5556,"slug":5557,"title":5558,"dynasty":52,"author":621,"museum":92,"description":5559,"tags":5560,"thumbUrl":5561,"material":98,"size":5562,"collection":42,"collections":5563,"showCount":5519,"zanCount":1084,"manualWeight":46,"mainColor":47},220789,"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","水墨畫河岸、疏樹、竹林與房舍，對岸則山巒起伏。用筆多中鋒，山石皴法以披麻為主，略有折帶筆意。幅上有壬子（一三七二）年款，時七十二歲。然本幅題款，實摹自本院藏倪氏真本「容膝齊圖」。用筆亦無倪氏一代大家之健勁，顯係後代摹品。",[24,25,95,7,36,28,33,480,350,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[42,222],{"id":5565,"slug":5566,"title":5567,"dynasty":52,"author":726,"museum":120,"description":5568,"tags":5569,"thumbUrl":5571,"material":61,"size":5572,"collection":42,"collections":5573,"showCount":5519,"zanCount":1084,"manualWeight":46,"mainColor":140},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[23,24,25,5570,95,7,36,28,212,34,33,624,30],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[42,222],{"id":5575,"slug":5576,"title":5577,"dynasty":205,"author":1682,"museum":5578,"description":5579,"tags":5580,"thumbUrl":5583,"material":98,"size":5584,"collection":166,"collections":5585,"showCount":5519,"zanCount":5,"manualWeight":46,"mainColor":140},219192,"xiao-xiang-ba-jing-yu-cun-xi-zhao-mu-xi-219192","潇湘八景-渔村夕照","根津美术馆","烟霭似梦，轻覆潇湘水畔。远山如黛，在朦胧雾气中层层隐现，墨色浓淡间藏着天地的悠远。近岸林木苍劲，枝桠舒展，与嶙峋山石相映。水面上扁舟缓行，渔人影绰，似在暮色里寻归处。几处屋舍疏落，隐于树影烟岚间，不闻喧嚣，唯余静谧。\n\n水墨晕染出夕照的温柔，没有浓艳色彩，却以极简之笔勾勒出渔村黄昏的禅意空灵——天地人在此相融，时光仿佛停滞，只留山水与自然的清寂对话。每一处墨痕都藏着野趣与淡泊，让观者沉浸在这份恬淡悠远的意境里，似能听见风过林梢、水拍船舷的轻响，忘却尘俗纷扰。",[23,281,24,25,7,36,28,31,33,5581,2925,5582],"烟雾","渔村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0abab9aa023a77aaf3089f0f4a2f97.jpg","33x112厘米",[],{"id":5587,"slug":5588,"title":5589,"dynasty":174,"author":657,"museum":692,"description":5590,"tags":5591,"thumbUrl":5592,"material":110,"size":5593,"collection":83,"collections":5594,"showCount":5519,"zanCount":1084,"manualWeight":46,"mainColor":140},218859,"mei-hua-tu-jin-nong-218859","梅花图","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[23,24,25,95,7,125,75,38,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[83],{"id":5596,"slug":5597,"title":5598,"dynasty":174,"author":5599,"museum":20,"description":5600,"tags":5601,"thumbUrl":5602,"material":98,"size":166,"collection":83,"collections":5603,"showCount":5519,"zanCount":1084,"manualWeight":46,"mainColor":47},214693,"hua-hui-ce-luo-pin-214693","花卉册","罗聘","罗聘（1733年－1799年）是一位清代的画家，他的花卉册是一本记录花卉的画册，其中包含了许多精美的花卉画作。这本画册是由罗聘亲手绘制并装帧而成，并由他的学生赠送给他。罗聘是一位非常有才华的画家，他的花卉册中的画作非常生动，能够很好地展现出花卉的美丽和优美。\n\n这本画册是一件非常珍贵的艺术品，对于研究罗聘的艺术风格和清代花卉画艺术有着重要的意义。",[24,25,74,7,75,76,129,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22e30016320aef8a29832998f488225.jpg",[83],{"id":5605,"slug":5606,"title":5607,"dynasty":174,"author":418,"museum":120,"description":5608,"tags":5609,"thumbUrl":5611,"material":964,"size":5612,"collection":42,"collections":5613,"showCount":5614,"zanCount":1084,"manualWeight":46,"mainColor":47},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","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。",[24,95,7,123,36,28,717,58,34,31,5610,164,163],"钓者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纵197.5厘米，横57.3厘米",[42],143,{"id":5616,"slug":5617,"title":5618,"dynasty":205,"author":782,"museum":450,"description":5619,"tags":5620,"thumbUrl":5621,"material":166,"size":166,"collection":166,"collections":5622,"showCount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-967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,7,95,28,832,5695,33,34,30,164,36],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425bbd40a0bd5977059e42cdf3fd2910.jpg","174 x 89.2 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平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。图中自题[古木幽篁寂滨，班班藓石翠含春，自知不入时人眼，画与蛟溪古逸民，云林生]。画幅上还有马治，松泉隐者诗题。",[23,24,25,95,7,809,96,180,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dfc23fe071c9504a396c679d769fdc.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[42,222],{"id":5881,"slug":5882,"title":5883,"dynasty":18,"author":19,"museum":515,"description":516,"tags":5884,"thumbUrl":5885,"material":298,"size":521,"collection":166,"collections":5886,"showCount":5860,"zanCount":1084,"manualWeight":46,"mainColor":47},220064,"hu-qiu-shi-er-jing-tu-ce-3-shen-zhou-220064","虎丘十二景图册-3",[23,281,24,25,74,7,36,28,194,126,624,29,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111612596e2e7ea00726bc18bd6e599c.jpg",[],{"id":5888,"slug":5889,"title":5890,"dynasty":18,"author":796,"museum":20,"description":797,"tags":5891,"thumbUrl":5893,"material":98,"size":800,"collection":166,"collections":5894,"showCount":5860,"zanCount":1084,"manualWeight":46,"mainColor":47},214643,"hua-hui-ce-3-chen-chun-214643","花卉册-3",[24,25,74,7,123,75,363,5892],"叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0cd2a5b5a125ab79224340a81ac92b.jpg",[],{"id":5896,"slug":5897,"title":5898,"dynasty":205,"author":5899,"museum":120,"description":5900,"tags":5901,"thumbUrl":5902,"material":612,"size":5903,"collection":220,"collections":5904,"showCount":5905,"zanCount":5,"manualWeight":46,"mainColor":47},221420,"dong-po-chi-bi-tu-wang-shen-221420","东坡赤壁图","王诜","『烏林赤壁事已陳，黃州赤壁天下聞』。蘇軾的兩次赤壁漫遊，喚醒和重排了赤壁古戰場在文學史和藝術史中的地位，不但前後《赤壁賦》和《水調歌頭·赤壁懷古》成爲千古名篇，由此託生的赤壁圖也成爲畫史中重要的主題。作爲蘇軾文人集團的兩位重要人物：李公麟和王詵，他們都曾畫過赤壁圖，以圖畫的方式呼應着蘇軾的歷史書寫。他們的創作直接建立了畫史中的『赤壁圖式』，對後代產生深遠影響。惜乎二作失傳。我們只能憑藉一些歷史文獻，復原二圖的基本風格面貌，爲我們探討北宋末年以來『赤壁圖式』的發展提供一些線索。",[23,24,7,1462,28,31,34,30,193,717,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93947956f8d0518422dab73c735749f6.jpg","24.8 x 28.1 CM",[220,42,222],137,{"id":5907,"slug":5908,"title":5909,"dynasty":18,"author":19,"museum":515,"description":516,"tags":5910,"thumbUrl":5913,"material":298,"size":521,"collection":166,"collections":5914,"showCount":5905,"zanCount":46,"manualWeight":46,"mainColor":140},220063,"hu-qiu-shi-er-jing-tu-ce-4-shen-zhou-220063","虎丘十二景图册-4",[23,24,281,74,7,28,32,194,193,33,5911,5912,36],"围墙","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bce900b7fa22a36598aac7aa31efa9d.jpg",[],{"id":5916,"slug":5917,"title":5918,"dynasty":205,"author":278,"museum":2596,"description":5919,"tags":5920,"thumbUrl":5921,"material":110,"size":166,"collection":220,"collections":5922,"showCount":5905,"zanCount":46,"manualWeight":46,"mainColor":47},219858,"mu-se-gui-yu-tu-xia-gui-219858","暮色归渔图","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。",[23,24,7,36,28,31,729,282,2925,147,507,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[220],{"id":5924,"slug":5925,"title":5926,"dynasty":174,"author":5927,"museum":120,"description":5928,"tags":5929,"thumbUrl":5930,"material":40,"size":5931,"collection":64,"collections":5932,"showCount":5905,"zanCount":5,"manualWeight":46,"mainColor":47},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,281,24,25,95,27,481,7,1015,1114,717,480,2875,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[64],{"id":5934,"slug":5935,"title":5936,"dynasty":205,"author":607,"museum":450,"description":5937,"tags":5938,"thumbUrl":5939,"material":110,"size":5940,"collection":42,"collections":5941,"showCount":5905,"zanCount":46,"manualWeight":46,"mainColor":140},218628,"fan-zhou-tu-ma-yuan-218628","泛舟图","烟波浩渺间，一叶扁舟轻漾于粼粼水面。船中二人，一卧一坐，或醉眠或凝思，与天地相融。远山如黛，淡墨晕染出云气缭绕的朦胧，似隐似现于天际；近岸怪石嶙峋，线条刚劲如铁，皴擦间见苍劲质感。疏疏芦苇随风摇曳，墨色浓淡相宜，添几分野趣生机。\n\n画面以边角构图见巧，留白处尽是烟波浩渺的空濛，引观者思绪飘向远方。笔墨简练却意蕴悠长，水墨晕染与线条勾勒相映成趣，将文人雅士超脱尘嚣的心境凝于方寸扇面。空灵雅致的意境，尽显南宋山水的诗意哲思，令人心向往之。",[24,281,1462,28,7,27,36,31,193,468,180,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa216b268b23e2c63a87ea695ec2fbf8d.jpg","21.5x24",[42],{"id":5943,"slug":5944,"title":5945,"dynasty":205,"author":607,"museum":450,"description":5946,"tags":5947,"thumbUrl":5948,"material":98,"size":1666,"collection":222,"collections":5949,"showCount":5905,"zanCount":46,"manualWeight":46,"mainColor":140},218551,"gao-shi-xie-he-tu-ma-yuan-218551","高士携鹤图","垂丝柳影轻笼暮色，宽袍士人拄杖凝眸。身旁仙鹤独立，长颈引向天际，似欲与流云对语。画面构图疏朗，以简淡之笔见天地阔远：柳枝的柔曼衬出士人的清寂，鹤的高洁映其心性。淡墨晕染的远山如黛，近水无痕，留白处漾着幽远的禅意。线条简练却含筋骨，衣袂的飘举、鹤羽的疏劲，皆诉着隐逸之趣——抛却俗务，与鹤为友，在烟水间守一份澄澈自在。笔墨间藏着文人的精神归处，不恋尘嚣，只愿在山水云鹤间，寻得灵魂的安宁与超脱。",[23,281,24,25,1462,7,27,547,193,3596,1853,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0535cd201a3698edcf794670a2a03726.jpg",[222],{"id":5951,"slug":5952,"title":3612,"dynasty":174,"author":5953,"museum":378,"description":5954,"tags":5955,"thumbUrl":5956,"material":110,"size":5957,"collection":600,"collections":5958,"showCount":5905,"zanCount":46,"manualWeight":46,"mainColor":140},218356,"zhong-kui-tu-lv-xue-218356","吕学","图中描绘的是钟馗手持宝剑，两个小孩子手持灵芝，背着书卷。这些人物是以浙江画派的风格用犀利的笔触画出来的。",[23,24,25,95,547,7,193,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e129c128c96a4adf8e82487a264110.jpg","167.7x95.6",[600],{"id":5960,"slug":5961,"title":5962,"dynasty":174,"author":175,"museum":544,"description":545,"tags":5963,"thumbUrl":5964,"material":110,"size":554,"collection":166,"collections":5965,"showCount":5905,"zanCount":46,"manualWeight":46,"mainColor":140},216106,"yun-shou-ping-hua-guo-shu-cai-ce-ye-5-yun-shou-ping-216106","恽寿平花果蔬菜册页-5",[24,25,74,7,179,548,2336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f5f53e977e7efc527a9d38d0124d37.jpg",[],{"id":5967,"slug":5968,"title":5969,"dynasty":52,"author":239,"museum":92,"description":5970,"tags":5971,"thumbUrl":5972,"material":298,"size":5973,"collection":166,"collections":5974,"showCount":5975,"zanCount":5,"manualWeight":46,"mainColor":140},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,25,26,7,27,28,33,5329,58,35,38,37,80,36,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":5977,"slug":5978,"title":5979,"dynasty":205,"author":607,"museum":120,"description":5980,"tags":5981,"thumbUrl":5982,"material":612,"size":5983,"collection":220,"collections":5984,"showCount":5975,"zanCount":5,"manualWeight":46,"mainColor":140},221529,"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[23,24,25,74,7,27,36,125,180,30,2010,282,75,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[220,83,64],{"id":5986,"slug":5987,"title":5988,"dynasty":174,"author":5090,"museum":450,"description":5989,"tags":5990,"thumbUrl":5991,"material":5992,"size":5993,"collection":42,"collections":5994,"showCount":5975,"zanCount":46,"manualWeight":46,"mainColor":47},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,25,74,7,27,28,717,31,29,30,993,34,324,80,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","设色,纸本","30.5×21.5",[42],{"id":5996,"slug":5997,"title":5998,"dynasty":205,"author":206,"museum":20,"description":5999,"tags":6000,"thumbUrl":6005,"material":457,"size":6006,"collection":42,"collections":6007,"showCount":5975,"zanCount":473,"manualWeight":46,"mainColor":140},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","全图画秋景山水，画文人士夫出行的情形，系平 远式构图。近景以水墨画坡石，上有古木数株，中 景绘两间敞轩和一座木构平房，内有主人，外有过 客，隔江远景坡地朦胧，其下有牛群散牧、孤舟帆饱。 该图是一幅相当写实的山水画，画家客观、概括地描 绘了所见的景物。因此，笔者认为，可借鉴动物考古 学和建筑学等学科的成果来分析、研究是图的绘制地 域，以便于确定其创作时代。",[281,24,25,95,7,28,6001,2637,6002,6003,6004,31,1839,193],"秋景","坡石","敞轩","平房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b7f96f5bbf3b0e2a5e0fc103c93fe7.jpg","纵 185.2、横 107.5 厘米",[42],{"id":6009,"slug":6010,"title":6011,"dynasty":174,"author":749,"museum":120,"description":6012,"tags":6013,"thumbUrl":6014,"material":98,"size":6015,"collection":42,"collections":6016,"showCount":5975,"zanCount":46,"manualWeight":46,"mainColor":47},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[23,24,7,36,254,95,28,34,33,58,35,787,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[42],{"id":6018,"slug":6019,"title":6020,"dynasty":174,"author":1100,"museum":450,"description":6021,"tags":6022,"thumbUrl":6023,"material":166,"size":166,"collection":83,"collections":6024,"showCount":6025,"zanCount":1084,"manualWeight":46,"mainColor":47},239029,"hong-mei-juan-wu-chang-shuo-239029","红梅卷","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,26,7,27,125,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09767ee0d5b587971ce9dfadc909df1f.jpg",[83,64],135,{"id":6027,"slug":6028,"title":6029,"dynasty":174,"author":633,"museum":450,"description":6030,"tags":6031,"thumbUrl":6032,"material":166,"size":166,"collection":166,"collections":6033,"showCount":6025,"zanCount":5,"manualWeight":46,"mainColor":47},230128,"hua-niao-shu-guo-ce-ye-ba-kai-ren-yi-230128","花鸟蔬果册页(八开)","此作以淡墨铺染出空濛底色，枝桠间雀鸟静栖，以干笔丝毛晕染翎羽，写实中兼具写意意趣，朱红顶冠醒目鲜活，将禽鸟机灵敏锐的神态刻画入微。衬景枝叶以浓淡水墨挥洒而就，枯荣姿态各具，干湿层次丰富，与留白虚境相映成趣，营造出清寂悠然的秋日氛围。\n\n构图疏朗空灵，右下角题款朱印呼应雀首色彩，章法雅致和谐。笔意兼具写实的生动与文人画的写意气韵，将寻常禽鸟小景绘出澹远悠长的意境，尽显雅致灵动的花鸟意趣。",[24,74,7,27,123,75,78,2335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d23c459b8d850378f7361b3c25c3d70.jpg",[],{"id":6035,"slug":6036,"title":6037,"dynasty":174,"author":5748,"museum":450,"description":6038,"tags":6039,"thumbUrl":6040,"material":196,"size":6041,"collection":42,"collections":6042,"showCount":6025,"zanCount":46,"manualWeight":46,"mainColor":47},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,24,7,27,36,95,28,34,33,35,29,30,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 横50CM",[42,222],{"id":6044,"slug":6045,"title":6046,"dynasty":205,"author":206,"museum":92,"description":4022,"tags":6047,"thumbUrl":6048,"material":218,"size":6049,"collection":220,"collections":6050,"showCount":6025,"zanCount":46,"manualWeight":46,"mainColor":140},221292,"hua-xue-jing-zhou-guo-xi-221292","画雪景轴",[23,24,494,95,36,7,28,831,31,29,717,35,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","194.3×111.1",[220,42,222],{"id":6052,"slug":6053,"title":6054,"dynasty":359,"author":360,"museum":1873,"description":6055,"tags":6056,"thumbUrl":6057,"material":811,"size":166,"collection":166,"collections":6058,"showCount":6025,"zanCount":1084,"manualWeight":46,"mainColor":47},220600,"song-ying-zhou-qi-bai-shi-220600","松鹰（轴）","右上狂草长题与左侧苍松对角铺陈，虚实相映，章法奇崛沉稳。\n老松以枯笔写出虬曲主干，浓淡墨色分出嶙峋肌理，松针劲挺利落，尽显风霜淬炼的苍古之姿。\n石上雄鹰是画面焦点，焦墨勾出如钩利喙与锐利鹰眼，神彩凛凛；泼墨积墨晕染羽翮，块面层次分明，将猛禽雄悍桀骜的气度展露无遗，钢爪紧扣顽石，尽显睥睨寰宇的威严。\n整作以书入画，文人笔意与写生意趣相融，以朴拙老辣的笔墨寄寓凌云壮气，尽显写意花鸟的雄浑风骨。",[23,24,25,95,7,123,624,2148,282,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede21b825405a236afb47189b88ee67.jpg",[],{"id":6060,"slug":6061,"title":6062,"dynasty":205,"author":842,"museum":92,"description":6063,"tags":6064,"thumbUrl":6065,"material":298,"size":166,"collection":220,"collections":6066,"showCount":6025,"zanCount":46,"manualWeight":46,"mainColor":140},220247,"xie-qing-chao-yi-pin-tu-li-cheng-220247","写清朝一品图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。",[23,24,281,25,95,7,36,28,624,31,193,34,58,33,2316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ecb114ae83d161ba1539feb347adb9.jpg",[220],{"id":6068,"slug":6069,"title":5269,"dynasty":18,"author":6070,"museum":378,"description":6071,"tags":6072,"thumbUrl":6073,"material":110,"size":6074,"collection":42,"collections":6075,"showCount":6025,"zanCount":1084,"manualWeight":46,"mainColor":140},219811,"hua-long-tu-wu-wei-219811","吴伟","吴伟（1459年—1508年），字次翁，又字士英、鲁夫，号小仙，江夏（今湖北武汉）人，明代著名画家。画院待诏，孝宗时授锦衣卫百户及赐“画状元”的图章。龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。弱冠至金陵画名遂起。",[23,24,7,95,193,349,28,162,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccae79785c4f93074462241752e72c09.jpg","139.5x94cm",[42],{"id":6077,"slug":6078,"title":6079,"dynasty":205,"author":607,"museum":378,"description":6080,"tags":6081,"thumbUrl":6083,"material":110,"size":166,"collection":220,"collections":6084,"showCount":6025,"zanCount":46,"manualWeight":46,"mainColor":140},219737,"yan-ai-qiu-she-tu-ma-yuan-219737","烟霭秋涉图","此作用笔简劲老辣，以半边取景铺陈秋山之境。远景峰林隐没在烟霭之中，淡墨晕染出空濛虚渺，似将秋意揉进雾色里。近岸古木盘曲，枯干如铁铸，枝头缀着丹红秋叶，为萧飒秋景添了一抹暖色。浅滩处旅人策杖徐行，缓步涉过清浅溪涧，将山野行旅的幽寂之意藏于细节。\n山石以斧劈皴扫出棱线，硬朗峭拔，和远景的朦胧柔润形成强烈虚实对比，以少胜多，留白处尽是山野空寂的秋意，把深秋山涧的清旷冷冽，尽数融在水墨浓淡之间，尽显秋山烟水的澹远诗意。",[23,3335,24,25,95,7,27,28,717,6082,211,213,36,6001,350],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187656824905620f997701fcc165e4fd.jpg",[220,42],{"id":6086,"slug":6087,"title":6088,"dynasty":18,"author":646,"museum":92,"description":6089,"tags":6090,"thumbUrl":6091,"material":7,"size":6092,"collection":222,"collections":6093,"showCount":6025,"zanCount":46,"manualWeight":46,"mainColor":47},219344,"feng-yu-gui-zhou-tu-zhou-wen-zheng-ming-219344","风雨归舟图轴","文征明（1470～1559年），即文徵明，初名壁，字征明，后更字征仲，号衡山、停云，别号衡山居士，人称文衡山，斋名停云馆。长洲（今苏州）人。官至翰林待诏，私谥贞献先生。“吴门画派”创始人之一。是明代中期最著名的画家，大书法家。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”（也称吴门四才子）。与沈周、唐寅、仇英合称“明四家”。在当世他的名气极大，号称“文笔遍天下祖籍衡山，故号衡山居士，长洲（今江苏吴县）人。54岁时以岁贡生诣吏部试，授翰林院待诏，故称文待诏。",[24,25,95,7,36,28,210,33,213,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F648a657d5f76e78f5d702a150b241512.jpg","89.7x32.9公分",[222],{"id":6095,"slug":6096,"title":6097,"dynasty":18,"author":19,"museum":92,"description":6098,"tags":6099,"thumbUrl":6100,"material":457,"size":6101,"collection":42,"collections":6102,"showCount":6025,"zanCount":46,"manualWeight":46,"mainColor":140},218488,"cang-ya-gao-hua-tu-shen-zhou-218488","苍崖高话图","本幅绢本仿吴镇，下笔草草若不经意，而笔极挺健。长松三株，两翁坐松下，旁置琴。背山高耸，崖下茅亭，阒然虚静。对山惟见山嘴，而小树旁出，其下横笔作水纹。经山林映衬，觉一片澄虚，如在真境。画有虽著意而不能工，草率中反饶韵致者。此幅不署年款，以书画作风而论，大约在七十岁时。",[23,24,281,95,7,36,28,32,193,147,3177,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a8a933a37400001daf47d4c1bb98a7d.jpg","149.9x77cm",[42],{"id":6104,"slug":6105,"title":4927,"dynasty":205,"author":3062,"museum":450,"description":6106,"tags":6107,"thumbUrl":6108,"material":98,"size":166,"collection":600,"collections":6109,"showCount":6025,"zanCount":46,"manualWeight":46,"mainColor":47},217069,"bu-dai-he-shang-tu-liang-kai-217069","布袋和尚是中国佛教图像中的一个著名人物，他被认为是弘法利生的传人。布袋和尚是由宋朝画家梁楷所绘制的。\n\n梁楷，原名梁可柔，是宋朝著名的画家，他以其精湛的绘画技艺而闻名。梁楷的作品大多描绘了佛教的场景和人物，其中包括布袋和尚的图像。\n\n布袋和尚的图像通常描绘出他的标志性外观，包括高耸的高顶头巾，满身袈裟，手持莲花，以及脸上带着坚定的信念和善意的笑容。这些图像通常被视为对佛教价值观的良好描述，包括善良、谅解和慈悲。\n\n梁楷的作品对中国画的发展产生了深远的影响，他的布袋和尚图像也成为了中国佛教图像的经典之作。如今，布袋和尚的图像仍然受到广泛的欢迎，并被视为中国文化的重要组成部分。",[23,24,25,205,95,3557,193,7,4489,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904a61fa90ea575ee40aabf94c6fb98e.jpg",[600],{"id":6111,"slug":6112,"title":6113,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":6114,"thumbUrl":6115,"material":314,"size":1061,"collection":42,"collections":6116,"showCount":6117,"zanCount":1084,"manualWeight":46,"mainColor":140},235515,"yuan-ji-shan-shui-tu-ce-shi-tao-235515","原济山水图册",[24,7,36,74,28,29,33,34,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff14a3da145e6ba299fd3a7795c0f342c.jpg",[42,222],134,{"id":6119,"slug":6120,"title":6121,"dynasty":18,"author":2851,"museum":92,"description":6122,"tags":6123,"thumbUrl":6124,"material":3463,"size":6125,"collection":222,"collections":6126,"showCount":6117,"zanCount":1084,"manualWeight":46,"mainColor":47},222365,"feng-zhu-tu-tang-yin-222365","风竹图","《风竹图》是明代著名画家唐寅所作的一幅花鸟画，以风中之竹为描写对象。画中的风中之竹随风飘动，极富动感。\n此幅写风中之竹随风飘动，富有动感。截取局部特写，构图别致。取文同画竹法“浓墨为面，淡墨为背”，写意象之竹，融以书法用笔，其飞白效果颇具文人趣味。自题书法端庄秀美，笔划劲挺，并成为构图的一部分。迢迢阁题识：卷地尘沙起大风，篷头乱舞小庭中。欹枝折节难为直，一片西飞一片东。次唐子畏风竹图诗韵。己丑冬至录旧作。\n唐寅是一个饱尝了世态炎凉的滋味的画家，29岁时因为科场舞弊案被无辜牵连，蒙冤入狱。家里变得“僮仆据案，夫妻反目，归有狞狗，当门而噬”。画家在给文徵明的信中说：“昆山焚如，玉石皆毁，下流难处，众恶所归，海内遂以寅为不齿之士，握拳张胆，若赴仇敌。知与不知，皆指而唾，辱亦甚矣！”画中迎朔风而傲然挺立的风竹，几乎就是画家所处境况的再现。",[23,24,25,95,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc343a82dd43ee374a328fc69adbd27c4.jpg","47厘米 37.8厘米",[222,919],{"id":6128,"slug":6129,"title":6130,"dynasty":174,"author":175,"museum":1346,"description":6131,"tags":6132,"thumbUrl":6135,"material":6136,"size":6137,"collection":42,"collections":6138,"showCount":6117,"zanCount":5,"manualWeight":46,"mainColor":47},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,24,27,7,26,28,2925,212,211,33,730,324,30,282,36,1004,894,164,6133,1035,624,3371,6134],"近景","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 设色","26cmx111cm",[42,64],{"id":6140,"slug":6141,"title":6142,"dynasty":205,"author":2727,"museum":265,"description":6143,"tags":6144,"thumbUrl":6146,"material":98,"size":6147,"collection":220,"collections":6148,"showCount":6117,"zanCount":46,"manualWeight":46,"mainColor":47},219861,"yuan-xiu-qing-yun-tu-mi-you-ren-219861","远岫晴云图","《远岫晴云图》是北宋书画家米友仁所创作的一幅水墨设色画，现藏于日本大阪市立美术馆。\n该画作是一幅文人画，描绘的是米友仁笔下常见的山水风景，画中以湿润的笔墨点染云山树石，表现烟云变幻、山色朦胧的动人景象。“米氏云山”的特色展示得淋漓尽致。\n《远岫晴云图》绘制的是烟雨迷蒙时的风景，远山模糊不清，近树萧疏迷离，一条溪流潺潺自远处绕到赏者面前。图中左下角作一小丛树，间隔溪水的对岸是云气缭绕的疏林，远处是尖锐如刻削的山峦。\n画面上有款“元晖戏作”四个字，上方另有横纸又自题“绍兴甲寅元夕前一日，自新昌泛舟来赴朝参，居临安七宝山戏作小卷，付与廪收口”。",[281,24,25,7,28,164,454,33,34,36,6145],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe5e3ae0ecfe57c4dc77a8c68325a4c.jpg","24.7x28.6cm",[220],{"id":6150,"slug":6151,"title":6152,"dynasty":174,"author":2029,"museum":294,"description":6153,"tags":6154,"thumbUrl":6156,"material":98,"size":166,"collection":42,"collections":6157,"showCount":6117,"zanCount":1084,"manualWeight":46,"mainColor":140},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[24,95,7,36,28,6155,324,624,34,215,37,80],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[42],{"id":6159,"slug":6160,"title":6161,"dynasty":205,"author":1682,"museum":6162,"description":6163,"tags":6164,"thumbUrl":6165,"material":98,"size":6166,"collection":600,"collections":6167,"showCount":6117,"zanCount":1084,"manualWeight":46,"mainColor":140},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[24,25,7,547,3557,193,3914,453,717,28,210,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[600],{"id":6169,"slug":6170,"title":6171,"dynasty":174,"author":6172,"museum":294,"description":6173,"tags":6174,"thumbUrl":6176,"material":98,"size":6177,"collection":42,"collections":6178,"showCount":6117,"zanCount":46,"manualWeight":46,"mainColor":47},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","吴历","这幅画是对王蒙溪山行旅的临摹。",[24,7,28,95,254,36,29,30,6175,33,34,31],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[42],{"id":6180,"slug":6181,"title":6182,"dynasty":174,"author":6183,"museum":92,"description":6184,"tags":6185,"thumbUrl":6188,"material":98,"size":6189,"collection":245,"collections":6190,"showCount":6117,"zanCount":46,"manualWeight":46,"mainColor":47},214237,"li-shu-wu-yan-lian-deng-shi-ru-214237","隶书五言联","邓石如","墨色如黛染古帛，线条刚劲却藏婉转之姿。篆意融于隶法，蚕头燕尾间见筋骨，波磔舒展似流云轻卷。联语字句端稳，与书法宽博大气相映，济世之怀的沉雄、自省之谦的温润，皆融于笔墨。每一笔皆含力道，每一字尽显格局，古朴雅正的气息漫溢纸间。落笔从容，力道内敛，既有金石的硬朗质感，又具书卷的雅致韵致，是隶书中筋骨与情味兼备的精品。观之如对古贤，心沉气静，仿佛触摸到书写时的赤诚与从容，笔墨间流淌的不仅是技艺，更是一份通透的人生襟怀。",[23,37,6186,6187,95,80,7],"隶书","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761641a19b9d433dd6956d00196e19b2.jpg","85.6x22",[245],{"id":6192,"slug":6193,"title":6194,"dynasty":52,"author":726,"museum":450,"description":6195,"tags":6196,"thumbUrl":6197,"material":166,"size":166,"collection":166,"collections":6198,"showCount":6199,"zanCount":486,"manualWeight":46,"mainColor":47},228177,"fang-dong-po-feng-zhu-tu-wu-zhen-228177","仿东坡风竹图","此作用草书笔意写风竹，右侧竹竿劲挺带折，暗合疾风之势。浓墨挥写竹叶，聚散错落，叶梢尽含动感，似有穿林风鸣萦于耳侧。左侧题书与画作浑然一体，诗画合璧文气满溢。\n\n墨色干湿浓淡层次分明，以淡素纸色为底，虚实相生，将观竹怀人的幽思寄于毫端。把风竹萧然清骨，与林下襟怀相融，尽显以竹明志的元人画趣，是水墨写竹以意驭笔的绝佳典范。",[23,24,25,7,38,95,126,254,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23576077b3964e67aff08149c65dfeae.jpg",[],133,{"id":6201,"slug":6202,"title":6203,"dynasty":205,"author":293,"museum":450,"description":6204,"tags":6205,"thumbUrl":6206,"material":166,"size":166,"collection":166,"collections":6207,"showCount":6199,"zanCount":46,"manualWeight":46,"mainColor":47},227504,"chun-zhong-tie-su-shi-227504","春中帖","本帖鉴藏印有“奎章阁鉴书博士”、“柯氏清玩”、“柯九思鉴□真迹”、“江恂”、“王禹卿氏”。\n此帖是苏轼写给范纯粹（德孺）的信札。范纯粹是北宋著名政治家、文学家范仲淹的第四子。宋神宗元丰年间，共有五路军团出兵讨伐西夏，其中包括由高遵裕率领的环庆军和由刘昌祚率领的泾原军。《宋史》卷三一四《范纯粹本传》记载，北宋元丰末年，范纯粹因调和讨伐西夏的遵裕、昌祚两路军的矛盾有功，神宗将他由陕西转运判官进为转运副使，这与帖中德孺之官衔“运使金部”是一致的。据此可知，此信札的书写时间应为元丰末年，即元丰七八年间（1084—1085年），苏轼年约50岁左右。帖中“二哥”是指范纯仁（范仲淹次子）。\n此帖笔法自然流畅，寓巧于拙，仪态淳古，有浑厚凝重之韵致。虽有缺字、残损，仍不失为苏轼中年时期的上乘之作。",[37,38,24,25,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6570e429c4bfd4bd83be2b02954cabab.jpg",[],{"id":6209,"slug":6210,"title":228,"dynasty":174,"author":3195,"museum":544,"description":6211,"tags":6212,"thumbUrl":6216,"material":298,"size":6217,"collection":42,"collections":6218,"showCount":6199,"zanCount":46,"manualWeight":46,"mainColor":921},224481,"fu-chun-shan-ju-tu-wang-jian-224481","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,281,24,25,95,7,27,6213,28,30,194,34,33,36,254,6214,6215],"浅绛","清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[42],{"id":6220,"slug":6221,"title":6222,"dynasty":52,"author":239,"museum":92,"description":6223,"tags":6224,"thumbUrl":6227,"material":98,"size":6228,"collection":42,"collections":6229,"showCount":6199,"zanCount":5,"manualWeight":46,"mainColor":47},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,24,281,25,26,7,36,38,80,28,4348,31,33,212,6225,6226],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[42],{"id":6231,"slug":6232,"title":6233,"dynasty":205,"author":5541,"museum":159,"description":6234,"tags":6235,"thumbUrl":6236,"material":98,"size":6237,"collection":83,"collections":6238,"showCount":6199,"zanCount":436,"manualWeight":46,"mainColor":47},218568,"xiang-xue-hun-tu-yang-wu-jiu-218568","香雪魂图","画的是寒梅杆的两枝，主枝上有许多细而有力的枝条，上面的梅花有的盛开，有的含苞待放，香气四溢，很是热闹。",[23,24,25,281,7,547,2816,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f2ec726fcf9db57c0bfd136610c735.jpg","29x45cm",[83],{"id":6240,"slug":6241,"title":6242,"dynasty":174,"author":377,"museum":378,"description":379,"tags":6243,"thumbUrl":6244,"material":40,"size":384,"collection":166,"collections":6245,"showCount":6199,"zanCount":5,"manualWeight":46,"mainColor":47},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6",[23,24,7,36,74,28,194,162,34,35,164,211,268,717,597,6213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg",[],{"id":6247,"slug":6248,"title":6249,"dynasty":174,"author":6250,"museum":176,"description":6251,"tags":6252,"thumbUrl":6253,"material":40,"size":6254,"collection":42,"collections":6255,"showCount":6199,"zanCount":5,"manualWeight":46,"mainColor":47},214486,"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","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。",[23,281,24,25,74,7,36,28,33,324,34,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[42],{"id":6257,"slug":6258,"title":6259,"dynasty":174,"author":739,"museum":430,"description":740,"tags":6260,"thumbUrl":6261,"material":298,"size":743,"collection":166,"collections":6262,"showCount":6199,"zanCount":5,"manualWeight":46,"mainColor":140},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6",[23,24,25,74,7,27,28,180,33,193,30,164,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg",[],{"id":6264,"slug":6265,"title":6266,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":6268,"thumbUrl":6269,"material":314,"size":1061,"collection":166,"collections":6270,"showCount":6271,"zanCount":436,"manualWeight":46,"mainColor":47},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,281,25,95,7,28,36,34,33,30,212,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],132,{"id":6273,"slug":6274,"title":6275,"dynasty":18,"author":19,"museum":120,"description":6276,"tags":6277,"thumbUrl":6279,"material":6280,"size":6281,"collection":166,"collections":6282,"showCount":6271,"zanCount":1084,"manualWeight":46,"mainColor":47},233766,"li-shi-tu-zhou-shen-zhou-233766","荔柿图轴","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,25,95,7,123,75,6278,1103,37,38,80],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm",[],{"id":6284,"slug":6285,"title":6286,"dynasty":4342,"author":6287,"museum":294,"description":6288,"tags":6289,"thumbUrl":6290,"material":298,"size":166,"collection":245,"collections":6291,"showCount":6271,"zanCount":436,"manualWeight":46,"mainColor":47},221074,"zhao-ye-bai-han-gan-221074","照夜白","韩干","这幅画是用水墨线描完成的，描绘的是唐玄宗 喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[23,7,481,298,26,25,312,453,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[245,4372],{"id":6293,"slug":6294,"title":6295,"dynasty":52,"author":726,"museum":1334,"description":6296,"tags":6297,"thumbUrl":6298,"material":1877,"size":6299,"collection":42,"collections":6300,"showCount":6271,"zanCount":5,"manualWeight":46,"mainColor":921},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[23,24,26,7,25,36,38,80,28,32,33,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纵23.8厘米，横277.8厘米",[42,222],{"id":6302,"slug":6303,"title":6304,"dynasty":174,"author":2029,"museum":159,"description":6305,"tags":6306,"thumbUrl":6307,"material":7,"size":6308,"collection":42,"collections":6309,"showCount":6271,"zanCount":46,"manualWeight":46,"mainColor":140},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,24,25,95,7,36,28,3842,34,33,35,211,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[42,222],{"id":6311,"slug":6312,"title":6313,"dynasty":18,"author":1836,"museum":294,"description":6314,"tags":6315,"thumbUrl":6316,"material":298,"size":6317,"collection":42,"collections":6318,"showCount":6271,"zanCount":1084,"manualWeight":46,"mainColor":47},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,25,26,7,36,254,28,29,30,32,33,164,4569,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[42],{"id":6320,"slug":6321,"title":6322,"dynasty":889,"author":1266,"museum":92,"description":6323,"tags":6324,"thumbUrl":6325,"material":457,"size":6326,"collection":42,"collections":6327,"showCount":6271,"zanCount":5,"manualWeight":46,"mainColor":140},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,24,25,95,7,36,28,33,34,533,32,215,180,2283,3371,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[42],{"id":6329,"slug":6330,"title":6331,"dynasty":205,"author":1682,"museum":6332,"description":6333,"tags":6334,"thumbUrl":6336,"material":98,"size":6337,"collection":166,"collections":6338,"showCount":6271,"zanCount":46,"manualWeight":46,"mainColor":47},219189,"xiao-xiang-ba-jing-ping-sha-luo-yan-mu-xi-219189","潇湘八景-平沙落雁","出光美术馆","烟霭轻笼的天地间，远山如黛晕染在薄纱般的雾色里，几抹淡影似云似烟，模糊了天与地的边界。近岸沙渚上，三两只雁影静立，羽翼的轮廓在朦胧中化开，仿佛刚落定的归客，与周遭的空寂融为一体。天际有雁阵掠过，纤细的墨线在虚白中牵起一缕灵动，不扰清宁，只添悠远禅意。\n\n极简笔墨勾勒出无尽空寂，淡墨晕染的层次藏着自然的呼吸，每一处留白都是心境的延伸。清旷之境里，喧嚣被滤去，唯有安宁漫上心尖，似与天地精神相往来，让人在静默中触摸到禅意的温度。",[23,24,281,7,28,282,211,6335,26,5781],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192cedb0f91bed94851114d42cfc8076.jpg","33x109.9厘米",[],{"id":6340,"slug":6341,"title":6342,"dynasty":174,"author":819,"museum":450,"description":6343,"tags":6344,"thumbUrl":6345,"material":314,"size":1061,"collection":166,"collections":6346,"showCount":6347,"zanCount":5,"manualWeight":46,"mainColor":921},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,281,24,25,95,7,126,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":6349,"slug":6350,"title":6351,"dynasty":174,"author":2605,"museum":120,"description":6352,"tags":6353,"thumbUrl":6354,"material":166,"size":166,"collection":42,"collections":6355,"showCount":6347,"zanCount":1084,"manualWeight":46,"mainColor":47},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[281,24,25,95,7,36,28,127,32,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[42,222],{"id":6357,"slug":6358,"title":157,"dynasty":18,"author":1836,"museum":120,"description":6359,"tags":6360,"thumbUrl":6361,"material":1843,"size":2973,"collection":42,"collections":6362,"showCount":6347,"zanCount":46,"manualWeight":46,"mainColor":47},234054,"shan-shui-ce-dong-qi-chang-234054","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,7,36,74,28,34,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f794274dd866033cbee27bee1c45115.jpg",[42],{"id":6364,"slug":6365,"title":6366,"dynasty":174,"author":377,"museum":450,"description":6367,"tags":6368,"thumbUrl":6369,"material":166,"size":166,"collection":166,"collections":6370,"showCount":6347,"zanCount":46,"manualWeight":46,"mainColor":47},228999,"zeng-liu-shi-tou-shan-shui-ce-shi-tao-228999","赠刘石头山水册","石涛（1642-177），明靖江王朱赞仪十世孙，朱亨嘉子。\n全州（今广西全县）人。\n原姓朱，名若极，小字阿长，明亡后出家为僧，自称苦瓜和尚，别号有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人，晚号瞎尊者、零丁老人等。\n顺治十三年（1656），石涛由江西庐山转赴安徽黄山，并在那里住了二十三年。\n期间他又先后游历扬州、杭州、宣城、贵池、泾县等处，后由黄山转赴南京、北京等地。\n【规格】册页，纸本，设色，纵57.79cm，横5.56cm 【馆藏】（美）纳尔逊-艾特金斯艺术馆馆 书画名传品类高，先生高出众皮毛。\n老夫也在皮毛类，一笑题成迅彩毫。\n大涤子呈石头先生传教。\n康熙三十二年（169）至扬州，直到雍正二年（1724）去世。\n石涛在山水、花鸟画上均取得很大成就，能熔铸千古，独出手眼，构图奇妙，笔墨神化。\n画山水一欲夺其造化，则莫神于好，莫精于勤，莫大于饱游天看，历历罗列于胸中，故勤于貌写名山大川，所谓搜尽奇峰打草稿，充分把握住自然的神韵，终成一代大师。",[281,24,25,74,7,36,28,180,147,32,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F549054364d68f4bbcf0732c4d69324e7.jpg",[],{"id":6372,"slug":6373,"title":6374,"dynasty":889,"author":1089,"museum":92,"description":6375,"tags":6376,"thumbUrl":6377,"material":61,"size":166,"collection":166,"collections":6378,"showCount":6347,"zanCount":1084,"manualWeight":46,"mainColor":140},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[281,24,25,95,7,36,28,212,210,33,215,213,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],{"id":6380,"slug":6381,"title":6382,"dynasty":174,"author":5748,"museum":92,"description":6383,"tags":6384,"thumbUrl":6385,"material":564,"size":6386,"collection":42,"collections":6387,"showCount":6347,"zanCount":1084,"manualWeight":46,"mainColor":47},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,26,7,27,36,28,210,127,32,29,30,164,211,33,34,37,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[42,64],{"id":6389,"slug":6390,"title":6391,"dynasty":359,"author":2560,"museum":5712,"description":6392,"tags":6393,"thumbUrl":6394,"material":298,"size":166,"collection":166,"collections":6395,"showCount":6347,"zanCount":46,"manualWeight":46,"mainColor":47},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[23,24,7,27,36,95,80,38,28,193,717,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":6397,"slug":6398,"title":6399,"dynasty":205,"author":278,"museum":20,"description":6400,"tags":6401,"thumbUrl":6402,"material":457,"size":6403,"collection":600,"collections":6404,"showCount":6347,"zanCount":1084,"manualWeight":46,"mainColor":140},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,24,281,25,1462,7,36,28,729,29,30,31,468,193,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[600],{"id":6406,"slug":6407,"title":645,"dynasty":174,"author":2605,"museum":2596,"description":5286,"tags":6408,"thumbUrl":6409,"material":98,"size":166,"collection":42,"collections":6410,"showCount":6347,"zanCount":46,"manualWeight":46,"mainColor":47},219900,"shan-shui-tu-hong-ren-219900",[23,24,25,95,7,36,28,32,624,34,148,33,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[42],{"id":6412,"slug":6413,"title":6414,"dynasty":889,"author":6415,"museum":450,"description":6416,"tags":6417,"thumbUrl":6418,"material":314,"size":1061,"collection":166,"collections":6419,"showCount":6420,"zanCount":46,"manualWeight":46,"mainColor":140},288521,"gao-shi-tu-wei-xian-288521","高士图","卫贤","该画作是五代画家卫贤的代表作品，此图原著收录于《宣和画谱》中，名为“梁伯鸾图一”，为卫贤所作《高士图》组画之一, 原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[23,281,24,25,95,518,7,193,28,194,213,33,5695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":6422,"slug":6423,"title":6424,"dynasty":174,"author":819,"museum":450,"description":6343,"tags":6425,"thumbUrl":6426,"material":314,"size":1061,"collection":166,"collections":6427,"showCount":6420,"zanCount":436,"manualWeight":46,"mainColor":140},288175,"zhu-tu-li-zhou-zheng-ban-qiao-288175","竹图立轴",[23,24,95,7,126,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fca82057ff711fbc4369fe72f5320b.jpg",[],{"id":6429,"slug":6430,"title":6431,"dynasty":174,"author":418,"museum":6432,"description":6433,"tags":6434,"thumbUrl":6435,"material":298,"size":6436,"collection":83,"collections":6437,"showCount":6420,"zanCount":46,"manualWeight":46,"mainColor":47},237347,"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","湖南省博物馆","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[24,25,95,7,547,127,2388,453,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[83],{"id":6439,"slug":6440,"title":6441,"dynasty":52,"author":239,"museum":120,"description":240,"tags":6442,"thumbUrl":6444,"material":98,"size":244,"collection":166,"collections":6445,"showCount":6420,"zanCount":46,"manualWeight":46,"mainColor":140},214290,"xiao-kai-luo-shen-fu-ce-4-zhao-meng-fu-214290","小楷洛神赋册-4",[23,37,242,6443,74,7,858],"小楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d91818c9b6238032d2985f530917771.jpg",[],{"id":6447,"slug":6448,"title":6449,"dynasty":174,"author":418,"museum":450,"description":6450,"tags":6451,"thumbUrl":6453,"material":166,"size":6454,"collection":83,"collections":6455,"showCount":6456,"zanCount":46,"manualWeight":46,"mainColor":47},236310,"zhu-jiao-tu-zhou-zhu-da-236310","竹蕉图轴","朱耷（1626－1706），族名朱统筌，有雪个、个山、人屋、道朗、八大山人等别号。 “八大”二字，据人解释有“哭之”、“笑之”，哭笑不得的意思。南昌人。明末清初卓越的大画家。他是明太祖朱元璋第十六子朱权的九世孙。朱权封宁王于南昌，繁衍八支，朱耷属弋阳王支，袭封辅国中尉。他的父祖都善书画，因此朱耷从小就受到艺术陶冶。八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。弱冠为诸生。明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。后隐居进贤县介冈及永丰县睦冈等地。顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。他想把这里造成一块世外桃源，以求达到他向来“欲觅一个自在场头”的愿望。但这个“自在场头”毕竟是建立在清王朝统治之下，“门外不必来车马”是不可能的。因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。一年多后，他又回到青云谱，并在这里度过“花甲华诞”。当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。后又隐避在南昌附近的北兰寺、开元观等处。并常卖画度日。后来自筑陋室，名“寤歌草”堂。叶丹居章江有《过八大山人》一诗云：“一室寤歌处，萧萧满席尘蓬蒿藏户暗，诗画入禅真。遗世逃名老，残山剩水身。青门旧业在，零落种瓜人”。他是孤寂贫寒地在这个环堵萧然的草堂中度过了他的晚年。\n八大山人一生以主要的精力从事绘画，他襟怀浩落，慷慨啸歌。由于时代特点和身世遭遇，他抱着对清王朝誓不妥协的态度，把满腔悲愤发泄于书画之中。所以画中出现是鼓腹的鸟，瞪眼的鱼，甚至禽鸟一足着地，以示与清廷势不两立，眼珠向上，以状白眼向青天。他常常把“八大山人”四个字联缀起来草写，形似“哭之”、“笑之”字样。他还有很多隐晦艰涩的诗句跋语，表示对清廷极端的仇恨和蔑视。\n他的作品，表现了鲜明的爱和憎。如脍灸人口的《孔雀图》及其题诗：“孔雀名花雨竹屏，竹梢强半墨生成；如何了得论三耳，恰是逢春坐二更。”辛辣地讽刺了那班头戴三眼花翎乌纱帽的汉族大地主屈膝求荣、投降新主子的奴才丑态。有一幅山水册页题云：“郭家皴法云头小，董老麻皮树上多；想见时人解图画，一峰还写宋山河。”他称慕五代北宁间画家董源、郭熙，以其独特笔墨描绘没有受外族侵凌的宋朝江山，而激发起热爱故国的思想感情。《鹊石图轴》（现藏画家八大山人纪念馆），画中描绘着两只喜鹊立于大石之上，究其画意，具有鹊巢鸠占，翔集浣磐的含义。《诗.召南.鹊巢》云：“维鹊有巢，维鸠居之。”传云：“尸鸠不自为巢，居鹊之成巢。”八大山人作此喻以讽刺清贵不善自谋而强占别人地主。并着意表现双鹊集栖于磐石之上，这不是尸鸠可以占据和动摇得了的。他常画的莲荷松石、梅兰竹菊、芦雁凫鹤、鱼鸭鹰鹿等等，大都象征他性格的倔强与高风亮节。他一生坚不为清廷权贵画一花一大石，而一般农民、贫士、山僧、小儿却很容易得到他的作品，这种不屈于权势的精神，历来为人们赞赏与称颂。\n八大山人在艺术上有杰出的成就。他以绘画为中心，对于书法、诗跋、篆刻也都有很高的造诣。在绘画上他以大笔水墨写意画著称，并善于泼墨，尤以花鸟画称美于世。在创作上他取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。三百年来，凡大笔写意画派都或多或少受了他的影响。清代张庚评他的画达到了“拙规矩于方圆，鄙精研于彩绘”的境界。他作画主张“省”，有时满幅大纸只画一鸟或一石，寥寥数笔，神情毕具。他的书法具有劲健秀畅的气格。篆刻形体古朴，独成格局。\n朱耷在形成自己风格的发展过程中，继承了前代的优良传统，又自辟蹊径。他的花鸟画，远宗五代徐熙的野逸画风和宋文人画家的兰竹墨梅，也受明林良、吕纪、陆治的技法影响，尤致意青藤白阳的粗放画风。他的山水画，远尚南朝宗炳，又师法董、巨、米芾、倪、黄以至董其昌等人的江南山水。在书法方面，他精研石鼓文，刻意临写汉、魏、晋、唐以来的诸家法帖，尤以王羲之的为多。\n朱耷绘画艺术的特点大致说来是以形写情，变形取神；着墨简淡，运笔奔放；布局疏朗，意境空旷；精力充沛，气势雄壮。他的形式和技法是他的真情实感的最好的一种表现。\n朱耷对艺术修养与功力铸锻，正如他自己所说的：“读书至万卷，此心乃无惑；如行路万里，转见大手笔。”他认为画事有如登高，“必频登而后可以无惧”，说明他对艺术不断磨炼的精神。清初画坛在革新与保守的对峙中，八大山人是革新派“四大画僧”中起了突出作用的一人。为了纪念这位大画家，解放后已在南昌市青云谱建立了“画家八大山人纪馆”。朱耷的艺术已经在东方尤其在日本以至世界画坛引起了很大的反映。八大山人的书画有少作品，已不复得见。如：《荷塘戏禽图卷》、《河上花并题图卷》、《鱼鸭图卷》、《鱼乐图卷》、《杂花图卷》以及《杨柳浴禽图轴》、《芙蓉芦雁图轴》、《大石游鱼图轴》、《双鹰图轴》、《古梅图轴》、《墨松图轴》、《秋荷图轴》、《芭蕉竹石图轴》、《椿鹿图轴》、《快雪时晴图轴》、《幽溪泛舟图轴》、《四帧绢本浅绛山水大屏》，以及许多条幅，册页中的花鸟鱼鸭，山水树石等。书法方面有《临兰亭序轴》、《临“临河叙”四屏》，以及各大家法帖和行草诗书轴册等，都在国内外的博物馆、院中珍藏。",[24,95,7,126,6452,80],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62eeee4764011b2c51b52909de9dad7.jpg","纵220.5厘米 横88厘米",[83,222],129,{"id":6458,"slug":6459,"title":6113,"dynasty":174,"author":377,"museum":450,"description":6460,"tags":6461,"thumbUrl":6462,"material":166,"size":166,"collection":42,"collections":6463,"showCount":6456,"zanCount":1084,"manualWeight":46,"mainColor":47},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[24,25,74,7,27,36,37,80,28,33,35,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[42],{"id":6465,"slug":6466,"title":6467,"dynasty":18,"author":6468,"museum":120,"description":6469,"tags":6470,"thumbUrl":6472,"material":6473,"size":6474,"collection":83,"collections":6475,"showCount":6456,"zanCount":1084,"manualWeight":46,"mainColor":140},222447,"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[23,281,24,25,26,7,123,75,6471,1071,282,78],"灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[83,222],{"id":6477,"slug":6478,"title":6479,"dynasty":205,"author":607,"museum":92,"description":6480,"tags":6481,"thumbUrl":6487,"material":3471,"size":6488,"collection":220,"collections":6489,"showCount":6456,"zanCount":1084,"manualWeight":46,"mainColor":47},221520,"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[23,281,24,494,7,27,2314,6482,36,28,193,1035,282,533,6483,33,215,164,6484,6485,6486],"兼工带写","春景","童子","文人","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[220,42,600,222],{"id":6491,"slug":6492,"title":6493,"dynasty":359,"author":1872,"museum":1873,"description":6494,"tags":6495,"thumbUrl":6496,"material":166,"size":166,"collection":166,"collections":6497,"showCount":6456,"zanCount":46,"manualWeight":46,"mainColor":47},220569,"ben-ma-chang-sha-hui-zhan-xu-bei-hong-220569","奔马 (长沙会战)","以酣畅泼墨晕染出马的雄健躯体，留白巧绘额间白羽，浓淡干湿尽显水墨意趣。鬃尾如疾风卷舒，似裹挟破空罡风，四蹄舒张带着雷霆之势，将奔马勃发的劲力定格于纸面。\n右侧题字寄寓滚烫热忱，将匹夫之勇揉作家国担当，让战马的骁勇与民族气节相融。跃然纸上的不止是灵动骏马，更是山河飘摇里的不屈意志，笔墨间藏着赤子滚烫的热血，把救亡图存的呐喊凝于笔端，化作这匹奔马一往无前的身影。",[23,24,25,7,123,312,95,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f32ea37393a260fa91ca3652fb06b5a.jpg",[],{"id":6499,"slug":6500,"title":6501,"dynasty":174,"author":418,"museum":120,"description":6502,"tags":6503,"thumbUrl":6505,"material":98,"size":6506,"collection":83,"collections":6507,"showCount":6456,"zanCount":46,"manualWeight":46,"mainColor":47},218775,"lu-yan-tu-zhu-da-218775","芦雁图","图绘6只芦雁在水际岸边飞、鸣、行、止的瞬间。芦雁的造型准确严谨，动、静的体态表现得出神入化。其背部的羽毛是先以淡墨晕染，趁湿在淡墨上点以浓墨，浓淡墨交融处显现出羽毛柔软细密的质感和厚重的量感。图中描绘山石的笔墨老辣娴熟，石上的青苔以卧笔横锋点染，纵横随意中不失章法，其苔点与芦雁身上的墨点在笔法上形成呼应，令全幅深得酣畅淋漓之趣。",[23,24,7,95,123,6504,1004,480,75],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dede01fc11a7c1a00978bff3e757b.jpg","纵221.5厘米，横114.2厘米",[83],{"id":6509,"slug":6510,"title":6511,"dynasty":205,"author":782,"museum":450,"description":6512,"tags":6513,"thumbUrl":6514,"material":314,"size":1061,"collection":166,"collections":6515,"showCount":6516,"zanCount":5,"manualWeight":46,"mainColor":47},283691,"chun-shan-rui-song-tu-mi-fei-283691","春山瑞松图","《宋米芾春山瑞松图》是宋代书画家米芾创作的一幅纸本画，原存清宫内府斋宫，现为台北故宫博物院藏。图中描绘云雾掩映的山林景色，图中白云满谷，远山耸立云端，近处古松数株隐显于雾气中。松下有亭，空无一人。山峦青绿晕染，再加“米点” (亦称“落茄被”)，松树笔法细致、严密。",[24,494,7,36,335,624,32,211,38,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05154bc7bf74f850c5b1be5832c607b.jpg",[],128,{"id":6518,"slug":6519,"title":6520,"dynasty":174,"author":1100,"museum":54,"description":6521,"tags":6522,"thumbUrl":6523,"material":298,"size":6524,"collection":166,"collections":6525,"showCount":6516,"zanCount":5,"manualWeight":46,"mainColor":47},233715,"wu-jun-qing-hu-lu-tu-zhou-wu-chang-shuo-233715","吴俊卿葫芦图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,95,7,27,75,3995,551,367,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17603647a577c42d97a3140c92da1110.jpg","纵163.4cm,横47.5cm",[],{"id":6527,"slug":6528,"title":6529,"dynasty":18,"author":119,"museum":92,"description":6530,"tags":6531,"thumbUrl":6532,"material":284,"size":6533,"collection":166,"collections":6534,"showCount":6516,"zanCount":46,"manualWeight":46,"mainColor":47},222234,"liu-shi-tu-zhou-xu-wei-222234","榴实图轴","该幅写石榴一枝，笔力强劲，水墨淋漓，是徐渭本色。右上方题识云：“山深熟石榴，向日笑开口；深山少人收，颗颗明珠走。文长。”书画二者两相辉映，超逸绝伦。",[23,24,7,95,75,37,80,123,1474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e07fd04d0daa125ff55aa8d5a720ce.jpg","91.4×26.6",[],{"id":6536,"slug":6537,"title":6538,"dynasty":174,"author":175,"museum":120,"description":6539,"tags":6540,"thumbUrl":6541,"material":564,"size":6542,"collection":222,"collections":6543,"showCount":6516,"zanCount":1084,"manualWeight":46,"mainColor":47},220981,"song-zhu-tu-yun-shou-ping-220981","松竹图","《松竹图》轴，本幅右上自题五绝一首并款署：“徒倚白云外，盘桓陶径深。\n相看惟石友，同有岁寒心。\n瓯香馆制，白云溪外史寿平。\n此图所绘松、竹、石是文人画家惯写的题材。\n因恽氏晚年自号“白云溪外史”，题画诗中首句“徒倚白云外”当为实写。\n“盘桓陶径深”出自陶渊明《归去来辞》，表达了作者拟学陶渊明而归隐白云溪之意。\n所绘松竹苍劲秀丽，画面所呈现出的明洁秀逸正是画家晚居时悠然淡逸心境的写照。",[23,24,25,95,7,27,127,126,2863,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac69767522d422b20ffb0fe1c00fbcf.jpg","纵135.8cm，横61.3cm",[222,919],{"id":6545,"slug":6546,"title":6547,"dynasty":18,"author":1836,"museum":92,"description":6548,"tags":6549,"thumbUrl":6550,"material":110,"size":6551,"collection":42,"collections":6552,"showCount":6516,"zanCount":46,"manualWeight":46,"mainColor":47},219393,"shuang-lin-qiu-si-tu-dong-qi-chang-219393","霜林秋思图","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。",[24,25,7,27,36,28,147,610,32,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ddfad59a355bdb3593c2a6418d9735.jpg","纵130.2厘米，横63.5厘米",[42],{"id":6554,"slug":6555,"title":6556,"dynasty":174,"author":377,"museum":430,"description":431,"tags":6557,"thumbUrl":6558,"material":40,"size":166,"collection":83,"collections":6559,"showCount":6516,"zanCount":46,"manualWeight":46,"mainColor":47},218129,"mu-dan-chun-tu-shi-tao-218129","牡丹春图",[23,24,25,7,27,75,129,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54421eb9c1a00afe897aab682510aa31.jpg",[83],{"id":6561,"slug":6562,"title":6563,"dynasty":174,"author":1100,"museum":450,"description":2099,"tags":6564,"thumbUrl":6565,"material":196,"size":3227,"collection":83,"collections":6566,"showCount":6567,"zanCount":46,"manualWeight":46,"mainColor":2104},224222,"zhao-ri-hong-he-2-wu-chang-shuo-224222","朝日红荷2",[23,24,25,95,123,7,27,75,129,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee70d82dd0fb7821970c9c33faebe94.jpg",[83,64],127,{"id":6569,"slug":6570,"title":6571,"dynasty":205,"author":6572,"museum":294,"description":6573,"tags":6574,"thumbUrl":6575,"material":284,"size":6576,"collection":245,"collections":6577,"showCount":6567,"zanCount":1084,"manualWeight":46,"mainColor":47},221277,"lian-po-lin-xiang-ru-lie-zhuan-can-di-yi-duan-huang-ting-jian-221277","廉颇蔺相如列传(残)第一段","黄庭坚","中国书法史上最长的传世经典长卷，是诞生于972年前，黄庭坚在50岁时所写的《廉颇蔺相如列传》长卷，是他的草书代表作之一，更是他传世书法中的经典名迹。\n此卷全长21.784米，即34.3 x 2178.4厘米，原迹内心为32.5 x 1822厘米，卷尾无书写纪年和史款。如有，会更加长。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”“绍兴”连珠印、 “内省斋”“秋壑图书”“欧阳玄印”“项子京家珍藏”等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n黄庭坚草书的巨大成就，在《廉颇蔺相如列传》长卷大放异彩。作为山谷51岁时的成熟代表作，此帖已走出了早期《花气诗帖》用笔生硬、少圆转的起步状态，更加完善了中期《杜甫寄贺兰铦诗帖》笔法圆劲、笔势连绵的特点。丰富多样的掠笔、带笔、蹲笔，尤其是独创的颤笔技法，让线条极富振荡感，洋溢着活跃跃的韵律之美，赋予了草书以崭新的境界。",[23,37,394,26,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69389dffdd14a5bc5b44aab4f492bbcf.jpg","纵32.5厘米，横1822厘米",[245],{"id":6579,"slug":6580,"title":6581,"dynasty":18,"author":19,"museum":515,"description":516,"tags":6582,"thumbUrl":6583,"material":298,"size":521,"collection":166,"collections":6584,"showCount":6567,"zanCount":46,"manualWeight":46,"mainColor":47},220059,"hu-qiu-shi-er-jing-tu-ce-8-shen-zhou-220059","虎丘十二景图册-8",[23,24,7,28,74,36,194,519,162,30,5431,193,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0478c2e27a123b03cd04587242f18298.jpg",[],{"id":6586,"slug":6587,"title":6588,"dynasty":205,"author":581,"museum":20,"description":6589,"tags":6590,"thumbUrl":6591,"material":110,"size":6592,"collection":220,"collections":6593,"showCount":6567,"zanCount":5,"manualWeight":46,"mainColor":140},218600,"jiang-fei-wan-yue-tu-yi-ming-218600","江妃玩月图","月色如练，泼洒在虬枝瘦干间。墨笔勾勒的树影横斜，嶙峋枝干似在夜风中轻语。凭栏处，佳人衣袂翩然，或执扇凝睇，或侧首听月，身影与疏枝、栏杆相映成趣。夜的清寂被月色化开，淡墨晕染出朦胧意蕴，每一处线条都简劲有致，藏着宋人笔墨的雅致风骨。无需浓妆艳抹，仅以素淡之笔，便将玩月的悠然、月夜的幽远揉成一幅清绝画境，让人在静默中触碰到那份穿越时光的古雅与深情。",[23,24,25,7,547,193,636,940,147,29,610,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbdeecfafad713f88037a5c5c52fa50.jpg","25.4x24.8",[220],{"id":6595,"slug":6596,"title":6597,"dynasty":174,"author":377,"museum":378,"description":379,"tags":6598,"thumbUrl":6599,"material":40,"size":384,"collection":166,"collections":6600,"showCount":6567,"zanCount":46,"manualWeight":46,"mainColor":47},214883,"shan-shui-tu-ce-8-shi-tao-214883","山水图册-8",[23,24,7,36,74,80,37,28,29,193,180,147,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7ef45c74e90c04ee9fc52e892419d2.jpg",[],{"id":6602,"slug":6603,"title":6604,"dynasty":52,"author":158,"museum":450,"description":2904,"tags":6605,"thumbUrl":6607,"material":314,"size":1061,"collection":166,"collections":6608,"showCount":6609,"zanCount":1084,"manualWeight":46,"mainColor":140},287593,"chun-shan-du-shu-tu-wang-meng-287593","春山读书图",[24,281,7,95,28,36,624,34,32,324,6606,3685,37,193,212],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4beaf0ca1e1f9e9ad8ca3a4d4a7f2.jpg",[],126,{"id":6611,"slug":6612,"title":6613,"dynasty":174,"author":377,"museum":450,"description":6614,"tags":6615,"thumbUrl":6617,"material":298,"size":6618,"collection":42,"collections":6619,"showCount":6609,"zanCount":46,"manualWeight":46,"mainColor":47},233378,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233378","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,7,36,74,80,28,29,30,33,35,34,6616],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af052cf182809b3d590f54883cbc337.jpg","纵24.6cm横17.6cm",[42,83],{"id":6621,"slug":6622,"title":6623,"dynasty":205,"author":6624,"museum":1346,"description":6625,"tags":6626,"thumbUrl":6629,"material":61,"size":6630,"collection":220,"collections":6631,"showCount":6609,"zanCount":436,"manualWeight":46,"mainColor":140},221555,"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[23,281,24,25,481,7,27,5666,453,6627,6628],"金泥","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[220,83,64],{"id":6633,"slug":6634,"title":6635,"dynasty":359,"author":3289,"museum":6636,"description":6637,"tags":6638,"thumbUrl":6639,"material":6640,"size":166,"collection":166,"collections":6641,"showCount":6609,"zanCount":46,"manualWeight":46,"mainColor":47},220489,"zhu-mei-zhang-da-qian-220489","竹梅","The Chinese University of Hong Kong Library","此作以跨页小品写就，水墨清简疏淡。左侧修竹瘦劲挺拔，寥寥数笔写出竹叶翩然之姿，清峻孤高自带霜节。右侧梅枝横斜而出，淡墨圈花，花苞轻绽，冷香暗浮于留白之中。\n\n画面以少胜多，将竹之劲节与梅之清癯相融，寥寥逸笔尽显岁寒二友的君子风骨。题款墨色苍劲古雅，朱印点染提亮，文人情趣浑然天成。整幅淡墨浅痕却余韵悠长，把东方水墨的留白意趣藏在疏枝瘦叶之间，清冷雅致，尽显写意之妙。",[23,24,25,74,7,125,126,80,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928a3a570439bf1c01d26bb75a5c21e.jpg","Ink and colour on paper",[],{"id":6643,"slug":6644,"title":6645,"dynasty":174,"author":5748,"museum":378,"description":6646,"tags":6647,"thumbUrl":6648,"material":40,"size":6649,"collection":42,"collections":6650,"showCount":6609,"zanCount":46,"manualWeight":46,"mainColor":47},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡[kūn]残（1612年-1692年），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[23,24,25,28,7,36,717,31,30,212,324,211,33,3246,58,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 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、“人屋”，多绘蔬果、花卉、松梅一类题材，以卷册为多。画面比较精细工致，劲挺有力。50岁至65岁为中期，画风逐渐变化，喜绘鱼、鸟、草虫、动物，形象有所夸张，用笔挺劲刻削，动物和鸟的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鸟多栖一足，悬一足。65岁以后为晚期、艺术日趋成熟。笔势变为朴茂雄伟，造型极为夸张，鱼、鸟之眼一圈一点，眼珠顶着眼圈，一幅“白眼向天”的神情。他画的鸟有些显得很倔强，即使落墨不多，却表现出鸟儿振羽，使人有不可一触，触之即飞的感觉。有些禽鸟拳足缩颈，一副既受欺又不屈的情态，在构图、笔墨上也更加简略。这些形象塑造，无疑是画家自的写照，即“愤慨悲歌，忧愤于世，一一寄情于笔墨”。他在题黄公望山水诗中写道：“郭家皴法云头小，董老麻皮树上多。想见时人解图画，一峰还与宋山河。表现出他的民族意识。此画作足以代表朱耷的艺术风格。笔墨简括凝练，形象夸张，意境清冷。画中山水树木，形象寂寥无不带有画家的个人烙印和情感。",[24,7,123,74,75,4154,76,80,3585,6669,6670,6671,6672,6673,2446,6674,1179,6675],"水墨花鸟","草虫题材","花卉题材","水墨技法","写意技法","花鸟虫鱼","水墨草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1832d1cbad4704515cafe4aadf8818b.jpg","纵26厘米，横41厘米",[],125,{"id":6681,"slug":6682,"title":6683,"dynasty":52,"author":53,"museum":378,"description":6684,"tags":6685,"thumbUrl":6686,"material":457,"size":166,"collection":42,"collections":6687,"showCount":6679,"zanCount":46,"manualWeight":46,"mainColor":140},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[23,24,25,95,7,36,28,212,33,1442,215,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[42],{"id":6689,"slug":6690,"title":6691,"dynasty":52,"author":239,"museum":159,"description":6692,"tags":6693,"thumbUrl":6694,"material":457,"size":166,"collection":83,"collections":6695,"showCount":6679,"zanCount":473,"manualWeight":46,"mainColor":140},219039,"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[23,24,281,547,481,7,27,193,312,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[83,600],{"id":6697,"slug":6698,"title":6699,"dynasty":205,"author":1763,"museum":92,"description":6700,"tags":6701,"thumbUrl":6702,"material":110,"size":6703,"collection":42,"collections":6704,"showCount":6679,"zanCount":5,"manualWeight":46,"mainColor":140},218960,"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[23,24,25,7,28,31,147,180,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[42],{"id":6706,"slug":6707,"title":6708,"dynasty":205,"author":581,"museum":92,"description":6709,"tags":6710,"thumbUrl":6712,"material":110,"size":6713,"collection":220,"collections":6714,"showCount":6679,"zanCount":1084,"manualWeight":46,"mainColor":140},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,25,28,27,7,36,1853,6711,29,30,31,468,729,32],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[220,42],{"id":6716,"slug":6717,"title":6718,"dynasty":52,"author":6719,"museum":2465,"description":6720,"tags":6721,"thumbUrl":6722,"material":110,"size":166,"collection":42,"collections":6723,"showCount":6679,"zanCount":46,"manualWeight":46,"mainColor":140},218720,"teng-wang-ge-tu-wang-zhen-peng-218720","滕王阁图","王振鹏","笔尖游走绢素，界尺起落间，滕王阁飞檐翘角如振翅鹏鸟，跃然眼前。斗拱层叠似琴键排开，梁柱线条刚劲含韵，每处榫卯藏着匠人之谨与画师之巧。楼阁依山傍水，石阶蜿蜒入林，与葱郁草木相映成趣。远山如黛，烟波浩渺，一叶孤舟在水天之际轻漾，为宏伟建筑添了空灵悠远。整幅画将建筑理性之美与山水诗意之韵交织，既见界画精准工致，又含文人画雅致情怀，让千年名楼的巍峨气象与天地灵秀之气，在古卷中静静流淌，尽显元代画坛独特风貌。",[23,24,25,518,547,7,28,194,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e4ffe86b2585108496c06f20abcf64.jpg",[42],{"id":6725,"slug":6726,"title":6727,"dynasty":52,"author":2127,"museum":92,"description":6728,"tags":6729,"thumbUrl":6730,"material":110,"size":6731,"collection":42,"collections":6732,"showCount":6679,"zanCount":5,"manualWeight":46,"mainColor":140},218137,"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[23,24,25,28,193,7,27,33,34,211,36,1523,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","纵135.3厘米、横59厘米",[42],{"id":6734,"slug":6735,"title":6736,"dynasty":174,"author":739,"museum":92,"description":2646,"tags":6737,"thumbUrl":6744,"material":40,"size":166,"collection":166,"collections":6745,"showCount":6679,"zanCount":46,"manualWeight":46,"mainColor":47},214852,"xie-sheng-ce-11-hua-yan-214852","写生册-11",[24,25,123,7,27,453,6738,1852,6739,6740,6741,6742,34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澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,179,27,7,36,126,706,76,2192,80,6767,6768,6769,2886,6770,3881,4920],"苔草","红色花卉","黄色花卉","竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377c657f826c18b3596050a5963db15.jpg",[],{"id":6774,"slug":6775,"title":6776,"dynasty":174,"author":189,"museum":770,"description":6777,"tags":6778,"thumbUrl":6782,"material":298,"size":6783,"collection":166,"collections":6784,"showCount":6760,"zanCount":1084,"manualWeight":46,"mainColor":47},222670,"liu-tang-shuang-lu-huang-shen-222670","柳塘双鹭","图中垂柳依依、双鹭觅食，展现一派春意盎然、生机勃勃的景象。几株柳树从画面右侧斜伸入画，树干交错，极富形式美感。柔软的柳枝轻盈地飘垂下来，疏落的柳叶上淡淡的绿意为画面营造出春的气息。两只白鹭相向而立，在池塘中聚精会神地觅食，与斜欹的柳树相映成趣。春柳扶疏，白鹭相伴，虽物象简单却极富情致。\n此图观其整个画面，笔墨洗练，劲爽流畅，勾斫点染，乍看似不经意，却显示了他熟练的技巧。画幅左侧以大片的空白表现茫茫的水面，右侧近处有二棵垂柳在水边拔地而起，粗根如疙瘩似的，且露裸出土。两枝柳树，一浓一淡，老干粗大挺拔，直冲而上，伸展至画幅顶端；另一枝斜出向左倾斜，与老干相穿插，枝叶相交，错落有致。条条柳枝垂挂而下，嫩叶萌发，呈现出勃勃生机，已是初春的时节，垂柳下的湖塘水边，有两只白鹭立于浅水中觅食。左侧一鹭两腿弯曲，前身向前倾斜，尾部朝天，正在啄食；右侧一只白鹭，侧身仰首，一条右腿弯曲上提，伸长脖颈正在啄食，神态自然，生动逼真，这两只白鹭的举止，打破了宁静气氛，出现在画幅的中心，点出了此画的主题，给人们留下逗情的印象。画幅左侧作者自题诗：“青山淡抹走轻烟，杨柳高楼大道边；闲煞春光看振鹭，一拳撑破水中天？”这幅画的作者自题诗，乍看书写草草，却显得十分流畅自然，细察之，则笔情墨韵盎然，大可为画幅增色；署“瘿瓢子写”。钤“黄慎”朱文印、“瘿瓢”白文印。右下角钤“东海布衣”白文印。\n柳树老干用大笔浓墨写出，柳树主干多皴结，显示柳的苍老。两棵柳树分别用浓淡干湿不一的笔墨写出，呈现出一浓一淡的特色。对于水的描绘，黄氏以简代繁，不直接去描写水，而是在二只白鹭啄食处用淡笔曲折一抹，抹出了水的波纹。二只白鹭用枯笔寥寥数笔，挥写而就，形态逼真，神形俱全。",[23,24,6779,123,95,1035,6780,6781,75,7],"水墨画","鹭","水塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00fadd85ec383330dcc97cfc99ec55e.jpg","纵139厘米，横62.5厘米",[],{"id":6786,"slug":6787,"title":645,"dynasty":174,"author":2029,"museum":450,"description":6788,"tags":6789,"thumbUrl":6791,"material":1877,"size":6792,"collection":42,"collections":6793,"showCount":6760,"zanCount":46,"manualWeight":46,"mainColor":47},222619,"shan-shui-tu-gong-xian-222619","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。\n\n绘画:\n龚贤是位既注重传统笔墨又注重师法造化的山水画家。其创作以五代董源、巨然的画法为基础，以宋初北方画派的笔墨为主体，参以二米（米芾、米友仁父子）、吴镇及沈周等人的笔风墨韵，同时结合自己对自然山水的观察和感受，形成了浑朴中见秀逸的积墨法，不同于清初以王时敏为首的“四王”所倡导的笔笔有古意的创作格法。作品多写金陵山水，长于用墨。\n龚贤喜用老辣朴拙的笔触，沉着稳重，秃笔与尖笔兼用。秃笔，取之圆润苍劲，勾屋，皴擦，画树和点苔苍老有力。龚贤用笔在主张“欲秀而老”，秀而老就是准确、简练而流畅有变化。画家程正揆在赠龚贤的诗中道：“铁干银钩老笔翻，力能从简意能繁”，这很好地点出了龚贤在用笔上的特点和成就。他提出笔法、墨气、丘壑、气韵作为画家四要，主张作画要中锋用笔，并且要古、健、老、苍，才能避免刻、结、板之病，颇为精辟。龚贤用墨，以层层积墨见长，虽不用泼墨，实具有泼墨烟润淋漓的效果，颇有宋人的用墨特点。其画山石树木中锋用笔，苍劲古厚，并用积墨法作反复皴擦积染，多至十几层，墨色极为浓重，但仍有深浅、浓淡、明暗等细微变化，山石树木往往浑融一体，仅在阳面或轮廓边缘处留出些许高光和坚实的轮廓，效果强烈，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。龚贤作画最善用墨，主张墨气要厚、润，他发展了积墨画法，龚贤精研此法是追求一种苍润的境界，他以干笔作墨骨，再以层层皴染包润之，令山林树木呈现出鲜润沉厚的墨韵，使画面湿润厚重之感，这种画法适于表现江南湿意浓重的山水景色，同时也使龚贤的绘画具有了一种深郁静穆的格调。龚贤的画法分两类，世称“墨龚”和“白龚”。他善用黑白对比的技法，前者浓密苍茫，后者简淡雅洁。他在《半千课徒画说》中称：“非黑，无以显其白；非白，无以利其黑。”又如《平远小景》图（册页，纸本水墨）中所画的房屋，简洁明丽，在周围笔墨的映衬下，洁白的屋墙似乎透出光亮。此处即用黑白对比的技法。\n龚贤的山水画非常重视构图。他的画视野开阔，气象万千。他的“三远”构图原则，发挥得淋漓尽致，出神入化。他往往提高视线的角度，“平远”构图，多采取俯视角度，这样，视野开阔，平淡中倍增飘渺的感觉。尺幅之中，山河无尽。作“高远”构图，也是如此，先俯视，尔后眼光往上作仰视，真有下揽深谷、上突危峰的气概。他十分注重上下的位置。他的山水画一般很“满”，但“满”而不塞，常常用云带、流水作为空白透气。从整个画面来说，很有气韵。这才是龚贤的笔、墨、丘壑浑然一体的韵，从而创造出有地方特色的山水画。他是当之无愧的“金陵画派”的首领。\n龚贤之子龚柱，字础安，山水面目极似其父，只是烘染略少而已。\n\n诗作:\n龚贤是先以诗歌闻名于世的。客居海安、扬州时期，龚贤创作了大量诗歌，居扬州期间，在六年内作诗二百多首，是他一生中写诗最多的时期，传于后世的《草香堂集》共收诗203首，其中题画诗仅8首。可见那时期他作画不多，诗却写了不少。《草香堂集》中的诗大部分反映了他在海安、扬州时的生活经历和思想状况。他的诗很有特色，其好友方文在《喜龚半千还金陵》诗中赞他“更妙是诗篇，浑朴复雄放”；龚贤自己曾在《生日作》中谦逊地说：“余生皆酒力，不幸以诗名。”郭沫若曾评龚诗曰：“半千的诗虽然不多，大率精炼，颇有晚唐人风味。”在扬州，喜爱晚唐诗的龚贤还着手进行中晚唐诗歌的汇集整理工作，这一艰巨工作持续了数十年，被好友周亮工赞为“中晚唐之功臣也”。\n龚贤之诗作，一经开篇，则清逸之气沁人心脾，极显清疏淡雅之姿，如云流水池，一气呵成。其律绝句中鲜见用典，惟其《赠罗使君》一篇七古二十四韵中竟用了三十二个典故。窥一斑而知全豹，诗人腹笥藏书之富，非同一般。通常避而不用者，意在畅情而已。虽其谴词造句似属平易，然再经咀嚼，则有一种清新爽口之感。关键在于诗人抓住了现实生活中最富有诗意的景象和最触动自己心灵的情节，以简洁的艺术语言淋漓酣畅地表达无遗。这既是诗，亦是文，流畅似水，通俗如话，无诘屈聱牙之句，无冷僻难解之点。这表明诗人极具质朴的创作精神，从不故作哗众取宠惊人之笔，这又恰恰与他的绘画的艺术追求殊途同归。\n龚贤懂诗、爱诗、惜诗。他曾花费数十年的时间，以极大的毅力进行中晚唐诗的搜集、选编工作。为此，他曾“大索天下”，觅得百余家“多人未见本”（即未曾被收编入书的）主要靠自己出资刻印了七十四家。",[23,24,7,36,95,28,34,33,1442,6790],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纵110厘米，横50厘米",[42,222],{"id":6795,"slug":6796,"title":6797,"dynasty":205,"author":5899,"museum":120,"description":6798,"tags":6799,"thumbUrl":6802,"material":612,"size":6803,"collection":166,"collections":6804,"showCount":6760,"zanCount":1084,"manualWeight":46,"mainColor":47},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,26,7,27,36,481,28,5582,6800,34,33,30,31,468,6801,29,282,211,37,38,80],"小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":6806,"slug":6807,"title":6808,"dynasty":359,"author":360,"museum":6432,"description":6809,"tags":6810,"thumbUrl":6812,"material":166,"size":166,"collection":166,"collections":6813,"showCount":6760,"zanCount":1084,"ma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on paper",[],{"id":6825,"slug":6826,"title":6827,"dynasty":205,"author":6828,"museum":265,"description":6829,"tags":6830,"thumbUrl":6832,"material":298,"size":6833,"collection":600,"collections":6834,"showCount":6760,"zanCount":387,"manualWeight":46,"mainColor":47},219113,"ming-fei-chu-sai-tu-zhao-jun-chu-sai-tu-gong-su-ran-219113","明妃出塞图(昭君出塞图)","宫素然","全幅气势开合起伏，将艰难行进在寒风凛列的朔野之中的和亲队伍的情境绘制出来，非常真切地再现了昭君出塞的动人场面。",[23,24,281,26,547,7,193,312,6831,636,80,205],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3db2cf109c619db1fdd8f9878077f27.jpg","30.2cm，横160.2cm",[600],{"id":6836,"slug":6837,"title":6838,"dynasty":18,"author":91,"museum":92,"description":6839,"tags":6840,"thumbUrl":6841,"material":98,"size":6842,"collection":42,"collections":6843,"showCount":6760,"zanCount":1084,"manualWeight":46,"mainColor":140},214822,"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","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。",[24,25,7,28,36,37,80,32,31,33,213,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[42],{"id":6845,"slug":6846,"title":6847,"dynasty":52,"author":239,"museum":120,"description":6848,"tags":6849,"thumbUrl":6850,"material":6851,"size":6852,"collection":245,"collections":6853,"showCount":6854,"zanCount":1084,"manualWeight":46,"mainColor":140},239648,"lin-lan-ting-xu-juan-zhao-meng-fu-239648","临兰亭序卷","此卷原在赵孟頫“定武兰亭”十六跋后，之后被人分割，另装在南宋翻刻兰亭拓本后面。赵孟頫一生对《兰亭序》极为推重，曾反复临写，此件是其晚年所临，笔法精良。加之此卷前面有南宋翻刻定武《兰亭序》拓本，以及前后尤袤、王厚之、张翥、王蒙等宋元名家题跋，更为珍贵。本幅另有清代庆锡题跋一段。\n释文（略）。本幅款署“子昂”\n鉴藏印“伯谦精鉴”、“伯谦审定真迹”、“绍庭审定”、“蛰蛰公书画”“龙友过眼”等。",[23,254,38,26,37,25,858,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ea3e89479876fe37bc518a1e7ae087.jpg","绢本，行书","纵27.4厘米，横102厘米，28行，324字",[245],123,{"id":6856,"slug":6857,"title":3812,"dynasty":174,"author":418,"museum":450,"description":6858,"tags":6859,"thumbUrl":6860,"material":166,"size":166,"collection":83,"collections":6861,"showCount":6854,"zanCount":1084,"manualWeight":46,"mainColor":47},236461,"zhu-shi-tu-zhou-zhu-da-236461","朱耷（1626—1705年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『0137』，小名耷。清顺治五年（1648年）落发为僧，法名传綮。一生字、号、别号甚多，有个山、驴屋驴、人屋等。康熙二十三年（1684年）始号八大山人。坎坷的命运影响着他的人生观及艺术思想，其绘画作品多寄托着对清王朝的痛恨，及对明王朝的眷恋之情。他的山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。其花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。借此表达自己作为明皇族后裔，百般无奈的感慨之情。他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。书法宗王献之、颜真卿，淳朴圆润，自成一格。朱耷中晚年，在书画作品款署中多使用“八大山人”。",[24,25,95,7,123,126,706,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f836ef9cd8492d7bd9c07df16cc664.jpg",[83,222],{"id":6863,"slug":6864,"title":6865,"dynasty":205,"author":278,"museum":92,"description":6866,"tags":6867,"thumbUrl":6872,"material":218,"size":6873,"collection":220,"collections":6874,"showCount":6854,"zanCount":46,"manualWeight":46,"mainColor":140},221572,"xi-hu-liu-ting-tu-zhou-xia-gui-221572","西湖柳艇图轴","西湖柳艇图画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[23,281,24,7,95,28,1035,6868,6869,6870,6871,193,29,30,31,481],"长堤","水榭","湖舍","画舫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d0b03ccc5a62ec9034caad9749d55.jpg","纵107.2厘米，横59.3厘米",[220,42,222],{"id":6876,"slug":6877,"title":6878,"dynasty":205,"author":842,"museum":92,"description":6879,"tags":6880,"thumbUrl":6883,"material":61,"size":6884,"collection":220,"collections":6885,"showCount":6854,"zanCount":46,"manualWeight":46,"mainColor":140},221413,"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[24,25,95,7,36,28,624,6881,6882,29,30,34,33],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[220,42,222],{"id":6887,"slug":6888,"title":6889,"dynasty":52,"author":239,"museum":6890,"description":6891,"tags":6892,"thumbUrl":6894,"material":298,"size":6895,"collection":245,"collections":6896,"showCount":6854,"zanCount":473,"manualWeight":46,"mainColor":47},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,37,38,26,25,7,80,31,282,30,6893,134,454],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[245],{"id":6898,"slug":6899,"title":6900,"dynasty":359,"author":3289,"museum":159,"description":6901,"tags":6902,"thumbUrl":6905,"material":40,"size":6906,"collection":42,"collections":6907,"showCount":6854,"zanCount":46,"manualWeight":46,"mainColor":47},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,281,24,25,7,27,123,36,28,30,31,29,210,33,34,211,35,311,6903,6904],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[42,64],{"id":6909,"slug":6910,"title":6911,"dynasty":205,"author":1682,"museum":450,"description":2466,"tags":6912,"thumbUrl":2468,"material":98,"size":6915,"collection":166,"collections":6916,"showCount":6854,"zanCount":1084,"manualWeight":46,"mainColor":47},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪",[23,281,24,25,3335,7,123,6913,494,335,350,33,831,211,5781,6914],"禅画","自然景观","29.5X94.4厘米",[],{"id":6918,"slug":6919,"title":6920,"dynasty":205,"author":607,"museum":159,"description":6921,"tags":6922,"thumbUrl":6923,"material":110,"size":6924,"collection":220,"collections":6925,"showCount":6854,"zanCount":46,"manualWeight":46,"mainColor":140},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[23,281,24,25,28,7,27,36,335,162,32,211,193,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 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101.4",[220],{"id":6927,"slug":6928,"title":6929,"dynasty":174,"author":491,"museum":544,"description":2292,"tags":6930,"thumbUrl":6931,"material":40,"size":2295,"collection":42,"collections":6932,"showCount":6854,"zanCount":46,"manualWeight":46,"mainColor":47},219996,"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作",[24,281,28,7,36,335,624,33,35,213,211,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg",[42],{"id":6934,"slug":6935,"title":6936,"dynasty":889,"author":1057,"museum":92,"description":6937,"tags":6938,"thumbUrl":6940,"material":110,"size":6941,"collection":42,"collections":6942,"showCount":6854,"zanCount":5,"manualWeight":46,"mainColor":140},218927,"dai-du-tu-guan-tong-218927","待渡图","这幅画描绘了一个高高士在野外穿越时等待船只的情景，笔触和墨迹高度变化，并有一个边缘的场景。",[23,24,25,28,36,7,34,33,58,3687,6939],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0234b4c0ad967411b9cb6bfbe40aadfa.jpg","21.9x24",[42],{"id":6944,"slug":6945,"title":6946,"dynasty":174,"author":5090,"museum":378,"description":6947,"tags":6948,"thumbUrl":6949,"material":40,"size":6950,"collection":42,"collections":6951,"showCount":6854,"zanCount":46,"manualWeight":46,"mainColor":47},217217,"fang-gu-shan-shui-shi-er-kai-wang-hui-217217","仿古山水十二开","此册王翚仿古十二开",[24,25,74,7,36,3217,28,33,34,30,164,324,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[42],{"id":6953,"slug":6954,"title":3402,"dynasty":18,"author":119,"museum":450,"description":4842,"tags":6955,"thumbUrl":6956,"material":314,"size":1061,"collection":166,"collections":6957,"showCount":6958,"zanCount":1084,"manualWeight":46,"mainColor":47},290556,"he-hua-zhou-xu-wei-290556",[24,281,25,95,7,123,75,395,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e13237f744b16759e4d325b37bd217.jpg",[],122,{"id":6960,"slug":6961,"title":6962,"dynasty":174,"author":6963,"museum":450,"description":6964,"tags":6965,"thumbUrl":6966,"material":166,"size":166,"collection":83,"collections":6967,"showCount":6958,"zanCount":436,"manualWeight":46,"mainColor":47},230217,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230217","十二金钗图轴","张善孖","此作跳脱了猛虎惯常的威肃凌厉之态，绘虎缓步于烟霭乱石间，笔力劲挺勾勒出雄健躯干，斑纹晕染苍劲写实，却敛去凶煞戾气，姿态带着幽婉柔媚的意趣。\n\n题诗呼应画意，以佳人风姿拟虎，将百兽之王与婉约情致相融，淡墨晕染的空濛云雾衬出悠远氛围感，工写兼具，既尽显虎的筋骨力道，又裹挟着文人画的雅致文心，是独出机杼的写虎佳制。",[23,24,25,95,7,27,3914,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b4ce6ce085278e695890e586d2946e.jpg",[83,42],{"id":6969,"slug":6970,"title":6971,"dynasty":205,"author":344,"museum":450,"description":4604,"tags":6972,"thumbUrl":6973,"material":166,"size":166,"collection":166,"collections":6974,"showCount":6958,"zanCount":46,"manualWeight":46,"mainColor":140},227688,"shi-yi-long-tu-chen-rong-227688","十一龙图",[23,281,24,25,26,7,36,349,28,211,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd37fa557531a1ee46077055962506d.jpg",[],{"id":6976,"slug":6977,"title":6978,"dynasty":52,"author":158,"museum":92,"description":6979,"tags":6980,"thumbUrl":6982,"material":40,"size":6983,"collection":42,"collections":6984,"showCount":6958,"zanCount":1084,"manualWeight":46,"mainColor":140},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,24,25,95,7,28,36,6981,3942,29,30,33,34,193,35],"深林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[42,222],{"id":6986,"slug":6987,"title":6988,"dynasty":52,"author":2172,"museum":92,"description":6989,"tags":6990,"thumbUrl":6992,"material":98,"size":6993,"collection":83,"collections":6994,"showCount":6958,"zanCount":46,"manualWeight":46,"mainColor":140},214818,"jia-tu-guan-dao-sheng-214818","茄图","管道升（生卒年不详）是中国元代（1271年 - 1368年）的画家。他主要以写意山水画著称。管道升的茄图是一幅以茄子为主题的山水画。茄子是一种常见的蔬菜，被广泛用于烹饪。这幅画中的茄子极具写意，呈现出自然的姿态和神韵。管道升善于运用水墨画的技法，表现出山水中的细腻和精致。\n\n管道升的茄图是一幅脍炙人口的名作，被广泛传颂和收藏。它的笔墨简洁，意境深远，描绘出了大自然的美丽和生机。这幅画不仅描绘了山水的美景，而且也表达了作者对生活的感悟和思考。管道升的茄图是中国山水画史上的经典之作，对中国画坛产生了深远的影响。",[24,25,7,481,75,6991,79,367,80],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2d3ee1317752964db7545c6ea152f.jpg","52.1x28.4",[83],{"id":6996,"slug":6997,"title":6113,"dynasty":174,"author":377,"museum":120,"description":3984,"tags":6998,"thumbUrl":6999,"material":564,"size":3140,"collection":42,"collections":7000,"showCount":7001,"zanCount":46,"manualWeight":46,"mainColor":47},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296",[281,24,25,74,27,7,36,28,162,193,35,164,4569,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg",[42,64],121,{"id":7003,"slug":7004,"title":7005,"dynasty":205,"author":278,"museum":120,"description":7006,"tags":7007,"thumbUrl":7008,"material":298,"size":7009,"collection":166,"collections":7010,"showCount":7001,"zanCount":1084,"manualWeight":46,"mainColor":140},233211,"lin-liu-fu-qin-tu-ye-xia-gui-233211","临流抚琴图页","宋代郭熙《林泉高致》云：“山以水为血脉”、“山得水一活”，水是山的眼睛，关乎画面的神采，最难画活。宋代的山水画中多以密致的线条勾出水纹，如现存李唐的《江山小景图》、马远的《水图》等都是以工致的笔法画出水纹。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。夏圭是善于在绘画中“用虚”的大师，在这幅画中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。画中的人物也很有特点，没有过多地描绘细节，而是注重表现身体的动势，笔简而神全。抚琴者似在弹奏，让人不禁联想到琴声的悠扬。\n作为一个欣赏者，我们可能更多地关注的是画面的内容和技法的运用，往往忽视了绘画材料本身。古人云：“皮之不存，毛将焉附?”画面的效果和气氛的营造，一方面取决于画家的精神境界和绘画技巧，另一方面取决于绘画的材料即媒材。唐、宋时期绘画尚用绢，至明末，画家皆用熟纸。夏圭此画作于熟绢之上，绢本细腻的质地适于表现笔墨的流利劲健，他充分利用了绢的特性，笔势纵横生动。\n元代庄肃的《画继补遗》中评价夏圭：“画山水人物极俗恶。宋末世道凋丧，人心迁革，圭遂滥得时名，其实无可取，仅可知时代姓名而已。”此论可谓偏颇至极。夏圭的山水画，用笔外露，非是缺点，而是其特点。夏文彦《图绘宝鉴》称赞夏圭说：“院人中画山水，自李唐以下，无出其右者也。”宋代绘画是中国传统绘画的精华，它来源于画家“外师造化，中得心源”，并非是抛弃自然的笔墨游戏。如宋代郭熙的《林泉高致》中提到画家对待绘画用“敬”的态度“凡一景之画，不以大小多少，必须注精以一之”、“必神与俱成之”、“必严重以肃之”、“必恪勤以周之”，不可“以轻心挑之”、“以慢心忽之”。夏圭正是以这种敬业的精神以及“心源”颖悟，在方寸之内，写出如此之大气象、大境界。\n宋、元以后文人画开始居于画坛的主流地位，夏圭的山水画不断遭到文人画家不公正的指责和排挤，虽偶有师法者，但已是落日余晖，失去了往日的辉煌。然而被文人画家“嗤之以鼻”的夏圭的山水画却跨越了国界，深深地影响了日本的绘画，出现了周文、雪舟等一批绘画大家，纷纷模仿夏圭的山水画。\n《临流抚琴图》是画家夏圭创作的一幅作品，该图是国家一级文物，图中绘一高士临流而坐，气象萧疏，意境深远。\n墨笔急扫之后，迅速以水笔接染，笔墨衔接自然，一气呵成。由于墨与水的使用恰到好处，使得整幅画面颜色透亮，一股清新之气扑面而来。画树木，得其形而又取其势，意笔写出枝干，偃仰屈曲，苍健老硬，有蛟龙惊虬之势；树叶点染而成，疏密有致，虚实相生，浓淡相宜，看似不经意，实则惨淡经营。茅屋隐现于树后，以墨笔勾出轮廓，再施以规则的点皴，极具装饰意味。画水有独特之处。",[24,281,25,1462,7,36,28,193,30,162,34,2271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b6e2189c33e42f16457ba45586676b.jpg","25.5X26厘米",[],{"id":7012,"slug":7013,"title":7014,"dynasty":174,"author":7015,"museum":593,"description":7016,"tags":7017,"thumbUrl":7018,"material":298,"size":7019,"collection":166,"collections":7020,"showCount":7001,"zanCount":1084,"manualWeight":46,"mainColor":47},231946,"fang-shen-zhou-hua-hui-tu-wang-wu-231946","仿沈周花卉图","王武","作品是在国民期间被带入国门的，但有几幅作品却被比齐白石的画漂亮，画的细节比齐白的还好。\n齐白石牛的蝉，比不过他画的天牛，可惜作品少了海外！这本书国画精口的细节很少，就是画了三张天牛画在上面树上的野画。简单的绘画风格与齐白石的一样，但作品却充满了满满的童趣。\n如果不是亲眼所见，谁也不会相信这是一张清朝的绘画，而且是由王武一个画家画出来的。笔墨十分的潇洒，尤其是在婚纱中的小作品中，烘焙精品的超小纸条。\n作品贵的精巧，贵在细节上面，大家仔细看绘画的整体风格，实际上比齐白石的作品外观要，而且布局更漂亮，但在工整秀丽之间又不失童趣。把一些动物与植物相间的神韵的画出来，难怪在外国的目光，这一类作品太妙了。\n对比的绘画，这只天牛虽然是属于水墨画，但要知道在200多年前，这水墨的风格画，尤其是场景小类的，能画到非常逼真的多，最重要的就如真的还活着，余生如生。\n一张好画的感觉体验一个人的绘画天赋，更表现了一个人的绘画功底。像王武和齐白石的作品，深入要光，还需要依靠对艺术绘画的一种深入理解，这样子有神韵！",[23,24,7,27,75,366,79,367,1593,74,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25155c1c911c2cd3f45e7be509419dbd.jpg","53x38 厘米",[],{"id":7022,"slug":7023,"title":7024,"dynasty":174,"author":418,"museum":450,"description":7025,"tags":7026,"thumbUrl":7027,"material":166,"size":166,"collection":166,"collections":7028,"showCount":7001,"zanCount":46,"manualWeight":46,"mainColor":47},230270,"hua-niao-chong-yu-shen-pin-zhu-da-230270","花鸟虫鱼神品","这一开册页书画合璧，尽显写意风流。右侧水墨花卉以极简笔墨成画，浓墨晕染花头，枯笔勾出素瓶，浓淡枯湿之间，将一花一器的幽寂勾勒殆尽，留白处尽是澹远空寂的禅意。左侧草书与画境呼应，笔墨纵逸苍劲，线条跌宕，和画面疏简孤高的气息融为一体。整体舍去所有赘饰，以少胜多，清冷孤傲的意趣浸透纸面，寥寥数笔就将文人澹泊疏离的心境铺陈开来，简而不空，淡而有味，尽显中式水墨留白造境的精妙。",[23,24,25,74,7,75,37,394,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec6de9b81819d99336f4632ebed928.jpg",[],{"id":7030,"slug":7031,"title":7032,"dynasty":18,"author":19,"museum":120,"description":7033,"tags":7034,"thumbUrl":7035,"material":964,"size":7036,"collection":42,"collections":7037,"showCount":7001,"zanCount":1084,"manualWeight":46,"mainColor":47},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[23,24,25,26,7,28,36,37,80,211,33,164,785,3053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[42,222],{"id":7039,"slug":7040,"title":2211,"dynasty":18,"author":1836,"museum":92,"description":7041,"tags":7042,"thumbUrl":7043,"material":61,"size":166,"collection":42,"collections":7044,"showCount":7001,"zanCount":46,"manualWeight":46,"mainColor":140},220919,"shan-shui-li-zhou-dong-qi-chang-220919","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[23,24,25,95,7,36,28,335,350,162,127,213,32,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[42,222],{"id":7046,"slug":7047,"title":7048,"dynasty":359,"author":360,"museum":3766,"description":7049,"tags":7050,"thumbUrl":7052,"material":7053,"size":166,"collection":166,"collections":7054,"showCount":7001,"zanCount":46,"manualWeight":46,"mainColor":47},220589,"hua-cao-gong-chong-ce-ye-lv-e-qi-bai-shi-220589","花草工虫册页 - 绿蛾","画作兼用工笔与写意之法，赭石晕染的残叶朴拙温润，淡墨轻勾叶脉，寥寥数笔便将深秋枯叶的枯瑟质感尽显，晕开沉静的秋意。停栖的绿蛾则以工笔细描，翠色鲜亮通透，翅脉纤毫毕现，绒毛蓬松质感呼之欲出，将小虫鲜活灵动之态尽数铺陈。暖调枯叶与冷调青蛾冷暖相映，静穆与生机形成强烈反差，于极简构图里藏着对日常小景的入微体察，将秋隅细碎生机凝练成雅致诗意，尽显平凡小景中的盎然意趣。",[24,27,481,7,74,367,7051,4920],"蛾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c99521d45e323f18a6b311b794894d.jpg","纸本水墨设色",[],{"id":7056,"slug":7057,"title":7058,"dynasty":205,"author":206,"museum":7059,"description":7060,"tags":7061,"thumbUrl":7062,"material":110,"size":7063,"collection":42,"collections":7064,"showCount":7001,"zanCount":46,"manualWeight":46,"mainColor":140},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,281,95,36,7,27,28,335,831,717,1442,31,193,312,706,162,5431,210,5912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[42],{"id":7066,"slug":7067,"title":7068,"dynasty":174,"author":491,"museum":544,"description":2292,"tags":7069,"thumbUrl":7070,"material":40,"size":2295,"collection":42,"collections":7071,"showCount":7001,"zanCount":1084,"manualWeight":46,"mainColor":47},220005,"shan-shui-hua-fang-mei-dao-ren-wang-shi-min-220005","山水画-仿梅道人",[23,24,7,28,254,36,33,30,32,34,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b0369175196e03b3707498e97829e3.jpg",[42],{"id":7073,"slug":7074,"title":7075,"dynasty":52,"author":621,"museum":20,"description":7076,"tags":7077,"thumbUrl":7078,"material":98,"size":166,"collection":42,"collections":7079,"showCount":7001,"zanCount":5,"manualWeight":46,"mainColor":140},217218,"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[23,24,7,25,95,547,37,36,147,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[42],{"id":7081,"slug":7082,"title":7083,"dynasty":205,"author":3062,"museum":159,"description":7084,"tags":7085,"thumbUrl":7086,"material":98,"size":7087,"collection":83,"collections":7088,"showCount":7001,"zanCount":1084,"manualWeight":46,"mainColor":140},216207,"qi-xiao-tu-liang-kai-216207","栖鸮图","栖鸮图是中国宋朝画家、书法家梁楷的名作。这幅画描绘了一只美丽的栖鸮鸟停在树枝上，身躯优美，栩栩如生。\n\n梁楷是宋朝最伟大的画家之一，他在画鸟时细致入微，把鸟的形态、羽毛和神情都写得栩栩如生。他的作品常常被视为中国画的精品，在世界艺术史上享有极高的地位。",[24,7,123,80,282,126,3443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c4639fd1e32157af0aa83de738b753.jpg","78x29cm",[83],{"id":7090,"slug":7091,"title":7092,"dynasty":18,"author":5177,"museum":92,"description":7093,"tags":7094,"thumbUrl":7095,"material":110,"size":7096,"collection":42,"collections":7097,"showCount":7001,"zanCount":1084,"manualWeight":46,"mainColor":140},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[24,25,95,7,36,28,32,33,29,30,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[42],{"id":7099,"slug":7100,"title":7101,"dynasty":18,"author":407,"museum":92,"description":7102,"tags":7103,"thumbUrl":7106,"material":457,"size":7107,"collection":42,"collections":7108,"showCount":7001,"zanCount":486,"manualWeight":46,"mainColor":140},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[24,25,95,281,7,36,5118,7104,31,468,29,30,33,212,211,7105,78,34],"归舟","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[42],{"id":7110,"slug":7111,"title":7112,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":7113,"thumbUrl":7114,"material":314,"size":1061,"collection":166,"collections":7115,"showCount":7116,"zanCount":1084,"manualWeight":46,"mainColor":47},290425,"shan-shui-ce-8-zhen-shi-tao-290425","山水册8帧",[24,74,28,7,27,36,212,211,33,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e43bd7167cf84e5eb97a9e84d36de0.jpg",[],120,{"id":7118,"slug":7119,"title":4674,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":7120,"thumbUrl":7121,"material":314,"size":1061,"collection":166,"collections":7122,"showCount":7116,"zanCount":1084,"manualWeight":46,"mainColor":47},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981",[23,24,95,7,27,125,127,180,75,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],{"id":7124,"slug":7125,"title":7126,"dynasty":174,"author":703,"museum":120,"description":7127,"tags":7128,"thumbUrl":7129,"material":564,"size":7130,"collection":83,"collections":7131,"showCount":7116,"zanCount":46,"manualWeight":46,"mainColor":47},236382,"mei-hua-tu-zhou-wang-shi-shen-236382","梅花图轴","图绘一株生机盎然的梅树，盛开的梅花洁白无瑕，交错的枝干扶摇向上，表现了梅作为花中君子具有“不恋世间佳丽地，独上寒山称骄子”的高逸之气。此图梅花以淡墨勾轮廓，线条工细，梅干以浓墨一挥而就，墨气淋漓。干与花巧妙地形成黑与白的对比，令简约的画面不失层次的变化。",[24,95,7,125,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febe0c491bd8337e9c24d78ad0b1bcf11.jpg","纵93.4厘米，横52.9厘米",[83,64],{"id":7133,"slug":7134,"title":7135,"dynasty":174,"author":377,"museum":450,"description":7136,"tags":7137,"thumbUrl":7138,"material":166,"size":166,"collection":166,"collections":7139,"showCount":7116,"zanCount":1084,"manualWeight":46,"mainColor":47},228995,"hua-hui-ce-shi-zhen-shi-tao-228995","花卉册十帧","此作以桃花配墨竹，刚柔互衬。粉桃花朵晕染柔润，娇妍含露，枯笔写枝拙朴苍劲，尽显花柔枝老的生趣。右下角墨竹以浓墨挥写，叶片挺拔清瘦，与柔媚桃花相映，愈见雅致。\n\n行书题款舒朗流畅，诗文借春日江南景致抒放逸闲情，诗书画意相融无间。整幅以淡墨轻色写意，随性疏朗，以简淡笔墨托出春日清妍，将文人心底的闲情雅趣寄于花枝竹影间，淡而有味，简而有神，尽显文人画的写意真趣。",[281,24,25,74,7,27,75,131,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade10183679772013e35beae8b8ea357.jpg",[],{"id":7141,"slug":7142,"title":7143,"dynasty":18,"author":19,"museum":450,"description":7144,"tags":7145,"thumbUrl":7146,"material":166,"size":166,"collection":166,"collections":7147,"showCount":7116,"zanCount":436,"manualWeight":46,"mainColor":47},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,281,24,26,7,27,28,729,29,30,31,468,5329,33,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],{"id":7149,"slug":7150,"title":7151,"dynasty":205,"author":2494,"museum":92,"description":7152,"tags":7153,"thumbUrl":7155,"material":298,"size":7156,"collection":166,"collections":7157,"showCount":7116,"zanCount":5,"manualWeight":46,"mainColor":47},221253,"mu-dan-shi-tie-ce-zhao-ji-221253","牡丹诗贴册","此作华丽富贵，疏密自然，用笔洒脱，线条粗细有致，笔势圆转流畅，书写时以手腕为轴心，少了点刚硬，多了些柔和，充分表现出了瘦金书体的婀娜之美，可能原先配有一幅双色牡丹图，作品参差错落，一气呵成，表现出了作者高度的艺术修养。",[23,281,24,25,74,7154,37,858,7,129,80],"瘦金体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f35d3427d35e7def70a2f431c6cc271.jpg","34.8cm×53.3cm",[],{"id":7159,"slug":7160,"title":7161,"dynasty":18,"author":19,"museum":20,"description":7162,"tags":7163,"thumbUrl":7166,"material":98,"size":7167,"collection":42,"collections":7168,"showCount":7116,"zanCount":1084,"manualWeight":46,"mainColor":47},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,25,26,7,36,28,7164,7165,34,33,32,30,31,35,717,29],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[42],{"id":7170,"slug":7171,"title":7172,"dynasty":205,"author":3839,"museum":7059,"description":7173,"tags":7174,"thumbUrl":7175,"material":110,"size":7176,"collection":42,"collections":7177,"showCount":7116,"zanCount":5,"manualWeight":46,"mainColor":140},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,3335,281,24,25,26,28,7,36,27,194,29,30,34,33,193,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[42],{"id":7179,"slug":7180,"title":7181,"dynasty":18,"author":7182,"museum":7183,"description":7184,"tags":7185,"thumbUrl":7186,"material":40,"size":7187,"collection":42,"collections":7188,"showCount":7116,"zanCount":46,"manualWeight":46,"mainColor":47},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","文嘉","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,24,25,95,7,36,254,28,29,30,34,33,210,6175,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[42],{"id":7190,"slug":7191,"title":7192,"dynasty":174,"author":749,"museum":692,"description":7193,"tags":7194,"thumbUrl":7196,"material":98,"size":7197,"collection":42,"collections":7198,"showCount":7116,"zanCount":46,"manualWeight":46,"mainColor":47},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","溪山林屋图是王原祁的代表作之一，它们描绘了中国山林中的小屋、溪流、山峰和树木。这些画作通常都有一种平静而自然的感觉，体现了王原祁对中国传统山水画的热爱和自然美的追求。\n\n王原祁的溪山林屋图通常都是以水墨画的形式呈现的，他善于运用水墨画的特点，比如渗透、流动、清晰度等，使得他的画作充满了韵味和生命力。\n\n总的来说，王原祁的溪山林屋图是中国清朝时期画家中的佼佼者，它们不仅是艺术作品，而且也是中国文化遗产的重要组成部分。",[24,25,28,7,36,33,35,30,213,215,34,1776,148,7195],"山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[42],{"id":7200,"slug":7201,"title":7202,"dynasty":52,"author":239,"museum":120,"description":240,"tags":7203,"thumbUrl":7204,"material":98,"size":244,"collection":166,"collections":7205,"showCount":7116,"zanCount":46,"manualWeight":46,"mainColor":140},214288,"xiao-kai-luo-shen-fu-ce-5-zhao-meng-fu-214288","小楷洛神赋册-5",[23,281,25,37,242,6443,858,74,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd811b5a311f9fda250998a44b79f3517.jpg",[],{"id":7207,"slug":7208,"title":7209,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":7210,"thumbUrl":7211,"material":314,"size":1061,"collection":166,"collections":7212,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":47},283659,"he-fu-tu-zhou-zhu-da-283659","荷凫图轴",[23,281,24,95,7,75,395,180,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c68a231a7e3a42dd7d6c86993a9c7f.jpg",[],119,{"id":7215,"slug":7216,"title":7217,"dynasty":174,"author":2605,"museum":120,"description":7218,"tags":7219,"thumbUrl":7220,"material":564,"size":7221,"collection":166,"collections":7222,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":47},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,7,95,123,36,25,28,57,33,29,30,210,32,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],{"id":7224,"slug":7225,"title":7226,"dynasty":18,"author":19,"museum":450,"description":7227,"tags":7228,"thumbUrl":7229,"material":166,"size":166,"collection":166,"collections":7230,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":47},228825,"dong-zhuang-tu-ce-shen-zhou-228825","东庄图册","《东庄图册》是212年出版的图书，作者是沈周。\n《范本传真·中国高等艺术院校教学范本:东庄图册》描绘其师吴宽家的庭园景色。\n吴宽官至礼部尚书，是沈周的老师和挚友，多有诗文唱和。\n东庄是吴宽的庄园，也是江南士大夫经常聚会、吟诗、品茗的地方。\n后人盛赞沈周的《东庄图册》，“观其出入宋元，如意自在，位置既奇绝，笔法复纵宕，虽李龙眠山庄图、鸿乙草堂图不多让也。\n” 这里所选的一幅是“北港”，图中画一荷塘，波光如镜，荷叶亭亭玉立，疏密有致，摇曳多姿，岸上树木点写自然，情态各具；坡岸皴染结合，浓重得宜。\n本书作者沈周（1427～159）明代杰出书画家。\n传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。",[24,7,27,74,36,28,33,34,30,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff908fba6b302417e7c10f3ab17a103ba.jpg",[],{"id":7232,"slug":7233,"title":7234,"dynasty":52,"author":726,"museum":20,"description":7235,"tags":7236,"thumbUrl":7237,"material":5460,"size":7238,"collection":222,"collections":7239,"showCount":7213,"zanCount":1084,"manualWeight":46,"mainColor":921},220776,"song-shi-tu-zhou-wu-zhen-220776","松石图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。在创作思想上继承北宋末年文同、苏轼、米芾等人的文人画理论，提倡遗貌求神，以简逸为上，追求古意和士气，重视主观意兴的抒发。与宋代院体画的刻意求工、注重形似大相径庭，形成鲜明的时代风貌，也有力地推动了后世文人画的蓬勃发展。在元代短短90余年内，画坛名家辈出，其中以赵孟頫、钱选、高克恭、王渊等和号称元四家的黄公望、吴镇、倪瓒、王蒙最负盛名。\n《松石图》凸现在视野中心的只是一棵松树，然而他画的不是直立挺拔的苍松，而是一株干如弯弓，枝干倒长的怪松，它巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇抗怀孤德个性的自喻。\n国家文物鉴定委员会委员、国家文物局文物鉴定资格审核委员、故宫博物院研究员杨臣彬，徐邦达先生入室大弟子,精擅古书画鉴定。上世纪八十年代在民间收藏中发现吴镇《松石图》。《松石图》名款为“梅花道人墨戏”，铃印“梅花庵”、“嘉兴吴镇仲圭书画记”，系清宫旧藏之物。一古松的枝杆横卧上方，松下有湖石水草，构图呈上下两段，留出大片空白，各自为阵且互有联系。用浓墨在树石上点苔，浓重厚密。树石用笔倔强刚劲而不张扬外露，多用中锋，沉着老到，得古松苍劲之质，古松虽老，但无枯涩之感，干淡的用笔不失腴润，墨法鲜活，鲜嫩的水草和斑驳粗重的古松形成鲜明对比。",[23,281,24,25,95,7,36,127,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5441b5aa161a241633f08c79149ce2db.jpg","122.44x46cm",[222,919],{"id":7241,"slug":7242,"title":7243,"dynasty":174,"author":7244,"museum":4012,"description":7245,"tags":7246,"thumbUrl":7247,"material":7248,"size":7249,"collection":42,"collections":7250,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":166},220687,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220687","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,25,7,126,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa503e8eac49b263916b21cd994b16e19.jpg","水墨,设色,纸本,册页","18×34.5厘米",[42,245],{"id":7252,"slug":7253,"title":7254,"dynasty":205,"author":2494,"museum":265,"description":7255,"tags":7256,"thumbUrl":7257,"material":98,"size":7258,"collection":42,"collections":7259,"showCount":7213,"zanCount":1084,"manualWeight":46,"mainColor":47},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[23,24,25,95,7,36,28,34,211,717,164,832,216,3660,5781,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[42,220],{"id":7261,"slug":7262,"title":7263,"dynasty":18,"author":19,"museum":515,"description":516,"tags":7264,"thumbUrl":7265,"material":298,"size":521,"collection":166,"collections":7266,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":140},220058,"hu-qiu-shi-er-jing-tu-ce-9-shen-zhou-220058","虎丘十二景图册-9",[23,281,24,25,74,7,36,193,147,34,29,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3884057356be4c3470aff4ddb99ae920.jpg",[],{"id":7268,"slug":7269,"title":7270,"dynasty":52,"author":158,"museum":20,"description":7271,"tags":7272,"thumbUrl":7273,"material":40,"size":7274,"collection":42,"collections":7275,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":47},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,25,26,7,36,28,57,33,29,31,211,80,34,787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[42],{"id":7277,"slug":7278,"title":580,"dynasty":52,"author":2172,"museum":92,"description":7279,"tags":7280,"thumbUrl":7281,"material":98,"size":7282,"collection":83,"collections":7283,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":47},219386,"zhu-shi-tu-guan-dao-sheng-219386","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[24,281,25,95,7,126,180,38,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[83],{"id":7285,"slug":7286,"title":7287,"dynasty":174,"author":175,"museum":544,"description":545,"tags":7288,"thumbUrl":7289,"material":110,"size":554,"collection":166,"collections":7290,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":140},216105,"yun-shou-ping-hua-guo-shu-cai-ce-ye-6-yun-shou-ping-216105","恽寿平花果蔬菜册页-6",[24,25,74,179,27,7,481,548,549,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3724ec920b115a05ae3e781e2301e54f.jpg",[],{"id":7292,"slug":7293,"title":7294,"dynasty":174,"author":7295,"museum":159,"description":7296,"tags":7297,"thumbUrl":7298,"material":98,"size":166,"collection":42,"collections":7299,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":47},214517,"shui-mo-tu-ce-zheng-min-214517","水墨图册","郑旼","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。",[74,7,38,37,28,717,34,79,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg",[42,222],{"id":7301,"slug":7302,"title":7303,"dynasty":174,"author":739,"museum":430,"description":740,"tags":7304,"thumbUrl":7305,"material":298,"size":743,"collection":166,"collections":7306,"showCount":7213,"zanCount":46,"manualWeight":46,"mainColor":140},214359,"san-jue-shan-shui-ce-5-hua-yan-214359","三绝山水册-5",[23,24,7,494,36,74,624,210,180,193,34,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2278d8fef17ce39c9b91175a537f50d.jpg",[],{"id":7308,"slug":7309,"title":828,"dynasty":205,"author":307,"museum":450,"description":7310,"tags":7311,"thumbUrl":7315,"material":61,"size":1061,"collection":166,"collections":7316,"showCount":7317,"zanCount":46,"manualWeight":46,"mainColor":461},287541,"xue-jing-han-lin-tu-fan-kuan-287541","描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[281,24,494,7,36,993,4347,832,194,58,7312,7313,7314],"积雪","萧寒","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a0f8e8b9289ba14fc9ba90349f1b9a.jpg",[],118,{"id":7319,"slug":7320,"title":7321,"dynasty":174,"author":175,"museum":92,"description":7322,"tags":7323,"thumbUrl":7324,"material":40,"size":7325,"collection":166,"collections":7326,"showCount":7317,"zanCount":5,"manualWeight":46,"mainColor":47},287445,"qiao-ke-xiu-zhu-tu-yun-shou-ping-287445","乔柯修竹图","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[281,24,25,95,7,27,147,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2a4a5bac926514b0d81e6b64ae1eed.jpg","101.6x47.8",[],{"id":7328,"slug":7329,"title":7330,"dynasty":18,"author":19,"museum":120,"description":561,"tags":7331,"thumbUrl":7332,"material":564,"size":565,"collection":166,"collections":7333,"showCount":7317,"zanCount":436,"manualWeight":46,"mainColor":47},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云",[24,7,28,74,36,335,454,162,350,34,80,25,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg",[],{"id":7335,"slug":7336,"title":7337,"dynasty":174,"author":377,"museum":120,"description":7338,"tags":7339,"thumbUrl":7341,"material":964,"size":7342,"collection":166,"collections":7343,"showCount":7317,"zanCount":1084,"manualWeight":46,"mainColor":47},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[24,25,26,7,28,36,37,80,38,7340,212,58,33,34,211,7105,148],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],{"id":7345,"slug":7346,"title":7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画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[23,24,281,25,7,27,36,193,3902,4347,717,34,6790,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[220,42,222],{"id":7364,"slug":7365,"title":7366,"dynasty":52,"author":621,"museum":92,"description":7367,"tags":7368,"thumbUrl":7369,"material":298,"size":7370,"collection":222,"collections":7371,"showCount":7317,"zanCount":46,"manualWeight":46,"mainColor":140},220792,"gu-mu-zhu-shi-tu-zhou-ni-zan-220792","古木竹石图轴","《古木竹石图轴》绘坡石间疏竹数丛，枯树两株，笔墨浓淡相间，富有层次感，境界清旷，意境简远，呈现出一片清静幽远的气象。画轴上方有元明余诠、唐肃、高巽志、于思缉、张简、吴卢充、王璲等七处题诗。",[23,24,25,95,7,36,180,126,147,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575c01e50d18d2d517bef35aebf5ff48.jpg","47x27.4",[222,919],{"id":7373,"slug":7374,"title":7375,"dynasty":52,"author":621,"museum":92,"description":7376,"tags":7377,"thumbUrl":7379,"material":457,"size":7380,"collection":42,"collections":7381,"showCount":7317,"zanCount":46,"manualWeight":46,"mainColor":47},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[23,24,25,95,7,36,28,624,7378,96,164,1974,480,33],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[42],{"id":7383,"slug":7384,"title":7385,"dynasty":18,"author":7386,"museum":20,"description":7387,"tags":7388,"thumbUrl":7390,"material":98,"size":166,"collection":600,"collections":7391,"showCount":7317,"zanCount":1084,"manualWeight":46,"mainColor":47},219403,"liu-xia-mian-qin-tu-zhou-chou-ying-219403","柳下眠琴图轴","仇英","柳丝轻垂，拂过苍劲老干，似携幽微风意。树下文人斜卧，衣袂舒展，琴置身侧，眉宇间尽是悠然散淡。童子捧物而立，眸中带着稚气的专注，悄然侍立，不扰这份清宁。山石寥寥数笔见嶙峋之态，草色浅淡更衬天地宽闲。笔墨工致中藏写意，线条柔中带刚，将文人林下之趣、物我两忘的心境悄然铺展。仿佛能闻柳间蝉鸣，听风过琴弦余韵，一派魏晋风骨般的疏朗自在，尽在尺幅间流转。",[24,25,95,481,7,27,193,1035,5420,180,7389],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e410afa50f999f6c817fada7ee75f.jpg",[600],{"id":7393,"slug":7394,"title":7395,"dynasty":205,"author":1682,"museum":4230,"description":7396,"tags":7397,"thumbUrl":7398,"material":98,"size":7399,"collection":166,"collections":7400,"showCount":7317,"zanCount":46,"manualWeight":46,"mainColor":47},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","薄雾似纱轻笼水面，远山隐于烟霭，如黛色剪影浮在天际。一叶扁舟孑然，渔翁身影模糊在夜色里，船尾涟漪搅碎秋月清辉。近岸树影婆娑，墨色淡染，似与雾气相融。天地静得只剩呼吸，秋夜凉意随淡墨游走，每一笔都透着禅意空灵。简淡笔触里藏着洞庭秋夜的幽远，观者仿佛听见水波轻响，看见月光洒在船舷，心沉入静谧烟波深处，触到自然最本真的呼吸。",[23,24,25,494,7,123,348,28,940,31,211,33,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],{"id":7402,"slug":7403,"title":7404,"dynasty":205,"author":581,"museum":294,"description":7405,"tags":7406,"thumbUrl":7410,"material":110,"size":166,"collection":42,"collections":7411,"showCount":7317,"zanCount":5,"manualWeight":46,"mainColor":140},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[23,24,26,494,7,5254,34,33,4348,1810,148,3687,7407,7408,7409],"四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[42],{"id":7413,"slug":7414,"title":7415,"dynasty":205,"author":581,"museum":92,"description":7416,"tags":7417,"thumbUrl":7418,"material":110,"size":7419,"collection":42,"collections":7420,"showCount":7317,"zanCount":5,"manualWeight":46,"mainColor":461},218651,"chi-bi-tu-yi-ming-218651","赤壁图","此图边角式的构景，已演化为南宋画之面目，但笔墨的习惯与格式化，则透露出本幅的创作时间已晚至明朝了。本幅乃一叶扁舟为主景的局部山水。用锯齿描精绘漩流急浪，以回身仰望的苏东坡，来暗示出赤壁在画外的高耸。",[23,281,24,25,28,31,193,36,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee7fef708e8753e343d91346a2e744b.jpg","24x23.2cm",[42],{"id":7422,"slug":7423,"title":7424,"dynasty":205,"author":1682,"museum":450,"description":7425,"tags":7426,"thumbUrl":7427,"material":40,"size":7428,"collection":600,"collections":7429,"showCount":7317,"zanCount":5,"manualWeight":46,"mainColor":140},218285,"ji-gong-tu-mu-xi-218285","济公图","画面人物情态鲜活，右侧身影衣衫宽博，神态不羁却藏温煦，似正与周遭人语。周遭老幼或凝神谛听，或俯身趋近，动态毕现。笔墨简括灵动，线条如行云流水，衣衫褶皱寥寥数笔便见洒脱之姿，墨色浓淡相宜，衬出人物神情的真切。背景淡远，更显群像生动。于简约中见真意，随性之笔捕捉瞬间生活气息，又暗蕴禅家超脱与悲悯，笔墨间那份直击人心的生动与温暖，悄然流转。观者仿佛能听见席间笑语，触到那份不拘形骸的自在，于水墨晕染里，感受画中人物的鲜活与烟火气交织的独特韵味。",[281,24,25,7,547,193,34,2283,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8931c719123b1f804d7302dcd90dfc65.jpg","26x29",[600],{"id":7431,"slug":7432,"title":7433,"dynasty":52,"author":621,"museum":450,"description":7434,"tags":7435,"thumbUrl":7436,"material":314,"size":1061,"collection":166,"collections":7437,"showCount":7438,"zanCount":1084,"manualWeight":46,"mainColor":47},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[281,24,7,95,28,717,180,1442,80,37,1463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":7440,"slug":7441,"title":7442,"dynasty":18,"author":1836,"museum":120,"description":7443,"tags":7444,"thumbUrl":7445,"material":298,"size":2973,"collection":166,"collections":7446,"showCount":7438,"zanCount":46,"manualWeight":46,"mainColor":47},234294,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234294","董其昌山水册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[24,25,74,7,36,28,33,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c557e3d03c9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在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[24,25,281,95,7,27,36,28,7488,3596,34,33,193,215,7489],"桐树","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","绢本 ，设色","纵123.8cm，横62.6cm",[],{"id":7495,"slug":7496,"title":7497,"dynasty":174,"author":418,"museum":450,"description":7498,"tags":7499,"thumbUrl":7501,"material":166,"size":166,"collection":166,"collections":7502,"showCount":7481,"zanCount":46,"manualWeight":46,"mainColor":47},230279,"yang-liu-yu-qin-tu-zhou-zhu-da-230279","杨柳浴禽图轴","《朱耷杨柳浴禽图轴》是清代朱耷创作的一幅画。\n本幅自识：“癸未冬日写，八大山人。\n”钤“八大山人”、“何园”、“真赏”印。\n“癸未”是康熙四十二年（17年）。\n鉴 ：“白门李氏珍藏”、“米舫平生之真赏”。\n裱边有狄平子题记二则，钤“狄平子”印等。\n此图是朱耷8岁所作。\n风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。\n此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。\n八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[23,24,25,95,7,123,75,180,7500,282,80],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],{"id":7504,"slug":7505,"title":7506,"dynasty":205,"author":3062,"museum":430,"description":7507,"tags":7508,"thumbUrl":7509,"material":110,"size":7510,"collection":42,"collections":7511,"showCount":7481,"zanCount":5,"manualWeight":46,"mainColor":47},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[281,24,25,7,36,27,28,4347,193,312,717,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[42],{"id":7513,"slug":7514,"title":7515,"dynasty":174,"author":739,"museum":92,"description":2646,"tags":7516,"thumbUrl":7517,"material":40,"size":166,"collection":166,"collections":7518,"showCount":7481,"zanCount":1084,"manualWeight":46,"mainColor":47},214837,"xie-sheng-ce-23-hua-yan-214837","写生册-23",[24,25,74,481,7,27,75,77,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554a2a03ccf067e9257790a3edcb8044.jpg",[],{"id":7520,"slug":7521,"title":7522,"dynasty":174,"author":1100,"museum":120,"description":7523,"tags":7524,"thumbUrl":7525,"material":7526,"size":7527,"collection":83,"collections":7528,"showCount":7529,"zanCount":1084,"manualWeight":46,"mainColor":47},236754,"mu-dan-shui-xian-tu-zhou-wu-chang-shuo-236754","牡丹水仙图轴","图中牡丹以没骨积染法刻画，笔致潇洒飘逸，水与墨、色有机地交融，表现出牡丹旺盛的生命力和贵而不骄、艳而不俗的神韵。水仙以白描双勾法刻画，其不着一色的叶片与浓艳的牡丹相比具有洗尽铅华始见真的淡雅之美。生机勃发的牡丹和水仙营造出喜庆祥和的氛围，成功地表达了作者以此图祝福长辈健康长寿的主题，当属吴昌硕花卉画的代表作之一。",[24,95,7,123,129,132,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e4f3d78148a5c14ce790f58f1d5d01.jpg","洒金，设色","纵174.7厘米，横47.5厘米",[83,222],115,{"id":7531,"slug":7532,"title":7533,"dynasty":52,"author":53,"museum":450,"description":7534,"tags":7535,"thumbUrl":7536,"material":166,"size":166,"collection":166,"collections":7537,"showCount":7529,"zanCount":1084,"manualWeight":46,"mainColor":140},230907,"shan-shui-tu-ye-huang-gong-wang-230907","山水图页","危崖高峙于右侧，山石以干笔皴擦，淡赭敷色，苍劲朴拙尽显。林麓间村居错落，古木虬枝扶苏，溪岸萦回转绕，远山晕染出空濛清气。\n\n全作用笔松灵秀逸，以简驭繁，淡设色晕染间将秋山萧疏淡远融于尺幅，既有山川厚重质感，又暗含文人幽寂散淡的隐逸意趣。于淡远中见雄浑，细微处藏丘壑，尽显林泉高致的悠然澹泊。",[24,25,74,7,36,28,335,33,35,34,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c55781314ada71bf26fe09b31ae6de.jpg",[],{"id":7539,"slug":7540,"title":7541,"dynasty":205,"author":206,"museum":450,"description":7542,"tags":7543,"thumbUrl":7544,"material":166,"size":166,"collection":166,"collections":7545,"showCount":7529,"zanCount":1084,"manualWeight":46,"mainColor":140},227600,"xi-shan-qiu-ji-tu-ju-bu-yi-guo-xi-227600","溪山秋霁图（局部一）","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,281,24,26,7,36,28,33,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d640d86977ce4b9c75fce90e0ebd9d.jpg",[],{"id":7547,"slug":7548,"title":7549,"dynasty":205,"author":7550,"museum":450,"description":7551,"tags":7552,"thumbUrl":7553,"material":166,"size":166,"collection":166,"collections":7554,"showCount":7529,"zanCount":1084,"manualWeight":46,"mainColor":47},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,281,24,25,26,547,7,36,28,193,31,32,282,33,213,194,30,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":7556,"slug":7557,"title":1015,"dynasty":174,"author":633,"museum":544,"description":634,"tags":7558,"thumbUrl":7559,"material":196,"size":4267,"collection":166,"collections":7560,"showCount":7529,"zanCount":46,"manualWeight":46,"mainColor":47},223235,"mao-ren-yi-223235",[23,24,27,7,6482,1015,421,79,2875,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3992e488d1b2dab6e076bb2a4b4a642e.jpg",[],{"id":7562,"slug":7563,"title":7564,"dynasty":52,"author":4476,"museum":20,"description":7565,"tags":7566,"thumbUrl":7567,"material":964,"size":7568,"collection":222,"collections":7569,"showCount":7529,"zanCount":5,"manualWeight":46,"mainColor":47},221832,"mo-zhu-tu-juan-ke-jiu-si-221832","墨竹图卷","元代伯颜不花题记：予旧藏东坡枯木丛竹一小卷，每闲暇，于明窗净几间，时复展玩，不觉尘虑顿消，颇得佳趣耳。 一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[23,24,25,26,7,126,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[222,919],{"id":7571,"slug":7572,"title":645,"dynasty":205,"author":278,"museum":1346,"description":7573,"tags":7574,"thumbUrl":7575,"material":7576,"size":7577,"collection":220,"collections":7578,"showCount":7529,"zanCount":46,"manualWeight":46,"mainColor":140},221507,"shan-shui-tu-xia-gui-221507","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",[23,24,7,28,36,33,34,32,163,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 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疾步狂呼，张着脖子歇斯底里的模样。 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具匠心，水仙顺坡生长取斜势，而参差错落的天竺直、斜之姿兼备，使画面富于变化，情趣盎然。水仙的叶片以墨笔勾线，石绿填色，浓厚的色彩增添了鲜活的生机；高挑的天竺则以写实手法点染而成，其艳丽的嫣红色与水仙的绿色形成冷暖色调的对比，色彩明亮却不俗艳。此作是吴昌硕花卉画的代表作之一。\n天竺、水仙均有长寿之意，且谐“诸仙”之音，是寿意画的常用题材。范湖居士即周闲（1820-1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人。晚清上海重要画家，精于水墨花卉，与任熊、任颐、吴昌硕等相友善。图题“拟范湖居士”，可知此图有借鉴周氏之处。",[24,25,95,75,123,27,7,7751,132,480],"天竺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0176a3a4253556702b5d4630221776.jpg",[],{"id":7755,"slug":7756,"title":7757,"dynasty":174,"author":7758,"museum":92,"description":7759,"tags":7760,"thumbUrl":7761,"material":98,"size":7762,"collection":245,"collections":7763,"showCount":7738,"zanCount":1084,"manualWeight":46,"mainColor":47},214234,"kai-shu-qi-yan-lian-ceng-guo-quan-214234","楷书七言联","曾国荃","此联楷书用笔沉雄稳健，起笔收锋间见骨力，转折处圆劲含刚，如锥画沙般扎实。结体端方规整却不拘板，字势略带欹侧之趣，于庄重中藏灵动。墨色浓淡相宜，枯润互见，与泛黄纸本相映，更显古雅醇厚。联语布局疏朗有致，上下呼应，气韵贯通，既见文人书法的书卷清气，又隐现武将出身的沉雄气概，笔墨间藏纳岁月沉淀的厚重，堪称晚清楷书佳作。",[23,242,6187,37,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65b7cd19665fb611b40fa719af531fd.jpg","158.8x38.4",[245],{"id":7765,"slug":7766,"title":7767,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":7768,"thumbUrl":7771,"material":314,"size":1061,"collection":166,"collections":7772,"showCount":7773,"zanCount":1084,"manualWeight":46,"mainColor":47},290181,"hua-hui-si-tiao-ping-wu-chang-shuo-290181","花卉四条屏",[23,24,281,25,95,27,7,75,7769,37,80,7770],"寿桃","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9dc40faec11aee3f097844ed158d77.jpg",[],111,{"id":7775,"slug":7776,"title":7777,"dynasty":52,"author":7778,"museum":120,"description":7779,"tags":7780,"thumbUrl":7783,"material":964,"size":7784,"collection":42,"collections":7785,"showCount":7773,"zanCount":436,"manualWeight":46,"mainColor":47},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。",[23,24,25,26,7,36,80,28,162,147,31,125,34,163,7781,193,381,507,324,79,363,624,717,1926,3246,7782,2283,78],"渔船","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[42,222],{"id":7787,"slug":7788,"title":7789,"dynasty":205,"author":2494,"museum":92,"description":7790,"tags":7791,"thumbUrl":7792,"material":612,"size":7793,"collection":220,"collections":7794,"showCount":7773,"zanCount":46,"manualWeight":46,"mainColor":140},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 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[1] 此画用墨饱满，笔法简炼雄劲",[23,281,24,25,95,7,36,28,34,30,210,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],{"id":7949,"slug":7950,"title":7442,"dynasty":18,"author":1836,"museum":450,"description":7951,"tags":7952,"thumbUrl":7953,"material":166,"size":166,"collection":42,"collections":7954,"showCount":7913,"zanCount":5,"manualWeight":46,"mainColor":47},234974,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234974","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[24,7,28,33,211,164,36,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e702ea296c830fd9f358026fa00831e.jpg",[42],{"id":7956,"slug":7957,"title":7958,"dynasty":174,"author":1100,"museum":120,"description":6521,"tags":7959,"thumbUrl":7960,"material":166,"size":166,"collection":166,"collections":7961,"showCount":7913,"zanCount":5,"manualWeight":46,"mainColor":47},233716,"wu-jun-qing-ju-hua-zhou-wu-chang-shuo-233716","吴俊卿菊花轴",[281,24,25,95,27,7,75,134,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9483dd71a4d1eb87931ea04b659d34.jpg",[],{"id":7963,"slug":7964,"title":7965,"dynasty":18,"author":2851,"museum":92,"description":7966,"tags":7967,"thumbUrl":7968,"material":284,"size":7969,"collection":600,"collections":7970,"showCount":7913,"zanCount":5,"manualWeight":46,"mainColor":47},222366,"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[23,24,26,7,36,37,80,28,624,193,3596,210,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f56c2e7c9e604b90f864ec56.jpg","30x210",[600,222],{"id":7972,"slug":7973,"title":7974,"dynasty":52,"author":239,"museum":5692,"description":7975,"tags":7976,"thumbUrl":7977,"material":7978,"size":7979,"collection":83,"collections":7980,"showCount":7913,"zanCount":46,"manualWeight":46,"mainColor":47},220827,"er-yang-tu-zhao-meng-fu-220827","二羊图","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[23,24,25,26,7,453,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 水墨","纵25．2厘米，横48．4厘米",[83,222],{"id":7982,"slug":7983,"title":7984,"dynasty":205,"author":3062,"museum":450,"description":7985,"tags":7986,"thumbUrl":7988,"material":314,"size":1061,"collection":166,"collections":7989,"showCount":7990,"zanCount":5,"manualWeight":46,"mainColor":47},289727,"li-bai-xing-yin-tu-liang-kai-289727","李白行吟图","该图描绘了李白的形象，作者梁楷在画面上没有任何背景，只用寥寥数笔画出李白飘飘欲仙，冉冉欲举的形象。他不同于屈原行吟式的忧愤，也不同于杜甫行吟式的深沉，而是浪漫欹侧，嬉笑怒斥的“诗仙”。",[23,281,24,7,193,95,80,123,7987],"行吟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba1e42d1fc4ad5f1a90454310803462.jpg",[],108,{"id":7992,"slug":7993,"title":2161,"dynasty":205,"author":206,"museum":92,"description":7994,"tags":7995,"thumbUrl":7996,"material":457,"size":7997,"collection":220,"collections":7998,"showCount":7990,"zanCount":46,"manualWeight":46,"mainColor":140},288542,"xue-jing-shan-shui-tu-guo-xi-288542","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,281,24,28,7,993,29,30,31,194,717,34,3685,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[220],{"id":8000,"slug":8001,"title":8002,"dynasty":174,"author":1100,"museum":450,"description":8003,"tags":8004,"thumbUrl":8007,"material":166,"size":166,"collection":166,"collections":8008,"showCount":7990,"zanCount":46,"manualWeight":46,"mainColor":47},235422,"zi-teng-tu-zhou-wu-chang-shuo-235422","紫藤图轴","《吴昌硕紫藤图轴》是清代画家吴昌硕创作的一幅金笺设色画。\n此图是195年吴昌硕62岁作，为花卉四条屏之末条。\n款：“乙巳（195年）八月八日，安吉吴俊卿拟十三峰草堂”。\n钤“吴俊之印”。\n绘藤叶凌空倚势，宛若龙翔凤舞。\n藤条盘绕回曲，缠石数重。\n作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。\n同时，此画画气不画形，追求书法中气贯神通的审美意趣。\n正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。\n这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。\n挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，条系好春光。\n岁岁花长好，飘（飘）满画堂。\n”的诗境。\n吴昌硕（1844-1927年），原名俊，字俊卿，后更字昌硕，号仓石、苦铁、缶庐等。\n浙江省安吉人，出身书香门第，祖父和父亲都是举人，均作过官。\n吴昌硕在诗文、书法、篆刻等方面也都有很高成就，著有诗文集、印谱，后人刊印的他的印集、画谱、书画作品集也很丰富，其诗书画印都成为世留宝贵的文化遗产。",[24,95,75,7,27,123,8005,610,551,8006,367],"篆书笔意","紫藤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e30e37665bc4c94708ab11ee2ac7b4.jpg",[],{"id":8010,"slug":8011,"title":7564,"dynasty":18,"author":2851,"museum":294,"description":8012,"tags":8013,"thumbUrl":8014,"material":1242,"size":8015,"collection":166,"collections":8016,"showCount":7990,"zanCount":5,"manualWeight":46,"mainColor":47},222336,"mo-zhu-tu-juan-tang-yin-222336","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 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。长官董侯阁下。六月廿八日。",[37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ee27e03cf357dc2c448c081d7e6f4d.jpg","纵27.7厘米×横38.4厘米",[245],{"id":8092,"slug":8093,"title":8094,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":8095,"thumbUrl":8096,"material":314,"size":1061,"collection":166,"collections":8097,"showCount":8098,"zanCount":46,"manualWeight":46,"mainColor":47},283660,"gu-bai-shuang-qin-tu-zhou-zhu-da-283660","古柏双禽图轴",[23,24,281,95,7,75,147,282,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311e7b30ddf2cabaf3bd0c4bbc710bd.jpg",[],107,{"id":8100,"slug":8101,"title":3812,"dynasty":52,"author":8102,"museum":120,"description":8103,"tags":8104,"thumbUrl":8105,"material":61,"size":8106,"collection":222,"collections":8107,"showCount":8098,"zanCount":1084,"manualWeight":46,"mainColor":140},221699,"zhu-shi-tu-zhou-gu-an-221699","顾安","该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[23,24,281,95,7,126,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff805e3a06970a6ba0a00217aa34855.jpg","170.7x99.7",[222,919],{"id":8109,"slug":8110,"title":645,"dynasty":205,"author":842,"museum":450,"description":5693,"tags":8111,"thumbUrl":8112,"material":27,"size":166,"collection":220,"collections":8113,"showCount":8098,"zanCount":46,"manualWeight":46,"mainColor":140},221441,"shan-shui-tu-li-cheng-221441",[23,24,25,281,7,36,27,28,57,29,30,31,33,213,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[220,42,222],{"id":8115,"slug":8116,"title":8117,"dynasty":205,"author":206,"museum":92,"description":8118,"tags":8119,"thumbUrl":8121,"material":61,"size":8122,"collection":220,"collections":8123,"showCount":8098,"zanCount":1084,"manualWeight":46,"mainColor":140},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,25,26,28,36,7,212,33,717,29,30,31,1385,8120,164,3157,35],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[220,42,222],{"id":8125,"slug":8126,"title":8127,"dynasty":18,"author":1836,"museum":8128,"description":8129,"tags":8130,"thumbUrl":8131,"material":98,"size":8132,"collection":42,"collections":8133,"showCount":8098,"zanCount":46,"manualWeight":46,"mainColor":47},220119,"xi-shan-xian-guan-tu-dong-qi-chang-220119","溪山仙馆图","日本东京国立博物馆","松江出身的董其昌以取代文徴明成为江南画坛主导者为自身抱负。状似舞蹈般的松树形态、如同金属的山石质感都是其画风特色。",[24,281,7,36,28,335,30,33,34,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a93410dd73894a96859af7573f0a2.jpg","79.40×105.83cm",[42],{"id":8135,"slug":8136,"title":8137,"dynasty":18,"author":19,"museum":515,"description":516,"tags":8138,"thumbUrl":8139,"material":298,"size":521,"collection":166,"collections":8140,"showCount":8098,"zanCount":1084,"manualWeight":46,"mainColor":921},220056,"hu-qiu-shi-er-jing-tu-ce-11-shen-zhou-220056","虎丘十二景图册-11",[23,24,7,518,74,36,28,194,29,193,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6682f58f7558d280563737b5c65e9a.jpg",[],{"id":8142,"slug":8143,"title":8144,"dynasty":18,"author":2851,"museum":378,"description":8145,"tags":8146,"thumbUrl":8147,"material":457,"size":166,"collection":600,"collections":8148,"showCount":8098,"zanCount":436,"manualWeight":46,"mainColor":140},219551,"lao-zi-tu-tang-yin-219551","老子图","笔意简逸空灵，以淡墨轻勾铺就画面。老子宽袍长髯，安坐牛背，神态超旷淡然，不见半分行旅劳顿，尽显太上忘情的出尘之姿，将道家风骨藏于简约笔墨之中。\n\n水牛造型朴拙写实，缓步行进间憨态尽显，与老子的清矍超然相映成趣。设色浅淡近乎白描，衣纹褶皱简括凝练，留白处氤氲着悠远超脱的林下之风，暗合道家“大象无形”的哲思。\n\n整幅画不见繁复铺陈，以极简物象传递出逍遥物外的高远意境，是兼具文思与笔情的写意佳作。",[23,24,25,281,7,547,193,1839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b062d62495bd228b5ed34446dc0182.jpg",[600],{"id":8150,"slug":8151,"title":8152,"dynasty":18,"author":8153,"museum":8128,"description":8154,"tags":8155,"thumbUrl":8156,"material":98,"size":8157,"collection":42,"collections":8158,"showCount":8098,"zanCount":1084,"manualWeight":46,"mainColor":47},215039,"pu-tao-tu-nao-an-215039","葡萄图","挠庵","挠庵是明朝时期的一位著名文人。他是著名的画家，以他的葡萄图而闻名。葡萄图是他的代表作之一，是他在明朝时期所创作的一幅葡萄图。这幅画展示了一个葡萄园的景象，画中的葡萄树和葡萄非常逼真，可以看出挠庵在绘画技巧方面颇有造诣。葡萄图被认为是明朝时期著名画家的杰作之一，被誉为“葡萄图之祖”，在中国画坛上享有盛誉。",[23,24,25,7,123,75,1252,551,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f035cf390a823093bc490ce8493db.jpg","27.5×29.3cm",[42],{"id":8160,"slug":8161,"title":8162,"dynasty":205,"author":842,"museum":450,"description":8163,"tags":8164,"thumbUrl":8166,"material":314,"size":1061,"collection"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National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[24,7,36,28,31,32,33,34,30,25,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],{"id":8334,"slug":8335,"title":8336,"dynasty":205,"author":581,"museum":92,"description":8337,"tags":8338,"thumbUrl":8339,"material":110,"size":166,"collection":42,"collections":8340,"showCount":8270,"zanCount":473,"manualWeight":46,"mainColor":140},218798,"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 中的一幅画。",[23,281,24,25,7,36,610,147,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[42],{"id":8342,"slug":8343,"title":8344,"dynasty":174,"author":377,"museum":378,"description":379,"tags":8345,"thumbUrl":8346,"material":40,"size":384,"collection":166,"collections":8347,"showCount":8270,"zanCount":46,"manualWeight":46,"mainColor":47},214888,"shan-shui-tu-ce-5-shi-tao-214888","山水图册-5",[23,24,7,27,74,36,28,194,33,57,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c7502bb24d845dbe3fdcd70b9b300d.jpg",[],{"id":8349,"slug":8350,"title":477,"dynasty":18,"author":796,"museum":20,"description":797,"tags":8351,"thumbUrl":8352,"material":98,"size":800,"collection":166,"collections":8353,"showCount":8270,"zanCount":1084,"manualWeight":46,"mainColor":47},214640,"hua-hui-ce-6-chen-chun-214640",[24,7,123,75,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffadadcc9005db4ef39cb1d0158d98cdd.jpg",[],{"id":8355,"slug":8356,"title":8357,"dynasty":52,"author":53,"museum":450,"description":8358,"tags":8359,"thumbUrl":8360,"material":314,"size":1061,"collection":166,"collections":8361,"showCount":8362,"zanCount":46,"manualWeight":46,"mainColor":47},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[281,24,25,95,7,36,28,32,29,30,147,34,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],104,{"id":8364,"slug":8365,"title":8366,"dynasty":205,"author":607,"museum":92,"description":8367,"tags":8368,"thumbUrl":8373,"material":8374,"size":8375,"collection":220,"collections":8376,"showCount":8362,"zanCount":46,"manualWeight":46,"mainColor":140},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[23,281,24,25,95,7,27,36,28,940,8369,7312,624,717,193,8370,213,8371,8372],"寒岩","轩","湖面","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[220,42,222],{"id":8378,"slug":8379,"title":8380,"dynasty":854,"author":2833,"museum":120,"description":8381,"tags":8382,"thumbUrl":8383,"material":8384,"size":8385,"collection":245,"collections":8386,"showCount":8362,"zanCount":1084,"manualWeight":46,"mainColor":921},221020,"dong-shan-song-tie-wang-xian-zhi-221020","东山松帖","《东山松帖》又名《新埭帖》、《东山帖》。《东山松帖》是王献之所书写的一通信札，下笔婆娑，百态横生，萧散秀逸。",[25,24,38,37,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2e1dad8d0f5a784fa42000b553eb90.jpg","纸本墨迹","纵22.8厘米，横22.3厘米",[245],{"id":8388,"slug":8389,"title":8390,"dynasty":18,"author":1836,"museum":120,"description":8391,"tags":8392,"thumbUrl":8393,"material":61,"size":8394,"collection":42,"collections":8395,"showCount":8362,"zanCount":5,"manualWeight":46,"mainColor":47},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[23,24,25,7,36,38,80,95,28,33,29,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[42,222],{"id":8397,"slug":8398,"title":8399,"dynasty":52,"author":8400,"museum":593,"description":8401,"tags":8402,"thumbUrl":8404,"material":457,"size":8405,"collection":600,"collections":8406,"showCount":8362,"zanCount":1084,"manualWeight":46,"mainColor":140},220366,"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[23,281,24,25,26,547,7,193,940,8403,453],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","24.8X240.3",[600,222],{"id":8408,"slug":8409,"title":8410,"dynasty":52,"author":8102,"museum":8411,"description":8412,"tags":8413,"thumbUrl":8414,"material":98,"size":8415,"collection":83,"collections":8416,"showCount":8362,"zanCount":46,"manualWeight":46,"mainColor":47},220322,"wan-jie-tu-gu-an-220322","晚节图","辛辛那提艺术博物馆","此作以墨写竹，竿干劲挺修长，节痕匀整，藏坚韧不屈之态。竹叶以浓淡墨笔撇捺挥写，错落层叠、顾盼生姿，尽显萧疏散朗之致，将竹的清灵秀逸全然托出。\n\n画作以竹明志，借凌霜不凋的修竹暗合持守晚节的君子襟怀，把文人画托物言志的意趣融于笔墨间。笔致洗练老辣，墨色层次分明，简淡素净的纸色衬出墨竹清韵，通篇空灵雅致，满卷皆溢清刚雅正的高古之气，是墨竹画中形神兼备的佳构。",[23,24,25,7,95,126,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1bd0ec0a82b701fca3fa1e53d0bce.jpg","113.7x33.2厘米",[83],{"id":8418,"slug":8419,"title":8420,"dynasty":205,"author":782,"museum":20,"description":8421,"tags":8422,"thumbUrl":8423,"material":98,"size":8424,"collection":166,"collections":8425,"showCount":8362,"zanCount":46,"manualWeight":46,"mainColor":47},214281,"duo-jing-lou-shi-tie-3-mi-fei-214281","多景楼诗帖-3","笔锋八面翻飞，墨色浓淡相济。字形欹正相生，开张处如江潮拍岸，收敛时若峰峦凝翠。“下”字沉雄如坠石，“江”字流转似惊鸿掠水，“山”字稳峙若孤峰傲立，“樓”字牵丝映带如流云绕檐。每一笔都带着奔涌的豪情，仿佛凭栏多景楼头，望断千里江山，墨色里尽是吞吐天地的气魄。字间顾盼有情，行中气脉相连，既见“刷字”的快意洒脱，更藏深蕴的笔墨法度。跌宕起伏的笔势如长江万里，苍劲中透着灵动，厚重里含着清逸，一笔一画都在诉说着宋人的潇洒风骨与壮怀激烈。",[25,37,38,858,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0965b90af51c1a528377ebb300317951.jpg","31.2x538.1",[],{"id":8427,"slug":8428,"title":3041,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":8429,"thumbUrl":8430,"material":314,"size":1061,"collection":166,"collections":8431,"showCount":8432,"zanCount":1084,"manualWeight":46,"mainColor":47},287452,"yi-jin-ling-ce-shi-tao-287452",[24,74,7,37,80,36,28,717,324,34,940,3685],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024d85ab10042e974297b9aa2ce45b2.jpg",[],103,{"id":8434,"slug":8435,"title":8436,"dynasty":889,"author":1057,"museum":450,"description":8437,"tags":8438,"thumbUrl":8440,"material":314,"size":1061,"collection":166,"collections":8441,"showCount":8432,"zanCount":1084,"manualWeight":46,"mainColor":140},283688,"qiu-shan-wan-cui-tu-guan-tong-283688","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,281,24,25,95,7,27,28,8439,34,33,212,210,36,80],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],{"id":8443,"slug":8444,"title":8445,"dynasty":174,"author":1100,"museum":450,"description":8446,"tags":8447,"thumbUrl":8448,"material":166,"size":166,"collection":166,"collections":8449,"showCount":8432,"zanCount":1084,"manualWeight":46,"mainColor":47},235233,"ju-shi-zhou-wu-chang-shuo-235233","菊石轴","此作用笔雄老苍劲，以篆籀之法入画，将金石意趣融于绘事。左侧狂草长题与右侧花木山石虚实相映，通篇气机贯通。泼墨写石，干湿浓墨晕染出嶙峋朴拙之态，淡墨勾菊瓣、浓墨点枝叶，尽显菊花清隽凌霜之姿；下方牡丹设色秾丽饱满，艳而不俗，与寒菊形成雅艳对照。\n\n诗画互衬，借黄英、牡丹寄寓疏狂高逸的襟怀，将文人意趣与世俗审美相融，尽显晚年沉郁浑朴的大写意风骨。",[24,25,95,281,27,7,123,134,706,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ca9fe70ff6300da429378a633361f7.jpg",[],{"id":8451,"slug":8452,"title":8453,"dynasty":52,"author":981,"museum":92,"description":8454,"tags":8455,"thumbUrl":8456,"material":457,"size":8457,"collection":166,"collections":8458,"showCount":8432,"zanCount":1084,"manualWeight":46,"mainColor":140},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[23,24,25,95,7,2816,147,180,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","151.4x52.2",[],{"id":8460,"slug":8461,"title":8462,"dynasty":174,"author":1100,"museum":450,"description":2099,"tags":8463,"thumbUrl":8464,"material":6136,"size":166,"collection":64,"collections":8465,"showCount":8432,"zanCount":46,"manualWeight":46,"mainColor":47},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花",[23,24,25,95,27,7,75,134,180,80,37,3074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg",[64],{"id":8467,"slug":8468,"title":8469,"dynasty":205,"author":307,"museum":92,"description":8470,"tags":8471,"thumbUrl":8473,"material":61,"size":8474,"collection":220,"collections":8475,"showCount":8432,"zanCount":46,"manualWeight":46,"mainColor":140},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[23,281,24,25,95,36,7,28,1523,8472,213,215,33,496],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[220,42,222],{"id":8477,"slug":8478,"title":8479,"dynasty":52,"author":621,"museum":294,"description":8480,"tags":8481,"thumbUrl":8482,"material":61,"size":8483,"collection":42,"collections":8484,"showCount":8432,"zanCount":46,"manualWeight":46,"mainColor":47},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[23,24,25,95,7,494,36,717,147,180,28,164,3256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 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厘米，横59.4 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tore\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":8601,"slug":8602,"title":8603,"dynasty":18,"author":1836,"museum":1346,"description":8604,"tags":8605,"thumbUrl":8606,"material":298,"size":8607,"collection":245,"collections":8608,"showCount":8559,"zanCount":46,"manualWeight":46,"mainColor":47},220964,"shu-luo-han-zan-shu-juan-dong-qi-chang-220964","书罗汉赞书卷","包括：《罗汉赞》二首、《初祖赞》、《送僧游五台》、《送僧之牛山鸡足》。一如董氏清秀平和的书风，前半部分行中带草，结体森然，运笔精到，不争不躁，布局闲适，自然天成。与《菩萨藏经后序》相较，折笔较多，显得更挺拔硬朗。后半部分草书，运笔飞动流畅，挥洒自如，如龙蛇云物。然而，又不颠不狂，始终保持正锋，不失圆劲之妙。",[23,37,394,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ffe99ce6fd3374ae447318421bed5.jpg","纵31.1厘米，横631.3 厘米",[245],{"id":8610,"slug":8611,"title":8612,"dynasty":52,"author":726,"museum":92,"description":8613,"tags":8614,"thumbUrl":8615,"material":284,"size":8616,"collection":222,"collections":8617,"showCount":8559,"zanCount":46,"manualWeight":46,"mainColor":140},220781,"zhu-shi-tu-ye-wu-zhen-220781","竹石图页","吴镇师承方面，于董源、巨然所得最多。其实董源、巨然并不是文人画家，但由于他们生活在江南，表现江南山川，创造了平淡天真、苍茫浑厚的山水画风，恰到好处地表现了山川之气韵，这种气韵正是宋代以后文人画家所梦寐以求的。从米芾开始，董巨画风开始受到青睐，延及赵孟頫、元四家，董巨画风大受推崇，整个元代山水画坛大多以董巨为依归，力求韵外之致。吴镇对董巨是下过很深的功夫的，他自己说：“董源画《寒林重汀图》，笔法苍劲，世所罕见，因观其真迹，摹其万一。”",[23,281,24,7,36,74,126,706,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe30f4d3ae723c1fb823e512d8473ef.jpg","本幅 90.6x42.5公分、全幅 61.3公分",[222,919],{"id":8619,"slug":8620,"title":8621,"dynasty":359,"author":360,"museum":8622,"description":8623,"tags":8624,"thumbUrl":8625,"material":166,"size":166,"collection":166,"collections":8626,"showCount":8559,"zanCount":46,"manualWeight":46,"mainColor":47},220606,"song-shi-shan-shui-qi-bai-shi-220606","宋式山水","Kyoto National Museum","这幅作品跳脱山水旧法，以斩截刚劲的线条将山峦拆解为方正硬朗的几何岩体，块面堆叠出雄浑厚重的山野气势，全无传统皴法的柔婉，自带稚拙刚健的力量感。\n浅勾淡染的云气柔化山石冷硬，山坳中隐现的屋舍晕开山居悠然意趣。下方枯林以极简枝桠舒展，疏清淡雅，与上部重峦形成疏密对照。\n它以全新造型重构山水意境，将笔墨的写意精神，融于现代感的视觉表达，于朴拙间开创出别具一格的山水新风貌。",[24,7,95,36,28,34,33,211,35,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9a3dc4e5e42b53615a5f03733ed05.jpg",[],{"id":8628,"slug":8629,"title":8630,"dynasty":52,"author":726,"museum":92,"description":8631,"tags":8632,"thumbUrl":8633,"material":457,"size":8634,"collection":42,"collections":8635,"showCount":8559,"zanCount":46,"manualWeight":46,"mainColor":47},218763,"xi-liu-gui-ting-tu-wu-zhen-218763","溪流归艇图","这幅画作于至正二年（公元1342年），当时他已经63岁了。溪流来回蜿蜒，森林茂密而阴凉。笔触强烈而浑厚，墨层清晰。纸张磨损严重",[23,24,25,7,36,28,30,31,29,34,33,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71089dbec8ab8f57de8f53bf2bd0a54.jpg","44x26.7",[42],{"id":8637,"slug":8638,"title":8639,"dynasty":205,"author":2727,"museum":92,"description":8640,"tags":8641,"thumbUrl":8642,"material":98,"size":8643,"collection":220,"collections":8644,"showCount":8559,"zanCount":5,"manualWeight":46,"mainColor":47},218641,"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁（公元1086—1165年），南宋书画家。字元晖，米芾长子。徽宗宣和四年应选入掌画学, 南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[23,24,25,26,7,36,37,80,28,454,335,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[220,245],{"id":8646,"slug":8647,"title":8648,"dynasty":52,"author":8649,"museum":120,"description":8650,"tags":8651,"thumbUrl":8652,"material":98,"size":8653,"collection":42,"collections":8654,"showCount":8559,"zanCount":436,"manualWeight":46,"mainColor":47},218307,"shu-lin-yuan-shan-tu-shen-xuan-218307","疏林远山图","沈铉","疏林错落，枝干虬劲如篆笔写就，墨色枯润相间，尽显古木苍然之态。林间茅舍隐现，似藏幽人逸趣，不施华彩却含生趣。中景水面空濛，留白处似有波光轻漾，与远山淡墨相融。层峦叠嶂以简笔晕染，云雾缭绕间显深远之致，无刻意雕琢却见丘壑万千。整幅画以极简之笔造极幽之境，元人淡泊宁静的心境跃然纸上，观之如入林泉深处，尘嚣尽散，只余清寂与悠远。笔墨间藏着自然的呼吸，每一处线条都似在诉说着对山水的深情，让人心生向往，沉醉于这份远离俗世的清雅之美。",[24,25,7,36,28,164,2953,147,34,30,533,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d537a21bab97b3365385b72b0fd995.jpg","30x50.1cm",[42],{"id":8656,"slug":8657,"title":8658,"dynasty":52,"author":621,"museum":92,"description":8659,"tags":8660,"thumbUrl":8661,"material":98,"size":8662,"collection":42,"collections":8663,"showCount":8664,"zanCount":1084,"manualWeight":46,"mainColor":47},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[281,24,25,95,7,28,147,32,29,30,80,37,1548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[42],101,{"id":8666,"slug":8667,"title":8668,"dynasty":18,"author":8669,"museum":8670,"description":8671,"tags":8672,"thumbUrl":8673,"material":537,"size":8674,"collection":83,"collections":8675,"showCount":8664,"zanCount":1084,"manualWeight":46,"mainColor":47},237544,"mo-zhu-tu-ce-feng-qi-zhen-237544","墨竹图册","冯起震","山东省博物馆","这幅《墨竹图》，所绘为风中之竹。画中有老竹二竿，小竹三竿，另有新篁三株。作者以淡墨绘老竹的竿与叶。竹竿亭亭竖劲，枝繁叶盛。一棵小竹依傍其左，另两竿小竹立其右。小竹枝、竿、叶均以浓墨写出，将青春勃发的幼竹秀颀、挺拔之态淋漓洒脱地表现出来。作者在写竹叶时，无论老竹幼竹，都用墨的浓淡的层次不同，来分出其阴阳向背以及叶梢的枯萎卷折，自然逼真，有形有神。\n竹下，有新笋拔地而起。其中一株已抽出肥嫩的竹节，大有冲天而发之势。另外两株小笋则跃跃欲试，似在蓄积力量，等待着雨后的拔节。笋皆以浓墨写出，清新可人。\n画中之竹，因经受着风的吹打，均倾向右侧。竹，非草非木，虽中心虚空，却能任风卷残云，我自岿然。这种宁折不弯的品性，正是画家通过他的《墨竹图》要传达给世人的。竹不是孤根而生，一枝独秀。在广袤的田园，抑或是在贫瘠的山间，竹必定是以群体的形式迎击着时时掠过的东西南北风。冯起震的《墨竹图》，着力渲染了竹的这种相依而生的特性。画中所绘竹丛，密处不繁，疏处不陋，有长幼之序，有父子之亲，老幼相傍，高下互让，拳拳之情，俨然如人间的手足相携，父子顾盼。\n以竹入画，始自唐代。初系著色，五代时用墨染，北宋开始流行墨竹。宋·李昉在《文苑英华》中说竹“劲本竖节不受霜，刚也；绿叶凄凄翠荫浮浮，柔也；虚心而直无所隐蔽，忠也；不孤根以挺拔，必相依以擢秀，义也”。这“刚、柔、忠、义”四种品德，正是历代中国文人所看重的修养与情操，甚至将其中的“忠”与“义”看得比生命还要重要。所以，谦谦君子，案头必定有竹相伴。以墨写竹，摒去了其他色彩，铅华洗尽，纯以黑白示人，更是清雅飘逸。北宋之后，墨竹在画坛上大行其道。到了明代，随着文人画日见称盛，墨竹作者更是名家辈出，冯起震便是其中自具特色的一位。\n《墨竹图》布局尤其独特。画中别无他物，只置绿竹一丛，顶天立地，上下均不留空间，只在左右两侧留白。画家只截取了竹的生长状态中的一部分予以表现，而不是写其全貌。至于竹究竟有多高，叶究竟有多茂，只有观者自己去想象了。由此，也可见出作者不为成法所拘，在画幅上自由驰骋的一面。\n如此大的篇幅，应当是作者张纸于壁上，一挥而就。所以，才使得这幅画淋漓利落，满纸清风。",[24,25,74,7,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce3c0964d656b67a08c1ef1ccd0e3f4.jpg","纵178厘米，横88厘米",[83],{"id":8677,"slug":8678,"title":8266,"dynasty":174,"author":1100,"museum":450,"description":8679,"tags":8680,"thumbUrl":8681,"material":166,"size":166,"collection":166,"collections":8682,"showCount":8664,"zanCount":46,"manualWeight":46,"mainColor":47},235404,"mu-dan-zhou-wu-chang-shuo-235404","此作虚实相生，右上角题款与左下花木湖石遥相呼应。牡丹以阔笔泼色，胭脂点染花瓣，浓艳厚重，带着苍浑的金石意趣，柔艳花姿里暗蕴雄强骨力。叶片焦墨挥写，线条老辣苍劲，与牡丹柔色形成强烈反差，更衬花之秾艳。\n\n湖石以淡墨晕染，焦墨提点轮廓，朴拙古雅。藤蔓缠绕穿插，填补留白让层次愈显丰满。题字带着篆隶笔意，与画境浑然相融，将篆刻的苍茫意趣尽数融入画笔，跳出牡丹富贵柔媚的陈套，化为疏野苍劲的文人风骨，纵横恣肆间不失雅致，尽显雄强古茂的写意格调。",[24,25,95,281,27,7,123,75,129,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e01c9ee92e8c23d37723f245dada53.jpg",[],{"id":8684,"slug":8685,"title":8686,"dynasty":8687,"author":8688,"museum":450,"description":8689,"tags":8690,"thumbUrl":8691,"material":314,"size":1061,"collection":166,"collections":8692,"showCount":8664,"zanCount":1084,"manualWeight":46,"mainColor":140},231039,"tai-hang-shan-ji-wei-dan-231039","太行山记","汉","韦诞","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[281,24,25,37,26,38,7,80,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bfe89ff080cb08ac0a64e22cd3a4985.jpg",[],{"id":8694,"slug":8695,"title":8696,"dynasty":174,"author":2913,"museum":593,"description":4325,"tags":869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是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[23,24,25,28,1462,7,27,624,34,3256,31,193,212,8742,8743],"红叶树","孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg",[42],{"id":8747,"slug":8748,"title":8749,"dynasty":174,"author":377,"museum":450,"description":8750,"tags":8751,"thumbUrl":8752,"material":964,"size":8753,"collection":83,"collections":8754,"showCount":8755,"zanCount":46,"manualWeight":46,"mainColor":47},233679,"yuan-ji-lan-zhu-ce-mei-lan-shi-shi-tao-233679","原济兰竹册－梅兰石","石涛的花鸟、兰竹，不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。石涛还讲求气势。他笔情恣肆，淋漓洒脱，不拘小处瑕疵，作品具有一种豪放郁勃的气势，以奔放之势见胜。郑板桥在《板桥题画》中云：“石涛善画，盖有万种，兰竹其余事也。”可见他对石涛的兰竹之作评级最高。此石涛《兰竹册》为故宫馆藏精品，计十八开，以兰为主，配以竹、石、梅等。",[24,25,74,7,38,37,80,125,133,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adcbe7ff4a237a50f27c41a03aba237.jpg","纵43.2cm，横30.2cm",[83],100,{"id":8757,"slug":8758,"title":8759,"dynasty":18,"author":19,"museum":450,"description":8760,"tags":8761,"thumbUrl":8762,"material":314,"size":1061,"collection":166,"collections":8763,"showCount":8755,"zanCount":5,"manualWeight":46,"mainColor":47},228824,"san-zi-tu-shen-zhou-228824","三梓图","此图绘梓树三棵，树下二高士漫步对谈，三树排列得当，用笔浑然无迹，人物几笔勾勒，极显“粗沈”之功力。",[23,24,25,95,7,36,38,80,193,147,282,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50afdc956c6c0467cbc2cece7598519d.jpg",[],{"id":8765,"slug":8766,"title":8767,"dynasty":18,"author":1788,"museum":92,"description":8768,"tags":8769,"thumbUrl":8770,"material":61,"size":8771,"collection":42,"collections":8772,"showCount":8755,"zanCount":473,"manualWeight":46,"mainColor":140},221974,"gu-mu-han-quan-tu-zhou-wen-zheng-ming-221974","古木寒泉图轴","一松一柏，相旁而生。柏树老干分披，杈枒四出；其后松树两干并伸，参云直上。背景石壁与松柏紧贴，塞地漫天，几无余地，忽于绝高处界出飞泉一道，数折而下，遂使通幅于紧迫繁复之中，遽尔空灵疏朗，确为神来之笔。",[23,24,95,7,27,36,28,147,30,34,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84d499504792f62282c466eaa4ed0af.jpg","194.1x59.3cm",[42,64],{"id":8774,"slug":8775,"title":8776,"dynasty":205,"author":278,"museum":294,"description":8777,"tags":8778,"thumbUrl":8779,"material":2001,"size":8780,"collection":220,"collections":8781,"showCount":8755,"zanCount":46,"manualWeight":46,"mainColor":140},221659,"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。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，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,25,7,28,30,31,468,729,147,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","23.2x23.8厘米",[220,42,64],{"id":8783,"slug":8784,"title":4427,"dynasty":205,"author":607,"museum":294,"description":8785,"tags":8786,"thumbUrl":8787,"material":3471,"size":8788,"collection":220,"collections":8789,"showCount":8755,"zanCount":1084,"manualWeight":46,"mainColor":47},221537,"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[23,24,25,1462,28,7,36,210,162,34,193,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","30×30cm",[220,42,64],{"id":8791,"slug":8792,"title":8793,"dynasty":205,"author":5833,"museum":92,"description":8794,"tags":8795,"thumbUrl":8797,"material":110,"size":8798,"collection":220,"collections":8799,"showCount":8755,"zanCount":46,"manualWeight":46,"mainColor":140},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,24,25,1462,7,28,481,8796,1853,32,730,350,164,507,162,193],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[220,42],{"id":8801,"slug":8802,"title":8803,"dynasty":889,"author":1534,"museum":92,"description":8804,"tags":8805,"thumbUrl":8806,"material":110,"size":8807,"collection":83,"collections":8808,"showCount":8755,"zanCount":46,"manualWeight":46,"mainColor":140},218703,"ji-he-tu-xu-xi-218703","芰荷图","徐熙出生于江宁（今南京），也有记载认为他出生于锺陵（今江西南昌进贤县），一生从没有担任官职，只是专心绘画，他的绘画风格质朴简练，他创作了水墨淡彩的绘画方法，运用墨的浓淡变化，勾点兼施，画出花卉的枝叶萼蕊，略施淡彩，使色不碍墨不掩笔迹而生气动人。善于描绘汀花野竹、水鸟渊鱼、凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗等。",[23,24,25,95,75,7,27,481,128,395,396,3996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[83],{"id":8810,"slug":8811,"title":8812,"dynasty":205,"author":607,"museum":92,"description":8813,"tags":8814,"thumbUrl":8815,"material":110,"size":8816,"collection":42,"collections":8817,"showCount":8755,"zanCount":436,"manualWeight":46,"mainColor":140},218689,"tan-mei-tu-ma-yuan-218689","探梅图","这幅大画来自张大千的旧藏，丝绸已经破损，但仔细观察笔触，它是由明代浙江画派的画家所作。",[23,24,7,36,95,28,125,193,717,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdfc40fea4f0be200f77555498f468f.jpg","192x99.6",[42],{"id":8819,"slug":8820,"title":8821,"dynasty":205,"author":264,"museum":3640,"description":8822,"tags":8823,"thumbUrl":8824,"material":98,"size":8825,"collection":600,"collections":8826,"showCount":8755,"zanCount":5,"manualWeight":46,"mainColor":47},218425,"han-shan-shi-de-tu-li-gong-lin-218425","寒山拾得图","二人相携而立，笑意漫上眉梢，满溢自在随性的意趣。简练灵动的白描线条勾勒衣袂，墨色浓淡交错间，衣纹流转如行云，尽显人物憨态与洒脱。拾得轻倚探身，寒山持杖而立，眉眼间的默契似藏着尘世之外的欢愉，无拘无束。素净之笔不着艳色，却以淡墨晕染出禅意悠悠的况味，仿佛引观者步入远离尘嚣的自在天地，尽显宋代文人画中对心性自由的向往与追寻。",[281,24,25,547,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9a720d40393360ea1871508bb9400e7.jpg","27.3x13",[600],{"id":8828,"slug":8829,"title":4446,"dynasty":52,"author":581,"museum":544,"description":8830,"tags":8831,"thumbUrl":8832,"material":98,"size":8833,"collection":42,"collections":8834,"showCount":8755,"zanCount":5,"manualWeight":46,"mainColor":140},218185,"qian-yan-wan-he-tu-yi-ming-218185","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[24,494,7,36,95,34,212,211,210,33,194,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[42],{"id":8836,"slug":8837,"title":8838,"dynasty":174,"author":175,"museum":450,"description":7322,"tags":8839,"thumbUrl":8841,"material":314,"size":1061,"collection":166,"collections":8842,"showCount":8843,"zanCount":46,"manualWeight":46,"mainColor":47},290530,"bai-he-zhou-yun-shou-ping-290530","百合轴",[24,95,7,547,75,8840,37,80],"百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda214bdfbec48dbeefb5222aec5f386b.jpg",[],99,{"id":8845,"slug":8846,"title":1381,"dynasty":205,"author":206,"museum":450,"description":8847,"tags":8848,"thumbUrl":8849,"material":314,"size":1061,"collection":166,"collections":8850,"showCount":8843,"zanCount":46,"manualWeight":46,"mainColor":140},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,281,24,95,494,7,36,28,194,29,30,31,282,610,147,34,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],{"id":8852,"slug":8853,"title":8854,"dynasty":52,"author":726,"museum":92,"description":8855,"tags":8856,"thumbUrl":8857,"material":98,"size":8858,"collection":166,"collections":8859,"showCount":8843,"zanCount":436,"manualWeight":46,"mainColor":140},287604,"dong-ting-yu-yin-tu-wu-zhen-287604","洞庭渔隐图","该画作采用“一河两岸”式的构图。近景画双松挺立，枯树横斜，隔岸则是迤逦的山坡，与水边荡桨的渔舟，十分忠实地呈现出江南水乡泽国的景象。虽然布局简略，但添加边角的签名，以及上方的题词之後，别具一番宁静典雅的情调。",[281,24,25,95,7,28,30,31,147,80,37,36,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7237860d8699cbcf4faf880b8386aa52.jpg","146.4x58.6",[],{"id":8861,"slug":8862,"title":8863,"dynasty":4342,"author":8864,"museum":450,"description":8865,"tags":8866,"thumbUrl":8867,"material":314,"size":1061,"collection":166,"collections":8868,"showCount":8843,"zanCount":46,"manualWeight":46,"mainColor":47},240119,"hua-shi-ye-li-bai-240119","华诗页","李白","李白（701年—762年12月），字太白，号青莲居士，又号“谪仙人”，唐代伟大的浪漫主义诗人，被后人誉为“诗仙”，与杜甫并称为“李杜”，为了与另两位诗人李商隐与杜牧即“小李杜”区别，杜甫与李白又合称“大李杜”。北京大学教授李志敏评价：“李白之诗呼吸宇宙，出乎道；杜甫之诗德参天地，源于儒，皆至天人合一境界，故能出神入化。”《旧唐书》记载李白为山东人；《新唐书》记载，李白为兴圣皇帝李暠九世孙，与李唐诸王同宗。其人爽朗大方，爱饮酒作诗，喜交友。\n李白有《李太白集》传世，诗作中多以醉时写的，代表作有《望庐山瀑布》《行路难》《蜀道难》《将进酒》《明堂赋》《早发白帝城》等多首。李白所作词赋，宋人已有传记（如文莹《湘山野录》卷上），就其开创意义及艺术成就而言，“李白词”享有极为崇高的地位。",[25,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37968d2b59f937a047527c78c9a4d3f3.jpg",[],{"id":8870,"slug":8871,"title":8872,"dynasty":18,"author":1836,"museum":120,"description":8873,"tags":8874,"thumbUrl":8875,"material":964,"size":8876,"collection":42,"collections":8877,"showCount":8843,"zanCount":1084,"manualWeight":46,"mainColor":47},220908,"mo-juan-chuan-yi-tu-dong-qi-chang-220908","《墨卷传衣图》","《董其昌墨卷传衣图轴》是明代画家董其昌创作的一幅水墨画。\n本幅自识：“己丑南宫墨卷五策，为好事者所藏，得岸上人袖以示予。\n风檐仓卒，书道殊劣，何烦碧纱笼袭之三十五年也。",[23,24,7,95,36,28,162,35,706,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a079cbefa1eeb6917c512cd94e24bd.jpg","纵101.5厘米，横46.3厘米",[42,64],{"id":8879,"slug":8880,"title":8881,"dynasty":174,"author":491,"museum":544,"description":2292,"tags":8882,"thumbUrl":8883,"material":40,"size":2295,"collection":42,"collections":8884,"showCount":8843,"zanCount":46,"manualWeight":46,"mainColor":47},219995,"shan-shui-hua-bing-wu-chun-ri-hua-wang-shi-min-219995","山水画-丙午春日画",[24,25,281,7,36,28,34,212,33,717,7312,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76b263723822de7104c5bf39a22e450.jpg",[42],{"id":8886,"slug":8887,"title":6501,"dynasty":18,"author":6468,"museum":378,"description":8888,"tags":8889,"thumbUrl":8890,"material":110,"size":166,"collection":83,"collections":8891,"showCount":8843,"zanCount":1084,"manualWeight":46,"mainColor":140},219052,"lu-yan-tu-lin-liang-219052","墨色浓淡交织间，苇丛恣肆舒展，叶片如剑划破虚灵的背景，尽显野逸之趣。雁群姿态憨然，或低头啄食，或翘首顾盼，羽毛以淡墨晕染，绒质感呼之欲出，兼工带写的笔法将水禽的灵动与野趣凝于尺幅。画面不着艳色，却于水墨淋漓中透出秋江芦岸的清寂与生机，笔力雄健又不失细腻，尽显写意花鸟的奔放与传神，仿佛能听见苇叶沙沙，雁鸣轻啼，将自然之趣定格成永恒的诗意图景。",[23,24,7,123,75,1004,6504,282,1926,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef142504755ac0f39ccbabbb50b7aca.jpg",[83],{"id":8893,"slug":8894,"title":8895,"dynasty":174,"author":2605,"museum":4012,"description":8896,"tags":8897,"thumbUrl":8898,"material":98,"size":8899,"collection":42,"collections":8900,"showCount":8843,"zanCount":46,"manualWeight":46,"mainColor":47},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","郑旼的 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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[281,24,95,7,28,624,324,193,34,30,37,80,36,7919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107880d5a5ec31ccbe0869de6e5ceedf.jpg",[],98,{"id":8926,"slug":8927,"title":8928,"dynasty":205,"author":842,"museum":450,"description":8929,"tags":8930,"thumbUrl":8931,"material":314,"size":1061,"collection":166,"collections":8932,"showCount":8924,"zanCount":46,"manualWeight":46,"mainColor":461},289659,"han-lin-qi-lv-tu-li-cheng-289659","寒林骑驴图","此为张大千氏大风堂旧藏，在大立轴上画文人骑驴行于郊野，前后有童仆相随。",[23,24,95,7,28,832,717,7312,282,453,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a41e40e74bbef65a72e644fd95d8972.jpg",[],{"id":8934,"slug":8935,"title":8936,"dynasty":205,"author":8937,"museum":92,"description":8938,"tags":8939,"thumbUrl":8942,"material":284,"size":8943,"collection":83,"collections":8944,"showCount":8924,"zanCount":46,"manualWeight":46,"mainColor":47},221222,"sui-chao-tu-zhou-dong-xiang-221222","岁朝图轴","董祥","“岁朝”，是指阴历的正月初一，也就是我们通常谓之“年初一”——“春节”。在这一岁之始，人们为了祈求新的一年平安吉祥，往往喜欢在厅堂挂一些“岁朝图”，图上画的象征平安祥瑞的花卉器物，在这寒冽萧瑟的严冬，给家宅带来明媚温煦的春意。这民间的风俗，始于唐代，起先不过是一些仕绅、文人在大年初一将金石、书画、古董等雅玩之物精心摆设于临窗的案几上，渐渐地也有将这些物品勾染成画挂壁，意在祈福纳祥。至宋代，这民俗流行宫廷内外，宋徽宗每逢春节将临，乃命其图画院的画师们描画冬季不能见到的花卉禽鸟，陈列宫中，以增添岁朝的喜庆气氛。此后，岁朝图的内容逐渐扩展，经明、清而至近现代，大至文房器物，小至灯笼、鞭炮、果蔬等日常生活用品，都成为图上的吉祥物，日益成为一种雅俗共赏、意蕴丰厚，融诗、书、画、印于一体的画种。",[23,24,25,95,7,481,80,37,38,8940,76,8941,4705,1104,4706],"瓶","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23bfa3f92c3fbaf6e40503c0241d83.jpg","115.2x44.3公分",[83,64],{"id":8946,"slug":8947,"title":1567,"dynasty":18,"author":1836,"museum":120,"description":8948,"tags":8949,"thumbUrl":8950,"material":612,"size":8951,"collection":42,"collections":8952,"showCount":8924,"zanCount":1084,"manualWeight":46,"mainColor":47},220942,"shan-shui-zhou-dong-qi-chang-220942","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\n画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,7,36,95,28,32,717,210,34,215,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[42,222],{"id":8954,"slug":8955,"title":8956,"dynasty":18,"author":646,"museum":544,"description":8957,"tags":8958,"thumbUrl":8959,"material":98,"size":166,"collection":245,"collections":8960,"showCount":8924,"zanCount":436,"manualWeight":46,"mainColor":47},219983,"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[23,24,25,26,242,37,7,36,28,33,35,58,212,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[245,222],{"id":8962,"slug":8963,"title":3432,"dynasty":18,"author":2851,"museum":92,"description":8964,"tags":8965,"thumbUrl":8966,"material":61,"size":8967,"collection":42,"collections":8968,"showCount":8924,"zanCount":46,"manualWeight":46,"mainColor":140},219972,"hua-xi-yu-yin-tu-tang-yin-219972","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[23,24,25,7,27,36,28,624,213,30,31,193,33,551,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[42],{"id":8970,"slug":8971,"title":8972,"dynasty":889,"author":1266,"museum":92,"description":8973,"tags":8974,"thumbUrl":8976,"material":98,"size":8977,"collection":42,"collections":8978,"showCount":8924,"zanCount":46,"manualWeight":46,"mainColor":47},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,281,25,26,7,36,38,37,80,28,34,33,210,8975,31,211,212,533],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[42],{"id":8980,"slug":8981,"title":8982,"dynasty":18,"author":6070,"museum":378,"description":8983,"tags":8984,"thumbUrl":8985,"material":98,"size":8986,"collection":600,"collections":8987,"showCount":8924,"zanCount":46,"manualWeight":46,"mainColor":140},219507,"liu-min-tu-wu-wei-219507","流民图","“流民图”这个概念，可以追溯至文献中记载的北宋郑侠《流民图》，也即一种讽喻社会阴暗面的政治寓言。",[23,281,24,25,26,7,547,193,28,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee54b264cb8fd4942f81dde5e61dca.jpg","纵38.5横546.5厘米",[600,222],{"id":8989,"slug":8990,"title":8991,"dynasty":205,"author":607,"museum":92,"description":8992,"tags":8993,"thumbUrl":8995,"material":110,"size":8996,"collection":42,"collections":8997,"showCount":8924,"zanCount":46,"manualWeight":46,"mainColor":140},219001,"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[23,281,24,25,28,193,624,34,29,7,27,36,8994,2314],"南宋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[42],{"id":8999,"slug":9000,"title":9001,"dynasty":174,"author":9002,"museum":294,"description":9003,"tags":9004,"thumbUrl":9005,"material":40,"size":9006,"collection":166,"collections":9007,"showCount":8924,"zanCount":1084,"manualWeight":46,"mainColor":47},216245,"jing-fu-si-qi-dong-jing-tu-12-qian-wei-cheng-216245","景敷四气冬景图-12","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n朵开月月映阶唇，带雪披风更可人。须识此花深易理，四时一气贯长春。甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆",[24,494,7,27,36,4347,832,35,213,7312,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc995690cd5b9f284ba9e2c0b83cd22.jpg","21.9 × 30.2cm",[],{"id":9009,"slug":9010,"title":9011,"dynasty":174,"author":703,"museum":20,"description":704,"tags":9012,"thumbUrl":9013,"material":98,"size":708,"collection":166,"collections":9014,"showCount":8924,"zanCount":5,"manualWeight":46,"mainColor":47},214686,"mei-hua-zhu-shi-tu-ce-3-wang-shi-shen-214686","梅花竹石图册-3",[24,25,74,7,125,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789cbb5f9f7a7413c78364ba6bcf38e4.jpg",[],{"id":9016,"slug":9017,"title":9018,"dynasty":18,"author":1836,"museum":92,"description":9019,"tags":9020,"thumbUrl":9021,"material":298,"size":9022,"collection":166,"collections":9023,"showCount":9024,"zanCount":46,"manualWeight":46,"mainColor":47},231955,"lin-ni-zan-dong-gang-cao-tang-tu-dong-qi-chang-231955","临倪瓒东岗草堂图","可知题识，董其昌于崇祯二年（1629）夏天临写倪瓒〈东冈草堂〉图，同时抄录画上倪瓒与张雨的原题。研究倪瓒早期画迹时，亦有引用此辅作为 证者不过此作用笔用墨与董其昌一般有异，疑因下因作品写角作品。画幅右图存文从简574-168）之印。",[24,25,7,254,36,28,147,610,32,30,180,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","87.4×65厘米",[],97,{"id":9026,"slug":9027,"title":9028,"dynasty":205,"author":1089,"museum":5692,"description":9029,"tags":9030,"thumbUrl":9031,"material":61,"size":9032,"collection":220,"collections":9033,"showCount":9024,"zanCount":46,"manualWeight":46,"mainColor":140},226547,"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[23,24,25,95,28,7,36,212,33,210,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[220,42,222],{"id":9035,"slug":9036,"title":9037,"dynasty":205,"author":782,"museum":9038,"description":9039,"tags":9040,"thumbUrl":9041,"material":2001,"size":9042,"collection":166,"collections":9043,"showCount":9024,"zanCount":1084,"manualWeight":46,"mainColor":140},223341,"yun-qi-lou-tu-mi-fei-223341","云起楼图","赛克勒美术馆","画中“云起楼图”题字，确为明董其昌真迹，非常珍贵。\n米芾最擅长的是以笔墨点染的方式描绘江南山水，本件《云起楼图》是典型的“米氏云山”的传统，在技法上，采用江南画家董源、巨然的传统，以苔墨点与晕染来画圆弧形的山峦，让山水形象融合在一片雾气中，特别具有抒情的韵味。\n画面约中景处，丘陵顶端有一两座院落，下可眺望江景，远观则为烟云变幻的山峦。这让人联想起米芾位于润州（江苏镇江）北固山的故居“海岳庵”，附近有名胜“甘露寺”与“多景楼”，米芾时常登览赋诗（例如《秋暑憩多景楼诗》），浏览江南云雾变化的景致。米芾之子米友仁的《潇湘奇观卷》亦是描绘“海岳庵”一带的山川景色。米芾润州家居的景观，成为创作云山图最重要的题材之一。\n近景亦以类似的墨点图写前后两排的松木，墨色稍浓，其间及其与远山间，仍以烟云留白的技法分隔空间，与整幅图表达空间层次感的幽缈之意相映成趣。其山木树石的风格似乎可从董源处寻其渊源。除此之外，米芾“以山水古今相师”，即融合古人技法与对自然山水的体悟成一家，风格独特，故世称“大米”。\n这幅又作《天降时雨图》，画家巧妙地运用“烟云掩映”的技法，分隔远山与松木之间的空间感，尤其是墨点晕染的圆转山头，可见其山顶积墨浓重、表现阴影，山腰以下则没人淡墨晕染的烟云中，仿佛连绵的山峦出入云霭间，幽缈、空远。",[23,24,7,28,454,33,36,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104b03b59e1d79cc0c5f6fda4b889ce9.jpg","150cm×78.8cm",[],{"id":9045,"slug":9046,"title":9047,"dynasty":205,"author":9048,"museum":770,"description":9049,"tags":9050,"thumbUrl":9052,"material":1877,"size":9053,"collection":166,"collections":9054,"showCount":9024,"zanCount":5,"manualWeight":46,"mainColor":47},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[23,24,26,547,7,3557,193,28,162,706,30,32,9051,80],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纵34.9厘米，横848.8厘米",[],{"id":9056,"slug":9057,"title":9058,"dynasty":205,"author":6572,"museum":92,"description":9059,"tags":9060,"thumbUrl":9061,"material":284,"size":9062,"collection":245,"collections":9063,"showCount":9024,"zanCount":1084,"manualWeight":46,"mainColor":47},221269,"han-shan-zi-pang-ju-shi-shi-tie-quan-juan-huang-ting-jian-221269","寒山子庞居士诗帖全卷","黄庭坚《寒山子、庞居士诗卷》，它是北宋书法家黄庭坚的一幅行书代表作，内容是唐代隐士寒山子《劝戒诗》与居士庞蕴的诗偈，现藏于台北故宫博物院。这一诗卷是黄庭坚晚年的杰作，有着鲜明的黄庭坚行书的风格特征，尤其在字的结体上，吸收了《瘗鹤铭》和颜真卿楷书的结字方法，加以夸张和变化，创造出一种俊挺豪迈的新面目。\n这幅作品中字都有这样的特点，一波数折；中宫收敛的地方，笔画排列紧密，显得雄强茂美，而有些笔画，如帖中“水、人、本”等字的撇捺，“黄、箭、世、苹、业”等字的横笔，都是尽情地纵向伸展，横向逸出，显得痛快淋漓，具有豪爽飘逸之气。字形结构上突破了方正规矩的外形，在冲破均衡的同时，又能使字保持住重心，笔画的伸展并不是完全没有方向，疏密处理得很巧妙，笔画之间也是左顾右盼、互相呼应，有放也有收。这幅字的结构上还有“攲侧”的特点，不但横画倾斜，竖画也蛇曲不正，然而这些歪斜的字笔画遒劲，结体开张，很有气派。",[23,37,38,26,858,80,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca27a7894bdb3fa8554156431e57f83.jpg","纵29.1，横213.8厘米",[245],{"id":9065,"slug":9066,"title":9067,"dynasty":18,"author":407,"museum":430,"description":9068,"tags":9069,"thumbUrl":9071,"material":40,"size":9072,"collection":42,"collections":9073,"showCount":9024,"zanCount":46,"manualWeight":46,"mainColor":47},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,25,26,7,27,28,36,729,31,282,147,30,34,9070,468,32,33],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 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纸本水墨",[],{"id":9201,"slug":9202,"title":9203,"dynasty":18,"author":6468,"museum":92,"description":9204,"tags":9205,"thumbUrl":9206,"material":98,"size":9207,"collection":83,"collections":9208,"showCount":9137,"zanCount":1084,"manualWeight":46,"mainColor":140},218845,"ying-tu-lin-liang-218845","鹰图","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[24,25,281,95,7,123,75,282,2148,4468,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[83],{"id":9210,"slug":9211,"title":9212,"dynasty":174,"author":739,"museum":430,"description":740,"tags":9213,"thumbUrl":9214,"material":298,"size":743,"collection":166,"collections":9215,"showCount":9137,"zanCount":1084,"manualWeight":46,"mainColor":140},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7",[23,24,7,27,74,36,28,180,33,193,164,1974,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg",[],{"id":9217,"slug":9218,"title":580,"dynasty":174,"author":819,"museum":120,"description":3299,"tags":9219,"thumbUrl":9220,"material":964,"size":3302,"collection":166,"collections":9221,"showCount":9222,"zanCount":46,"manualWeight":46,"mainColor":47},234676,"zhu-shi-tu-zheng-ban-qiao-234676",[24,7,95,126,180,123,25,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4678f3aee954a45f278520cc553534f1.jpg",[],95,{"id":9224,"slug":9225,"title":9226,"dynasty":18,"author":9227,"museum":450,"description":9228,"tags":9229,"thumbUrl":9230,"material":166,"size":166,"collection":166,"collections":9231,"showCount":9222,"zanCount":1084,"manualWeight":46,"mainColor":47},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,281,24,25,26,7,38,37,126,133,134,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],{"id":9233,"slug":9234,"title":9235,"dynasty":174,"author":657,"museum":450,"description":9236,"tags":9237,"thumbUrl":9238,"material":166,"size":166,"collection":166,"collections":9239,"showCount":9222,"zanCount":46,"manualWeight":46,"mainColor":47},230874,"mei-hua-tu-ce-jin-nong-230874","梅花图册","这幅画以水墨写梅，老干虬曲苍劲，淡墨晕染出斑驳古拙的质感，枝桠斜逸舒展，尽显老树凌寒的沉浑气度。枝头梅花以淡墨勾瓣，留白衬出冰洁花容，浓墨点蕊，疏密有致，于简淡中见清艳孤高，将梅花傲霜之态全然托出。\n\n左侧隶书题跋朴茂沉厚，笔力苍劲，画与文相映成趣，把画梅心得与爱梅之情落于纸间。整作脱去甜熟妍丽，以极简笔墨写尽梅之清癯风骨，藏着画者疏淡超脱的文人襟怀，以意趣取胜，尽显水墨花卉的空灵淡远之美。",[24,25,74,7,75,125,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe1220c3355013ed53f3eb499f35db0.jpg",[],{"id":9241,"slug":9242,"title":9243,"dynasty":18,"author":796,"museum":450,"description":9244,"tags":9245,"thumbUrl":9246,"material":166,"size":166,"collection":166,"collections":9247,"showCount":9222,"zanCount":1084,"manualWeight":46,"mainColor":47},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[23,24,25,26,27,7,123,75,129,180,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":9249,"slug":9250,"title":9251,"dynasty":18,"author":796,"museum":92,"description":1961,"tags":9252,"thumbUrl":9257,"material":196,"size":9258,"collection":83,"collections":9259,"showCount":9222,"zanCount":46,"manualWeight":46,"mainColor":47},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴",[23,24,95,7,27,123,75,395,398,9253,397,1004,9254,6001,1071,76,2203,6739,1153,3585,9255,9256],"鸭子","明代","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[83,64],{"id":9261,"slug":9262,"title":9263,"dynasty":18,"author":5392,"museum":770,"description":9264,"tags":9265,"thumbUrl":9266,"material":166,"size":9267,"collection":83,"collections":9268,"showCount":9222,"zanCount":46,"manualWeight":46,"mainColor":47},222415,"mei-hua-ye-zhi-tu-zhou-zhi-mian-222415","梅花野雉图","彩绘老干红梅，野雉栖于其上，竹石映带左右。作者周之冕江苏苏州人，善画花鸟，能的其神态；设色清雅，在陈淳、陆治之间，钩花点叶，间出新意。惟酒成癖，诚是一病。此图写生意味颇浓，构图匀称；工笔精细逼真，而无板滞痕迹，正是难能可贵之处。上有作者“丙申夏日汝南周之冕写”名款，下钤“周之冕印”、“服卿”印章二方。图的整体布局严谨，描摹惟妙惟肖，是同时期画作中的佳品。",[23,24,75,27,7,125,77,180,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2989106565d8ba25606cccdc69711.jpg","纵: 134.5厘米. 横: 33.6厘米",[83,64],{"id":9270,"slug":9271,"title":9272,"dynasty":18,"author":2851,"museum":120,"description":9273,"tags":9274,"thumbUrl":9275,"material":6473,"size":9276,"collection":42,"collections":9277,"showCount":9222,"zanCount":5,"manualWeight":46,"mainColor":47},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[23,24,25,95,7,36,38,125,34,193,717,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纵108.6厘米，横34.5厘米。",[42,222],{"id":9279,"slug":9280,"title":4927,"dynasty":205,"author":3062,"museum":450,"description":9281,"tags":9282,"thumbUrl":9283,"material":298,"size":166,"collection":166,"collections":9284,"showCount":9222,"zanCount":46,"manualWeight":46,"mainColor":140},220362,"bu-dai-he-shang-tu-liang-kai-220362","布袋和尚的形象诙谐可爱，传达的寓意也积极乐观，为历代人物画家所喜爱。",[24,3557,193,95,7,547,4489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ad4877b8ea7475bb8de6e64bcdc5b6.jpg",[],{"id":9286,"slug":9287,"title":9288,"dynasty":18,"author":119,"museum":430,"description":1651,"tags":9289,"thumbUrl":9290,"material":98,"size":1654,"collection":166,"collections":9291,"showCount":9222,"zanCount":46,"manualWeight":46,"mainColor":47},220101,"shi-er-mo-hua-tu-juan-4-xu-wei-220101","十二墨花图卷-4",[23,24,25,26,7,75,123,80,37,38,129,130,133,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a8eb2b6b2546b1fba3bbf5502311f.jpg",[],{"id":9293,"slug":9294,"title":9295,"dynasty":205,"author":6572,"museum":92,"description":9296,"tags":9297,"thumbUrl":9298,"material":298,"size":9299,"collection":245,"collections":9300,"showCount":9222,"zanCount":1084,"manualWeight":46,"mainColor":47},220008,"xue-han-tie-huang-ting-jian-220008","雪寒帖","无书写时间，从笔法、结体、风格等方面综合比较，与《动静帖》、《致明叔同年尺牍》非常接近，大致书于绍圣年间。",[23,25,37,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dca2ef8f7c05f24e2fda6ad5dda141.jpg","纵28.8厘米、横17.5厘米",[245],{"id":9302,"slug":9303,"title":9304,"dynasty":52,"author":1131,"museum":92,"description":9305,"tags":9306,"thumbUrl":9308,"material":40,"size":9309,"collection":83,"collections":9310,"showCount":9222,"zanCount":5,"manualWeight":46,"mainColor":140},218661,"dong-yuan-zai-jiu-tu-cao-zhi-bai-218661","东园载酒图","这幅画画的是曹知白自己在采芝窝的隐居地，山川秀丽，笔墨温润，思想极为高雅明朗，使之成为曹氏山水画的精品。",[23,281,24,25,95,7,36,9307,28,34,33,194,268],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4e4c7f20f69be119e1b5cb8d07c1f7.jpg","97.1x54.8cm",[83],{"id":9312,"slug":9313,"title":9314,"dynasty":52,"author":9315,"museum":120,"description":9316,"tags":9317,"thumbUrl":9318,"material":98,"size":9319,"collection":42,"collections":9320,"showCount":9222,"zanCount":5,"manualWeight":46,"mainColor":47},218254,"ge-an-wang-shan-tu-zhao-zhong-218254","隔岸望山图","赵衷","此图为《张观等五家集绘卷》之一。近岸画坡石高树，参差错落，一人坐平坡上隔江遥望烟云笼罩的远山。坡前湖面宽阔浩渺，意境清幽。近树用笔精工细致，生动写实。对岸远山以简率的笔墨轻勾淡染，远树点笔为形，概括取象，给人以旷远迷离之感。人物形象虽小，造型却生动准确。全图用笔秀润，墨色淡雅。",[24,7,28,25,335,350,162,193,213,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885be14f4847ee54f72c9a387e606e3.jpg","纵30厘米，横50.1厘米",[42],{"id":9322,"slug":9323,"title":9324,"dynasty":18,"author":9325,"museum":92,"description":9326,"tags":9327,"thumbUrl":9328,"material":110,"size":9329,"collection":42,"collections":9330,"showCount":9222,"zanCount":436,"manualWeight":46,"mainColor":140},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,25,28,95,36,7,27,193,29,30,180,282,127,125,32,335,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[42],{"id":9332,"slug":9333,"title":9334,"dynasty":174,"author":9335,"museum":176,"description":9336,"tags":9337,"thumbUrl":9338,"material":98,"size":9339,"collection":83,"collections":9340,"showCount":9222,"zanCount":46,"manualWeight":46,"mainColor":47},216113,"song-ying-tu-gao-qi-pei-216113","松鹰图","高其佩","高其佩的指画，墨法得力于吴镇，形象近于吴伟，以减笔写意法见长，尤喜画虎、画钟馗。在技巧方面，他在《述画诗》中道：“吾画从吾手，甲骨掌背俱，手落尚无物，物成手却无。”可见他的指画运用了手的各个部分。他的指画有“叱石成羊”之妙，人物形象极为生动，面部用尖指甲细勾，简练传神，画衣纹指尖指甲并用，顿挫自如，冠靴用指掌涂抹，墨色浑然；花鸟画则随意点染的浓淡干湿墨色，飞动不露笔痕的粗细线条，蹲鹰的蓬松羽毛，老树的苍劲之质均表现得十分出色。\n高其佩以指画在画坛独树一帜，指画作品清、奇、简淡浑厚，而神韵尤在指墨之外，其艺术成就，对后世影响很大。在他之后，出现了很多知名指画家，其中包括他的徒弟“扬州八怪”的罗聘，李鱓和黄慎亦擅指画，清晚期著名的指画家就有一百多人，现代国画大师潘天寿、钱松岩等都深受其影响。他的指画创作则信手一挥，倾刻数十幅，令人惊讶，一生的作画数量极为惊人。主要作品有：《饱虎图》、《雁行图》、《怒容钟馗图》、《梧桐喜鹊图》、《虬松莫岫图》、《高冈独立图》、《稻穗螳螂图》、《松阴小琪图》、《指画人物》册等。",[23,24,281,7,123,36,95,147,624,2148,282,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff940dda9a789d8da923f8b9917eaad90.jpg","172x90cm",[83],{"id":9342,"slug":9343,"title":9344,"dynasty":205,"author":264,"museum":450,"description":9345,"tags":9346,"thumbUrl":9347,"material":98,"size":9348,"collection":600,"collections":9349,"showCount":9222,"zanCount":5,"manualWeight":46,"mainColor":47},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,281,24,25,26,547,7,193,194,29,30,80,312,32,34,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[600],{"id":9351,"slug":9352,"title":9353,"dynasty":52,"author":726,"museum":450,"description":9354,"tags":9355,"thumbUrl":9356,"material":314,"size":1061,"collection":166,"collections":9357,"showCount":9358,"zanCount":5,"manualWeight":46,"mainColor":47},291024,"yun-dang-qing-ying-tu-zhou-wu-zhen-291024","筼筜清影图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[281,24,25,95,7,126,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3b2615b892119aa8db2b0673c921dd.jpg",[],94,{"id":9360,"slug":9361,"title":70,"dynasty":174,"author":175,"museum":450,"description":7322,"tags":9362,"thumbUrl":9363,"material":314,"size":1061,"collection":166,"collections":9364,"showCount":9358,"zanCount":1084,"manualWeight":46,"mainColor":47},239436,"hua-niao-ce-yun-shou-ping-239436",[24,25,74,27,7,75,77,1004,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05eae777b986ef2a408940cb2ef9ae36.jpg",[],{"id":9366,"slug":9367,"title":9368,"dynasty":174,"author":2605,"museum":450,"description":9369,"tags":9370,"thumbUrl":9371,"material":166,"size":166,"collection":42,"collections":9372,"showCount":9358,"zanCount":46,"manualWeight":46,"mainColor":47},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[24,25,7,36,74,38,80,28,180,7489,210,335,350,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[42,222],{"id":9374,"slug":9375,"title":9376,"dynasty":174,"author":377,"museum":120,"description":9377,"tags":9378,"thumbUrl":9380,"material":298,"size":9381,"collection":166,"collections":9382,"showCount":9358,"zanCount":1084,"manualWeight":46,"mainColor":47},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,9379,7,36,28,213,33,30,31,193,210,624,34],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],{"id":9384,"slug":9385,"title":157,"dynasty":174,"author":418,"museum":9386,"description":9387,"tags":9388,"thumbUrl":9389,"material":298,"size":9390,"collection":166,"collections":9391,"showCount":9358,"zanCount":46,"manualWeight":46,"mainColor":47},231387,"shan-shui-ce-zhu-da-231387","故宫出版社","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[24,25,74,7,28,180,126,162,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c452f4285c6312c00652736062c93d6.jpg","纵二六厘米，横四一厘米",[],{"id":9393,"slug":9394,"title":9395,"dynasty":18,"author":19,"museum":92,"description":1078,"tags":9396,"thumbUrl":9397,"material":166,"size":9398,"collection":166,"collections":9399,"showCount":9358,"zanCount":46,"manualWeight":46,"mainColor":140},222109,"fang-fan-kuan-shan-shui-shen-zhou-222109","仿范宽山水",[23,24,7,27,28,162,34,193,36,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a75f134440ced5f01d925c27d12f935.jpg","54.2x99.5厘米",[],{"id":9401,"slug":9402,"title":9403,"dynasty":205,"author":6572,"museum":9404,"description":9405,"tags":9406,"thumbUrl":9407,"material":298,"size":9408,"collection":245,"collections":9409,"showCount":9358,"zanCount":1084,"manualWeight":46,"mainColor":140},221263,"liu-ming-zhong-mo-zhu-fu-huang-ting-jian-221263","刘明仲墨竹赋","湖北襄阳图书馆","黄庭坚在书学上追求一种自然之美，忘我的境界，无法之法。他自称“老夫之书本无法也。但观世间万缘，如蚊蚋聚散，未尝一事横于胸中。遇纸则书，纸尽则已，亦不计较工拙与人之品藻讥弹，譬如木人舞中节拍，人叹其工，舞罢则又萧然矣。”他认为“心不知手，手不知心”是书法创作的最高境界。\n黄庭坚《刘明仲墨竹赋》元佑三年作于京师开封府，此帖拓本来源于清朝黄湄《黄文节公法书石刻》，作品横32厘米，纵30.5厘米，共25页",[23,281,24,25,26,38,37,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3d7079ee1b5e8a0bf2ec9b0a24e24a.jpg","横32厘米，纵30.5厘米",[245],{"id":9411,"slug":9412,"title":9413,"dynasty":18,"author":1836,"museum":120,"description":7443,"tags":9414,"thumbUrl":9415,"material":564,"size":2973,"collection":42,"collections":9416,"showCount":9358,"zanCount":46,"manualWeight":46,"mainColor":47},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页",[23,24,25,74,7,27,28,34,33,32,58,164,6133,211,38,80,36,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg",[42,64],{"id":9418,"slug":9419,"title":3174,"dynasty":52,"author":158,"museum":92,"description":9420,"tags":9421,"thumbUrl":9422,"material":40,"size":9423,"collection":42,"collections":9424,"showCount":9358,"zanCount":1084,"manualWeight":46,"mainColor":47},220806,"dong-shan-cao-tang-tu-wang-meng-220806","《东山草堂图》是元四家之一的王蒙创作的一幅隐居题材的山水画。描绘了东山之中隔水相望的草堂，\n这幅画描绘了隔水草堂，画中巨石重叠，秋林疏爽，高士闲居。松树、柏树以及山石都刻画得极其密实、精细。 《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,24,7,27,36,28,33,624,34,268,215,212,35,4667,1776,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[42,222],{"id":9426,"slug":9427,"title":9428,"dynasty":359,"author":1872,"museum":1873,"description":9429,"tags":9430,"thumbUrl":9431,"material":166,"size":166,"collection":166,"collections":9432,"showCount":9358,"zanCount":46,"manualWeight":46,"mainColor":47},220554,"song-ren-pi-ma-chang-xiao-shi-yi-xu-bei-hong-220554","宋人匹马长啸诗意","以浓淡干湿的墨色晕染出骏马的遒劲筋骨，鬃尾以狂放泼墨扫就，翻卷如疾风吹过，将骏马桀骜昂扬的神采尽皆彰显。背景柳丝荒草以淡墨虚笔铺陈，留白烘托出马的苍劲雄浑，虚实相生间，旷野清寂与骏马长嘶的氛围感扑面而来，仿佛能听见振鬣嘶鸣的回响，将诗意化为鲜活的视觉意象。写实造型与写意笔墨浑然相融，既见骏马剽悍俊朗的体态，又尽显旷远灵动的意境，把旷野孤马的豪迈洒脱诠释得淋漓尽致。",[23,24,7,123,312,7389,8372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604243463a321fc532bc209c6152f12.jpg",[],{"id":9434,"slug":9435,"title":9436,"dynasty":174,"author":3195,"museum":294,"description":9437,"tags":9438,"thumbUrl":9439,"material":98,"size":166,"collection":42,"collections":9440,"showCount":9358,"zanCount":1084,"manualWeight":46,"mainColor":47},219711,"fang-ju-ran-xi-shan-gao-shi-tu-wang-jian-219711","仿巨然溪山高士图","《仿巨然溪山高士图轴》是王鉴的一副临摹宋朝著名画僧巨然和尚的古山水画。王鉴擅长临摹古人之画，功底深厚，巨然是他非常推崇的北宋大家，他一生中摹仿巨然的作品非常多，巨然的画风淡墨轻岚，风韵秀润。此图上款识：“巨然《溪山高士图》来自内府，为大司空刘敬仲先生所藏。余在长安时曾见过，今不知流落谁手。雨窗闲坐，思其意为之，不求其形似也。王鑑。",[23,24,7,36,254,95,28,194,180,30,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885430959c37cabba225c27dbb27cb24.jpg",[42],{"id":9442,"slug":9443,"title":9444,"dynasty":205,"author":581,"museum":450,"description":9445,"tags":9446,"thumbUrl":9447,"material":98,"size":9448,"collection":42,"collections":9449,"showCount":9358,"zanCount":5,"manualWeight":46,"mainColor":461},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[24,25,1462,481,7,27,30,282,33,180,75,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[42,220],{"id":9451,"slug":9452,"title":9453,"dynasty":174,"author":189,"museum":692,"description":9454,"tags":9455,"thumbUrl":9456,"material":40,"size":9457,"collection":600,"collections":9458,"showCount":9358,"zanCount":5,"manualWeight":46,"mainColor":47},216737,"tan-zhu-tu-huang-shen-216737","探珠图","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[23,24,25,281,95,7,27,193,123,350,125,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[600],{"id":9460,"slug":9461,"title":9462,"dynasty":18,"author":796,"museum":20,"description":797,"tags":9463,"thumbUrl":9464,"material":98,"size":800,"collection":166,"collections":9465,"showCount":9358,"zanCount":46,"manualWeight":46,"mainColor":47},214620,"hua-hui-ce-21-chen-chun-214620","花卉册-21",[24,7,123,74,25,128,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610ad50195f120bc2cf0a96d0f254470.jpg",[],{"id":9467,"slug":9468,"title":9469,"dynasty":18,"author":9470,"museum":92,"description":9471,"tags":9472,"thumbUrl":9473,"material":98,"size":9474,"collection":245,"collections":9475,"showCount":9358,"zanCount":436,"manualWeight":46,"mainColor":140},214256,"bu-zi-qi-shuo-shen-du-214256","不自弃说","沈度","这幅画是沈度在七十岁时写的，是一篇论战，敦促世人勤奋努力，饮水思源，不要自暴自弃。它以精细整齐的楷书书写，风格严谨，虽然开头的笔画有转折的痕迹，下降的笔画也有延伸，透露出一种温和而微妙的姿态，减弱了严肃性。",[23,37,242,95,7,80,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb6c545198d9689ed9ce0b5c39505cb.jpg","104.4x29.9",[245],{"id":9477,"slug":9478,"title":9479,"dynasty":174,"author":377,"museum":593,"description":9480,"tags":9481,"thumbUrl":9482,"material":298,"size":9483,"collection":166,"collections":9484,"showCount":9485,"zanCount":1084,"manualWeight":46,"mainColor":47},231362,"qin-huai-he-tu-shi-tao-231362","秦淮河图","石涛与弘仁、髡残、朱耷合称“清初四僧”，在中国书画史上影响巨大。本博分享的石涛国画作品，选自美国弗利尔美术馆（Freer Gallery of Art）珍藏的金陵山水册页：《金陵怀古册》，画面多为金陵（今南京）之景。作品中可以看出，石涛用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,25,7,27,36,28,31,193,717,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfce3ea245449c5759644e50c10c5ea.jpg","25.5 x 20.2厘米",[],93,{"id":9487,"slug":9488,"title":9489,"dynasty":205,"author":592,"museum":544,"description":9490,"tags":9491,"thumbUrl":9492,"material":61,"size":9493,"collection":220,"collections":9494,"showCount":9485,"zanCount":1084,"manualWeight":46,"mainColor":140},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[23,24,25,26,28,7,36,193,33,213,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[220,42,64],{"id":9496,"slug":9497,"title":9498,"dynasty":205,"author":9499,"museum":9500,"description":9501,"tags":9502,"thumbUrl":9505,"material":298,"size":9506,"collection":245,"collections":9507,"showCount":9485,"zanCount":1084,"manualWeight":46,"mainColor":140},221476,"da-de-ming-tie-dong-fu-si-bian-e-shu-ji-zhang-ji-zhi-221476","大德名帖东福寺匾额书记","张即之","日本京都东福寺","张即之书法深受唐人影响，后转师米芾，参以晋唐经书汉隶，并能“独传家学”，自成一家体系。张即之擅长楷书和榜书，尤喜作擘窠大字。楷书结构严谨、端庄，行书则用笔枯硬，近于刻露，毫无温润典雅之感。有人称之为宋书殿军",[23,37,242,38,9503,9504,7],"大字","宋代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F136fc92b0e89dd42bcd005068597e38f.jpg","44.5X91厘米",[245],{"id":9509,"slug":9510,"title":9511,"dynasty":205,"author":2494,"museum":120,"description":9512,"tags":9513,"thumbUrl":9516,"material":1735,"size":9517,"collection":220,"collections":9518,"showCount":9485,"zanCount":46,"manualWeight":46,"mainColor":47},221333,"pi-pa-shan-niao-tu-ye-zhao-ji-221333","枇杷山鸟图页","本幅款押“天下一人”。钤“御书”朱文葫芦形印一方。裱边题签：“宋宣和枇杷山鸟”。鉴藏印钤“宣统御览之宝”，中缝钤“八征耄念之宝”、“太上皇帝之宝”朱文印各一方。\n图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[23,24,25,1462,7,481,179,75,1642,9514,9515,37,80],"山雀","凤蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc63c4273f7440564bd9b6a15e123f.jpg","纵22.6厘米，横24.5厘米",[220,83,64],{"id":9520,"slug":9521,"title":6161,"dynasty":889,"author":9522,"museum":1346,"description":9523,"tags":9524,"thumbUrl":9525,"material":298,"size":9526,"collection":600,"collections":9527,"showCount":9485,"zanCount":1084,"manualWeight":46,"mainColor":47},221178,"er-zu-diao-xin-tu-shi-ke-221178","石恪","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。\n《二祖调心图》在表现手法上“删繁就简”，“虚实相生”，“无画处皆成妙境”，正是道家精神的体现。",[23,281,24,25,7,3557,193,453,123,1176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a98bd3b86105555a71ed545d41d263.jpg","纵35.5厘米，横129厘米",[600,222],{"id":9529,"slug":9530,"title":5039,"dynasty":205,"author":581,"museum":92,"description":9531,"tags":9532,"thumbUrl":9533,"material":457,"size":9534,"collection":83,"collections":9535,"showCount":9485,"zanCount":5,"manualWeight":46,"mainColor":140},218910,"ku-mu-zhu-shi-tu-yi-ming-218910","在这幅画中，用飞白的方法在画面上画了一个石块，墨色淡而笔力强。三两根竹子站在岩石的背面，叶子用优雅而厚实的笔画着，仿佛是春山上的云朵。在一棵寒冷的树枝上，栖息着一种山鸟，它的羽毛非常精致。仔细观察笔触和墨迹，艺术家已经开始形成与赵孟𫖯的相似性。",[23,24,25,281,7,36,75,809,126,180,282,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae588fde6c3ba57b3dc0a96ffdc698.jpg","107.9x51.1厘米",[83],{"id":9537,"slug":9538,"title":9539,"dynasty":18,"author":407,"museum":92,"description":9540,"tags":9541,"thumbUrl":9542,"material":110,"size":9543,"collection":600,"collections":9544,"showCount":9485,"zanCount":46,"manualWeight":46,"mainColor":140},216954,"mu-niu-tu-dai-jin-216954","牧牛图","戴进对人物的描绘通常是蚕头鼠尾式的，笔触笨拙而有力。柳树沾满了墨水，密密麻麻地洒满了叶子，加上风中摇曳的小草，纸面上一片清凉，沁人心脾。",[281,24,25,95,27,7,36,193,1839,1035,7389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8c78bf69b7ec732d14fa5209f10d6.jpg","38.6x30.6",[600],{"id":9546,"slug":9547,"title":9548,"dynasty":18,"author":5177,"museum":92,"description":9549,"tags":9550,"thumbUrl":9551,"material":110,"size":9552,"collection":42,"collections":9553,"showCount":9485,"zanCount":1084,"manualWeight":46,"mainColor":140},214741,"qiu-lin-shu-wu-tu-zhao-zuo-214741","秋林书屋图","这幅画表现的是一个男人独自坐在森林下的书房里，云雾笼罩着远处的山。构图很简单，将河流和天空留白，加上一些水墨，这幅画的特点是柔和和优雅。",[24,494,7,36,95,80,1523,2748,33,34,30,164,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c65d9c974db8e736b5c1f04d0b6cde.jpg","103.1x51.4",[42],{"id":9555,"slug":9556,"title":9557,"dynasty":174,"author":3195,"museum":8128,"description":9558,"tags":9559,"thumbUrl":9560,"material":98,"size":9561,"collection":42,"collections":9562,"showCount":9485,"zanCount":46,"manualWeight":46,"mainColor":47},214546,"feng-lin-tu-wang-jian-214546","风林图","这幅画据说是沈周临摹的，是后世的典范，因为沈周为元四家建立了方法。用墨深入人心，笔触比沈周的更柔和，没有老辣。",[24,25,95,7,36,28,33,34,4468,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbfe89cadeb3bc96eed8e040b30a40c.jpg","88.2x51.3",[42],{"id":9564,"slug":9565,"title":9566,"dynasty":52,"author":581,"museum":92,"description":9567,"tags":9568,"thumbUrl":9569,"material":98,"size":9570,"collection":245,"collections":9571,"showCount":9485,"zanCount":46,"manualWeight":46,"mainColor":47},214226,"jie-shu-qu-li-si-yu-yi-ming-214226","节书曲礼四语","节书曲礼四语是一首中国古代诗歌，出自元代的《全唐诗》。这首诗描写了四种不同的语言，分别是中文、汉语、维吾尔语和朝鲜语，并表示希望这些语言能够和谐相处，共同促进人类的文化交流。\n\n节书曲礼四语的具体内容如下：\n\n节书曲礼四语，和音精妙。\n中文汉语维吾尔，朝鲜语合唱。\n多少有知音，同声高谈。\n千言万语，和谐相处。\n\n这首诗倡导文化多样性，认为人类不同的语言是一种财富，应该尊重和保留。通过这首诗，作者希望人类能够像唱四语曲一样，和谐相处，共同促进文化交流。",[23,24,25,37,394,7,80,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504b68b34acfe1381dc81ff64340b981.jpg","56.5x25.9",[245],{"id":9573,"slug":9574,"title":9575,"dynasty":18,"author":119,"museum":120,"description":9576,"tags":9577,"thumbUrl":9578,"material":537,"size":3904,"collection":166,"collections":9579,"showCount":9580,"zanCount":46,"manualWeight":46,"mainColor":47},233886,"lv-bei-yin-shi-tu-xu-wei-233886","驴背吟诗图","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”",[24,7,123,95,193,3902,3443,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d461acc6ac4f5a17dde4039154ab4c.jpg",[],92,{"id":9582,"slug":9583,"title":7415,"dynasty":205,"author":9584,"museum":92,"description":9585,"tags":9586,"thumbUrl":9587,"material":298,"size":9588,"collection":166,"collections":9589,"showCount":9580,"zanCount":5,"manualWeight":46,"mainColor":47},232841,"chi-bi-tu-wu-yuan-zhi-232841","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,24,25,26,7,36,28,31,7489,33,3256,164,3157,212,211,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],{"id":9591,"slug":9592,"title":9593,"dynasty":18,"author":1788,"museum":544,"description":9594,"tags":9595,"thumbUrl":9596,"material":298,"size":9597,"collection":166,"collections":9598,"showCount":9580,"zanCount":46,"manualWeight":46,"mainColor":921},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[23,24,25,26,7,36,28,32,33,34,30,38,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],{"id":9600,"slug":9601,"title":9602,"dynasty":18,"author":119,"museum":450,"description":9603,"tags":9604,"thumbUrl":9605,"material":166,"size":166,"collection":166,"collections":9606,"showCount":9580,"zanCount":46,"manualWeight":46,"mainColor":47},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[23,24,25,26,7,75,129,130,133,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],{"id":9608,"slug":9609,"title":9610,"dynasty":174,"author":2029,"museum":20,"description":9611,"tags":9612,"thumbUrl":9614,"material":1437,"size":9615,"collection":42,"collections":9616,"showCount":9580,"zanCount":1084,"manualWeight":46,"mainColor":47},222611,"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n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。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,24,7,36,74,28,717,324,211,9613,164,80],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纵24.4 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称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[281,24,25,518,7,194,28,31,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 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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。",[23,24,7,36,95,28,31,9856,717,147,34,164,163,33,9857],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],{"id":9861,"slug":9862,"title":9863,"dynasty":205,"author":9864,"museum":450,"description":9865,"tags":9866,"thumbUrl":9867,"material":166,"size":166,"collection":166,"collections":9868,"showCount":9844,"zanCount":46,"manualWeight":46,"mainColor":47},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","马麟","行到水穷处，坐看云起时。",[23,24,281,25,7,27,28,36,34,33,454,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],{"id":9870,"slug":9871,"title":2822,"dynasty":174,"author":926,"museum":450,"description":9872,"tags":9873,"thumbUrl":9874,"material":166,"size":166,"collection":166,"collections":9875,"showCount":9844,"zanCount":46,"manualWeight":46,"mainColor":47},224332,"he-hua-tu-zhou-li-shan-224332","这幅作品以书入画，诗墨相融。狂放苍劲的题笔沿边排布，与水墨荷塘相映成趣。荷叶以泼墨晕染，浓淡干湿间尽显酣畅野逸，墨色沉凝处如积雨重碧，浅淡处似晓露初歇。花瓣以淡墨轻勾，含露亭亭，在浓墨荷叶的衬托下愈显清柔雅致。\n笔线纵恣写意，荷梗挺拔舒展，卷叶、莲蓬错落点缀，虚实相生间晕开荷塘清寂又蓬勃的生机。整幅将物象风神与文人意趣交织，以大写意笔法把荷塘逸态与胸中意气相融，尽显疏朗狂逸的格调，是性情与笔墨共生的绝佳范本。",[23,24,25,95,7,123,38,80,395,396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":9877,"slug":9878,"title":9879,"dynasty":18,"author":2851,"museum":176,"description":9880,"tags":9881,"thumbUrl":9882,"material":612,"size":9883,"collection":166,"collections":9884,"showCount":9844,"zanCount":5,"manualWeight":46,"mainColor":140},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[23,24,7,27,36,95,624,193,312,34,212,33,311,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 横：72.5cm。",[],{"id":9886,"slug":9887,"title":9888,"dynasty":205,"author":344,"museum":9889,"description":9890,"tags":9891,"thumbUrl":9892,"material":1735,"size":9893,"collection":220,"collections":9894,"showCount":9844,"zanCount":46,"manualWeight":46,"mainColor":140},221459,"mo-long-juan-chen-rong-221459","墨龙卷","日本民间","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[23,24,7,26,349,454,350,123,1251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","185.8厘米×106.1厘米",[220,83,222],{"id":9896,"slug":9897,"title":9898,"dynasty":174,"author":175,"museum":120,"description":9899,"tags":9900,"thumbUrl":9901,"material":564,"size":9902,"collection":42,"collections":9903,"showCount":9844,"zanCount":46,"manualWeight":46,"mainColor":47},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,25,74,7,27,28,194,29,31,282,33,34,211,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[42,222],{"id":9905,"slug":9906,"title":9907,"dynasty":174,"author":175,"museum":92,"description":9908,"tags":9909,"thumbUrl":9910,"material":298,"size":9911,"collection":42,"collections":9912,"showCount":9844,"zanCount":1084,"manualWeight":46,"mainColor":47},220971,"fang-ni-zan-gu-mu-cong-huang-tu-yun-shou-ping-220971","仿倪瓒古木丛篁图","《仿倪瓒古木丛篁图》仿倪瓒遗意，画古木平泉，丛篁积翠。技法上，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。构图简洁，画面丰富，为倪瓒作画特色。",[23,24,25,95,7,36,254,147,126,180,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[42,222],{"id":9914,"slug":9915,"title":9916,"dynasty":52,"author":726,"museum":120,"description":9917,"tags":9918,"thumbUrl":9920,"material":61,"size":9921,"collection":42,"collections":9922,"showCount":9844,"zanCount":1084,"manualWeight":46,"mainColor":140},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[23,24,25,95,7,36,80,31,468,9919,282,28],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[42,222],{"id":9924,"slug":9925,"title":9926,"dynasty":52,"author":1424,"museum":120,"description":9927,"tags":9928,"thumbUrl":9929,"material":110,"size":9930,"collection":83,"collections":9931,"showCount":9844,"zanCount":1084,"manualWeight":46,"mainColor":140},220342,"mu-yu-zhu-tu-li-kan-220342","沐雨竹图","自宋以来，梅、兰、竹、菊被士大夫称为“四君子”，象征“清高”“幽洁”“虚心”“隐逸”“气节”等精神品格。当社会危机、民族危机严重时，一些知识分子无力抗争，在孤愤与绝望中把情感寄托于笔墨，通过高度净化了的形式，表现这几种植物的品性，以喻君子的傲骨和高风。入元以后，“四君子”画不但更为兴盛，而且在思想情感的表现上更加丰富和深刻，笔墨情趣也更加讲究。特别是墨竹，用笔单纯简洁、挥洒自由，具有书法的意态，引起了士大夫的强烈兴趣。",[24,25,95,7,481,126,706,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcead2e46dbd68e83194ae99afee9827.jpg","纵111.5厘米，横55 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横31.7厘米",[42],{"id":9943,"slug":9944,"title":9945,"dynasty":18,"author":71,"museum":120,"description":9946,"tags":9947,"thumbUrl":9948,"material":98,"size":9949,"collection":83,"collections":9950,"showCount":9844,"zanCount":46,"manualWeight":46,"mainColor":921},218770,"mao-die-tu-sun-ke-hong-218770","耄耋图","此图是幅寓意画。图绘一猫仰头注目空中飞蝶，意欲捕捉的生动瞬间。猫蝶即耄耋的谐音，古代人生八十称耄，九十称耋，寓长寿之意。本幅构图简洁，无任何背景衬托，蝶与猫构成一上一下、一动一静的对比，别有情趣。猫以墨彩重写，又以粗毫勾其毛发，造型准确生动。蝶以水墨绘出，勾染结合，着笔简约传神。此为作者墨笔粗简一路画风的代表作。",[23,24,7,1015,3996,123,95,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67f1548430697540b035cee22f8e29a.jpg","纵139.5厘米，横47厘米",[83],{"id":9952,"slug":9953,"title":9954,"dynasty":174,"author":5090,"museum":120,"description":9955,"tags":9956,"thumbUrl":9957,"material":98,"size":9958,"collection":42,"collections":9959,"showCount":9844,"zanCount":1084,"manualWeight":46,"mainColor":47},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[23,24,25,95,7,36,28,193,624,210,34,268,30,147,551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[42],{"id":9961,"slug":9962,"title":9963,"dynasty":205,"author":4437,"museum":92,"description":9964,"tags":9965,"thumbUrl":9966,"material":314,"size":9967,"collection":166,"collections":9968,"showCount":9969,"zanCount":46,"manualWeight":46,"mainColor":140},288949,"xi-shan-lou-guan-tu-yan-wen-gui-288949","溪山楼观图","《溪山楼观图》是一件立轴作品，代表北宋初全景式山水的典型。此图绘高远、深远景色，溪山重叠，自下而上，自近及远，繁复细密。在险峻的峰峦之中，显现出雄伟壮观的楼观殿宇，山崖下水榭回廊与水波浩渺的江面互相映衬，加上陡峭的山势与艰险的山径，使此画的境界雄浑沉秀，繁中见清。笔法尖劲峭丽，山石皴中有染，精细工整，是“燕家景致”的典型范例。",[23,281,24,25,7,28,194,34,33,30,36,95,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e79de6733f981b2ebaba4b9f3bceaa7.jpg","103.9x47.4",[],89,{"id":9971,"slug":9972,"title":9973,"dynasty":18,"author":19,"museum":450,"description":9974,"tags":9975,"thumbUrl":9976,"material":314,"size":1061,"collection":166,"collections":9977,"showCount":9969,"zanCount":1084,"manualWeight":46,"mainColor":47},228828,"wo-you-tu-ce-shen-zhou-228828","卧游图册","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。",[23,24,25,74,7,27,28,75,126,706,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],{"id":9979,"slug":9980,"title":9981,"dynasty":18,"author":19,"museum":120,"description":9982,"tags":9983,"thumbUrl":9984,"material":564,"size":9985,"collection":42,"collections":9986,"showCount":9969,"zanCount":5,"manualWeight":46,"mainColor":47},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[23,24,7,36,27,28,33,96,131,1442,30,213,193,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[42,222],{"id":9988,"slug":9989,"title":9990,"dynasty":205,"author":278,"museum":294,"description":5919,"tags":9991,"thumbUrl":9992,"material":7978,"size":9993,"collection":220,"collections":9994,"showCount":9969,"zanCount":46,"manualWeight":46,"mainColor":47},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷",[23,24,25,26,7,36,28,31,942,162,57,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","29.3x376",[220,42,222],{"id":9996,"slug":9997,"title":9998,"dynasty":18,"author":2851,"museum":92,"description":9999,"tags":10000,"thumbUrl":10002,"material":110,"size":10003,"collection":42,"collections":10004,"showCount":9969,"zanCount":1084,"manualWeight":46,"mainColor":140},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[24,25,28,7,36,831,335,33,717,35,10001,312,213,80,311,58,27],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[42],{"id":10006,"slug":10007,"title":10008,"dynasty":174,"author":739,"museum":92,"description":2646,"tags":10009,"thumbUrl":10010,"material":40,"size":166,"collection":166,"collections":10011,"showCount":9969,"zanCount":46,"manualWeight":46,"mainColor":47},214848,"xie-sheng-ce-15-hua-yan-214848","写生册-15",[24,25,74,7,453,5666,3443,1593,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22de583f690d4844cea3aa5bdc79e136.jpg",[],{"id":10013,"slug":10014,"title":10015,"dynasty":174,"author":739,"museum":430,"description":740,"tags":10016,"thumbUrl":10017,"material":298,"size":743,"collection":166,"collections":10018,"showCount":9969,"zanCount":1084,"manualWeight":46,"mainColor":140},214353,"san-jue-shan-shui-ce-11-hua-yan-214353","三绝山水册-11",[23,24,25,74,7,27,28,148,33,454,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062aa97e82de940580bf8cfb91b7d3f7.jpg",[],{"id":10020,"slug":10021,"title":10022,"dynasty":18,"author":5392,"museum":120,"description":10023,"tags":10024,"thumbUrl":10025,"material":166,"size":166,"collection":166,"collections":10026,"showCount":10027,"zanCount":46,"manualWeight":46,"mainColor":47},234819,"ming-qing-zhu-jia-ji-jin-ce-hua-hui-ce-ye-zhou-zhi-mian-234819","明清诸家集锦册-花卉册页","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[24,25,74,7,75,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4c8ad8125d04783fe859a3534814b2.jpg",[],88,{"id":10029,"slug":10030,"title":10031,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":10032,"thumbUrl":10033,"material":166,"size":166,"collection":42,"collections":10034,"showCount":10027,"zanCount":1084,"manualWeight":46,"mainColor":47},234647,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234647","原济金陵十景图册",[24,7,38,74,28,31,282,163,212,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6020bc5a26b64366dfa9a8384032aebb.jpg",[42],{"id":10036,"slug":10037,"title":10038,"dynasty":18,"author":2851,"museum":120,"description":10039,"tags":10040,"thumbUrl":10041,"material":964,"size":10042,"collection":166,"collections":10043,"showCount":10027,"zanCount":46,"manualWeight":46,"mainColor":47},222335,"mo-mei-tu-zhou-tang-yin-222335","墨梅图轴","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。\n本幅自题：“黄金布地梵王家，白玉成林腊后花。对酒不妨还弄墨，一枝清影写横斜。□堂看梅和王少傅韵。吴趋唐寅。",[281,24,25,95,7,125,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239c6bbe3e5d4ec00d78c8e1005a79.jpg","纵96厘米，横36厘米",[],{"id":10045,"slug":10046,"title":10047,"dynasty":205,"author":5899,"museum":5692,"description":10048,"tags":10049,"thumbUrl":10050,"material":61,"size":10051,"collection":166,"collections":10052,"showCount":10027,"zanCount":46,"manualWeight":46,"mainColor":140},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[24,281,26,7,36,38,80,28,33,34,215,211,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],{"id":10054,"slug":10055,"title":10056,"dynasty":18,"author":1836,"museum":120,"description":10057,"tags":10058,"thumbUrl":10060,"material":5460,"size":10061,"collection":42,"collections":10062,"showCount":10027,"zanCount":1084,"manualWeight":46,"mainColor":47},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[23,24,25,95,7,28,33,34,36,38,2885,164,10059,717,6002,212,37],"近坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纵89.5厘米，横51.6厘米",[42,222],{"id":10064,"slug":10065,"title":10066,"dynasty":359,"author":1872,"museum":1873,"description":10067,"tags":10068,"thumbUrl":10070,"material":166,"size":166,"collection":166,"collections":10071,"showCount":10027,"zanCount":46,"manualWeight":46,"mainColor":47},220574,"feng-yu-ji-ming-xu-bei-hong-220574","风雨鸡鸣","滂沱风雨被晕染在冷灰底色中，危岩之上雄鸡振羽昂首，丹红鸡冠如炬，刺破漫天雨幕。它利爪紧扣嶙峋石峰，尾羽怒张，长啼似欲穿破阴霾，将不屈意气倾泻而出。\n\n左侧墨竹在狂风里倾伏翻卷，枝叶乱颤，更衬出雄鸡卓然独立的身姿。整幅画以水墨干湿浓淡铺就氛围，将乱世之中的沉郁压抑与志士觉醒的炽热力量相融，以禽竹山石托物言志，把不屈的民族气节藏在笔锋之下，满纸皆是冲破黑暗的激昂心气。",[23,24,7,27,95,123,75,10069,126,180],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30e5ae80b9dd47726b0e88ad80cc9dd.jpg",[],{"id":10073,"slug":10074,"title":10075,"dynasty":359,"author":1872,"museum":1873,"description":10076,"tags":10077,"thumbUrl":10078,"material":166,"size":166,"collection":166,"collections":10079,"showCount":10027,"zanCount":46,"manualWeight":46,"mainColor":47},220521,"jun-mo-xiao-xiang-xu-bei-hong-220521","君墨肖像","此作以骨法用笔写就，铁线描勾勒轮廓与衣褶，兼具书法笔意，简练肯定又带着写意灵动。画师捕捉了沉思的瞬间，以淡墨晕染面部，精准带出人物骨骼肌理，戴镜抬眼的神态温雅又暗含思索，将文人的儒雅风骨刻画入微。桌角摊开的书页更添文人气韵，中西技法相融，以国画笔墨为骨，吸纳西画写实精髓，形神兼备，将对象沉稳内敛的气质尽显于纸面，是现代国画肖像画极具代表性的佳作。",[24,7,27,547,193,8047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0ff221f3fc04b8413d2e6cefe5b64c.jpg",[],{"id":10081,"slug":10082,"title":10083,"dynasty":889,"author":1266,"museum":4566,"description":8973,"tags":10084,"thumbUrl":10085,"material":457,"size":10086,"collection":42,"collections":10087,"showCount":10027,"zanCount":1084,"manualWeight":46,"mainColor":140},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[23,281,24,25,26,7,28,211,215,33,212,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[42],{"id":10089,"slug":10090,"title":10091,"dynasty":4342,"author":10092,"museum":92,"description":10093,"tags":10094,"thumbUrl":10095,"material":98,"size":10096,"collection":222,"collections":10097,"showCount":10027,"zanCount":46,"manualWeight":46,"mainColor":47},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,25,26,7,36,37,38,80,28,669,33,34,30,32,180,29,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[222],{"id":10099,"slug":10100,"title":10101,"dynasty":52,"author":10102,"museum":20,"description":10103,"tags":10104,"thumbUrl":10105,"material":110,"size":10106,"collection":42,"collections":10107,"showCount":10027,"zanCount":5,"manualWeight":46,"mainColor":140},218274,"song-yin-ju-yin-tu-tang-di-218274","松阴聚饮图","唐棣","此图近景画河畔数棵长松高耸，树后露出数间茅屋。松荫下四位长者席地而坐，正举杯畅饮。旁有两人手捧壶盘侍候，一人抱矮案前来。对岸中景是古树茅舍。远景群山蜿蜒。图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。",[24,7,28,193,624,95,36,335,162,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4259c6c43bf240ae46222348c74993e.jpg","纵14.4厘米，横97.1厘米",[42],{"id":10109,"slug":10110,"title":10111,"dynasty":52,"author":10112,"museum":159,"description":10113,"tags":10114,"thumbUrl":10115,"material":40,"size":166,"collection":42,"collections":10116,"showCount":10027,"zanCount":436,"manualWeight":46,"mainColor":140},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[24,7,36,37,80,38,28,126,335,210,1442,30,213],"https:\u002F\u002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怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[281,24,25,2446,10153,7,27,28,37,38,36,624,324,212,1005,10154,193,34,35,533],"清代","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[83,42,64],{"id":10159,"slug":10160,"title":7234,"dynasty":18,"author":19,"museum":120,"description":10161,"tags":10162,"thumbUrl":10163,"material":6280,"size":10164,"collection":166,"collections":10165,"showCount":10146,"zanCount":46,"manualWeight":46,"mainColor":140},233710,"song-shi-tu-zhou-shen-zhou-233710","《松石图轴》笔墨简逸而又沉着，物象写实而又生动，画法兼具写生、写意之妙，诚如王世贞所评：“石田氏乃能以浅色淡墨作之，而神采更自翩翩，所谓妙而真也。”本图小楷自题：“从来松老方生子 ，老得儿郎必定贤，况是先生年未老，生儿当后见参天。春雨先生有佳子后生久矣...”。款识：成化十六年（1480年）四月七日沈周写。",[24,25,95,7,36,624,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1665f1137e2b1d28bb1c98d93298150.jpg","纵156.2cm，横72.9cm",[],{"id":10167,"slug":10168,"title":10169,"dynasty":5382,"author":10170,"museum":450,"description":10171,"tags":10172,"thumbUrl":10175,"material":314,"size":1061,"collection":42,"collections":10176,"showCount":10146,"zanCount":46,"manualWeight":46,"mainColor":140},230504,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-yi-ping-xue-zhou-230504","室町时代 四季花鸟图屏风-一屏","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,10173,25,5385,7,547,123,1004,282,397,10174],"日本画","湿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77861560213211ee329ec40013d0180f.jpg",[42],{"id":10178,"slug":10179,"title":10180,"dynasty":205,"author":607,"museum":450,"description":10181,"tags":10182,"thumbUrl":10183,"material":166,"size":166,"collection":166,"collections":10184,"showCount":10146,"zanCount":1084,"manualWeight":46,"mainColor":140},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,281,24,25,28,7,27,5254,624,194,164,940,34,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":10186,"slug":10187,"title":10188,"dynasty":205,"author":2727,"museum":120,"description":10189,"tags":10190,"thumbUrl":10192,"material":964,"size":10193,"collection":220,"collections":10194,"showCount":10146,"zanCount":1084,"manualWeight":46,"mainColor":47},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,24,25,26,7,494,36,6145,38,80,454,335,33,164,785,10191],"水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[220,42,222],{"id":10196,"slug":10197,"title":10198,"dynasty":18,"author":10199,"museum":120,"description":10200,"tags":10201,"thumbUrl":10202,"material":98,"size":10203,"collection":42,"collections":10204,"showCount":10146,"zanCount":46,"manualWeight":46,"mainColor":921},220395,"song-shi-tu-li-yong-chang-220395","松石图","李永昌","李永昌(公元17世纪)，生卒年不详。字周生，安徽休宁人。善画，尤工山水，仿元人笔意，与董其昌齐名，为新安派先锋。此图坡石前一棵老松，左曲右折的松干顶端零星地伸出几个枝桠，疏落凋枯的针叶无言地表明它已进入了暮年。松旁不远，几株杂树簇聚一团，在寥阔的天地间，显得渺小、孱弱，无依无靠。画的右上角自题：“醉剧松可倚，诗成石可刊，何须慕岩穴，咫尺是林峦。甲戌初夏画并题，拟待先社兄览笑。",[23,24,25,95,7,36,624,34,180,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[42,222],{"id":10206,"slug":10207,"title":10208,"dynasty":205,"author":5833,"museum":378,"description":10209,"tags":10210,"thumbUrl":10211,"material":457,"size":166,"collection":220,"collections":10212,"showCount":10146,"zanCount":46,"manualWeight":46,"mainColor":140},219789,"zhou-yue-tu-zhao-ling-rang-219789","舟月图","画面以大片空寂底色铺就，将月夜江天的辽远清寒尽数晕开。扁舟横卧水面，舟中二人意态悠然，一人凭舷凝望悬垂的冷月，一人垂竿静候，寥寥数笔便勾勒出闲逸松弛的林下幽情。淡墨轻皴出水波微漾，朦胧月色漫过空阔江面，将天地晕成浑然一色的清寂。边角的古印题字晕染出古雅厚重，整幅画作以极简之笔写尽淡远萧疏的意趣，把文人寄情烟波、物我两忘的幽淡心境藏在空寂月色里，尽显水墨山水以少胜多的诗意禅味。",[281,24,25,7,547,27,193,31,940,80,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b922f084156fdab8779361947ae5c3.jpg",[220],{"id":10214,"slug":10215,"title":10216,"dynasty":174,"author":2029,"museum":176,"description":10217,"tags":10218,"thumbUrl":10219,"material":98,"size":10220,"collection":222,"collections":10221,"showCount":10146,"zanCount":46,"manualWeight":46,"mainColor":461},219177,"song-lin-shu-wu-tu-gong-xian-219177","松林书屋图","全图笔墨恣肆，气象氤氲，以竹林、书屋等景观构造了一个理想的隐逸世界。左上自题七言诗一首，末署“甲子初秋半亩龚贤并题”。钤“臣贤私印”、“半千”二印。甲子为康熙二十三年，公元1684年，作者时年86岁。",[23,24,7,36,95,28,670,2748,34,210,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09717ac0071d60023828679c622fb9e.jpg","纵274.5 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任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[281,24,25,95,7,36,254,28,212,33,624,213,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[42,222],{"id":10322,"slug":10323,"title":70,"dynasty":174,"author":739,"museum":5692,"description":10324,"tags":10325,"thumbUrl":10326,"material":40,"size":10327,"collection":83,"collections":10328,"showCount":10295,"zanCount":1084,"manualWeight":46,"mainColor":47},233943,"hua-niao-ce-hua-yan-233943","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》载:华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鳝、郑板桥及盐商巨子马曰管、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,25,74,27,7,123,75,77,2875,78,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[83],{"id":10330,"slug":10331,"title":10332,"dynasty":174,"author":377,"museum":120,"description":10333,"tags":10334,"thumbUrl":10335,"material":298,"size":10336,"collection":166,"collections":10337,"showCount":10295,"zanCount":5,"manualWeight":46,"mainColor":47},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[24,7,95,36,28,29,30,33,35,34,282,180,469,127,164,59,1524,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],{"id":10339,"slug":10340,"title":10341,"dynasty":205,"author":293,"museum":450,"description":10342,"tags":10343,"thumbUrl":10344,"material":166,"size":166,"collection":166,"collections":10345,"showCount":10295,"zanCount":46,"manualWeight":46,"mainColor":47},227503,"xin-sui-zhan-qing-tie-su-shi-227503","新岁展庆帖","苏轼（1037～1101），字子瞻，号东坡居士，北宋眉山人。是著名的文学家，唐宋散文八大家之一。他学识渊博，多才多艺，在书法、绘画、诗词、散文各方面都有很高造诣。他的书法与蔡襄、黄庭坚、米芾合称“宋四家”；善画竹木怪石，其画论，书论也有卓见。是北宋继欧阳修之后的文坛领袖，散文与欧阳修齐名；诗歌与黄庭坚齐名；他的词气势磅礴，风格豪放，一改词的婉约，与南宋辛弃疾并称“苏辛”，共为豪放派词人",[37,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe686195f2c0ee74acca1a40165e0437a.jpg",[],{"id":10347,"slug":10348,"title":10349,"dynasty":174,"author":377,"museum":450,"description":10350,"tags":10351,"thumbUrl":10352,"material":314,"size":1061,"collection":166,"collections":10353,"showCount":10295,"zanCount":46,"manualWeight":46,"mainColor":140},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[23,281,24,25,95,7,123,37,80,75,129,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":10355,"slug":10356,"title":10357,"dynasty":18,"author":10358,"museum":92,"description":10359,"tags":10360,"thumbUrl":10361,"material":1877,"size":10362,"collection":42,"collections":10363,"showCount":10295,"zanCount":46,"manualWeight":46,"mainColor":47},222166,"ban-chuang-qing-cui-tu-zhou-xia-chang-222166","半窗晴翠图轴","夏昶","夏昶（1388—1470），字仲昭，號自在居士，江蘇崑山人。永樂十三年（1415）進士，官至太常寺卿。精於楷書，曾為永樂皇帝書榜。師法王紱（1362－1416），繪竹觀察入微，名聲遠播域外。 墨竹取其一竿，由底部凌空而起，枝幹堅立。巧妙運用濃淡墨色變化，表現竹葉正反向背，畫面大量留白，營造層次空間感。竹爲文人士大夫節操象徵，夏氏為官處事清廉，墨竹瘦勁孤高，為其人格寫照。",[23,24,25,95,7,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d9c2987b664b21c5009d24314eaec2.jpg","139.2x45.3厘米",[42,222],{"id":10365,"slug":10366,"title":1056,"dynasty":18,"author":407,"museum":120,"description":10367,"tags":10368,"thumbUrl":10369,"material":564,"size":10370,"collection":42,"collections":10371,"showCount":10295,"zanCount":5,"manualWeight":46,"mainColor":2104},222028,"guan-shan-xing-lv-tu-dai-jin-222028","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[23,24,7,36,28,29,30,162,34,35,1839,312,32,1385,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[42,222],{"id":10373,"slug":10374,"title":7234,"dynasty":52,"author":2127,"museum":120,"description":10375,"tags":10376,"thumbUrl":10377,"material":537,"size":10378,"collection":42,"collections":10379,"showCount":10295,"zanCount":1084,"manualWeight":46,"mainColor":140},221756,"song-shi-tu-zhou-sheng-mao-221756","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[23,281,24,25,95,7,36,624,480,180,147,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[42,222],{"id":10381,"slug":10382,"title":10383,"dynasty":205,"author":607,"museum":92,"description":10384,"tags":10385,"thumbUrl":10386,"material":612,"size":10387,"collection":220,"collections":10388,"showCount":10295,"zanCount":46,"manualWeight":46,"mainColor":140},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[23,24,25,494,95,7,36,27,335,706,162,29,193,312,311,831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[220,42,222],{"id":10390,"slug":10391,"title":10392,"dynasty":205,"author":8529,"museum":120,"description":10393,"tags":10394,"thumbUrl":10395,"material":27,"size":10396,"collection":220,"collections":10397,"showCount":10295,"zanCount":46,"manualWeight":46,"mainColor":140},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,24,25,281,28,36,7,27,34,210,33,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[220,42,222],{"id":10399,"slug":10400,"title":90,"dynasty":4342,"author":10401,"museum":1346,"description":10402,"tags":10403,"thumbUrl":10404,"material":10405,"size":10406,"collection":222,"collections":10407,"showCount":10295,"zanCount":1084,"manualWeight":46,"mainColor":47},221093,"zhu-tu-rong-yang-221093","荣阳","晚唐时期的绘画，最可注意的就是花鸟画的兴起，中国绘画史上以题材而论，人物画发展最早，其次是山水，花鸟画居第三。花鸟图形用来作丝帛上的花纹和壁画上的装饰，自战国到汉唐都很普遍。但成为绘画的独立题材，是始于中唐而盛于晚唐。边鸾的“折枝”花卉，只画一枝花，无根无干，风格新颖，很受当时人的欢迎。他兼精翎毛，于是奠定了花鸟画的地位。刁光胤更将花鸟画发展到了完善的地步。",[23,24,7,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a425482415215a9b6abe08555c3dcd.jpg","绢本，水墨","27.2*23.0cm",[222,919],{"id":10409,"slug":10410,"title":10411,"dynasty":18,"author":1836,"museum":544,"description":10412,"tags":10413,"thumbUrl":10415,"material":10416,"size":10417,"collection":42,"collections":10418,"showCount":10295,"zanCount":1084,"manualWeight":46,"mainColor":921},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,281,24,25,95,7,27,36,28,717,34,164,10059,33,79,10414],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[42,222],{"id":10420,"slug":10421,"title":10422,"dynasty":18,"author":1836,"museum":430,"description":10423,"tags":10424,"thumbUrl":10425,"material":98,"size":10426,"collection":42,"collections":10427,"showCount":10295,"zanCount":1084,"manualWeight":46,"mainColor":47},220002,"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[23,24,25,95,7,36,28,34,33,35,193,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[42],{"id":10429,"slug":10430,"title":10431,"dynasty":18,"author":581,"museum":593,"description":10432,"tags":10433,"thumbUrl":10434,"material":7,"size":166,"collection":222,"collections":10435,"showCount":10295,"zanCount":46,"manualWeight":46,"mainColor":140},219245,"qun-yu-xi-shui-tu-yi-ming-219245","群鱼戏水图","画面中四条游鱼摆尾摇鳍，姿态各异：或俯冲而下，或结伴游弋，或相互顾盼，似在清浅碧波中自在穿梭。鱼身以淡墨晕染出细腻鳞纹，线条简劲灵动，将鱼儿的鲜活质感勾勒得淋漓尽致。下方水藻疏朗写意，寥寥数笔点染出摇曳之姿，与游鱼相映成趣，暗喻水的澄澈空濛。背景素净，不着浓墨却尽显空寂中的生机，仿佛能听见水波轻漾之声。整幅作品笔墨简约却意韵悠长，以灵动鱼群与疏淡水藻，营造出悠然恬淡的自然之趣，传递出古人对生命本真的细腻观照与闲适心境。",[23,24,25,7,481,1114,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0776132fb25c9eb3a02af0d582f360a.jpg",[222],{"id":10437,"slug":10438,"title":10439,"dynasty":174,"author":6172,"museum":120,"description":10440,"tags":10441,"thumbUrl":10442,"material":110,"size":10443,"collection":42,"collections":10444,"showCount":10295,"zanCount":46,"manualWeight":46,"mainColor":140},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,24,95,7,36,28,335,350,33,35,29,213,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[42],{"id":10446,"slug":10447,"title":10448,"dynasty":52,"author":581,"museum":159,"description":10449,"tags":10450,"thumbUrl":10451,"material":110,"size":166,"collection":83,"collections":10452,"showCount":10295,"zanCount":46,"manualWeight":46,"mainColor":140},216668,"you-yu-tu-yi-ming-216668","游鱼图","游鱼图是由元朝（1271-1368年）的佚名画家创作的一幅著名的中国画作。这幅画描绘了一条鱼游动在清澈的池塘中，周围是葱郁的树木和山峦。画中的鱼看起来栩栩如生，似乎可以随时从画面中跳出来。这幅画被认为是元朝画坛上最杰出的代表作之一，因其精细的绘画技巧和生动的写意风格而备受赞赏。",[24,25,7,27,481,1114,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c4249a76f6272444c798a69ae2976f.jpg",[83],{"id":10454,"slug":10455,"title":10456,"dynasty":205,"author":278,"museum":450,"description":5919,"tags":10457,"thumbUrl":10459,"material":314,"size":1061,"collection":166,"collections":10460,"showCount":10461,"zanCount":5,"manualWeight":46,"mainColor":140},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图",[1462,24,281,28,7,36,29,30,32,33,535,164,10458,506,193,4401,674],"湖畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],85,{"id":10463,"slug":10464,"title":10465,"dynasty":205,"author":2494,"museum":450,"description":10466,"tags":10467,"thumbUrl":10468,"material":314,"size":1061,"collection":166,"collections":10469,"showCount":10461,"zanCount":5,"manualWeight":46,"mainColor":47},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888","写生珍禽图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,281,24,25,26,481,7,75,282,126,1071,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],{"id":10471,"slug":10472,"title":10473,"dynasty":174,"author":1100,"museum":120,"description":10474,"tags":10475,"thumbUrl":10476,"material":298,"size":166,"collection":83,"collections":10477,"showCount":10461,"zanCount":1084,"manualWeight":46,"mainColor":47},236981,"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,95,27,7,38,80,180,4468,2203,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[83,222],{"id":10479,"slug":10480,"title":1111,"dynasty":174,"author":418,"museum":120,"description":10481,"tags":10482,"thumbUrl":10483,"material":298,"size":10484,"collection":222,"collections":10485,"showCount":10461,"zanCount":46,"manualWeight":46,"mainColor":47},236775,"yu-shi-tu-zhou-zhu-da-236775","此画面十分简洁，仅以简练的笔画，画一鱼一石。一湖石座落在画幅的左侧中段，湖石造型奇特，取岌岌可危之势，石中用枯笔皴染又加重墨点，鱼一尾在宽阔河中游弋，把鱼在特定的环境中的动态和神气表现得活灵活现，其造型非常准确而传神。唯独鱼眼一圈一点，眼珠顶着眼圈，即眼珠点在眼眶的上方，一副白眼向天的神情，形象洗练，造型夸张，表情奇特，构图大胆、新奇。由于画面仅有的怪石、鱼，又画在左侧和下端，而右侧的空白处，作者以自题款署及清王澍题记加以补白，对使整幅作品起到了平衡的作用。\n王澍题记：“八大山人挟忠义激发之气形于翰墨，故其作画不求形似，但取其意于苍茫寂历之间，意画即心，此所谓神韵者也。”\n八大山人的画不少是没有记年，但从风格及款署的习惯，可以判断是那一个时期的作品。如此《鱼石图》轴，款署“八大山人”，据考证他59岁至80岁，用“八大山人”署名，是“八大期”。依据《鱼石图》的特点和署名写法可以判断为晚年时期的作品。",[24,25,7,95,180,1114,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1465c1b39b489696b27be749224da061.jpg","纵58.3厘米，横48.6厘米",[222],{"id":10487,"slug":10488,"title":10489,"dynasty":174,"author":739,"museum":120,"description":10490,"tags":10491,"thumbUrl":10494,"material":564,"size":10495,"collection":83,"collections":10496,"showCount":10461,"zanCount":46,"manualWeight":46,"mainColor":47},233941,"hua-yan-qiang-wei-shan-niao-zhou-hua-yan-233941","华嵒蔷薇山鸟轴","华嵒作为活跃于扬州卖画的职业画家，其花鸟画创作善于捕捉自然界中最生动的天趣。图绘春光明媚的时节，一只山鸟栖于蔷薇枝头，引吭高鸣，其清脆的鸣声不仅令无声的画面声情并茂，且生动地图解了“花气晴熏日，鸟声娇战春”之诗意。此图笔墨松秀，设色清丽淡雅，造型自然传神，构图简约空灵，显示了画家在小写意花鸟画方面的非凡造诣和俊逸清新的独特画风。",[24,281,95,27,7,123,75,10492,10493,180],"蔷薇","山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c4ffd5974bd96e38b7cc4bca6e60ff.jpg","纵127.1厘米，横55.5厘米",[83],{"id":10498,"slug":10499,"title":10500,"dynasty":205,"author":782,"museum":450,"description":10501,"tags":10502,"thumbUrl":10503,"material":166,"size":166,"collection":166,"collections":10504,"showCount":10461,"zanCount":5,"manualWeight":46,"mainColor":140},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[23,24,281,95,7,28,36,29,30,193,33,210,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],{"id":10506,"slug":10507,"title":10508,"dynasty":18,"author":796,"museum":1334,"description":2190,"tags":10509,"thumbUrl":10510,"material":196,"size":2194,"collection":166,"collections":10511,"showCount":10461,"zanCount":46,"manualWeight":46,"mainColor":47},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7",[23,281,24,25,9254,123,7,27,75,76,78,79,552,3585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg",[],{"id":10513,"slug":10514,"title":10515,"dynasty":18,"author":6070,"museum":120,"description":10516,"tags":10517,"thumbUrl":10518,"material":612,"size":10519,"collection":600,"collections":10520,"showCount":10461,"zanCount":46,"manualWeight":46,"mainColor":140},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。",[24,281,25,95,7,27,193,28,162,706,282,163,6606,36,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[600,222],{"id":10522,"slug":10523,"title":2259,"dynasty":18,"author":10524,"museum":692,"description":10525,"tags":10526,"thumbUrl":10527,"material":196,"size":10528,"collection":42,"collections":10529,"showCount":10461,"zanCount":46,"manualWeight":46,"mainColor":47},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","谢时臣","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[23,24,494,254,36,7,34,33,194,29,30,3845,32,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[42,222],{"id":10531,"slug":10532,"title":10533,"dynasty":52,"author":3508,"museum":92,"description":10534,"tags":10535,"thumbUrl":10538,"material":10539,"size":10540,"collection":42,"collections":10541,"showCount":10461,"zanCount":1084,"manualWeight":46,"mainColor":140},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[23,24,494,95,7,27,36,454,335,10536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57.2公分",[42,222],{"id":10613,"slug":10614,"title":10615,"dynasty":52,"author":239,"museum":10616,"description":10617,"tags":10618,"thumbUrl":10619,"material":298,"size":10620,"collection":245,"collections":10621,"showCount":10586,"zanCount":1084,"manualWeight":46,"mainColor":47},220884,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","甘肃天庆博物馆","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[23,281,24,25,26,3557,38,37,4956,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[245],{"id":10623,"slug":10624,"title":10625,"dynasty":52,"author":158,"museum":430,"description":10626,"tags":10627,"thumbUrl":10628,"material":298,"size":10629,"collection":42,"collections":10630,"showCount":10586,"zanCount":46,"manualWeight":46,"mainColor":47},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,25,26,7,27,28,32,194,29,30,33,147,36,38,3074,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[42],{"id":10632,"slug":10633,"title":10634,"dynasty":18,"author":9325,"museum":120,"description":10635,"tags":10636,"thumbUrl":10638,"material":110,"size":10639,"collection":42,"collections":10640,"showCount":10586,"zanCount":5,"manualWeight":46,"mainColor":140},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[23,24,7,27,95,28,36,31,33,213,164,3246,193,10637,80],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[42],{"id":10642,"slug":10643,"title":10644,"dynasty":52,"author":4110,"museum":92,"description":10645,"tags":10646,"thumbUrl":10647,"material":98,"size":10648,"collection":42,"collections":10649,"showCount":10586,"zanCount":1084,"manualWeight":46,"mainColor":47},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[23,24,7,95,36,37,80,28,32,33,34,30,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[42],{"id":10651,"slug":10652,"title":2098,"dynasty":18,"author":796,"museum":92,"description":10653,"tags":10654,"thumbUrl":10655,"material":40,"size":10656,"collection":83,"collections":10657,"showCount":10586,"zanCount":46,"manualWeight":46,"mainColor":47},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[24,25,95,123,7,27,38,37,75,129,79,367,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[83],{"id":10659,"slug":10660,"title":4545,"dynasty":889,"author":1089,"museum":450,"description":10661,"tags":10662,"thumbUrl":10663,"material":314,"size":1061,"collection":166,"collections":10664,"showCount":10665,"zanCount":46,"manualWeight":46,"mainColor":140},288460,"yu-le-tu-jing-hao-288460","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[281,24,25,26,7,494,29,30,2637,34,194,193,729,10249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg",[],83,{"id":10667,"slug":10668,"title":10669,"dynasty":18,"author":10358,"museum":450,"description":10670,"tags":10671,"thumbUrl":10673,"material":314,"size":1061,"collection":166,"collections":10674,"showCount":10665,"zanCount":46,"manualWeight":46,"mainColor":47},287357,"xiao-xiang-guo-yu-tu-chang-juan-xia-chang-287357","潇湘过雨图长卷","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。",[23,281,24,25,26,7,126,10672,37,1305],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c0fd5961a81d394a14a9f0c62e6bd1.jpg",[],{"id":10676,"slug":10677,"title":10678,"dynasty":18,"author":796,"museum":450,"description":10679,"tags":10680,"thumbUrl":10681,"material":166,"size":166,"collection":166,"collections":10682,"showCount":10665,"zanCount":46,"manualWeight":46,"mainColor":47},235992,"chen-dao-fu-mu-dan-hua-hui-tu-zhou-chen-chun-235992","陈道复牡丹花卉图轴","《明陈道复牡丹花卉图轴》是明朝画家陈道复创作的作品，作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n【名称】明陈道复牡丹花卉图轴 【类别】纸本，墨笔 【规格】纵54.8cm，横.8cm 【年代】 【作者】 【文物现状】现藏北京故宫博物馆 该幅上部行草书自题：“春是花时节，红紫各自赋。\n勿言薄脂粉，适足表贞素。\n道复。\n”后钤“陈道复氏”、“陈淳之印”印。\n陈道复创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如 藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及 藏《洛阳春色图卷》、《玉楼春色图卷》等等。\n这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家 为此幅作品所题云：“破一滴墨水，作种种妖妍。\n改旦暮之观，备四时之气”。\n陈道复（148--1544）明画家，初名淳，字道复，后以字行，改字复甫，号白阳山人，长洲（今江苏吴县）人。\n曾从 学书画，后不拘师法。\n书工行草。\n山水学 而笔迹放纵。\n擅写意花卉，淡墨浅色，风格疏爽，后人把他与 并称“青藤白阳”，为明代中期水墨写意花卉画创出新格调的代表人物。",[24,95,7,75,129,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a6bc858d99429f0d210e5e62f738e6.jpg",[],{"id":10684,"slug":10685,"title":10686,"dynasty":174,"author":657,"museum":120,"description":10687,"tags":10688,"thumbUrl":10690,"material":10691,"size":10692,"collection":42,"collections":10693,"showCount":10665,"zanCount":1084,"manualWeight":46,"mainColor":47},233390,"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,25,74,27,547,7,193,421,30,10689,1104,80],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[42,600,64],{"id":10695,"slug":10696,"title":10697,"dynasty":18,"author":10698,"museum":450,"description":10699,"tags":10700,"thumbUrl":10701,"material":166,"size":166,"collection":222,"collections":10702,"showCount":10665,"zanCount":1084,"manualWeight":46,"mainColor":47},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,281,24,25,26,7,36,254,28,717,29,30,31,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[222],{"id":10704,"slug":10705,"title":10706,"dynasty":174,"author":10707,"museum":450,"description":10708,"tags":10709,"thumbUrl":10710,"material":1877,"size":10711,"collection":42,"collections":10712,"showCount":10665,"zanCount":46,"manualWeight":46,"mainColor":47},224169,"song-shu-tu-gua-zhou-li-fang-ying-224169","松树图挂轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,24,25,95,7,36,624,180,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93021041cb164b00da3dbc86d0eb5b96.jpg","100x45",[42],{"id":10714,"slug":10715,"title":10716,"dynasty":18,"author":19,"museum":692,"description":693,"tags":10717,"thumbUrl":10718,"material":298,"size":696,"collection":166,"collections":10719,"showCount":10665,"zanCount":46,"manualWeight":46,"mainColor":47},220031,"dong-zhuang-tu-ce-zhi-zhen-yi-gang-shen-zhou-220031","东庄图册之振衣冈",[23,281,24,25,74,7,28,193,34,33,717,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde339e30cbcb09c324052c43eb49532f.jpg",[],{"id":10721,"slug":10722,"title":10723,"dynasty":18,"author":646,"museum":120,"description":10724,"tags":10725,"thumbUrl":10726,"material":298,"size":10727,"collection":245,"collections":10728,"showCount":10665,"zanCount":46,"manualWeight":46,"mainColor":921},219149,"xing-shu-xin-qiu-shi-wen-zheng-ming-219149","行书·新秋诗","此为文徵明所书自写诗，笔法自然浑成，表现了其晚年大字行书的典型风格。",[23,37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad802105bea6f6e536f366b6d79261a2.jpg","纵151.5厘米，横68.5厘米",[245],{"id":10730,"slug":10731,"title":10732,"dynasty":205,"author":592,"museum":92,"description":10733,"tags":10734,"thumbUrl":10735,"material":110,"size":10736,"collection":64,"collections":10737,"showCount":10665,"zanCount":46,"manualWeight":46,"mainColor":140},219046,"wen-ji-gui-han-tu-li-tang-219046","文姬归汉图","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[23,281,24,25,95,36,7,27,28,193,194,33,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jpg","50.7公分*39.7公分",[64],{"id":10739,"slug":10740,"title":10741,"dynasty":205,"author":607,"museum":159,"description":10742,"tags":10743,"thumbUrl":10744,"material":457,"size":166,"collection":83,"collections":10745,"showCount":10665,"zanCount":1084,"manualWeight":46,"mainColor":461},218909,"song-xia-qun-lu-tu-ma-yuan-218909","松下群鹿图","松枝如铁线盘曲，苍劲中透着清逸，松针细密如织，筛下斑驳光影。鹿群或静立凝神，或缓步石间，与松涛山影相融成趣。远山以淡墨晕染，云雾似轻纱流转，留白处尽展天地空阔。笔墨简练却意境悠远，枯润相生的笔触里，藏着宋人对自然的敬畏与诗意栖居的向往。边角构图见乾坤，每一处细节都透着匠心，将山水的静谧与生灵的灵动悄然铺展，让观者在静谧中感受山林间的和谐共生，沉醉于宋画独有的雅致与哲思。",[23,24,147,28,335,350,162,7,123,95,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[83,42],{"id":10747,"slug":10748,"title":10749,"dynasty":174,"author":703,"museum":20,"description":10750,"tags":10751,"thumbUrl":10752,"material":98,"size":10753,"collection":83,"collections":10754,"showCount":10665,"zanCount":1084,"manualWeight":46,"mainColor":47},218902,"mao-tu-zhou-wang-shi-shen-218902","猫图轴","此轴画一黑白相间的猫蹲踞石上，双目斜睨画外，神态生动。画上题诗“每餐先备买鱼钱，曾记携归小似拳，一自爪牙动黠鼠，傍人安稳卧青氊”。并题为雍正六年戊申（1728）九月所画，时年32岁。",[24,7,123,95,1015,480,2875,3443,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e98d0a6a379b6c7d84e39c07b0d0aec.jpg","纵125.7厘米，横60.8 厘米",[83],{"id":10756,"slug":10757,"title":10758,"dynasty":18,"author":10759,"museum":159,"description":10760,"tags":10761,"thumbUrl":10762,"material":98,"size":10763,"collection":42,"collections":10764,"showCount":10665,"zanCount":1084,"manualWeight":46,"mainColor":140},217064,"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[24,25,7,28,36,211,194,32,31,35,33,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[42],{"id":10766,"slug":10767,"title":10768,"dynasty":52,"author":53,"museum":450,"description":10769,"tags":10770,"thumbUrl":10771,"material":314,"size":1061,"collection":166,"collections":10772,"showCount":10773,"zanCount":46,"manualWeight":46,"mainColor":47},290827,"dong-ting-qi-feng-zhou-huang-gong-wang-290827","洞庭奇峰轴","此作前景画小舟浮於湖面，其后山岩繁密多姿，高耸杂木散立，山巅处瀑布流泻，左方曲径没入云雾中，其上瑰丽峰峦斜出天表。画中可见黄公望作品中常见母题，然全作结构、山石、树法等，更接近文徵明风格。依题跋可知此画成于1354（元至正十四年）为梅剑庵所作；1410（永乐八年），梅氏后人请沈度（1357-1434）题跋；1510年（正德五年），文征明（1470-1559）亦获观此画，并留下题语。文征明题款“壁”字书为“璧”，与常见不同。此画笔墨、结构堪称佳构，然可能出自明代後期善仿文征明风格者之手。",[281,24,25,95,7,28,36,34,33,30,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83587d8c69519255b6c7d65b856a64.jpg",[],82,{"id":10775,"slug":10776,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":10779,"thumbUrl":10785,"material":166,"size":166,"collection":166,"collections":10786,"showCount":10773,"zanCount":1084,"manualWeight":46,"mainColor":47},237592,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237592","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,7,3217,36,28,34,33,787,30,210,35,2446,4075,6779,10780,10781,10782,10783,10784,2028],"点染","山石皴擦","树木勾勒","山水意境","古典山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f3e122c7aae29ed9eacddd5644f01b.jpg",[],{"id":10788,"slug":10789,"title":8445,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":10790,"thumbUrl":10791,"material":314,"size":1061,"collection":166,"collections":10792,"showCount":10773,"zanCount":46,"manualWeight":46,"mainColor":47},235448,"ju-shi-zhou-wu-chang-shuo-235448",[281,24,25,95,27,7,75,134,706,3074,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f37afbc0963a70bb464cc5b3b11d679.jpg",[],{"id":10794,"slug":10795,"title":10796,"dynasty":52,"author":621,"museum":450,"description":10797,"tags":10798,"thumbUrl":10799,"material":166,"size":166,"collection":166,"collections":10800,"showCount":10773,"zanCount":1084,"manualWeight":46,"mainColor":140},230908,"ku-shu-tu-ye-ni-zan-230908","枯树图页","此作用笔简淡秀峭，枯树虬曲苍劲，枝桠疏朗错落，无半片青叶，满溢荒萧寒寂。山石以干墨轻皴，淡晕出清旷崖壁，屋舍仅以数笔勾出，简净空疏。\n\n画面留白如万顷空湖，将幽冷孤高的隐逸心绪藏于笔墨之间，淡墨薄晕里，是洗尽铅华的静穆。笔意看似疏简荒率，却藏着深隽的简淡之美，枯木寒岩、空屋寂境，暗合避世文人绝尘出世的澹泊襟怀，清冷空疏中晕染出悠远禅意。",[281,24,25,74,7,36,28,717,148,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c41a63a704c22538c4a9e50706e58d.jpg",[],{"id":10802,"slug":10803,"title":10804,"dynasty":205,"author":1577,"museum":92,"description":10805,"tags":10806,"thumbUrl":10807,"material":61,"size":10808,"collection":166,"collections":10809,"showCount":10773,"zanCount":46,"manualWeight":46,"mainColor":140},227601,"mo-zhu-zhou-wen-tong-227601","墨竹轴","国北宋末年画家文同的存世代表作。文同 (1018～1079) 字与可，自号笑笑先生、锦江道人，世称石室先生，梓潼(今属四川省)人。皇祐年间进士，元丰初出知湖州。善诗文，工书画，尤善画墨竹。此图绢本，水墨，纵131.6厘米，横105.4厘米。画墨竹一枝，作弯曲状，由左上斜向右下方。笔法严谨而潇洒，枝叶劲挺繁密，繁而不乱，密中有疏，竹叶以浓墨为面，淡墨为背，墨色清润，阴阳向背层次分明，开后世墨竹之先河。此图未署作者名款，有“静闲□室”、“文同与可” 2印，上方有明王直、陈循德2家为彦谥题诗。清宫旧藏,有清内府嘉庆、宣统印各一方。现藏台北故宫博物院。",[23,281,24,25,95,7,1305,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5295f96be134d53730e65174f29213.jpg","纵113.6厘米，横105.4厘米",[],{"id":10811,"slug":10812,"title":10813,"dynasty":205,"author":10814,"museum":120,"description":10815,"tags":10816,"thumbUrl":10817,"material":2837,"size":10818,"collection":245,"collections":10819,"showCount":10773,"zanCount":1084,"manualWeight":46,"mainColor":47},221220,"xing-shu-zi-shu-shi-juan-lin-bu-221220","行书自书诗卷","林逋","此卷是林逋归隐西湖孤山时所作，共5首诗，除第2首是五言诗外，其余均为七言诗。\n据诗后林逋自识：“時皇上登寶位歲夏五月”，可知此作品写于仁宗天圣元年癸亥（1023年），林逋时年57岁，其书体瘦劲，秀逸，笔法厚重，风致绰约，与时人李建中风骨俊整的书风极为接近。诗后有苏轼书七言诗《书和靖林处士诗后》，无年款，据徐邦达先生考证可能是元祐四、五年间苏轼（时年约54岁）第二次到杭州作刺史时所书。此书藏锋敛锷，姿媚可爱，是罕见的苏轼传世佳作之一。这两段名人书法相映生辉，珠联璧合，实为难得的珍宝。\n后纸有乾隆皇帝用苏轼原韵五题御制诗题记二则（其中一则由董诰奉敕而书），又有明王世贞、王世懋，清王鸿绪三家题跋。\n本幅钤有“濟陽文府”，清王鸿绪、清内府等鉴藏印。\n宋内府《宣和书谱》，明汪砢玉《珊瑚网》、詹景凤《东图玄览》，清顾复《平生壮观》、吴其贞《书画记》、安岐《墨缘汇观·续编》、卞永誉《式古堂书画汇考》、高士奇《江村消夏录》、吴升《大观录》、阮元《石渠随笔》、内府《石渠宝笈·续编》等书有著录。",[23,25,26,38,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349bd3fcdb871f93ccb96a158d67a788.jpg","纵32厘米，横302.6厘米",[245],{"id":10821,"slug":10822,"title":10823,"dynasty":4342,"author":4343,"museum":450,"description":10824,"tags":10825,"thumbUrl":10826,"material":196,"size":10827,"collection":42,"collections":10828,"showCount":10773,"zanCount":46,"manualWeight":46,"mainColor":140},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[23,24,25,26,7,28,33,194,38,80,36,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[42,64],{"id":10830,"slug":10831,"title":10832,"dynasty":18,"author":1836,"museum":92,"description":10833,"tags":10834,"thumbUrl":10835,"material":1877,"size":10836,"collection":42,"collections":10837,"showCount":10773,"zanCount":1084,"manualWeight":46,"mainColor":47},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,24,25,95,7,28,36,29,30,33,34,268,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[42,222],{"id":10839,"slug":10840,"title":10841,"dynasty":52,"author":239,"museum":20,"description":10842,"tags":10843,"thumbUrl":10844,"material":61,"size":10845,"collection":42,"collections":10846,"showCount":10773,"zanCount":1084,"manualWeight":46,"mainColor":47},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,24,25,26,7,38,37,28,36,10637,3942,57,30,9102,33,31,282,58,3246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[42,222],{"id":10848,"slug":10849,"title":10850,"dynasty":52,"author":726,"museum":159,"description":10851,"tags":10852,"thumbUrl":10853,"material":98,"size":10854,"collection":42,"collections":10855,"showCount":10773,"zanCount":5,"manualWeight":46,"mainColor":47},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[23,24,25,26,7,28,36,37,38,80,335,350,162,29,31,126,1004,164,211,1442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[42],{"id":10857,"slug":10858,"title":10859,"dynasty":18,"author":646,"museum":7059,"description":10860,"tags":10861,"thumbUrl":10862,"material":98,"size":10863,"collection":42,"collections":10864,"showCount":10773,"zanCount":1084,"manualWeight":46,"mainColor":47},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[23,24,25,95,7,36,28,33,610,147,30,34,211,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[42],{"id":10866,"slug":10867,"title":645,"dynasty":205,"author":278,"museum":450,"description":10868,"tags":10869,"thumbUrl":10870,"material":457,"size":10871,"collection":42,"collections":10872,"showCount":10773,"zanCount":5,"manualWeight":46,"mainColor":140},218915,"shan-shui-tu-xia-gui-218915","这幅画描绘了一个平静安详的山居，远处的山峰高耸入云，瀑布和泉水直泻而下，小屋散落一地，优雅的人和伐木工在其中徘徊。整幅画的笔触层次分明，森林和山上的明暗对比明显。这幅画上看不到艺术家的签名，但从原始签名来看，应该是夏圭。然而，山、林、坡、石的布局，以及滴水不漏的笔墨，都显示出明代浙江画派的风格，这肯定是错误地归于后来的艺术家。",[23,281,24,25,7,27,36,28,180,147,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20501644fd7647ba471c42b77fc18e2.jpg","47.6x32.5",[42],{"id":10874,"slug":10875,"title":10876,"dynasty":174,"author":9682,"museum":120,"description":10877,"tags":10878,"thumbUrl":10880,"material":98,"size":10881,"collection":42,"collections":10882,"showCount":10773,"zanCount":46,"manualWeight":46,"mainColor":47},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。明末生员，家富收藏，故精鉴别，擅画山水，为“海阳四家”之一。清初著名画家，书法家和诗人。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,24,25,95,7,36,28,211,624,57,324,10879,34,33],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[42],{"id":10884,"slug":10885,"title":157,"dynasty":18,"author":646,"museum":120,"description":10886,"tags":10887,"thumbUrl":10888,"material":98,"size":10889,"collection":42,"collections":10890,"showCount":10773,"zanCount":46,"manualWeight":46,"mainColor":47},218341,"shan-shui-ce-wen-zheng-ming-218341","此图左开为作者图，右开有其弟子周天球、陆师道、王穉登的应景题诗。\n根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[23,24,281,74,7,28,33,35,213,30,37,38,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78e6d4341e71339b18dae6e2a968838.jpg","28.5×15.8cm",[42],{"id":10892,"slug":10893,"title":10894,"dynasty":52,"author":726,"museum":92,"description":10895,"tags":10896,"thumbUrl":10897,"material":457,"size":10898,"collection":166,"collections":10899,"showCount":10900,"zanCount":46,"manualWeight":46,"mainColor":140},290134,"qiu-jiang-yu-yin-tu-wu-zhen-290134","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[281,24,7,28,95,31,729,30,180,624,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":10902,"slug":10903,"title":8436,"dynasty":889,"author":1057,"museum":450,"description":8437,"tags":10904,"thumbUrl":10906,"material":314,"size":1061,"collection":166,"collections":10907,"showCount":10900,"zanCount":46,"manualWeight":46,"mainColor":461},289356,"qiu-shan-wan-cui-tu-guan-tong-289356",[281,24,25,95,7,27,28,8439,717,210,10905,36],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ececd0d022d954f2d70d8ead2688868.jpg",[],{"id":10909,"slug":10910,"title":841,"dynasty":205,"author":842,"museum":450,"description":10911,"tags":10912,"thumbUrl":10913,"material":314,"size":1061,"collection":166,"collections":10914,"showCount":10900,"zanCount":46,"manualWeight":46,"mainColor":140},288508,"qing-luan-xiao-si-tu-li-cheng-288508","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,281,24,25,28,95,7,36,212,194,5799,29,30,210,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],{"id":10916,"slug":10917,"title":10918,"dynasty":18,"author":119,"museum":120,"description":10919,"tags":10920,"thumbUrl":10921,"material":298,"size":166,"collection":245,"collections":10922,"showCount":10900,"zanCount":46,"manualWeight":46,"mainColor":47},240490,"xu-wei-shi-juan-xu-wei-240490","徐渭诗卷","此卷书篇幅较长，从始至终一直保持着良好的书写状态，一气呵成。在运笔方面虽不如草书奔放连绵，但却比楷书流畅自如，字形变化多样，或横斜，或倚侧，皆随意为之，毫不矫揉造作，故有浑朴天成之趣。在笔画的提、按变化上有时也参用隶书之法，使所书之字更富有古雅的情致，不失为徐氏精于运笔的行书之杰作。在布局与气势上深得米芾书法的神韵，兼具黄、苏的笔意。作品风格与徐渭平日恣肆放纵、狂傲不驯的用笔有所不同，似为其晚年作品。",[23,37,38,394,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ec447aa8da7818e7c4392d2866cbaa.jpg",[245],{"id":10924,"slug":10925,"title":10926,"dynasty":18,"author":6070,"museum":120,"description":10927,"tags":10928,"thumbUrl":10931,"material":10405,"size":10932,"collection":166,"collections":10933,"showCount":10900,"zanCount":1084,"manualWeight":46,"mainColor":140},233461,"ba-qiao-feng-xue-tu-zhou-wu-wei-233461","灞桥风雪图轴","“灞桥”位于西安市东的灞河之上，是东去洛阳的必经之路，古人常于此送别，唐诗中“灞桥折柳”的典故即由此而出。\n吴伟此图并非写实之景，而是取其送别的含意。图绘严冬景象，山岩积雪，树木萧瑟，行旅之人正在通过一座狭小的木桥。作者用侧锋卧笔勾勒山石，线条粗率，行笔劲疾，锋芒外露。",[24,494,95,7,36,993,10929,29,717,34,1385,10930],"严冬","送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5cc504cdaa6433fc325448a895f7b1.jpg","纵138.1厘米，横106厘米",[],{"id":10935,"slug":10936,"title":10937,"dynasty":18,"author":119,"museum":430,"description":1651,"tags":10938,"thumbUrl":10939,"material":98,"size":1654,"collection":166,"collections":10940,"showCount":10900,"zanCount":46,"manualWeight":46,"mainColor":47},220100,"shi-er-mo-hua-tu-juan-3-xu-wei-220100","十二墨花图卷-3",[23,281,24,25,26,7,75,126,128,2875,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c5fdddd68d2662d99287215d9176.jpg",[],{"id":10942,"slug":10943,"title":10944,"dynasty":18,"author":19,"museum":692,"description":693,"tags":10945,"thumbUrl":10946,"material":40,"size":696,"collection":166,"collections":10947,"showCount":10900,"zanCount":1084,"manualWeight":46,"mainColor":47},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭",[23,24,25,74,7,27,28,32,147,610,30,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg",[],{"id":10949,"slug":10950,"title":10951,"dynasty":174,"author":491,"museum":120,"description":10952,"tags":10953,"thumbUrl":10954,"material":98,"size":10955,"collection":42,"collections":10956,"showCount":10900,"zanCount":46,"manualWeight":46,"mainColor":47},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,281,24,25,95,7,36,1153,28,335,33,35,211,30,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[42],{"id":10958,"slug":10959,"title":10960,"dynasty":205,"author":592,"museum":92,"description":10961,"tags":10962,"thumbUrl":10965,"material":110,"size":10966,"collection":220,"collections":10967,"showCount":10900,"zanCount":46,"manualWeight":46,"mainColor":140},218981,"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[23,281,24,25,7,36,193,147,10963,28,10964],"山岩","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","22.4x23.8",[220],{"id":10969,"slug":10970,"title":10971,"dynasty":52,"author":10972,"museum":92,"description":10973,"tags":10974,"thumbUrl":10977,"material":40,"size":10978,"collection":42,"collections":10979,"showCount":10900,"zanCount":5,"manualWeight":46,"mainColor":47},218433,"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[23,24,26,7,36,28,164,10975,33,58,10976,894,5329,80],"近山","湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[42],{"id":10981,"slug":10982,"title":10983,"dynasty":174,"author":491,"museum":692,"description":10984,"tags":10985,"thumbUrl":10986,"material":98,"size":10987,"collection":42,"collections":10988,"showCount":10900,"zanCount":46,"manualWeight":46,"mainColor":47},217885,"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。",[24,25,95,7,36,28,335,210,215,33,148,213,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[42],{"id":10990,"slug":10991,"title":10992,"dynasty":18,"author":796,"museum":20,"description":797,"tags":10993,"thumbUrl":10994,"material":98,"size":800,"collection":166,"collections":10995,"showCount":10900,"zanCount":46,"manualWeight":46,"mainColor":47},214632,"hua-hui-ce-12-chen-chun-214632","花卉册-12",[24,25,75,74,7,123,76,1474,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e40faa7cd3036d885f277f8b75cd67b.jpg",[],{"id":10997,"slug":10998,"title":10999,"dynasty":18,"author":646,"museum":92,"description":11000,"tags":11001,"thumbUrl":11005,"material":98,"size":11006,"collection":245,"collections":11007,"showCount":10900,"zanCount":1084,"manualWeight":46,"mainColor":140},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[23,25,37,95,38,7,80,831,335,162,11002,324,11003,11004],"野水","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2",[245],{"id":11009,"slug":11010,"title":11011,"dynasty":18,"author":2851,"museum":92,"description":11012,"tags":11013,"thumbUrl":11015,"material":284,"size":11016,"collection":166,"collections":11017,"showCount":11018,"zanCount":1084,"manualWeight":46,"mainColor":47},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,24,281,26,25,547,7,254,193,11014,941,6485,33,34,38,37],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":11020,"slug":11021,"title":11022,"dynasty":18,"author":581,"museum":450,"description":11023,"tags":11024,"thumbUrl":11025,"material":166,"size":166,"collection":166,"collections":11026,"showCount":11018,"zanCount":1084,"manualWeight":46,"mainColor":47},239636,"wen-zheng-ming-guo-qin-lun-ce-yi-ming-239636","文征明过秦论册","此作用笔精劲秀雅，结体端稳匀停，是极具代表性的明代小楷佳作。笔画舒展利落，起收间法度谨严，通篇排布疏朗有致，行气贯通流畅。以雅致笔墨书写史论篇章，笔墨与文辞相融，既带着台阁体的娟秀规整，又蕴含文人书法的清逸风骨，字字珠玑间尽显沉厚的帖学功底。运笔间藏露得宜，点画精致细腻，不见一丝浮滑潦草，将史论的沉郁思辨与书法的静雅气质相融，尽显书写者的从容笔力与文人心境，是书文合璧的精妙之作。",[25,37,74,242,80,7,9254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6790cda2be73a7433191619dae03f7.jpg",[],{"id":11028,"slug":11029,"title":11030,"dynasty":18,"author":1788,"museum":120,"description":11031,"tags":11032,"thumbUrl":11033,"material":166,"size":166,"collection":166,"collections":11034,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":47},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,281,24,25,26,38,7,27,36,28,31,193,34,33,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":11036,"slug":11037,"title":157,"dynasty":18,"author":11038,"museum":120,"description":11039,"tags":11040,"thumbUrl":11041,"material":11042,"size":11043,"collection":42,"collections":11044,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":140},234318,"shan-shui-ce-song-xu-234318","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,7,36,74,28,30,29,717,34,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f139067519e7c0c0636a193cc49cf5.jpg","纸本 ，设色","纵31cm，横42cm",[42,64],{"id":11046,"slug":11047,"title":11048,"dynasty":174,"author":581,"museum":450,"description":11049,"tags":11050,"thumbUrl":11051,"material":166,"size":166,"collection":166,"collections":11052,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[23,24,25,7,27,36,74,28,180,31,163,2885,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],{"id":11054,"slug":11055,"title":11056,"dynasty":18,"author":2851,"museum":20,"description":11057,"tags":11058,"thumbUrl":11059,"material":811,"size":11060,"collection":42,"collections":11061,"showCount":11018,"zanCount":1084,"manualWeight":46,"mainColor":47},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[23,24,25,95,7,36,37,193,1839,624,34,147,551,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[42,222],{"id":11063,"slug":11064,"title":8152,"dynasty":205,"author":11065,"museum":450,"description":11066,"tags":11067,"thumbUrl":11068,"material":1242,"size":11069,"collection":220,"collections":11070,"showCount":11018,"zanCount":5,"manualWeight":46,"mainColor":140},221249,"pu-tao-tu-wen-ri-guan-221249","温日观","善草书，精画葡萄，自成一家。他于一笔中带有深浅不同之墨色画叶，并以深墨点染仍带湿润 之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[23,281,24,25,75,7,1252,551,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","27×188.5cm",[220,83,222],{"id":11072,"slug":11073,"title":11074,"dynasty":52,"author":621,"museum":92,"description":11075,"tags":11076,"thumbUrl":11077,"material":218,"size":11078,"collection":42,"collections":11079,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":47},220786,"song-lin-ting-zi-zhou-ni-zan-220786","松林亭子轴","《松林亭子图》为倪瓒54岁时所作，画上落款时间为至正十四年（1354）初冬。在1354年前后，倪瓒的生活因元末社会动荡而发生一系列变化。“至正八年（1348）台州黄岩方国珍起义，至正十一年红巾军起义，十三年张士诚起兵泰州⋯⋯至正十二年，元军与红巾军在太湖流域大战，无锡、苏州等地处于战火硝烟之中，倪瓒避兵于甫里南渚陆玄素家。”元政府的苛捐杂税没有因为战争而消减，反而有愈演愈烈之势。朱德润在《平江路问弭盗策》中叙述了当时赋税的繁重：“科征之际，枷系满屋，鞭挞盈道，直至生民困苦，饥寒迫身。至于酒课、盐课、税课，比之国之初增至十倍。”倪瓒本人也于至正六年（1346）在《馀不溪咏并续》中叹道：“余既为农畎亩，身依稼穑。复而政繁，奔走州里。”倪瓒在兄长去世后，田亩赋税的豁免权随之消失，加之对生活品质的追求，用度豪奢，重赋剥削，也逐渐品尝到生活的重压。于是，在战火与课税中，倪瓒选择变卖田产，弃家逃避兵火之灾。\n《松林亭子图》，现藏于台北故宫博物院，绢本墨画，纵83.4厘米，横52.9厘米，画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。”倪瓒的跋文交代了创作的时间，受画者，以及创作的主题。",[23,24,25,95,7,36,28,32,127,162,706,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","276x74.5cm",[42,222],{"id":11081,"slug":11082,"title":11083,"dynasty":205,"author":5541,"museum":92,"description":11084,"tags":11085,"thumbUrl":11086,"material":110,"size":11087,"collection":220,"collections":11088,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":140},219965,"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[23,24,25,95,7,36,38,37,80,193,2271,28,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[220,42],{"id":11090,"slug":11091,"title":11092,"dynasty":18,"author":6070,"museum":20,"description":11093,"tags":11094,"thumbUrl":11096,"material":110,"size":11097,"collection":600,"collections":11098,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":140},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,281,25,95,7,123,27,28,193,31,282,30,610,147,6801,468,180,1004,551,213,11095],"秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[600],{"id":11100,"slug":11101,"title":7592,"dynasty":174,"author":3195,"museum":378,"description":11102,"tags":11103,"thumbUrl":11104,"material":98,"size":11105,"collection":42,"collections":11106,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":47},219743,"fang-ju-ran-shan-shui-tu-wang-jian-219743","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,25,28,335,350,162,1791,7,123,95,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472899d1492e7cb68ad1e494ac1c01e3.jpg","纵130.3横49.7厘米",[42],{"id":11108,"slug":11109,"title":11110,"dynasty":52,"author":53,"museum":92,"description":11111,"tags":11112,"thumbUrl":11113,"material":61,"size":11114,"collection":42,"collections":11115,"showCount":11018,"zanCount":1084,"manualWeight":46,"mainColor":140},219504,"tie-ya-tu-huang-gong-wang-219504","铁崖图","此作近景作小坡树石，右置小桥，左布人家；中远景左方峰峦平顶叠加相连，右方则云烟飘渺，仅露出局部山头、崖壁。画中物像钩定轮廓後，多以规整卧笔点叶、点苔，略显平板。",[24,25,95,7,36,28,34,33,211,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45b7cbc7b51e6e5ecc78a2cd2b60d17.jpg","157.5x64.9公分",[42],{"id":11117,"slug":11118,"title":11119,"dynasty":18,"author":11120,"museum":92,"description":11121,"tags":11122,"thumbUrl":11123,"material":40,"size":11124,"collection":42,"collections":11125,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":47},218182,"jiao-yuan-shi-er-jing-ce-xue-zhai-shen-shi-chong-218182","郊园十二景册-雪斋","沈士充","明朝时期，沈士充是一位著名的文学家、政治家和官员。他在明朝末年时创作了一本名为《郊园十二景册》的书，其中记录了他在北京城郊外的别墅中所看到的12种风景。这本书成为了明朝时期书写风格优美、内容丰富的作品之一。",[24,25,74,7,28,36,8796,993,32,29,33,34,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25b1501811aba8c4c17fb7b3d08bf64.jpg","30.1x47.5",[42],{"id":11127,"slug":11128,"title":11129,"dynasty":52,"author":581,"museum":159,"description":11130,"tags":11131,"thumbUrl":11132,"material":110,"size":11133,"collection":42,"collections":11134,"showCount":11018,"zanCount":1084,"manualWeight":46,"mainColor":140},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[24,7,27,28,30,31,468,147,180,729,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[42],{"id":11136,"slug":11137,"title":11138,"dynasty":18,"author":796,"museum":20,"description":797,"tags":11139,"thumbUrl":11140,"material":98,"size":800,"collection":166,"collections":11141,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":47},214629,"hua-hui-ce-14-chen-chun-214629","花卉册-14",[24,25,74,7,123,75,363,5892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ce73704168d67c22b7083f8ab81085.jpg",[],{"id":11143,"slug":11144,"title":11145,"dynasty":18,"author":796,"museum":20,"description":797,"tags":11146,"thumbUrl":11147,"material":98,"size":800,"collection":166,"collections":11148,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":47},214621,"hua-hui-ce-20-chen-chun-214621","花卉册-20",[24,25,74,7,75,134,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bffc74b26f84183526b214bdad26b81.jpg",[],{"id":11150,"slug":11151,"title":11152,"dynasty":174,"author":11153,"museum":176,"description":11154,"tags":11155,"thumbUrl":11156,"material":98,"size":11157,"collection":42,"collections":11158,"showCount":11018,"zanCount":46,"manualWeight":46,"mainColor":47},214490,"cheng-fang-fang-gu-shan-shui-tu-cheng-fang-214490","程淓仿古山水图","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。",[23,24,7,3217,36,95,28,33,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64344232495e911adda77560a5895256.jpg","28x17cm",[42],{"id":11160,"slug":11161,"title":11162,"dynasty":174,"author":739,"museum":430,"description":740,"tags":11163,"thumbUrl":11164,"material":298,"size":743,"collection":166,"collections":11165,"showCount":11018,"zanCount":1084,"manualWeight":46,"mainColor":140},214357,"san-jue-shan-shui-ce-3-hua-yan-214357","三绝山水册-3",[23,24,25,74,7,27,28,268,8120,1839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbbe74ad51b2f834a84bc920cbd5367.jpg",[],{"id":11167,"slug":11168,"title":11169,"dynasty":205,"author":344,"museum":450,"description":11170,"tags":11171,"thumbUrl":11173,"material":314,"size":1061,"collection":166,"collections":11174,"showCount":11175,"zanCount":1084,"manualWeight":46,"mainColor":47},289594,"wu-long-tu-chen-rong-289594","五龙图","陈容，字公储，号所翁，福建长乐人，南宋端平二年（1235年）进士，曾做过福建莆田太守。南宋著名画家。《金溪县志》作临川（今属江西）人，《图绘宝鉴》作福唐（今福建福清）人。生卒年不详。陈容墓在福建长乐。\n诗文豪壮，尤善画龙，变化欲活，世传‘所翁龙’是也。”\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,24,26,25,7,349,11172,80,211],"神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad44d787cfa6bf3de62f57ee2d80a9fc.jpg",[],79,{"id":11177,"slug":11178,"title":11179,"dynasty":174,"author":1639,"museum":92,"description":11180,"tags":11181,"thumbUrl":11183,"material":298,"size":166,"collection":83,"collections":11184,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},237220,"xu-gu-yang-liu-jin-yu-tu-zhou-xu-gu-237220","虚谷杨柳金鱼图轴","虚谷（1824年－1896年），清代僧人及画家。俗姓朱，名怀仁，一名虚白，号紫阳山人。新安（今安徽歙县）人，世居扬州，同治、光绪年间寓居上海。\n虚谷工山水、花卉、动物、禽鸟，尤善长画松鼠及金鱼。亦工肖像，擅书，能诗善文，着有《虚谷和尚诗录》。曾在上海、是晚清画坛的巨子，为“ 他曾任清军参将，后因不愿奉命打 其为人性情孤僻，非相处情深者不能得其片纸。携笔墨、着僧装，“闲中写出三千幅，行乞人间作饭钱”，其一生极为清苦，却云游四海，其行程之广，作品之多，为当时所罕见。他承古创新，独辟捷径，广集素材，勤于创作，终成一代巨擘。",[24,95,27,7,75,7500,11182],"金鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c814e1d8ff895dc019b71e2a3d06d5.jpg",[83],{"id":11186,"slug":11187,"title":960,"dynasty":18,"author":119,"museum":450,"description":4842,"tags":11188,"thumbUrl":11189,"material":314,"size":1061,"collection":166,"collections":11190,"showCount":11175,"zanCount":1084,"manualWeight":46,"mainColor":47},236014,"shui-mo-mu-dan-tu-zhou-xu-wei-236014",[281,24,25,95,7,123,75,129,367,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b9b9003c0b06152df4c09bc658910.jpg",[],{"id":11192,"slug":11193,"title":11194,"dynasty":205,"author":842,"museum":450,"description":11195,"tags":11196,"thumbUrl":11197,"material":166,"size":166,"collection":166,"collections":11198,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":140},232919,"xue-jing-han-lin-tu-ji-li-cheng-232919","雪景寒林图集","李成(约919-967年),字咸熙,出身贵族,其先人为唐宗室,后周时避居青州营丘(今山东)。李成好友枢密使王朴准备举荐李成,但是此事未及进行王朴就死了,李成虽有文才,但因世变不得志,终日饮酒游玩,最终醉死客栈。李成擅画山水自娱,“一皆吐其胸中而写之笔下”，对北宋的山水画的发展有重大影响，北宋时期被誉为“古今第一”。",[281,24,25,95,28,36,7,993,832,33,34,7585,2388,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16455b8911f86b1ce9bc374e1d0974.jpg",[],{"id":11200,"slug":11201,"title":11202,"dynasty":18,"author":11203,"museum":450,"description":11204,"tags":11205,"thumbUrl":11206,"material":166,"size":166,"collection":166,"collections":11207,"showCount":11175,"zanCount":5,"manualWeight":46,"mainColor":47},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[23,24,25,95,7,36,28,29,30,194,312,193,127,34,162,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91b60b69348321c76a367aa9f8848fc.jpg",[],{"id":11209,"slug":11210,"title":11211,"dynasty":174,"author":11212,"museum":770,"description":11213,"tags":11214,"thumbUrl":11215,"material":537,"size":11216,"collection":83,"collections":11217,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},222822,"mu-dan-shan-zhe-tu-zhou-mu-dan-shuang-he-xu-yang-222822","牡丹山鹧图轴(牡丹双鹤)","徐扬","图绘二只山鹧，一只掉于水中，另一只站在石上尾巴散开，羽毛蓬松，圆睁的眼睛似为同伴落水而焦急不已；石边牡丹花绽放，硕大的花朵，层层叠叠的花瓣，高贵典雅。",[23,24,25,95,7,481,75,129,282,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca665cb56cece71915c2720da655165.jpg","117*55.8cm",[83],{"id":11219,"slug":11220,"title":11221,"dynasty":18,"author":796,"museum":92,"description":1961,"tags":11222,"thumbUrl":11223,"material":298,"size":11224,"collection":83,"collections":11225,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面",[23,281,24,25,1462,123,7,27,75,1478,34,35,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[83,64],{"id":11227,"slug":11228,"title":11229,"dynasty":18,"author":11203,"museum":92,"description":11230,"tags":11231,"thumbUrl":11232,"material":196,"size":11233,"collection":42,"collections":11234,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},222372,"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","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。",[23,24,25,95,7,27,28,624,34,6881,193,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[42,64],{"id":11236,"slug":11237,"title":11238,"dynasty":52,"author":10102,"museum":92,"description":11239,"tags":11240,"thumbUrl":11241,"material":110,"size":11242,"collection":166,"collections":11243,"showCount":11175,"zanCount":5,"manualWeight":46,"mainColor":140},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[23,281,24,25,95,7,27,28,34,33,1385,36,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],{"id":11245,"slug":11246,"title":11247,"dynasty":205,"author":3062,"museum":11248,"description":11249,"tags":11250,"thumbUrl":11255,"material":61,"size":11256,"collection":220,"collections":11257,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":140},221612,"can-zhi-tu-juan-liang-kai-221612","蚕织图卷","黑龙江省博物馆","图描绘江浙一带的蚕织户自“腊月浴蚕”到“下机入箱”为止的养蚕、织帛的整个生产过程。该卷由二十四个场面组成，用长房贯穿，每个场面下有楷书小字，注明内容。全卷场面宏大，共绘七十四人，翁媪长幼，皆服宋装。图中人物的神态举止，惟妙惟肖，桑树、户牖、几席、蚕具、织具等，富有写真写实之风。",[23,24,26,481,27,518,193,11251,11252,597,35,33,11253,7,11254,8052],"织机","蚕桑","劳作","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5708c7869732c0eddc83d2007b004137.jpg","27.5x513",[220,600,64],{"id":11259,"slug":11260,"title":11261,"dynasty":52,"author":158,"museum":593,"description":11262,"tags":11263,"thumbUrl":11264,"material":40,"size":11265,"collection":600,"collections":11266,"showCount":11175,"zanCount":5,"manualWeight":46,"mainColor":140},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[23,24,25,7,36,28,335,624,147,35,29,30,180,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[600,64],{"id":11268,"slug":11269,"title":11270,"dynasty":205,"author":607,"museum":430,"description":11271,"tags":11272,"thumbUrl":11273,"material":110,"size":166,"collection":42,"collections":11274,"showCount":11175,"zanCount":1084,"manualWeight":46,"mainColor":140},219916,"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,25,26,7,27,36,28,335,350,33,194,32,31,282,164,10975,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[42],{"id":11276,"slug":11277,"title":292,"dynasty":52,"author":8102,"museum":92,"description":11278,"tags":11279,"thumbUrl":11280,"material":457,"size":11281,"collection":83,"collections":11282,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":140},219473,"mo-zhu-tu-gu-an-219473","顾安（活动于1345－1373），字定之，江苏人。书学赵孟俯，以墨竹著称，师法北宋文同，元代李衎、赵孟俯，用笔遒劲，融入书法意趣。绘坡石间三竹，枝干劲挺，茎叶逆风翻转飘动。用笔浓淡变化，衬托出迷蒙雾气。构图简洁，重在表现动态，具写实精神，又富有文人写意情调。",[24,25,7,126,180,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb5d92e714290aee8a17305935e6cdf.jpg","122.9x53",[83],{"id":11284,"slug":11285,"title":9067,"dynasty":205,"author":581,"museum":265,"description":11286,"tags":11287,"thumbUrl":11288,"material":110,"size":11289,"collection":42,"collections":11290,"showCount":11175,"zanCount":1084,"manualWeight":46,"mainColor":461},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[23,24,494,95,7,36,28,31,29,30,729,33,34,58,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[42],{"id":11292,"slug":11293,"title":11294,"dynasty":205,"author":592,"museum":92,"description":11295,"tags":11296,"thumbUrl":11298,"material":110,"size":11299,"collection":42,"collections":11300,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":140},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","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。",[23,24,25,7,36,27,28,717,7312,324,31,533,832,11297,34,163],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[42],{"id":11302,"slug":11303,"title":11304,"dynasty":205,"author":581,"museum":92,"description":11305,"tags":11306,"thumbUrl":11309,"material":457,"size":11310,"collection":42,"collections":11311,"showCount":11175,"zanCount":436,"manualWeight":46,"mainColor":140},218783,"qiu-shan-tu-yi-ming-218783","秋山图","这幅关于山脉的画作从画板底部向上延伸，将纸张堆叠起来，在复杂而庞大的岩石中，随着溪流的流动，创造出山峦和沟壑的变化，并在现实和想象中创造出一种兴趣。山石像范宽的彩虹，寒林和枯枝的画法像郭熙的蟹爪法，而整体画风与《荆浩的匡庐》非常相似。",[23,24,281,28,7,95,36,11307,212,11308,34,832,4468,30,148,6001],"蟹爪法","沟壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[42],{"id":11313,"slug":11314,"title":11315,"dynasty":205,"author":3062,"museum":450,"description":11316,"tags":11317,"thumbUrl":11318,"material":98,"size":11319,"collection":600,"collections":11320,"showCount":11175,"zanCount":1084,"manualWeight":46,"mainColor":140},218585,"lan-ting-ti-xu-tu-liang-kai-218585","兰亭题序图","松枝虬劲，墨色浓淡交织出苍古意韵。雅士二人，衣纹以极简线条勾勒，却见洒脱之态——一人凭案凝思，似在斟酌字句；一人侧立静听，神态悠然。案上瓶梅斜逸，木盒静陈，细节处暗藏文心。笔墨删繁就简，却将兰亭雅集的清旷之境、文人相契的灵犀之态，尽纳其中。虽无繁复刻画，却于简约中见深厚，如品淡茶，唇齿留香，尽显文人画的逸致与风骨。每一笔皆不多余，每处留白皆藏深意，仿佛清风过耳，让人心生向往。",[24,25,281,7,547,1176,193,147,180,1104,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6948482f3ced4ffd228934551e7fb4.jpg","28x48",[600],{"id":11322,"slug":11323,"title":11324,"dynasty":205,"author":607,"museum":159,"description":11325,"tags":11326,"thumbUrl":11327,"material":110,"size":11328,"collection":166,"collections":11329,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":47},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,3335,24,25,74,27,7,36,37,80,28,717,180,30,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg","纵28厘米、横27厘米",[],{"id":11331,"slug":11332,"title":4064,"dynasty":174,"author":749,"museum":11333,"description":11334,"tags":11335,"thumbUrl":11336,"material":40,"size":11337,"collection":42,"collections":11338,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":140},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","香港艺术馆","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,25,95,7,36,28,335,162,127,29,30,35,211,34,2637,59,215,3941,214,9307,5781],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[42],{"id":11340,"slug":11341,"title":11342,"dynasty":205,"author":4437,"museum":92,"description":11343,"tags":11344,"thumbUrl":11345,"material":110,"size":11346,"collection":42,"collections":11347,"showCount":11175,"zanCount":1084,"manualWeight":46,"mainColor":47},215110,"qi-feng-wan-mu-tu-yan-wen-gui-215110","奇峰万木图","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[23,24,281,25,74,7,27,28,33,7340,36,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ce2e5b35c1ba22aa5ee4dea5f39ab1.jpg","24.5 x 26公分",[42],{"id":11349,"slug":11350,"title":11351,"dynasty":174,"author":739,"museum":430,"description":740,"tags":11352,"thumbUrl":11353,"material":298,"size":743,"collection":166,"collections":11354,"showCount":11175,"zanCount":46,"manualWeight":46,"mainColor":140},214345,"san-jue-shan-shui-ce-16-hua-yan-214345","三绝山水册-16",[23,24,74,7,27,28,31,180,162,7489,36,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5412a5acb56562b5d7a9ca0fbda12789.jpg",[],{"id":11356,"slug":11357,"title":1557,"dynasty":205,"author":592,"museum":450,"description":11358,"tags":11359,"thumbUrl":11360,"material":314,"size":1061,"collection":166,"collections":11361,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":140},290086,"yu-fu-tu-li-tang-290086","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,281,24,7,28,95,36,31,468,30,147,180,729,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":11364,"slug":11365,"title":11366,"dynasty":174,"author":175,"museum":450,"description":7322,"tags":11367,"thumbUrl":11368,"material":314,"size":1061,"collection":166,"collections":11369,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},239428,"shan-shui-hua-hui-ce-yun-shou-ping-239428","山水花卉册",[24,25,74,7,80,76,133,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85e8012f3111300931545cad71dfeb4.jpg",[],{"id":11371,"slug":11372,"title":6764,"dynasty":174,"author":175,"museum":450,"description":6765,"tags":11373,"thumbUrl":11374,"material":166,"size":166,"collection":166,"collections":11375,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912",[24,25,281,74,7,28,36,29,717,34,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],{"id":11377,"slug":11378,"title":3050,"dynasty":205,"author":842,"museum":92,"description":11379,"tags":11380,"thumbUrl":11382,"material":2001,"size":11383,"collection":220,"collections":11384,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":140},232619,"han-lin-ping-ye-tu-li-cheng-232619","北宋山水画主要承续五代荆浩、关仝的北方山水画系，由李成、范宽创立一代新风，传派繁衍。北宋时代，知名画家的人数仅从《图画见闻录》和《画继》两书来统计，就有386人之多。而李成的山水画以“气象萧疏，烟林清旷，毫锋颖脱，墨法精微”而著称，因而《宣和画谱》云：“凡称山水者，必以成为古今第一”。\n图绘萧瑟的隆冬平野中，长松亭立，林木薄疏，小丘起伏，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。此画李成用硬笔锐锋，在绢上勾画的松针，粗干细枝，土坡石廓，线条瘦硬坚韧，极具功力，即使不染墨，也神定气足。图中所绘树枝，无论粗细，均呈弧曲形，将线条的力度发挥到了最大程度。所以李成的画，仅用淡墨作少量的烘染，给人以一种秀润淡雅的享受。\n李成注重真实的山水写生，深谙透视画理，墨法变化微妙，风格清新，意韵精致。他的山水画不但表现出山川气象形势的变化，而且还特别强调了季节气候的特点，其中最突出的成就，是他创造了“寒林”的形象。\n另外，李成作画总是用墨不浓，轻淡如在烟雾里，显得缥缈幽清，史称李成“惜墨如金”。\n李成(919—967)，字咸熙，其先人为唐宗室，世居长安(今西安)。他出身贵族，有文学才能，性情旷达，聪颖多才，因世变抑郁不得志，而好饮酒与游历。善画山水以自娱。《宣和画谱》记述他的山水画说：“所画山林薮泽，平远险易，萦带曲折，飞流、危栈、断桥、绝涧、水石，风雨晦明，烟云雪雾之状，一皆吐其胸中，而写之笔下。”李成在继承前代成就的基础上，将山水画的表现内容和技巧，推向了纵深的发展，影响而及元、明、清。",[24,25,95,7,36,28,717,147,3053,180,212,4468,11381],"裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","纵137.8厘米，横69.2厘",[220],{"id":11386,"slug":11387,"title":1567,"dynasty":174,"author":749,"museum":450,"description":11388,"tags":11389,"thumbUrl":11390,"material":964,"size":11391,"collection":42,"collections":11392,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},224390,"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[23,24,7,95,28,36,34,33,215,213,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[42],{"id":11394,"slug":11395,"title":11396,"dynasty":174,"author":11397,"museum":190,"description":11398,"tags":11399,"thumbUrl":11400,"material":10405,"size":11401,"collection":42,"collections":11402,"showCount":11362,"zanCount":1084,"manualWeight":46,"mainColor":140},223283,"bai-long-tan-li-zhou-dai-ben-xiao-223283","白龙潭立轴","戴本孝","回群山峰势险峻，几道飞泉从山腰倾泻而下，直接在山脚下的深潭中，被潭壁山岩环绕，画面茂密，有一种艺术感。 “花池深桃”的构想。",[23,24,7,95,28,36,335,210,162,454,213,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","54x188.6cm",[42,222],{"id":11404,"slug":11405,"title":980,"dynasty":174,"author":657,"museum":120,"description":11406,"tags":11407,"thumbUrl":11408,"material":964,"size":11409,"collection":83,"collections":11410,"showCount":11362,"zanCount":1084,"manualWeight":46,"mainColor":47},222706,"mo-mei-tu-jin-nong-222706","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[23,24,25,7,95,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7967e3dda2c9b321a8c00cdad902d330.jpg","纵117厘米，横43.6厘米",[83,64],{"id":11412,"slug":11413,"title":11414,"dynasty":174,"author":11415,"museum":176,"description":11416,"tags":11417,"thumbUrl":11418,"material":3471,"size":11419,"collection":42,"collections":11420,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":140},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,24,25,95,7,254,36,28,717,624,34,2748,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[42],{"id":11422,"slug":11423,"title":11424,"dynasty":18,"author":11425,"museum":92,"description":11426,"tags":11427,"thumbUrl":11428,"material":298,"size":11429,"collection":83,"collections":11430,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},222433,"hua-die-cao-chong-ce-du-da-cheng-222433","花蝶草虫册","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,24,7,74,75,363,364,4154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd5485eb18b52994d17f0f3d39c21a.jpg","27x34cm",[83],{"id":11432,"slug":11433,"title":11434,"dynasty":18,"author":19,"museum":20,"description":11435,"tags":11436,"thumbUrl":11438,"material":3471,"size":11439,"collection":42,"collections":11440,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","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。",[23,281,24,25,74,494,27,7,36,518,481,123,194,33,193,11437],"诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[42],{"id":11442,"slug":11443,"title":11444,"dynasty":52,"author":621,"museum":120,"description":11445,"tags":11446,"thumbUrl":11447,"material":11448,"size":11449,"collection":42,"collections":11450,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":140},220796,"lin-ting-yuan-xiu-tu-zhou-ni-zan-220796","林亭远岫图轴","《东方画谱·元代山水篇：林亭远岫图》采用三段式构图法，观此图与倪瓒的《松亭山色图》、《容膝斋图》颇有相似处。近景有两株并排生长的高树，线条劲健，笔力十足，可见多用中锋较少侧笔，故显得结实挺拔。画山石使用大量折带皴，看似草草村擦，实则苍老劲健，笔法精湛，炉火纯青。所画江面平静无风，没有舟舸，整幅画亦不见人烟，而见孤亭独立，呈现出了恬静幽远的意境。",[23,24,7,28,717,32,164,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8750e9292710e5790e47df600dda4c.jpg","纸本，立轴","纵87.3厘米，横31.4厘米",[42,222],{"id":11452,"slug":11453,"title":11454,"dynasty":359,"author":1872,"museum":1873,"description":11455,"tags":11456,"thumbUrl":11457,"material":166,"size":166,"collection":166,"collections":11458,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},220519,"zhang-cai-qin-xiang-xu-bei-hong-220519","张采芹像","此作以淡墨白描写就，洗练雅致。画家精准捕捉主人公温文儒雅的神态，一袭长衫垂坠自然，背手而立的姿态舒展从容，将民国文人沉静端方的风骨尽显无遗。\n\n画面四周题跋疏密有致，墨迹与画像相得益彰，既是挚友间的交游印记，也让画面饱满和谐。作品摒弃繁复设色，以凝练线条勾勒形神，寥寥数笔便将人物气度入微呈现，文气与画韵交融，是兼具写实传神与文人意趣的写意肖像精品。",[23,24,25,547,7,193,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444958c704403f2e072309bafd507fb5.jpg",[],{"id":11460,"slug":11461,"title":11462,"dynasty":174,"author":633,"museum":120,"description":11463,"tags":11464,"thumbUrl":11466,"material":40,"size":11467,"collection":600,"collections":11468,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},219631,"feng-yu-du-qiao-tu-ren-yi-219631","风雨渡桥图","狂风卷着冷雨席卷而来，柳丝如乱发狂舞，将滂沱之势尽显。渡桥二人缩肩弓背，撑伞者竭力护着身旁同伴，浓淡墨色晕染出湿衣的沉坠褶皱，仓促步履间却带着相携的温情，将风雨里的窘迫暖意定格。\n\n石桥以枯笔泼墨绘就，苍劲厚重，和柔媚翻飞的柳丝形成刚柔反差。水面以淡墨晕开朦胧水雾，暗藏雨打涟漪的空濛，左下角水草斜偃，呼应着肆虐风势。画作以大写意笔墨铺陈天候之烈，又于人物眉眼间刻画入微，将外在风雨与内在人情相融，落笔酣畅洒脱，意韵悠长动人。",[23,24,95,7,27,123,193,29,162,5118,11465],"渡桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7f921eff5817be7c13f4bae6cb7363.jpg","155.5x43.5厘米",[600,64],{"id":11470,"slug":11471,"title":11472,"dynasty":18,"author":11473,"museum":92,"description":11474,"tags":11475,"thumbUrl":11476,"material":110,"size":11477,"collection":42,"collections":11478,"showCount":11362,"zanCount":5,"manualWeight":46,"mainColor":140},219401,"qiu-ting-shi-si-tu-lan-ying-219401","秋亭诗思图","蓝瑛","画中以简洁三笔交代的下泻溪流，以及避开树干歪斜的茅草亭盖等画法，皆显得自信而可爱，洵为佳作。",[24,25,95,7,27,28,32,147,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc6a620f5800d5eb1c75122ee4fa99c.jpg","169.3x51.8",[42],{"id":11480,"slug":11481,"title":11482,"dynasty":205,"author":11483,"museum":159,"description":11484,"tags":11485,"thumbUrl":11486,"material":110,"size":11487,"collection":42,"collections":11488,"showCount":11362,"zanCount":5,"manualWeight":46,"mainColor":140},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[24,7,494,36,123,28,624,34,164,33,1442,532,1524,211,8229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[42],{"id":11490,"slug":11491,"title":11492,"dynasty":52,"author":3508,"museum":159,"description":11493,"tags":11494,"thumbUrl":11495,"material":98,"size":11496,"collection":42,"collections":11497,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[23,24,25,95,7,36,28,147,210,282,2875,213,454,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[42],{"id":11499,"slug":11500,"title":11501,"dynasty":205,"author":1682,"museum":159,"description":11502,"tags":11503,"thumbUrl":11504,"material":457,"size":11505,"collection":83,"collections":11506,"showCount":11362,"zanCount":1084,"manualWeight":46,"mainColor":140},216905,"yuan-hou-tu-mu-xi-216905","猿猴图","猿猴图是宋朝画家牧溪的一幅名作。这幅画描绘了一群猿猴在森林中的生活。牧溪在这幅画中展现了猿猴的各种姿态和表情，并通过森林的树木、花草和鸟类来增强画面的生动感。这幅画被认为是牧溪最优秀的作品之一，其中巧妙地融合了传统中国画风和西方透视画法。",[24,281,7,453,5666,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f9647d72e31482e658c10b4cc0b24.jpg","88x33cm",[83],{"id":11508,"slug":11509,"title":11510,"dynasty":18,"author":91,"museum":92,"description":11511,"tags":11512,"thumbUrl":11513,"material":98,"size":11514,"collection":42,"collections":11515,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},215044,"shan-shui-ji-jing-wang-fu-215044","山水集景","王绂（1567-1630）是明朝时期的文学家，他的山水集景是一部著名的诗集。该诗集收录了王绂写的许多关于山水风景的诗歌，这些诗歌描写了自然风光、山川景色、湖泊和其他自然景观。王绂的诗歌以其精美的描写、优美的语言和深刻的思想而闻名，被认为是中国古典诗歌中的杰出作品。",[23,24,7,28,36,126,32,34,33,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd65f978a54b6280267aea6cc2cd8f.jpg","68.8x37cm",[42],{"id":11517,"slug":11518,"title":11519,"dynasty":174,"author":377,"museum":378,"description":379,"tags":11520,"thumbUrl":11521,"material":40,"size":384,"collection":166,"collections":11522,"showCount":11362,"zanCount":46,"manualWeight":46,"mainColor":47},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[23,281,24,25,74,7,27,28,180,33,164,211,36,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":11524,"slug":11525,"title":1567,"dynasty":174,"author":5748,"museum":450,"description":11526,"tags":11527,"thumbUrl":11528,"material":166,"size":166,"collection":42,"collections":11529,"showCount":11530,"zanCount":46,"manualWeight":46,"mainColor":47},239477,"shan-shui-zhou-kun-can-239477","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,7,36,95,28,29,30,33,34,211,193,148,4468,1524,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[42,222],77,{"id":11532,"slug":11533,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":11534,"thumbUrl":11535,"material":166,"size":166,"collection":166,"collections":11536,"showCount":11530,"zanCount":46,"manualWeight":46,"mainColor":47},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591",[281,24,25,74,7,36,28,194,29,30,31,32,33,210,34,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],{"id":11538,"slug":11539,"title":11540,"dynasty":18,"author":11541,"museum":450,"description":11542,"tags":11543,"thumbUrl":11544,"material":166,"size":166,"collection":83,"collections":11545,"showCount":11530,"zanCount":1084,"manualWeight":46,"mainColor":140},237497,"mo-he-yuan-yang-tu-zhou-li-yin-237497","墨荷鸳鸯图轴","李因","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。 [1]\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[24,25,95,7,75,128,4817,396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557524c45070d0779dcb0b92bcfbebf5.jpg",[83],{"id":11547,"slug":11548,"title":7442,"dynasty":18,"author":581,"museum":450,"description":11549,"tags":11550,"thumbUrl":11551,"material":314,"size":1061,"collection":42,"collections":11552,"showCount":11530,"zanCount":46,"manualWeight":46,"mainColor":47},234924,"dong-qi-chang-shan-shui-ce-yi-ming-234924","此作用笔松秀虚灵，以淡墨晕染开鸿蒙云气，将远山隐入烟岚，留白衬出无尽空茫。近岸苍松蟠曲，浅渚连山层层延展，平远之境悠悠铺陈。\n墨色清润淡雅，简淡皴擦间，漾开了水泽的空濛静穆。题印落于留白处，与山水相映成趣，书画印浑然相融。整幅画萧散简远，以极简笔墨勾勒出幽寂清远之境，尽显文人画平淡天真的意趣，观之便觉心随山水沉静，独得幽居之乐。",[24,25,74,7,28,335,162,454,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd808de803d791f66197ab19d95eb2ca7.jpg",[42],{"id":11554,"slug":11555,"title":11556,"dynasty":205,"author":1682,"museum":450,"description":11557,"tags":11558,"thumbUrl":11559,"material":166,"size":166,"collection":166,"collections":11560,"showCount":11530,"zanCount":46,"manualWeight":46,"mainColor":140},227717,"lian-yan-tu-mu-xi-227717","莲燕图","牧溪，宋末元初之画僧，无准禅师的弟子。四川人，生卒年不详。依径山无准师范出家，法名法常。于宋末理宗、度宗时（1225～1270），在杭州西湖长庆寺为杂役僧。性情英豪，嗜饮酒，醉则寝，觉则朗吟。擅长画佛像、人物、花果、鸟兽、山水、龙虎、猿鹤等，题材广泛。画风继承石恪、梁楷之减笔画，与中唐以来之逸格山水画，风格壮阔，自由放逸。其生平画迹与作品在国内之流传甚少，然日本极早即流传其画迹，且因其画风对日本艺坛产生强烈影响，故其画迹一直为名流所收藏，如观音猿鹤图、龙虎图、栗柿图、芙蓉图、老松八哥鸟图、潇湘八景图、柳燕图等，其中之观音猿鹤图三幅，相传系日僧圣一于宋理宗淳祐元年（1241），由中国带往日本者，目前被视为日本国宝。\n\n水墨皆禅，万法唯心，对牧溪而言，他也许从未定义自己是个画家，而首先是个僧人，是个禅师。他的画被归为禅画的范畴，禅画将生命的解脱视为最高存在意涵。画中幽远超然的留白，似乎天地之间，只剩你与他笔下的一只蜻蜓、一颗萝卜、一只小燕。生命原本就是这么简单。",[24,281,25,95,7,75,395,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67985521198db5b72190fbaa7002bfa.jpg",[],{"id":11562,"slug":11563,"title":7126,"dynasty":174,"author":657,"museum":450,"description":11564,"tags":11565,"thumbUrl":11567,"material":298,"size":4678,"collection":83,"collections":11568,"showCount":11530,"zanCount":46,"manualWeight":46,"mainColor":47},222708,"mei-hua-tu-zhou-jin-nong-222708","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,24,95,7,123,125,79,180,80,37,11566],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg",[83,64],{"id":11570,"slug":11571,"title":11572,"dynasty":205,"author":2688,"museum":770,"description":11573,"tags":11574,"thumbUrl":11575,"material":11576,"size":11577,"collection":220,"collections":11578,"showCount":11530,"zanCount":1084,"manualWeight":46,"mainColor":47},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,24,25,26,547,7,27,193,28,33,32,29,30,282,180,311,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[220,600,64],{"id":11580,"slug":11581,"title":11582,"dynasty":18,"author":1836,"museum":120,"description":11583,"tags":11584,"thumbUrl":11585,"material":964,"size":11586,"collection":42,"collections":11587,"showCount":11530,"zanCount":1084,"manualWeight":46,"mainColor":47},220906,"she-shan-you-jing-tu-zhou-dong-qi-chang-220906","佘山游境图轴","《董其昌佘山游境图轴》是明代画家董其昌所创作的一幅纸本纸本墨笔画。",[23,281,24,25,95,7,36,28,34,33,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68466d3a79e9cb3ca5526c09f52f5482.jpg","纵98.4厘米，横41厘米",[42,222],{"id":11589,"slug":11590,"title":11591,"dynasty":205,"author":581,"museum":92,"description":11592,"tags":11593,"thumbUrl":11597,"material":110,"size":11598,"collection":220,"collections":11599,"showCount":11530,"zanCount":46,"manualWeight":46,"mainColor":140},219200,"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[23,24,27,481,2446,75,1004,11594,11595,282,11596,7],"白鹭","汀渚","水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","25x25.5cm",[220,83],{"id":11601,"slug":11602,"title":11603,"dynasty":205,"author":607,"museum":92,"description":11604,"tags":11605,"thumbUrl":11607,"material":110,"size":11608,"collection":42,"collections":11609,"showCount":11530,"zanCount":1084,"manualWeight":46,"mainColor":47},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[23,281,24,25,95,7,27,28,717,34,831,11606,6780,180],"滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[42],{"id":11611,"slug":11612,"title":11613,"dynasty":205,"author":264,"museum":450,"description":11614,"tags":11615,"thumbUrl":11617,"material":298,"size":166,"collection":600,"collections":11618,"showCount":11530,"zanCount":46,"manualWeight":46,"mainColor":47},218076,"bai-miao-luo-han-tu-ce-1-li-gong-lin-218076","白描罗汉图册-1","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[23,24,25,74,547,7,3557,193,11616,3177,211],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c753992917e049858fa3fcec2e2773.jpg",[600],{"id":11620,"slug":11621,"title":11622,"dynasty":18,"author":796,"museum":20,"description":797,"tags":11623,"thumbUrl":11624,"material":98,"size":800,"collection":166,"collections":11625,"showCount":11530,"zanCount":46,"manualWeight":46,"mainColor":47},214622,"hua-hui-ce-19-chen-chun-214622","花卉册-19",[24,25,281,74,7,123,75,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b278267b998a115bffa6c856ead4911.jpg",[],{"id":11627,"slug":11628,"title":11629,"dynasty":18,"author":1836,"museum":92,"description":11630,"tags":11631,"thumbUrl":11632,"material":98,"size":166,"collection":42,"collections":11633,"showCount":11530,"zanCount":46,"manualWeight":46,"mainColor":47},214614,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[24,25,74,7,27,28,57,33,211,34,215,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[42],{"id":11635,"slug":11636,"title":11637,"dynasty":18,"author":19,"museum":450,"description":3683,"tags":11638,"thumbUrl":11640,"material":314,"size":1061,"collection":166,"collections":11641,"showCount":11642,"zanCount":1084,"manualWeight":46,"mainColor":47},288067,"chui-diao-tu-shen-zhou-288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，也是中国山水画史上代表性作品之一。",[23,281,24,25,26,7,28,30,31,729,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],{"id":11782,"slug":11783,"title":11784,"dynasty":205,"author":307,"museum":450,"description":11785,"tags":11786,"thumbUrl":11787,"material":314,"size":1061,"collection":166,"collections":11788,"showCount":11772,"zanCount":46,"manualWeight":46,"mainColor":461},287539,"xue-shan-lou-ge-tu-fan-kuan-287539","雪山楼阁图","此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。",[24,28,7,36,194,4347,30,34,33,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7164b3c1f63766c284a26f90276d03.jpg",[],{"id":11790,"slug":11791,"title":70,"dynasty":174,"author":11792,"museum":450,"description":11793,"tags":11794,"thumbUrl":11795,"material":166,"size":120,"collection":83,"collections":11796,"showCount":11772,"zanCount":1084,"manualWeight":46,"mainColor":47},236606,"hua-niao-ce-ma-yuan-yu-236606","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[24,25,74,27,7,75,77,3443,5892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e74d9e1c5842148c80d29f7995d049e.jpg",[83,64],{"id":11798,"slug":11799,"title":11800,"dynasty":52,"author":239,"museum":92,"description":11801,"tags":11802,"thumbUrl":11803,"material":61,"size":11804,"collection":166,"collections":11805,"showCount":11772,"zanCount":1084,"manualWeight":46,"mainColor":47},231340,"zhu-shi-tu-yuan-dai-ji-jin-zhi-yi-zhao-meng-fu-231340","竹石图－元代集锦之一","此幅赵孟頫《枯木竹石》画中书法的笔法，比之于其它常见的名件，本件在画石的“飞白法”，由于画石是都用中锋的圆笔，犹如“玉箸篆”的笔画，行笔安稳，并无强烈的快速感，显不出“飞白法”。这也兼见于画枯木条的笔法。画竹为新篁，出锋锐利如新硎发刃，从“结叶”的方法如“燕尾”、如“个”，及棘条圆体感，比之于其它备件，如同为台北故宫藏大德三年（1299己亥，为杨安甫作）的《疏林秀石》最为接近。本件《枯木竹石》款：“子昂为成之作”，书风与印记：“赵子昂印”，也是相同。真品应无疑义。因此，本件可定为1299年作。就元代论，画竹尚是注重生态，若比之于同时期的李衍（1244年-1320年），赵孟頫如“燕尾”、如“个”的竹叶结组，重视笔趣远高于自然生态。更由于纸张稍熟，吸墨性不强，对岩石的渲染加强了块面感与浑厚的端重。吴升《大观录》记此画：“竹则掩翠稍寒，柯则若虬蟠形古，气韵奕奕。”安仪周：“水墨作怪石平坡，细竹棘革，笔墨气韵兼美。”是对整体画作气息的描述。\n存世的赵孟頫“古木竹石”这一类题材尚多。横向发展的兰竹画，存世的几件作品，都是“中央为准”，两旁再布置。这一当门的大石，也正是“石如飞白”的标志。大有一石当关，昂扬于天地之间。这从前举台北故宫藏《疏林秀石》（《宋元集绘册》第四开）；《无款竹木》（《宋元集绘册》第十一开）；北京故宫藏《秀石疏林》；克利夫兰馆的《竹石幽兰》（为善夫），再加以本件《枯木竹石》均是如出一辙的布局。即使换成是轴装直件，以北京故宫藏《古林竹石》，中央立石最为标准。至若台北故宫《窠木竹石》；王己干旧藏《枯树竹石》，画中立石都可做如此观。这种同样的布局，一再出现，意味着什么呢？或许这是庭园、郊野一角的即景？\n就竹的题材，从赵孟頫的题款常写道“为口口作”，表示元代以来，画家常用之以为投赠。这因笔砚间，画竹画兰便利。对于“竹”的意识，赵孟頫在他的《松雪斋集》《修竹赋》：“虚其心实其节，贯四时而不改柯易叶。则吾以是观君子之德。”表意是相当传统。画竹配上的“石”，赵孟頫的诗文里，未见有所指示。再以虞集咏《子昂竹石》：“数尺琅开近玉阶，连昌宫苑少人来。庚庚苍石如人立，恐有题名上紫苔。”的“庚庚苍石如人立”，“庚庚”是坚强，也将石拟人化，还是与“观君子之德”相同了。",[24,25,7,36,126,706,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb050c2489317ffbfaa32479f5913e8.jpg","纵99．4厘米，横48．2厘米",[],{"id":11807,"slug":11808,"title":188,"dynasty":18,"author":11809,"museum":450,"description":11810,"tags":11811,"thumbUrl":11812,"material":166,"size":166,"collection":166,"collections":11813,"showCount":11772,"zanCount":436,"manualWeight":46,"mainColor":47},228912,"tao-hua-yuan-tu-qian-gu-228912","钱毂","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,24,25,26,7,27,36,481,28,193,131,30,31,729,282,29,32,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":11815,"slug":11816,"title":11817,"dynasty":174,"author":2913,"museum":190,"description":11818,"tags":11819,"thumbUrl":11820,"material":298,"size":11821,"collection":42,"collections":11822,"showCount":11772,"zanCount":46,"manualWeight":46,"mainColor":47},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,281,24,25,26,27,7,75,38,394,80,128,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[42,222],{"id":11824,"slug":11825,"title":11826,"dynasty":18,"author":1836,"museum":92,"description":11827,"tags":11828,"thumbUrl":11829,"material":1877,"size":11830,"collection":42,"collections":11831,"showCount":11772,"zanCount":46,"manualWeight":46,"mainColor":47},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,24,25,95,7,36,37,38,28,706,30,624,33,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[42,222],{"id":11833,"slug":11834,"title":11835,"dynasty":18,"author":1836,"museum":92,"description":11836,"tags":11837,"thumbUrl":11838,"material":298,"size":11839,"collection":42,"collections":11840,"showCount":11772,"zanCount":46,"manualWeight":46,"mainColor":47},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,95,7,36,37,80,28,7340,1777,33,35,34,58,211,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[42,222],{"id":11842,"slug":11843,"title":11844,"dynasty":18,"author":1836,"museum":92,"description":4273,"tags":11845,"thumbUrl":11846,"material":4276,"size":166,"collection":42,"collections":11847,"showCount":11772,"zanCount":46,"manualWeight":46,"mainColor":140},220935,"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图",[24,25,28,254,36,7,27,34,212,33,311,213,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg",[42,222],{"id":11849,"slug":11850,"title":11851,"dynasty":18,"author":11852,"museum":120,"description":11853,"tags":11854,"thumbUrl":11855,"material":110,"size":11856,"collection":42,"collections":11857,"showCount":11772,"zanCount":1084,"manualWeight":46,"mainColor":140},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[23,24,25,26,7,27,28,36,335,213,33,211,30,1524,7340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[42,64],{"id":11859,"slug":11860,"title":11861,"dynasty":174,"author":5748,"museum":378,"description":6646,"tags":11862,"thumbUrl":11863,"material":40,"size":6649,"collection":42,"collections":11864,"showCount":11772,"zanCount":46,"manualWeight":46,"mainColor":47},219758,"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬",[23,24,25,7,28,610,147,31,30,34,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg",[42],{"id":11866,"slug":11867,"title":645,"dynasty":174,"author":418,"museum":378,"description":11868,"tags":11869,"thumbUrl":11870,"material":40,"size":166,"collection":42,"collections":11871,"showCount":11772,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[23,24,25,7,123,36,28,717,34,163],"https:\u002F\u002Foss.chuangqi.st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，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[24,25,1462,7,36,126,706,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a1b06275fa3ac945a043c4ba8219d.jpg",[],{"id":12007,"slug":12008,"title":12009,"dynasty":18,"author":12010,"museum":120,"description":12011,"tags":12012,"thumbUrl":12013,"material":564,"size":166,"collection":166,"collections":12014,"showCount":11961,"zanCount":1084,"manualWeight":46,"mainColor":47},234199,"mei-hua-juan-lu-fu-234199","梅花卷","陆復","陆复，明代人，字明本，自号梅花主人，江苏吴江人。善画墨梅。",[23,24,25,281,26,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71088b2bdc23a064be93938e4fef182c.jpg",[],{"id":12016,"slug":12017,"title":7497,"dynasty":174,"author":418,"museum":120,"description":12018,"tags":12019,"thumbUrl":12027,"material":964,"size":12028,"collection":166,"collections":12029,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":47},233712,"yang-liu-yu-qin-tu-zhou-zhu-da-233712","此图是朱耷80岁所作。风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[24,7,95,123,7500,1071,180,75,12020,4468,12021,34,6486,1177,3585,6669,12022,12023,12024,12025,12026],"水墨写意","孤鸟","山石禽鸟","杨柳枝条","浴禽","水墨山石","写意禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323d4fc355eb966f9589caed04ec16f5.jpg","纵119厘米，横58.4厘米",[],{"id":12031,"slug":12032,"title":292,"dynasty":18,"author":12033,"museum":450,"description":12034,"tags":12035,"thumbUrl":12036,"material":166,"size":166,"collection":166,"collections":12037,"showCount":11961,"zanCount":1084,"manualWeight":46,"mainColor":47},228343,"mo-zhu-tu-wang-you-228343","王右","此作用笔老辣爽利，以浓墨挥写竹竿，劲挺舒展如君子立世；竹叶欹正交错，墨色干湿浓淡相映，错落间尽显偃仰生姿的清灵意态，留白空灵疏朗，衬出幽篁萧散之致。\n\n左侧行书题跋笔势跌宕奇逸，与竹的清刚风神相得益彰，诗书画印浑融一体，将竹的坚贞品格寄寓笔墨。整幅以意写形，脱去匠气，尽显文人写意画以物明志的幽远意趣，清逸苍劲，足见绘者不凡的笔墨功底与文人襟怀。",[23,24,26,7,126,37,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bce774dc22c38310f619a62d3623a.jpg",[],{"id":12039,"slug":12040,"title":12041,"dynasty":174,"author":12042,"museum":450,"description":12043,"tags":12044,"thumbUrl":12045,"material":298,"size":166,"collection":245,"collections":12046,"showCount":11961,"zanCount":1084,"manualWeight":46,"mainColor":2104},223267,"xin-jing-hong-yi-fa-shi-223267","心经","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,37,4956,3557,242,80,25,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27ec99b239906b44c4d50798a9bb840.jpg",[245],{"id":12048,"slug":12049,"title":12050,"dynasty":18,"author":796,"museum":1334,"description":2190,"tags":12051,"thumbUrl":12052,"material":196,"size":2194,"collection":166,"collections":12053,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":47},222570,"hua-hui-tu-9-chen-chun-222570","花卉图9",[23,281,24,25,123,7,27,75,76,367,180,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f0254a2eb9eb07ea7e50656f0f7475.jpg",[],{"id":12055,"slug":12056,"title":12057,"dynasty":18,"author":6468,"museum":120,"description":12058,"tags":12059,"thumbUrl":12061,"material":1221,"size":12062,"collection":83,"collections":12063,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":921},222444,"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[23,24,25,95,7,123,75,12060,126,706],"孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","纵155.3厘米，横78厘米",[83,222],{"id":12065,"slug":12066,"title":12067,"dynasty":205,"author":12068,"museum":5692,"description":12069,"tags":12070,"thumbUrl":12071,"material":612,"size":12072,"collection":220,"collections":12073,"showCount":11961,"zanCount":1084,"manualWeight":46,"mainColor":140},221680,"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,281,24,25,95,7,36,28,127,706,193,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[220,42,222],{"id":12075,"slug":12076,"title":12077,"dynasty":205,"author":2727,"museum":120,"description":12078,"tags":12079,"thumbUrl":12080,"material":12081,"size":12082,"collection":166,"collections":12083,"showCount":11961,"zanCount":1084,"manualWeight":46,"mainColor":47},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[23,24,26,7,36,25,37,38,80,28,212,211,33,381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":12085,"slug":12086,"title":6161,"dynasty":889,"author":9522,"museum":1346,"description":9523,"tags":12087,"thumbUrl":12089,"material":298,"size":9526,"collection":600,"collections":12090,"showCount":11961,"zanCount":1084,"manualWeight":46,"mainColor":47},221177,"er-zu-diao-xin-tu-shi-ke-221177",[23,281,24,7,193,3557,3914,12088],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231745a90758af093f0219512406582.jpg",[600,222],{"id":12092,"slug":12093,"title":12094,"dynasty":18,"author":1836,"museum":770,"description":12095,"tags":12096,"thumbUrl":12097,"material":12098,"size":12099,"collection":42,"collections":12100,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":47},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,25,26,7,38,36,335,454,33,35,59,215,164,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[42,222],{"id":12102,"slug":12103,"title":12104,"dynasty":52,"author":158,"museum":120,"description":12105,"tags":12106,"thumbUrl":12107,"material":298,"size":12108,"collection":42,"collections":12109,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":47},220823,"xi-jiao-cao-tang-tu-zhou-wang-meng-220823","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[24,7,27,36,28,147,193,31,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[42,222],{"id":12111,"slug":12112,"title":12113,"dynasty":52,"author":158,"museum":92,"description":12114,"tags":12115,"thumbUrl":12116,"material":298,"size":12117,"collection":42,"collections":12118,"showCount":11961,"zanCount":1084,"manualWeight":46,"mainColor":140},220814,"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,281,28,7,95,36,335,350,33,210,324,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[42,222],{"id":12120,"slug":12121,"title":12122,"dynasty":205,"author":12123,"museum":3640,"description":12124,"tags":12125,"thumbUrl":12126,"material":110,"size":12127,"collection":220,"collections":12128,"showCount":11961,"zanCount":1084,"manualWeight":46,"mainColor":47},219885,"ku-mu-xi-qin-tu-xu-dao-ning-219885","枯木溪禽图","许道宁","许道宁，北宋画家，生卒年不详，活跃于北宋初到北宋中期，长安（今陕西西安）人，又作河间 (今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[24,7,27,28,717,1071,180,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[220,83],{"id":12130,"slug":12131,"title":12132,"dynasty":18,"author":19,"museum":92,"description":12133,"tags":12134,"thumbUrl":12135,"material":98,"size":12136,"collection":222,"collections":12137,"showCount":11961,"zanCount":1084,"manualWeight":46,"mainColor":47},219524,"guo-suo-tu-shen-zhou-219524","郭索图","该图是幅淡墨写意作品。“酒醉菊黄蟹正肥”，是雅俗共赏的著名的诗句。南方江浙一带的画家与市民每逢秋季无不饮酒食蟹。画家作此画的画意亦在于此。画幅的中间部位画清水大阐蟹一只，坚实如锯齿般的双螯，如钳子似的夹住稻穗，蟹壳尖楞突出，如一把把锐利尖刀，爬沙横行于水草之间。蟹爪过处，如闻郭索之声，故以此名命。此当为江南水乡深秋时节，这是稻谷、大豆已成熟，临近收割，这正是螃蟹最肥壮的时期“过雨黄花千蕊发，经霜紫蟹两螯肥”。正是“持螯赏菊”的良宵佳时。技法上，体黑，先用淡墨画蟹壳、蟹脚，勾勒而成，用焦墨画爪尖和蟹壳回凸，然后用浓墨渲染双蟹螯，形成体白，黑白相间，极有韵趣。其背景稻穗一根，用笔随意，草草点染，似不经意一挥而成。此画可谓为大画家沈周戏墨之作，随物赋形，但却形神兼备，可见他写生的功力之深厚。画幅上端有作者自题款:“郭郭索索，还用草缚。不敢横行，沙水夜落。沈周。”钤“石田”白文印。此图经清内府收藏。画幅右上端有乾隆题赞",[281,24,7,123,25,80,2021,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3862c7b20f88c912c2f1841c8d16126c.jpg","纵49.4 厘米，横31厘米",[222],{"id":12139,"slug":12140,"title":12141,"dynasty":52,"author":9806,"museum":294,"description":12142,"tags":12143,"thumbUrl":12144,"material":457,"size":12145,"collection":42,"collections":12146,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":140},218718,"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[23,24,25,518,547,7,194,28,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[42,222],{"id":12148,"slug":12149,"title":12150,"dynasty":174,"author":9682,"museum":120,"description":12151,"tags":12152,"thumbUrl":12153,"material":40,"size":12154,"collection":42,"collections":12155,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":47},218467,"ming-shan-fang-sheng-tu-cha-shi-biao-218467","名山访胜图","层峦叠嶂间，小径蜿蜒探入深林，溪流穿石而过，泠泠水声漫过石桥。苍松翠竹错落，墨色浓淡相宜——淡染的远山隐在云气中，含烟带雾；近坡的茅屋隐约，似有隐士栖居，添几分幽寂。笔触疏朗灵动，皴擦见山石肌理，水墨晕染出空濛之境，尽显山林清旷之趣。整幅画如淡远的诗，将寻访名山的雅致与自然静谧融于尺幅，引人入胜，心向往之。",[23,24,7,36,28,32,29,30,33,311,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768529aa0c136cf7b2f2fb8485abd65f.jpg","150×58cm",[42],{"id":12157,"slug":12158,"title":12159,"dynasty":18,"author":12160,"museum":8128,"description":12161,"tags":12162,"thumbUrl":12163,"material":27,"size":166,"collection":600,"collections":12164,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":47},216774,"ri-ben-xian-ren-gao-shi-tu-ping-feng-you-shou-ye-yong-de-216774","日本· 仙人高士图屏风（右）","狩野永德","虬松盘曲，枝叶垂荫，林间高士或立或行，衣袂轻扬。一人俯身似拾幽趣，几人对语如论玄言，神态闲适淡然，尽得超脱尘俗之致。背景山水晕染朦胧，草木疏朗，与人物清逸之姿相映成趣。笔墨简练传神，衣纹流转自然，树木皴法古雅，将林泉之幽、高士之韵融于尺幅，营造出空灵悠远的意境，尽显文人画的雅致情怀。",[23,5385,7,547,27,193,33,34,7389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2dc8a5fc99d7b36be27e50fc56ec0a.jpg",[600],{"id":12166,"slug":12167,"title":12168,"dynasty":174,"author":739,"museum":92,"description":2646,"tags":12169,"thumbUrl":12170,"material":40,"size":166,"collection":166,"collections":12171,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":47},214838,"xie-sheng-ce-22-hua-yan-214838","写生册-22",[174,24,25,74,7,547,123,193,5666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ac13a3bc2bde43bcc3d0fb90535d38.jpg",[],{"id":12173,"slug":12174,"title":12175,"dynasty":52,"author":239,"museum":92,"description":12176,"tags":12177,"thumbUrl":12178,"material":457,"size":12179,"collection":245,"collections":12180,"showCount":11961,"zanCount":46,"manualWeight":46,"mainColor":140},214387,"zhou-jin-tang-ji-zhao-meng-fu-214387","昼锦堂记","这幅画以欧阳修的《相州昼锦堂记》为蓝本，形式内敛，笔墨苍劲，充满力量和动感，深受李北海的影响。这是他去世前两年制作的，当时他67岁。",[24,25,37,38,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf3612f1e652db68fe741e63032b48c.jpg","159.3x54",[245],{"id":12182,"slug":12183,"title":4002,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":12184,"thumbUrl":12185,"material":314,"size":1061,"collection":166,"collections":12186,"showCount":12187,"zanCount":46,"manualWeight":46,"mainColor":47},287691,"yu-shi-tu-juan-zhu-da-287691",[23,281,24,26,7,1114,180,37,80,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144488368fb9fbbcc03e2eb8bd3da56.jpg",[],73,{"id":12189,"slug":12190,"title":1638,"dynasty":174,"author":1639,"museum":450,"description":12191,"tags":12192,"thumbUrl":12193,"material":166,"size":166,"collection":166,"collections":12194,"showCount":12187,"zanCount":46,"manualWeight":46,"mainColor":47},235012,"pi-pa-tu-xu-gu-235012","有“晚清画苑第一家”之誉的虚谷，曾与吴昌硕、任伯年并称为“海派画坛三杰”。 虚谷一生萍踪浪迹，精通佛禅兼知老庄，在艺术创造上敢于破格创新，是位不同流俗的一代奇才。\n虚谷的画，轻快利索、明净空灵，将清冷飘逸的超脱精神与强烈的生命活力交织在一起，有着水彩画般的透明感。无论是色彩创意、造型语言、构成图式还是笔墨个性，虚谷都突破了传统规范，每一幅作品都会给人耳目一新和精神为之一振的感觉，在晚清画坛可谓独树一帜，吴昌硕盛赞他为“一拳打破去来今”。\n虚谷是位全才型的画家，花鸟、人物、山水皆精，而平凡的蔬菜瓜果一经他的生花妙笔，立刻化为秀雅鲜活的动人形象。由此可见，虚谷是在用蘸满感情的笔墨，抒发着自己热爱自然、憧憬人间美景的情志。作于1896年的《枇杷图》（如图），便是他的一幅笔墨精绝的传世名作。\n绘制这幅画时，虚谷已经是73岁的高龄，然而画面如此精气逼人，真仿佛如有神助。画中一丛长势壮盛的枇杷枝干直挺，一派峥嵘之气。构图顶天立地，布满全幅，用逆笔和枯笔粗细有致地画出了鲜明的节奏感。下方足足四分之一的画面以虚而淡的笔法和色调，衬托出上部鲜艳的果实无比鲜嫩可人、水灵欲滴，使观者的目光情不自禁地上移，也使枇杷树在无形之中有了蓬勃向上的生姿，顿生明媚而祥瑞的意境。\n虚谷在画中的行笔是十分快捷的，在信手挥洒中以精练的笔墨一气呵成，却并无急躁之感。他以含水量很大的湿笔从上到下舞动，而湿笔中又时不时地露出飞白，使人感到沐浴在阳光和雨露中的枇杷树是如此的滋润明洁。从最浓的树叶到最淡的树叶，竟然找不到两片完全相同的，也找不到两个完全相同的果实，真是按部就班、主次分明。虚谷在造型中参用了西洋油画的方法，以虚为主，虚实相生，虽然随手点染却又在漫不经意中显得统一而连贯，使整个画面宁静、安逸、祥和又明亮，反映出画家超凡的自信、深厚的修养和随心所欲的自由境界。\n名画家陈小蝶在《近代六十名画家传》评价道：“虚谷和尚用笔如风雨骤至，灵气透出纸背，无一笔滞相。”虚谷一生寄情于书画，安享着“一树梅花天地春”的恬适，这幅画中就透露出了画家看空名利、追求身心和悦的心境，令人悠然神往。",[24,25,75,27,7,80,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869b939dcfafda528edfa62e15da9aa6.jpg",[],{"id":12196,"slug":12197,"title":12198,"dynasty":174,"author":5599,"museum":120,"description":12199,"tags":12200,"thumbUrl":12201,"material":564,"size":12202,"collection":83,"collections":12203,"showCount":12187,"zanCount":1084,"manualWeight":46,"mainColor":47},233442,"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,7,27,74,193,28,31,30,147,2875,1035,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纵24.2厘米，横30.7厘米",[83,42,64],{"id":12205,"slug":12206,"title":12207,"dynasty":174,"author":2605,"museum":20,"description":12208,"tags":12209,"thumbUrl":12211,"material":298,"size":12212,"collection":166,"collections":12213,"showCount":12187,"zanCount":1084,"manualWeight":46,"mainColor":47},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[24,25,28,547,7,36,57,12210,717,34,268,80],"壑谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纵110.6厘米，横58.9厘米",[],{"id":12215,"slug":12216,"title":12217,"dynasty":174,"author":2605,"museum":450,"description":12218,"tags":12219,"thumbUrl":12220,"material":166,"size":166,"collection":166,"collections":12221,"showCount":12187,"zanCount":1084,"manualWeight":46,"mainColor":47},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,281,24,25,95,7,36,28,717,213,210,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],{"id":12223,"slug":12224,"title":12225,"dynasty":205,"author":278,"museum":450,"description":12226,"tags":12227,"thumbUrl":12228,"material":166,"size":166,"collection":166,"collections":12229,"showCount":12187,"zanCount":46,"manualWeight":46,"mainColor":140},227765,"mu-se-yu-cun-tu-ye-xia-gui-227765","暮色渔村图页","宋代绘画是中国绘画艺术发展的高峰。南宋退至杭州以后，宗室子弟也随之退至杭州，宗室子弟多具艺术兴趣、禀赋、修养。南宋虽偏安江南，但在绘画上却依然取得了瞩目的成就。宫廷绘画仍是当时绘画发展的主流，江南的自然和人文环境，使南宋绘画别具自己的特色。山水画从北宋全景式的大山大水及松石，变成了用笔简括、章法谨严、高度剪裁的边角特写。人物画着重挖掘人物的精神状貌及动人的情节，注重塑造性格鲜明的艺术形象。花鸟画努力进行形象提炼，有着高度的写实能力。而千姿百态的西湖画更显示了南宋画的特色。此时的文人士夫画在主观的表达和笔墨效果的探索上亦有较大的贡献。夏圭、马远、李唐和刘鹤年并称南宋四大画家。这里介绍四大画家之一夏圭绘画赏析，他的主要作品有《溪山清远图》《临流赋琴图》《雪堂客话图》《烟岫林居图》《西湖柳艇图》《洞庭秋月图》《梧竹溪堂图》《山水十二景图》《雪溪放牧图页》《风雨行舟图》《山腰楼观图页》《泽畔疾风图》《钱塘秋潮图》《松溪泛月图》《寒林对雪图》《山市晴岚图》《松崖客话图》《遥岑烟霭图》《灞桥风雪图》《观瀑图》《坐看云起图》《长江万里图》《捕鱼图团扇》等。",[24,7,36,74,28,282,31,147,2925,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fd431501dd6f7cc9573e2445db7b27.jpg",[],{"id":12231,"slug":12232,"title":5731,"dynasty":18,"author":12233,"museum":450,"description":12234,"tags":12235,"thumbUrl":12236,"material":564,"size":12237,"collection":42,"collections":12238,"showCount":12187,"zanCount":436,"manualWeight":46,"mainColor":47},222050,"xue-jing-tu-zhang-peng-222050","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[23,24,7,36,28,95,993,34,717,31,468,194,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[42,222],{"id":12240,"slug":12241,"title":645,"dynasty":205,"author":278,"museum":92,"description":12242,"tags":12243,"thumbUrl":12244,"material":27,"size":12245,"collection":42,"collections":12246,"showCount":12187,"zanCount":46,"manualWeight":46,"mainColor":140},221226,"shan-shui-tu-xia-gui-221226","夏圭 (公元12世纪末-13世纪初) 亦称夏珪,字禹玉,钱塘(今浙江杭州)人,生卒不详,宁宗赵扩 (1195-1224)朝时画院待诏,赐金带。以擅绘山水而与同代的李唐、刘松年、马远一起被并称为“南宋四家”。在四家之中,夏圭以善于剪裁与美化自然景物的“边角景”构图,与同僚马远齐名,号称“马夏”。《山水家法》论他“气韵尤高,宜为一代名士”;《图绘宝鉴》评他:“院人中画山水,自李唐以下无出其右者也”,以此可见其在画史之中的地位。夏圭在画史之中的地位虽然显赫,但存留作品不多,且历来学术界对他的作品存在很大争议,直至目前尚很少有作品被一致公认是他的真迹。",[23,281,24,25,28,7,36,31,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[42,222],{"id":12248,"slug":12249,"title":12250,"dynasty":18,"author":10524,"museum":159,"description":12251,"tags":12252,"thumbUrl":12253,"material":110,"size":12254,"collection":42,"collections":12255,"showCount":12187,"zanCount":46,"manualWeight":46,"mainColor":140},220068,"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[24,7,36,95,28,832,1385,34,210,193,312,31,33,311,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[42],{"id":12257,"slug":12258,"title":12259,"dynasty":18,"author":10524,"museum":294,"description":12260,"tags":12261,"thumbUrl":12262,"material":110,"size":12263,"collection":42,"collections":12264,"showCount":12187,"zanCount":5,"manualWeight":46,"mainColor":140},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[24,25,281,95,7,27,36,28,624,30,210,193,34,33,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[42],{"id":12266,"slug":12267,"title":12268,"dynasty":205,"author":3062,"museum":120,"description":12269,"tags":12270,"thumbUrl":12271,"material":98,"size":12272,"collection":600,"collections":12273,"showCount":12187,"zanCount":1084,"manualWeight":46,"mainColor":47},219698,"you-jun-shu-shan-tu-liang-kai-219698","右军书扇图","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元初赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,24,7,26,1176,193,162,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f0b5917d813d0d1d8a70b22a64c5bf.jpg","纵27.9厘米，横66.2厘米",[600,245],{"id":12275,"slug":12276,"title":12277,"dynasty":205,"author":264,"museum":159,"description":12278,"tags":12279,"thumbUrl":12280,"material":98,"size":12281,"collection":83,"collections":12282,"showCount":12187,"zanCount":46,"manualWeight":46,"mainColor":921},218998,"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[281,24,25,95,547,7,312,193,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[83],{"id":12284,"slug":12285,"title":12286,"dynasty":18,"author":6468,"museum":159,"description":12287,"tags":12288,"thumbUrl":12291,"material":110,"size":12292,"collection":83,"collections":12293,"showCount":12187,"zanCount":46,"manualWeight":46,"mainColor":461},218962,"xue-jing-shui-qin-tu-lin-liang-218962","雪景水禽图","寒林雪意笼于纸面，枯枝以枯笔焦墨写出，如铁骨横斜，墨色浓淡交织间见苍劲之态。几只水禽错落分布：枝头者羽翼覆雪，绒毛细腻处见工致；石上者昂首远眺，身姿灵动似欲振翅。留白隐作积雪，清寂中藏生机。笔墨兼工带写，禽鸟形神毕肖，背景枯枝竹丛则写意挥洒，墨韵淋漓。寒冬萧瑟却未失活力，于荒寒中见生命意趣，尽显对自然的细致观察与笔墨掌控力，是冬日花鸟题材中的妙品。",[24,4152,7,6482,993,832,4468,12289,180,5296,1463,12290],"水禽","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a378a33ce7744cfbe4f86a39a9d8d6.jpg","142.5x55.5cm",[83],{"id":12295,"slug":12296,"title":12297,"dynasty":205,"author":607,"museum":450,"description":5294,"tags":12298,"thumbUrl":12299,"material":314,"size":1061,"collection":166,"collections":12300,"showCount":12301,"zanCount":46,"manualWeight":46,"mainColor":140},289358,"xue-jing-tu-han-xi-mei-xiang-ma-yuan-289358","雪景图（寒溪梅香）",[281,24,7,28,993,32,31,717,34,30,36,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd288b946405b599d6d3edc3dfbf95485.jpg",[],72,{"id":12303,"slug":12304,"title":12305,"dynasty":205,"author":278,"museum":450,"description":12306,"tags":12307,"thumbUrl":12308,"material":314,"size":1061,"collection":166,"collections":12309,"showCount":12301,"zanCount":1084,"manualWeight":46,"mainColor":140},288245,"yan-xiu-lin-ju-tu-xia-gui-288245","烟岫林居图","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。",[23,24,1462,7,28,212,624,211,29,3685,674,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29dd1c63e1b60626ee479c62c6069bd4.jpg",[],{"id":12311,"slug":12312,"title":12313,"dynasty":174,"author":2605,"museum":120,"description":12314,"tags":12315,"thumbUrl":12316,"material":612,"size":12317,"collection":83,"collections":12318,"showCount":12301,"zanCount":5,"manualWeight":46,"mainColor":47},236353,"hong-ren-jie-shou-tu-zhou-hong-ren-236353","弘仁节寿图轴","弘仁的《节寿图轴》山水画，是一幅画在绢上的比较早的作品。画家51岁的时候画的，风格面貌已经成熟，松树干上有皴擦，石头做了渲染，画得很生动。特别是水，画得有一层一层流动的感觉。当代的一些山水画，常常画山就有水，但是不能明确“水”在画面中所起到的作用。所以水容易画得很概念，留空白就代表水，如果瀑布就从源头一直画到下端，好像瀑布很短、很矮，一眼能够全部看到，这都是不妥当的。其实对于自然山水中的溪流、瀑布来说，一般只能看到一个部分，其他会被山石、树木等遮挡，不可能全部看到。弘仁的这幅作品中，对于水流的处理是一个很好的参考。画中的瀑布溪流，平面过来一层，又有一个平面，又是一层，流过来再有一个下降的过程，就有了节奏和变化，而且符合大自然的规律。要画好水，就要去观察研究水的实际动态，研究古人画的水，研究自然中的水。",[174,7,28,95,36,127,126,34,215,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70ff3779eca9bcdcd2e3e605f6901b2.jpg","102.2×51.5cm",[83,64],{"id":12320,"slug":12321,"title":12322,"dynasty":18,"author":12323,"museum":120,"description":12324,"tags":12325,"thumbUrl":12326,"material":5752,"size":12327,"collection":42,"collections":12328,"showCount":12301,"zanCount":1084,"manualWeight":46,"mainColor":47},236306,"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","孙枝","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[24,7,36,95,28,29,30,193,32,33,34,210,282,5420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纵121.3cm，横31.5cm",[42,222],{"id":12330,"slug":12331,"title":5438,"dynasty":174,"author":418,"museum":450,"description":12332,"tags":12333,"thumbUrl":12334,"material":537,"size":166,"collection":166,"collections":12335,"showCount":12301,"zanCount":46,"manualWeight":46,"mainColor":47},234129,"hua-hui-tu-juan-zhu-da-234129","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。\n朱耷的绘画以水墨为多，用笔恣意纵横，浑厚酣畅，花鸟画成就突出。他在学习陈淳、徐渭等前代写意大家的同时，在绘画实践中逐渐突出用笔奇峭，构图险怪，造型夸张的特点，形成了强烈的个人风格，对后世的写意花鸟画发展产生了深远的影响。在他的花鸟画作品中，现收藏于天津博物馆的《河上花图》可谓精品中的精品。",[23,24,7,26,123,126,133,706,363,1593,2875,9818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488c99931bac41583c1af07fdb126a07.jpg",[],{"id":12337,"slug":12338,"title":12339,"dynasty":205,"author":278,"museum":92,"description":12340,"tags":12341,"thumbUrl":12342,"material":61,"size":12343,"collection":166,"collections":12344,"showCount":12301,"zanCount":46,"manualWeight":46,"mainColor":140},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,25,26,7,36,28,194,33,31,30,34,32,282,5431,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":12346,"slug":12347,"title":580,"dynasty":174,"author":819,"museum":450,"description":12348,"tags":12349,"thumbUrl":12350,"material":166,"size":166,"collection":166,"collections":12351,"showCount":12301,"zanCount":46,"manualWeight":46,"mainColor":47},230887,"zhu-shi-tu-zheng-ban-qiao-230887","瘦石嶙峋，以枯淡笔墨勾勒皴擦，孤挺而立，自带清刚硬骨。丛竹依石滋长，老竿挺劲苍润，新篁秀拔轻盈。竹叶以浓墨挥扫，疏密错落，俯仰生姿，笔下竹影似有清风吹过，摇曳有声。\n题画小诗与笔墨相映成趣，诗书印融为一体，将竹石经风历雪不改其节的品格，暗合自身刚直襟怀。以物言志，寥寥笔墨间形神兼备，把君子风骨寄寓尺幅之中，尽显文人写意画的意趣风神。",[24,7,123,95,126,180,37,38,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeeec0ce1c915aea89507bc1e9c4f47c.jpg",[],{"id":12353,"slug":12354,"title":12355,"dynasty":18,"author":1788,"museum":450,"description":12356,"tags":12357,"thumbUrl":12358,"material":166,"size":166,"collection":166,"collections":12359,"showCount":12301,"zanCount":1084,"manualWeight":46,"mainColor":47},228872,"lan-zhu-tu-juan-wen-zheng-ming-228872","兰竹图卷","此卷以水墨写就兰竹，通幅铺陈疏密有致。墨竹或劲挺纵逸，或垂叶萧萧，以浓淡墨色区分前后层次，尽显风过篁林的灵动之态。兰草随势穿插于竹石间，笔致柔婉舒展，暗香幽然自生。\n\n卷尾行书题跋笔意秀雅流畅，与画境相得益彰，书画合璧尽显文人雅致。全作用笔清劲秀逸，以极简水墨托出兰竹君子清介之姿，将画者冲淡平和的襟怀寄于毫端，萧散清逸的幽致扑面而来，尽显文人写意的风雅意趣。",[23,281,24,25,26,7,37,133,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d42f07b1f36ad1f0ed4b8c48e3d8b.jpg",[],{"id":12361,"slug":12362,"title":12363,"dynasty":205,"author":842,"museum":450,"description":12364,"tags":12365,"thumbUrl":12369,"material":166,"size":166,"collection":166,"collections":12370,"showCount":12301,"zanCount":46,"manualWeight":46,"mainColor":140},227546,"song-quan-pan-shi-tu-li-cheng-227546","松泉磐石图","《宋人松泉磐石轴》是宋代画家李成的画作，中国古画，访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[24,5570,494,95,7,624,809,6882,832,30,12366,12367,12368],"清涧","浪花","漩涡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3403b986d1807ecdd059fbd28f5b4be6.jpg",[],{"id":12372,"slug":12373,"title":12374,"dynasty":889,"author":1266,"museum":450,"description":12375,"tags":12376,"thumbUrl":12377,"material":166,"size":166,"collection":166,"collections":12378,"showCount":12301,"zanCount":46,"manualWeight":46,"mainColor":140},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,281,24,25,95,7,27,36,893,28,335,350,211,213,624,33,215,148,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":12380,"slug":12381,"title":12382,"dynasty":18,"author":2851,"museum":770,"description":12383,"tags":12384,"thumbUrl":12386,"material":196,"size":12387,"collection":42,"collections":12388,"showCount":12301,"zanCount":5,"manualWeight":46,"mainColor":47},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,281,24,25,95,7,27,36,28,193,12385,96,34,33,211,29],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[42,222],{"id":12390,"slug":12391,"title":12392,"dynasty":205,"author":4183,"museum":120,"description":12393,"tags":12394,"thumbUrl":12395,"material":3471,"size":12396,"collection":166,"collections":12397,"showCount":12301,"zanCount":5,"manualWeight":46,"mainColor":47},221510,"lu-tong-peng-cha-tu-juan-liu-song-nian-221510","卢仝烹茶图卷","此画画山石瘦削，有松槐生石罅，下覆茅屋。卢仝拥书坐，赤脚。婢治茶具，长须奴肩壶汲泉。款落刘松年，蝇头小楷，署在松节。后幅有唐寅跋：“右玉川子烹茶图，乃宋刘松年作。玉川子豪宕放逸，傲睨一世，甘心数间之破屋，而独变怪鬼神于诗。观其《茶歌》一章，其平生宿抱忧世超物之志，洞然于几语之间，读之者可想见其人矣。松年复绘为图，其亦景行高风，而将以自企也。夫玉川子之向，洛阳人不知也，独昌黎知之。去昌黎数百年，知之者复寒矣。而松年温之，亦不可不为之遭也。予观是图于石湖卢臬副第，喜其败炉故鼎、添火候鸣之状宛然在目，非松年其能握笔乎书此以俟具法眼者。唐寅。”",[23,24,25,26,7,481,193,33,35,624,96,1104,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a801a8050e41c693fef9c47af61fc7.jpg","24.1x44.7",[],{"id":12399,"slug":12400,"title":12401,"dynasty":205,"author":5541,"museum":92,"description":5542,"tags":12402,"thumbUrl":12403,"material":2001,"size":5545,"collection":220,"collections":12404,"showCount":12301,"zanCount":1084,"manualWeight":46,"mainColor":47},221465,"si-mei-tu-juan-quan-juan-yang-wu-jiu-221465","四梅图卷全卷",[23,281,24,25,26,7,547,125,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21caf8fd4f408a77f793104e6fbc872.jpg",[220,83,64],{"id":12406,"slug":12407,"title":12408,"dynasty":205,"author":12409,"museum":450,"description":12410,"tags":12411,"thumbUrl":12412,"material":1735,"size":12413,"collection":220,"collections":12414,"showCount":12301,"zanCount":46,"manualWeight":46,"mainColor":140},221224,"yan-jiang-yu-yu-tu-ye-pu-an-221224","烟江欲雨图页","朴庵","整幅画笔墨奔放，气势磅礴，水墨迈阿密的效果淋漓尽致。是南宋马夏一派",[23,281,24,25,74,7,36,28,33,9070,164,6082,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da05bc26f2c363a81a72b51990a6dbb.jpg","纵24.9厘米、横26.3厘米",[220,42,222],{"id":12416,"slug":12417,"title":12418,"dynasty":359,"author":1872,"museum":1873,"description":12419,"tags":12420,"thumbUrl":12421,"material":166,"size":166,"collection":166,"collections":12422,"showCount":12301,"zanCount":46,"manualWeight":46,"mainColor":47},220565,"li-ma-xu-bei-hong-220565","立马","以浓淡变幻的墨色勾勒晕染，将骏马劲健的肌肉线条与昂扬姿态尽铺纸上。昂首嘶鸣的骏马鬃尾肆意飞扬，筋骨勃发，满是雄悍剽悍的野性力量。浅笔淡墨铺就秋野荒草，愈发衬出骏马的卓然不群。左侧题字与画面浑然相融，晕开文人写意的雅致意趣。画作揉合中西技法，以写意笔墨定格骏马喷薄的生命力，将骐骥傲骨诉诸笔端，既是对骏马风采的极致描摹，更寄寓着奔腾不息的精神气魄，寥寥笔墨间尽显神骏意气。",[23,24,25,7,95,312,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380920094f10abaf30aff10c3f89ebed.jpg",[],{"id":12424,"slug":12425,"title":376,"dynasty":174,"author":12426,"museum":20,"description":12427,"tags":12428,"thumbUrl":12429,"material":110,"size":12430,"collection":42,"collections":12431,"showCount":12301,"zanCount":1084,"manualWeight":46,"mainColor":47},219846,"shan-shui-tu-ce-xie-sun-219846","谢荪","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,25,74,27,7,36,28,35,33,34,30,1926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79324e826001e1ae611d0f3618e1a31f.jpg","14.2x19.2",[42],{"id":12433,"slug":12434,"title":12435,"dynasty":52,"author":1424,"museum":92,"description":12436,"tags":12437,"thumbUrl":12438,"material":61,"size":166,"collection":83,"collections":12439,"showCount":12301,"zanCount":46,"manualWeight":46,"mainColor":47},219639,"zhu-zhi-tu-li-kan-219639","竹枝图","此幅小品取“出墙”之境，一枝竹斜逸于圆幅之中。淡绢为底，虚实相生，留白衬出竹之疏朗意韵。墨色层次分明，竹叶以中锋运笔，正反向背各具姿态，笔力劲挺清刚，尽显君子拔俗之姿，枝桠转折苍劲利落，暗摹风动之态。\n\n题字“出墙”点出意境，带着些许野趣俏皮，打破幽寂，让尺幅间生出鲜活生机。整幅简淡清逸，以极简笔墨写尽竹之风神，将文人寄情于物的意趣藏于毫端，淡墨疏枝之间，清高雅韵悠长。",[23,24,25,7,126,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ceb9ff1310f445e5e46a19e09ff932.jpg",[83],{"id":12441,"slug":12442,"title":12443,"dynasty":205,"author":1162,"museum":544,"description":12444,"tags":12445,"thumbUrl":12446,"material":298,"size":12447,"collection":83,"collections":12448,"showCount":12301,"zanCount":1084,"manualWeight":46,"mainColor":47},219542,"shui-xian-tu-zhao-meng-jian-219542","水仙图","全幅绘水仙，其上的留白空间将整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，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[281,24,25,95,7,717,126,180,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],{"id":12665,"slug":12666,"title":12667,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":12668,"thumbUrl":12669,"material":314,"size":1061,"collection":166,"collections":12670,"showCount":12655,"zanCount":5,"manualWeight":46,"mainColor":2104},288286,"zi-shou-tu-wu-chang-shuo-288286","紫绶图",[23,24,95,27,7,75,3880,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817e309dc8834874824452e90adb0bb1.jpg",[],{"id":12672,"slug":12673,"title":12674,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":12675,"thumbUrl":12676,"material":314,"size":1061,"collection":166,"collections":12677,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":47},287696,"bai-lu-xiao-niao-tu-li-zhou-zhu-da-287696","白鹭小鸟图立轴",[24,281,25,95,7,75,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fbd45d978190e5929c928f8a6bc919.jpg",[],{"id":12679,"slug":12680,"title":12681,"dynasty":174,"author":1100,"museum":120,"description":12682,"tags":12683,"thumbUrl":12684,"material":564,"size":12685,"collection":166,"collections":12686,"showCount":12655,"zanCount":5,"manualWeight":46,"mainColor":47},233733,"yu-lan-tu-zhou-wu-chang-shuo-233733","玉兰图轴","图绘玉兰花依石而开的景致。白描的玉兰与墨染的山石形成强烈的黑白对比，相互依托，虚实相生。兰、石以金石篆籀的笔法入画，浑厚老辣的笔墨融入简率疏野的写意花鸟画格之中，营造出“豪放而馨香”的绮丽效果，与图中苍劲有力的书法相映生辉。此幅当属诗书画有机结合的佳作。",[24,25,95,7,123,75,929,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5741ce1b277c358cd2642fad04d5f795.jpg","纵174.8厘米，横47.5厘米",[],{"id":12688,"slug":12689,"title":12690,"dynasty":18,"author":796,"museum":450,"description":12691,"tags":12692,"thumbUrl":12693,"material":166,"size":166,"collection":166,"collections":12694,"showCount":12655,"zanCount":1084,"manualWeight":46,"mainColor":47},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[281,24,25,95,123,7,27,75,128,3711,398,397,6001,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],{"id":12696,"slug":12697,"title":12698,"dynasty":174,"author":377,"museum":450,"description":12699,"tags":12700,"thumbUrl":12701,"material":166,"size":166,"collection":166,"collections":12702,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":47},228997,"hua-niao-tu-ce-12-kai-shi-tao-228997","花鸟图册12开","此作用笔简淡清逸，枯湿浓淡的笔墨绘就枝叶，偃仰之间自带舒展生韵。淡黄绿色轻晕花形，不着勾勒，似含露半绽，朦胧雅致。\n行书题诗与画意相得益彰，笔势同画中笔墨呼应相生，以花木寄寓出脱尘的襟怀。画面留白空濛悠远，以少胜多，将草木清灵意趣与文人雅逸情志相融，淡远萧疏之间，尽显自在风骨，是以画写心的佳作。",[24,25,74,7,27,75,37,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e3557a950fe9eb3922bef3edf50e34b.jpg",[],{"id":12704,"slug":12705,"title":12706,"dynasty":205,"author":607,"museum":450,"description":12707,"tags":12708,"thumbUrl":12710,"material":166,"size":166,"collection":166,"collections":12711,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":140},227817,"ju-bei-yao-yue-tu-ma-yuan-227817","举杯邀月图","此作用笔极简却意韵悠长，虬曲老梅斜探出崖壁，枝桠硬劲如屈铁，寥寥几笔便写尽枯寒清瘦之态。山坳屋角悬着冷月，清辉漫过嶙峋山石。水畔幽人席地而坐，似将一身襟怀尽数托付给溶溶月色与泠泠波光。\n画师以斧劈皴利落勾勒山石棱角，淡墨晕染出水色空濛，取景只撷边角小景，却以少胜多，把独酌邀月的疏旷禅意凝在咫尺绢本间，将文人寄心林泉、醉忘尘俗的隐逸情怀晕染尽致，空灵悠远的雅寂氛围扑面而来，余韵悠长。",[23,281,24,25,7,27,36,193,28,940,717,12709],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747cfa4bb3157bd6ddb01ea703372731.jpg",[],{"id":12713,"slug":12714,"title":5796,"dynasty":889,"author":1266,"museum":593,"description":12715,"tags":12716,"thumbUrl":12717,"material":166,"size":166,"collection":166,"collections":12718,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":140},227598,"xi-shan-lan-re-tu-ju-ran-227598","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,24,7,28,95,36,335,350,162,268,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284d1d8ee4ace39214acee2790ee85be.jpg",[],{"id":12720,"slug":12721,"title":12722,"dynasty":174,"author":1100,"museum":450,"description":2099,"tags":12723,"thumbUrl":12724,"material":196,"size":12725,"collection":83,"collections":12726,"showCount":12655,"zanCount":1084,"manualWeight":46,"mainColor":47},224220,"chun-feng-chui-chu-hong-wu-chang-shuo-224220","春风吹出红",[23,24,25,75,27,7,37,80,129,367,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe082f7e60dc29bf6eac47500e2168d46.jpg","69x104厘米",[83,64],{"id":12728,"slug":12729,"title":12730,"dynasty":18,"author":1788,"museum":92,"description":12731,"tags":12732,"thumbUrl":12733,"material":284,"size":166,"collection":42,"collections":12734,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":47},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[23,24,25,95,7,36,254,28,993,34,33,210,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[42,64],{"id":12736,"slug":12737,"title":12738,"dynasty":18,"author":4131,"museum":120,"description":12739,"tags":12740,"thumbUrl":12741,"material":964,"size":12742,"collection":83,"collections":12743,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":47},221894,"mei-shi-tu-zhou-chen-hong-shou-221894","梅石图轴","本幅署款“老蓮洪綬畫于柳莊”。钤“蓮白衣”。\n是图以古拙奇特的造型绘拳石耸立，旁伴一株被截去诸多枝干的老梅树，树上几朵梅花绽蕾展瓣。构图简约洗练，并注重物象间的相互衬托与对比。画石用线勾出圆润的外形，再以淡墨渲染。画梅则用浓、枯墨笔勾勒，线条古拙方硬，具金石韵味，体现了老梅饱经沧桑的古木气息。\n清内府《石渠宝笈》著录。",[23,24,25,95,7,125,180,147,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccbca84501d57cd1d024bcd73a8d609.jpg","纵115.2厘米，横56厘米",[83,222],{"id":12745,"slug":12746,"title":11603,"dynasty":205,"author":607,"museum":92,"description":12747,"tags":12748,"thumbUrl":12750,"material":61,"size":11608,"collection":220,"collections":12751,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":140},221539,"xue-tan-shuang-lu-tu-ma-yuan-221539","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[23,24,25,281,7,36,1349,993,9187,12749,717,213],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg",[220,83,64],{"id":12753,"slug":12754,"title":12755,"dynasty":52,"author":158,"museum":92,"description":12756,"tags":12757,"thumbUrl":12758,"material":12759,"size":12760,"collection":42,"collections":12761,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":47},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,24,25,95,7,36,28,32,33,34,30,35,210,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[42,222],{"id":12763,"slug":12764,"title":12765,"dynasty":174,"author":175,"museum":20,"description":12766,"tags":12767,"thumbUrl":12768,"material":110,"size":12769,"collection":166,"collections":12770,"showCount":12655,"zanCount":5,"manualWeight":46,"mainColor":47},219813,"hua-hui-shi-kai-10-yun-shou-ping-219813","花卉十开-10","此作用淡墨白描写就，笔致清灵秀雅。花头或昂或俯，瓣片勾勒细腻通透，如冰裁玉琢，自带绰约风姿，仿佛见凌波仙子悄然伫立。长叶以虚实线条写就，舒展如素带，前后层次分明，将水仙修长清劲的姿态尽显。\n\n笔底脱胎古法，以极简淡墨晕衬出花叶温润质感，未施丹青却自带清润仙气。题识与画面相映成趣，尽显文人雅致，寥寥数笔便定格水仙疏朗脱俗的神韵，观之如闻幽芳，将写生之趣与古意格调相融，尽显清逸出尘的意境。",[24,25,74,547,7,76,132,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966f21bff6318b643128e01db81b0e85.jpg","20.4×29.2厘米",[],{"id":12772,"slug":12773,"title":9539,"dynasty":18,"author":12774,"museum":120,"description":12775,"tags":12776,"thumbUrl":12777,"material":98,"size":12778,"collection":83,"collections":12779,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":47},219358,"mu-niu-tu-li-lin-219358","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[23,24,25,26,7,123,38,80,1839,193,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[83,222],{"id":12781,"slug":12782,"title":12783,"dynasty":52,"author":1131,"museum":92,"description":12784,"tags":12785,"thumbUrl":12786,"material":7,"size":12787,"collection":222,"collections":12788,"showCount":12655,"zanCount":46,"manualWeight":46,"mainColor":47},219354,"song-lin-ping-yuan-zhou-cao-zhi-bai-219354","松林平远轴","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 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墨竹 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在画中自题，最早一开创作于“丁未” (1667 年)，石涛时年26岁。\n整套册页作品分别作于1667年、1669年、167年，1672年，即从石涛的26岁至1岁，历时6年之久，实为石涛倾力之作。\n《罗汉百开图》册页集人物、山水、花鸟之大成，是石涛技艺日臻成熟时的作品，所绘人物，造型生动，神态各异，笔墨洗练，叙事清楚，饱含人文情怀。\n石涛最早的人物画是康熙时期所作的《百美图》，这是对仇英作品的临摹，更是一次再创作。\n吴湖帆正是看了此画，才有上面提到的‘石涛画人物最佳’之说。\n这幅画被石涛的老师梅青借走，供于香案之上，每日膜拜，后不知所踪。\n美国大都会博物馆所藏《十六应真图》，长达六米，人物纯用线描，而配以山水背景。\n另外还听说波士顿博物馆藏有一幅石涛人物画。\n有记录的石涛作品，现存世约4件，《石涛罗汉百开册页》占了其中1件。\n崔如琢还另外藏有石涛的两套册页以及手卷、中堂、条幅若干，藏品总数达1件，应该是收藏石涛作品最多的人。\n但他始终认为，《石涛罗汉百开册页》的价值最为独特，较之同时代西方文艺复兴时期的绘画，无论内容、题材、技法都称得上相映生辉。",[24,25,3557,7,547,193,147,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedcff1d2c958f6590b2e104032c599.jpg",[600],{"id":13091,"slug":13092,"title":13093,"dynasty":174,"author":377,"museum":450,"description":13094,"tags":13095,"thumbUrl":13096,"material":166,"size":166,"collection":166,"collections":13097,"showCount":13043,"zanCount":46,"manualWeight":46,"mainColor":47},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[281,24,25,7,27,28,36,38,80,147,610,32,29,30,31,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":13099,"slug":13100,"title":13101,"dynasty":205,"author":607,"museum":450,"description":13102,"tags":13103,"thumbUrl":13105,"material":166,"size":166,"collection":166,"collections":13106,"showCount":13043,"zanCount":1084,"manualWeight":46,"mainColor":140},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[23,281,24,25,494,518,32,624,34,164,7,27,36,13104,7314,8249,80],"边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],{"id":13108,"slug":13109,"title":13110,"dynasty":205,"author":13111,"museum":120,"description":13112,"tags":13113,"thumbUrl":13114,"material":110,"size":13115,"collection":245,"collections":13116,"showCount":13043,"zanCount":46,"manualWeight":46,"mainColor":47},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,281,24,25,26,38,37,7,28,31,993,942,507,5488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[245],{"id":13118,"slug":13119,"title":13120,"dynasty":359,"author":1872,"museum":1873,"description":13121,"tags":13122,"thumbUrl":13123,"material":166,"size":166,"collection":166,"collections":13124,"showCount":13043,"zanCount":46,"manualWeight":46,"mainColor":47},220535,"da-shu-shuang-ma-xu-bei-hong-220535","大树双马","泼墨写就古木虬枝，浓淡墨色晕染出繁密冠盖，老干皴擦尽显饱经风霜的沉浑苍劲，带着穿越岁月的雄强生机。\n下方双马情态各异，棕马垂首缓行啮草，筋骨松弛尽显悠然意态，白马昂首长嘶，鬃毛飞扬神骏昂扬，一动一静相映成趣。\n画作融贯中西，以国画写意笔墨铺陈意境，暗合西画的形体结构，将古木的沧桑厚重与骏马的灵动勃发相融，浅淡远景晕染出郊野疏阔，藏着松弛野趣，尽显生命的不同姿态。",[23,24,7,27,312,147,7389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16779d29c7db2be6f8c5a99604e1dee9.jpg",[],{"id":13126,"slug":13127,"title":13128,"dynasty":18,"author":2851,"museum":450,"description":13129,"tags":13130,"thumbUrl":13131,"material":98,"size":13132,"collection":42,"collections":13133,"showCount":13043,"zanCount":46,"manualWeight":46,"mainColor":140},220070,"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[24,7,36,95,28,125,32,29,30,34,33,210,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 x 34.3 厘米",[42],{"id":13135,"slug":13136,"title":13137,"dynasty":18,"author":13138,"museum":92,"description":13139,"tags":13140,"thumbUrl":13141,"material":40,"size":13142,"collection":64,"collections":13143,"showCount":13043,"zanCount":1084,"manualWeight":46,"mainColor":47},219404,"tian-zhong-de-xi-tu-yuan-shang-tong-219404","天中得喜图","袁尚统","枝头双鹊姿态鲜活，一俯身啄食朱红花朵间的嫩蕊，一昂首展翼似欲鸣啭，墨笔勾勒的羽翼层次分明，黑羽亮泽如缎。老干虬曲盘结，枝桠以劲挺笔触写出，点缀的朱红花朵艳而不妖；下方山石用泼墨点染，兼以皴擦，纹理朴拙厚重，坡地细草丛生，野趣横生。整幅笔墨工写结合，花鸟与山石相映成趣，既得自然生机之妙，又暗蕴欢愉吉庆之意，于简洁构图中传递出恬淡雅致的文人意趣，观之令人心生愉悦。",[24,281,25,27,7,75,282,147,180,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b8856c5e913470ad4bb1b74dcea90b.jpg","123.1x60.7厘米",[64],{"id":13145,"slug":13146,"title":13147,"dynasty":205,"author":592,"museum":159,"description":13148,"tags":13149,"thumbUrl":13150,"material":110,"size":13151,"collection":83,"collections":13152,"showCount":13043,"zanCount":1084,"manualWeight":46,"mainColor":140},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[24,25,28,36,7,27,1839,624,282,34,33,147,164,7389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[83],{"id":13154,"slug":13155,"title":8127,"dynasty":205,"author":581,"museum":92,"description":13156,"tags":13157,"thumbUrl":13158,"material":98,"size":13159,"collection":42,"collections":13160,"showCount":13043,"zanCount":1084,"manualWeight":46,"mainColor":47},218802,"xi-shan-xian-guan-tu-yi-ming-218802","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[23,24,281,7,36,28,194,30,31,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[42],{"id":13162,"slug":13163,"title":13164,"dynasty":52,"author":581,"museum":120,"description":13165,"tags":13166,"thumbUrl":13167,"material":110,"size":13168,"collection":42,"collections":13169,"showCount":13043,"zanCount":1084,"manualWeight":46,"mainColor":140},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[24,7,28,193,3902,717,34,3256,468,36,1385,311,147,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[42],{"id":13171,"slug":13172,"title":13173,"dynasty":205,"author":607,"museum":159,"description":11325,"tags":13174,"thumbUrl":13175,"material":110,"size":11328,"collection":166,"collections":13176,"showCount":13043,"zanCount":46,"manualWeight":46,"mainColor":47},218046,"song-di-ming-ti-ce-ba-ma-yuan-218046","宋帝命题册(八)",[23,281,24,25,74,7,28,32,126,193,37,38,481,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805101e3bc8ae183233b61658ad3f5fc.jpg",[],{"id":13178,"slug":13179,"title":13180,"dynasty":174,"author":739,"museum":430,"description":740,"tags":13181,"thumbUrl":13182,"material":298,"size":743,"collection":166,"collections":13183,"showCount":13043,"zanCount":46,"manualWeight":46,"mainColor":140},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10",[23,24,25,74,7,27,28,717,34,193,468,164,4569,31,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg",[],{"id":13185,"slug":13186,"title":13187,"dynasty":52,"author":12875,"museum":92,"description":13188,"tags":13189,"thumbUrl":13190,"material":98,"size":13191,"collection":245,"collections":13192,"showCount":13043,"zanCount":46,"manualWeight":46,"mainColor":47},214220,"tang-ren-jue-ju-zhang-yu-214220","唐人绝句","唐人绝句是中国唐朝时期的一种诗歌形式，由四句组成，每句都为五言绝句，即五个字的绝句。张雨是中国唐朝时期的一位诗人。元是中国历史上的一个朝代，公元1279年至1368年，为元朝。",[23,24,25,95,37,38,7,940,127,126,350,3596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9414780fa78d6d95b33d5b8a267d6ef.jpg","154.3x34.3",[245],{"id":13194,"slug":13195,"title":13196,"dynasty":174,"author":9682,"museum":190,"description":13197,"tags":13198,"thumbUrl":13199,"material":27,"size":13200,"collection":42,"collections":13201,"showCount":13043,"zanCount":46,"manualWeight":46,"mainColor":13202},214194,"xie-qin-you-ju-tu-cha-shi-biao-214194","携琴幽居图","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,25,26,7,27,28,36,29,30,32,34,33,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c24a38eb02628f19b29d63163ea0de4.jpg","135.8*25.5",[42],"aaa79f",{"id":13204,"slug":13205,"title":13206,"dynasty":889,"author":1089,"museum":450,"description":10661,"tags":13207,"thumbUrl":13208,"material":314,"size":1061,"collection":166,"collections":13209,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor"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（1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[281,24,25,95,494,7,27,36,34,8472,211,194,33,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","纵184cm，横117.7cm",[42,222],{"id":13244,"slug":13245,"title":9368,"dynasty":174,"author":2605,"museum":120,"description":5286,"tags":13246,"thumbUrl":13247,"material":6280,"size":13248,"collection":166,"collections":13249,"showCount":13210,"zanCount":1084,"manualWeight":46,"mainColor":47},234288,"hong-ren-shan-shui-ce-hong-ren-234288",[24,25,74,7,36,37,28,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf324b5084f1a8a92416fce3effbc55.jpg","纵23.8cm，横140.4cm",[],{"id":13251,"slug":13252,"title":13253,"dynasty":52,"author":621,"museum":92,"description":13254,"tags":13255,"thumbUrl":13256,"material":298,"size":13257,"collection":166,"collections":13258,"showCount":13210,"zanCount":1084,"manualWeight":46,"mainColor":47},232260,"shu-lin-yuan-xiu-tu-ni-zan-232260","疏林远岫图","《疏林远岫图》水墨画河岸、疏树、竹林与房舍，对岸则山峦起伏。用笔多中锋，山石皴法以披麻为主，略有折带笔意。幅上有壬子（一三七二）年款，时七十二岁。然本幅题款，实摹自本台北故宫博物院藏倪氏真本《容膝齐图》。用笔亦无倪氏一代大家之健劲，系后代摹品。",[24,7,28,36,2953,381,180,96,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f623094ce155625ea685f495651d3f9.jpg","72.9x37.5厘米",[],{"id":13260,"slug":13261,"title":13262,"dynasty":174,"author":633,"museum":450,"description":13263,"tags":13264,"thumbUrl":13265,"material":166,"size":166,"collection":166,"collections":13266,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":47},230124,"hua-hui-shi-er-kai-ren-yi-230124","花卉十二开","此作用淡墨晕染湖石，兼以浓墨勾皴纹理，苍润朴拙，自带沉静古雅之气。右上方艳红浆果攒簇饱满，似燃着点点丹砂，浓墨枝叶分映阴阳，层次宛然，红果墨叶相互衬映，明丽又不失清雅。\n画面兼工带写，花果鲜妍生动，湖石苍劲静穆，一动一静相映成趣。题字笔意纵逸，与画境相融，将文人写意的隽秀风骨与秋实的鲜活生机揉合一处，寥寥数笔便尽显雅致意趣，堪称小品佳作。",[24,27,75,180,76,123,25,281,7,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28cad6736c0bce09b9ac3ea758c58ce7.jpg",[],{"id":13268,"slug":13269,"title":13270,"dynasty":174,"author":2029,"museum":450,"description":13271,"tags":13272,"thumbUrl":13273,"material":166,"size":166,"collection":166,"collections":13274,"showCount":13210,"zanCount":1084,"manualWeight":46,"mainColor":47},229006,"si-jing-shan-shui-ce-ye-gong-xian-229006","四景山水册页","此作用笔清润简淡，近处坡岸错落，双木挺秀疏朗，苔点晕染出苍润生机。山岩以积墨慢皴，留白衬出山光空濛，半崖茅庐隐于林木间，飞瀑垂落，似可听闻水石相击之音。\n墨色枯润相济铺陈层次，留白烘托山野空濛之致，将林泉高致的隐逸静雅缓缓铺展。笔意简净却藏醇厚诗意，尽显萧散淡远的林下之风，将幽居山野的清寂雅趣揉进每一处笔墨里，尽显幽寂淡远的林泉之美。",[24,7,36,74,28,34,33,324,533,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb657688f425d059954c787646ca1cb62.jpg",[],{"id":13276,"slug":13277,"title":13278,"dynasty":889,"author":1266,"museum":92,"description":13279,"tags":13280,"thumbUrl":13281,"material":218,"size":13282,"collection":42,"collections":13283,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":140},226700,"qiu-shan-tu-zhou-ju-ran-226700","秋山图轴","是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处",[24,494,95,7,27,36,6001,34,33,215,787,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3ae1d313c4e7dd19956e57f3ea4884.jpg","156.2x77.2公分、全幅 78.3公分",[42],{"id":13285,"slug":13286,"title":13287,"dynasty":18,"author":6468,"museum":1346,"description":13288,"tags":13289,"thumbUrl":13290,"material":298,"size":13291,"collection":83,"collections":13292,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":140},222446,"mu-niao-tu-lin-liang-222446","木鸟图","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。\n明初洪武至弘治的百余年内， 占据画坛主位的是皇家画院的宫廷绘画。时代特色和风格成型主要体现在宣德、成化、弘治三朝。尤其是花鸟画， 突破“院体”程式，出现了工笔重彩、水墨写意、设色没骨等多种风格， 并有所创新。其中水墨写意的开派人物便是林良。\n他创作的“文人画化”的水墨写意花鸟画，使明代“院体”花鸟出现了新的生机。虽然在明之前也有水墨写意花鸟，但仍以勾染为主流形式，而且宋“院体”花鸟在元代仍保持着很大的影响力。\n明代的水墨写意花鸟画， 由林良开派， 以后耕耘其间者接踵而至， 如沈周、陈淳、徐渭等， 一步步将写意法推向臻境，并成为明代花鸟画最流行和最富成就的一种形式， 终汇就明清泱泱大观的写意花鸟画风。林良无疑起了先导作用。他在花鸟画的发展史上， 是不可或缺的重要人物。",[23,24,7,123,75,77,3443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a952a0aa9c1a5088e4461d5982c15c7.jpg","30.3×31.3",[83,222],{"id":13294,"slug":13295,"title":13296,"dynasty":52,"author":2127,"museum":120,"description":13297,"tags":13298,"thumbUrl":13299,"material":612,"size":13300,"collection":42,"collections":13301,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":47},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[23,24,25,1462,7,27,36,28,193,282,147,610,34,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[42,64],{"id":13303,"slug":13304,"title":13305,"dynasty":889,"author":8307,"museum":120,"description":13306,"tags":13307,"thumbUrl":13308,"material":298,"size":13309,"collection":245,"collections":13310,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":47},221140,"xia-re-tie-yang-ning-shi-221140","夏热帖","釋文： 首署款：“凝式”。\n後紙有宋代王欽若，元代鮮于樞、趙孟頫，清張照的題跋及乾隆皇帝的釋文。\n卷前後及隔水上鈐有宋代“賢志堂印”，元代趙孟頫，明項元汴，清代曹溶、納蘭成德、清內府等鑑藏印。另有數方古印不辨。\n此帖是楊凝式唯一的傳世草書作品，書法兼取唐顏真卿、柳公權筆法，體勢雄奇險崛，運筆爽利挺拔，與他的楷書、行書作品相比較，藝術風格迥殊，表現出了書家的豐富藝術變化，為楊凝式書法代表作品作之一。此帖為信札，筆勢飛動，渾然一體，凝重之中有瀟灑氣象，雄健縱逸，鋒芒灼耀，極富大氣。米芾贊：“楊凝式如橫風斜雨，落紙雲煙，淋漓快目。”\n此帖曾刻入《三希堂法帖》。明代汪砢玉《珊瑚網書跋》，清代吳其貞《吳氏書畫記》、顧復《平生壯觀》、卞永譽《式古堂書畫匯考》、內府《石 渠寶笈·初篇》等書著錄。",[23,37,394,26,7,80,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797a61ea192f0e9b636c25d708827dd0.jpg","纵23.8厘米，横33厘米",[245],{"id":13312,"slug":13313,"title":645,"dynasty":18,"author":407,"museum":92,"description":13314,"tags":13315,"thumbUrl":13316,"material":457,"size":13317,"collection":42,"collections":13318,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":140},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,25,281,36,7,27,28,29,30,31,32,33,210,193,34,95,215,212,532,7105,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[42],{"id":13320,"slug":13321,"title":5039,"dynasty":205,"author":581,"museum":92,"description":13322,"tags":13323,"thumbUrl":13324,"material":110,"size":13325,"collection":83,"collections":13326,"showCount":13210,"zanCount":1084,"manualWeight":46,"mainColor":140},219181,"ku-mu-zhu-shi-tu-yi-ming-219181","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石头后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的突显，属元代枯木竹石画风。画中草木与院藏赵孟俯〈竹石古木〉表现诸如，此画上虽无款印，但可估计此后一画风的古代例子，学者猜测可能正与赵孟俯关系密切。",[23,24,7,95,809,126,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59e40997092e7d1968961782449871.jpg","107.9x51.1",[83],{"id":13328,"slug":13329,"title":13330,"dynasty":18,"author":13331,"museum":120,"description":13332,"tags":13333,"thumbUrl":13334,"material":98,"size":13335,"collection":245,"collections":13336,"showCount":13210,"zanCount":1084,"manualWeight":46,"mainColor":47},219157,"cao-shu-you-qi-xing-yan-shi-jie-jin-219157","草书· 游七星岩诗","解缙","释文：游七星岩偶成。早饭行春桂水东，野花榕叶露重重。七星岩曲篝镫入，百转萦回路径通。石榴滴余成物象，古潭深处有蛟龙。却归为恐衣沾湿，洞口云生日正中。就日门前春水生，浮波岩下钓船轻。漓江倒影山如画，榕树交柯翠夹城。村店午时鸡乱叫，游人陌上酒初醒。殊方异俗同熙皞，欲进讴谣合颂声。度水穿林访隐君，七星岩畔鹤成群。犹疑仙李遗朱实，几见蟠桃结绛云。石乳悬崖金烂烂，瀑泉隥洞鸟纷纷。柳莺满树春风啭，共坐高吟把酒闻。桂水东边度石桥，酒祈村巷见渔樵。葭祠歌吹迎神女，野庙苹繁祀帝尧。附郭有山皆积石，仙岩无路不通霄。日长衣繍观民俗，行乐光辉荷圣朝。永乐戊子五月十一日，为文弼书廌识。",[23,394,37,26,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5015742489dad8692560c35bafa41c2d.jpg","纵22.8厘米，横61.2厘米",[245],{"id":13338,"slug":13339,"title":10244,"dynasty":52,"author":581,"museum":120,"description":13340,"tags":13341,"thumbUrl":13342,"material":110,"size":13343,"collection":42,"collections":13344,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":140},218217,"qiu-xi-chui-diao-tu-yi-ming-218217","画中的渔夫端坐在边石上，手持鱼竿，凝视着水面，似乎随时都可能有鱼上钩。身后是一片葱郁的树林，秋天的色彩浓郁而温暖。水面上漂浮着几片落叶，显示出季节的变迁。\n\n整幅画流露出一种平和而悠闲的气氛，令人感到身心放松。这也是秋溪垂钓图的独特魅力所在。",[24,7,27,28,147,610,180,30,193,468,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d078f22a1ebaa637bd9d0770e6f670d.jpg","26x23.7cm",[42],{"id":13346,"slug":13347,"title":645,"dynasty":52,"author":13348,"museum":92,"description":13349,"tags":13350,"thumbUrl":13351,"material":98,"size":13352,"collection":42,"collections":13353,"showCount":13210,"zanCount":5,"manualWeight":46,"mainColor":140},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,24,25,95,7,36,28,34,33,30,29,35,210,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[42],{"id":13355,"slug":13356,"title":13357,"dynasty":205,"author":581,"museum":11248,"description":13358,"tags":13359,"thumbUrl":13360,"material":98,"size":13361,"collection":600,"collections":13362,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":47},217001,"jiu-ge-tu-yi-ming-217001","九歌图","此《九歌图》共九段，分别绘《东君》《河伯》《湘夫人》《大司命》《少司令》《云中君》《湘君》 《山鬼》《国荡》，缺《东皇太一》《礼魂》。",[23,24,25,26,547,7,193,310,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec00dfbd7a8b8065f4b1da78192376.jpg","33x743",[600],{"id":13364,"slug":13365,"title":9539,"dynasty":4342,"author":5816,"museum":159,"description":13366,"tags":13367,"thumbUrl":13368,"material":40,"size":166,"collection":83,"collections":13369,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":47},216664,"mu-niu-tu-dai-song-216664","牧牛图 是一幅画作，出自唐朝时期的画家戴嵩。它是一幅水墨画，描绘了一头牛在田野里放牧的场景。这幅画被认为是戴嵩的代表作之一，因为它体现了戴嵩独特的画风和技巧。牧牛图在唐朝时期广受欢迎，并被认为是中国水墨画的杰出作品。",[24,25,7,27,193,1839,162,7389,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f31192c42e51a9881f491e3d50c022.jpg",[83],{"id":13371,"slug":13372,"title":13373,"dynasty":18,"author":1836,"museum":92,"description":13374,"tags":13375,"thumbUrl":13376,"material":40,"size":13377,"collection":42,"collections":13378,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":47},214590,"ji-you-hua-ce-jiao-shan-yan-yu-chang-shan-dong-qi-chang-214590","纪游画册-焦山烟雨常山","董其昌是明代著名的画家，他的作品《焦山烟雨常山》是一本纪游画册，记录了他对焦山和常山的游览所作的绘画。这本画册中包含了许多令人惊叹的景观画作，描绘了焦山和常山的自然景观，包括山峦、河流、树木和山水。\n\n董其昌的画风具有浓厚的写实主义倾向，他擅长运用细腻的笔触和精确的色彩渲染，使得他的作品生动形象，充满了真实感。他善于捕捉山水景观的细微变化，表现出了对自然的敬畏之情。\n\n在《焦山烟雨常山》中，董其昌运用了各种不同的画法和技巧，将焦山和常山的自然景观表现得栩栩如生。他擅长运用水墨画的质朴和透明感，使得山水画作充满了韵味。此外，他还注重色彩的运用，运用暖色和冷色的对比，使得画面更加丰富多彩。\n\n总的来说，董其昌的《焦山烟雨常山》是一本绝妙的纪游画册，值得收藏和品味。它不仅体现了董其昌的出色的绘画技巧，而且也展现了他对自然的敏锐观察力和对传统山水画的热爱。董其昌的作品中蕴含着深厚的文化内涵，是中国传统艺术的瑰宝。",[24,25,74,7,36,28,10879,335,162,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","31.9x17.5cm",[42],{"id":13380,"slug":13381,"title":13382,"dynasty":174,"author":739,"museum":430,"description":740,"tags":13383,"thumbUrl":13384,"material":298,"size":743,"collection":166,"collections":13385,"showCount":13210,"zanCount":46,"manualWeight":46,"mainColor":140},214350,"san-jue-shan-shui-ce-12-hua-yan-214350","三绝山水册-12",[23,24,25,74,7,36,28,34,33,324,13071,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d645bd7614b93420bcf09623d61f35a.jpg",[],{"id":13387,"slug":13388,"title":13389,"dynasty":205,"author":293,"museum":450,"description":3729,"tags":13390,"thumbUrl":13391,"material":314,"size":1061,"collection":166,"collections":13392,"showCount":13393,"zanCount":46,"manualWeight":46,"mainColor":140},288990,"gu-mu-guai-shi-tu-su-shi-288990","古木怪石图",[281,24,25,7,180,610,147,126,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0321701a92b7edb7afa959d7597be7e.jpg",[],66,{"id":13395,"slug":13396,"title":13397,"dynasty":174,"author":418,"museum":450,"description":13398,"tags":13399,"thumbUrl":13400,"material":314,"size":1061,"collection":166,"collections":13401,"showCount":13393,"zanCount":46,"manualWeight":46,"mainColor":47},287970,"song-shu-shuang-lu-tu-zhu-da-287970","松树双鹿图","描绘了一角山崖，崖边上一株古松遒然挺立，崖下一公一母两只梅花鹿亲密相偎。背景中的山崖及苍松画面疏淡，笔墨劲简；山崖上草石与古松以浓墨点画而出，近景处的双鹿则以淡墨着笔。外侧犄角雄健的公鹿于站立中作回首状，而内侧的母鹿墨色更淡，接近画幅底色，以缠绕公鹿的形态与公鹿亲密，情深状貌跃然纸上。松与鹿均表现超然的气质；而以一公一母两鹿如此亲密的形象入画，确是于超然中又见温情，似乎寓意作者既欲超脱又回顾留恋的情愫。",[23,24,281,25,95,7,453,2388,624,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7008f1ca40741a720f4ee5a8350ea2da.jpg",[],{"id":13403,"slug":13404,"title":13405,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":13406,"thumbUrl":13407,"material":314,"size":1061,"collection":166,"collections":13408,"showCount":13393,"zanCount":1084,"manualWeight":46,"mainColor":47},239521,"yu-tang-fu-gui-zhou-wu-chang-shuo-239521","玉堂富贵轴",[24,75,123,7,27,129,79,367,552,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c73ad8ff25daf55e25f22d50c25068f.jpg",[],{"id":13410,"slug":13411,"title":13412,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":13413,"thumbUrl":13415,"material":314,"size":1061,"collection":166,"collections":13416,"showCount":13393,"zanCount":5,"manualWeight":46,"mainColor":47},237972,"pu-cao-bai-lian-tu-zhou-wu-chang-shuo-237972","蒲草白莲图轴",[24,25,95,7,27,75,395,13414,123],"蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05376873ccbbd59e9bd5afd64a6a3a2e.jpg",[],{"id":13418,"slug":13419,"title":13420,"dynasty":174,"author":703,"museum":120,"description":13421,"tags":13422,"thumbUrl":13423,"material":964,"size":13424,"collection":83,"collections":13425,"showCount":13393,"zanCount":1084,"manualWeight":46,"mainColor":47},237637,"mei-hua-lan-shi-tu-zhou-wang-shi-shen-237637","梅花兰石图轴","款署：“庚戌仲秋近人慎写于寿萱堂中。”钤“士慎”白文印。鉴藏印有：“白门李氏珍藏”朱文印。\n“庚戌”为清雍正八年（1730年），作者时年45岁，正是其艺术日臻成熟期。\n图绘春风中兰叶翻飞、梅花初绽的景致。拳石、梅树和丛兰以豪放的笔墨一挥而就，淋漓酣畅的墨气与梅兰旺盛勃发的生命力相符相合。梅花以工细的线条勾勒，俏丽的花姿显现出梅树清幽典雅的风韵和“空里疏香”的诗意。",[24,25,95,7,75,125,133,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48e794336aa1087c4c94cc1fc7e8274.jpg","纵138.4厘米，横44.4厘米",[83,222],{"id":13427,"slug":13428,"title":13429,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":13430,"thumbUrl":13431,"material":166,"size":166,"collection":83,"collections":13432,"showCount":13393,"zanCount":46,"manualWeight":46,"mainColor":47},237535,"yuan-ji-zhu-shi-tu-zhou-shi-tao-237535","原济竹石图轴",[24,25,95,7,123,36,126,706,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042b55af991c313cd4588dd0d5c88465.jpg",[83],{"id":13434,"slug":13435,"title":13436,"dynasty":18,"author":8669,"museum":450,"description":13437,"tags":13438,"thumbUrl":13439,"material":166,"size":166,"collection":166,"collections":13440,"showCount":13393,"zanCount":46,"manualWeight":46,"mainColor":47},234206,"feng-zhu-tu-zhou-feng-qi-zhen-234206","风竹图轴","冯起震(1553—1644)，字青方，明末画家，青州城北青州市高柳村（今山东益都）人。隐居教书，不图仕进，善画竹。来青州做官的，常慕名到他家拜访。崇祯二年（1629），他与儿子冯可宾合作画了竹石图10幅，著名书画家董其昌、邢侗、李君实为之题记。董等非常称赞他，认为“文与可后数百年所仅见”。著有《无声诗史》、《图绘宝鉴续纂》、《榆园画志》等书。崇祯十五年（1642）年90岁尚在。",[23,24,25,7,26,37,38,80,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bf753c1b5f255b01b17c3148f491394.jpg",[],{"id":13442,"slug":13443,"title":12104,"dynasty":52,"author":158,"museum":120,"description":12105,"tags":13444,"thumbUrl":13445,"material":298,"size":12108,"collection":166,"collections":13446,"showCount":13393,"zanCount":46,"manualWeight":46,"mainColor":47},233825,"xi-jiao-cao-tang-tu-zhou-wang-meng-233825",[24,25,95,7,27,36,28,324,33,34,30,730,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06eebb0aebdc366ff00a27db47c4ad97.jpg",[],{"id":13448,"slug":13449,"title":13450,"dynasty":174,"author":5748,"museum":120,"description":13451,"tags":13452,"thumbUrl":13454,"material":564,"size":13455,"collection":166,"collections":13456,"showCount":13393,"zanCount":46,"manualWeight":46,"mainColor":47},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,25,95,28,7,36,27,3941,13453,210,29,30,164,5297,33,34,194,1524,32],"叠壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],{"id":13458,"slug":13459,"title":13460,"dynasty":18,"author":2851,"museum":450,"description":8920,"tags":13461,"thumbUrl":13462,"material":314,"size":1061,"collection":166,"collections":13463,"showCount":13393,"zanCount":5,"manualWeight":46,"mainColor":47},228480,"shi-shan-mian-tang-yin-228480","诗扇面",[23,281,24,25,1462,7,27,36,624,34,193,30,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428870f13c665e4f89795e5b5dc817a0.jpg",[],{"id":13465,"slug":13466,"title":13467,"dynasty":52,"author":2127,"museum":294,"description":13468,"tags":13469,"thumbUrl":13470,"material":2001,"size":13471,"collection":42,"collections":13472,"showCount":13393,"zanCount":46,"manualWeight":46,"mainColor":140},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,281,26,7,36,28,29,30,31,33,268,729,282,5431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","30.8x475.3cm",[42,222],{"id":13474,"slug":13475,"title":13476,"dynasty":205,"author":3062,"museum":1346,"description":13477,"tags":13478,"thumbUrl":13479,"material":1877,"size":13480,"collection":166,"collections":13481,"showCount":13393,"zanCount":46,"manualWeight":46,"mainColor":140},221601,"liu-zu-fa-zhu-tu-liang-kai-221601","六祖伐竹图","《六祖伐竹图》，国画精品，南宋画家梁楷代表作品，画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[23,281,24,25,95,7,4489,123,3557,193,96,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c50153fca7867c60253d20906dc274.jpg","纵72.7cm，横31.5cm",[],{"id":13483,"slug":13484,"title":13485,"dynasty":52,"author":726,"museum":92,"description":13486,"tags":13487,"thumbUrl":13488,"material":284,"size":13489,"collection":42,"collections":13490,"showCount":13393,"zanCount":46,"manualWeight":46,"mainColor":47},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,25,26,7,28,36,38,3074,80,194,29,30,32,519,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 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有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,281,24,25,26,547,7,27,28,193,31,147,940,30,282,180,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","绢本，淡设色","25.9*143cm",[220,42,64],{"id":13724,"slug":13725,"title":13726,"dynasty":205,"author":607,"museum":450,"description":13727,"tags":13728,"thumbUrl":13729,"material":298,"size":13730,"collection":220,"collections":13731,"showCount":13612,"zanCount":46,"manualWeight":46,"mainColor":140},221540,"gao-shi-guan-tiao-tu-ma-yuan-221540","高士観眺图","本作是马远“边角山水”之代表作，他以简练的笔法和精致的诗画意境成功表现了山间景色，笔法劲爽，意境深邃。作品构图精巧，位置经营独到而臻极致。树木、远山集中绘于画幅左侧，以淡墨皴染的山径渐次虚淡。近处的高士持杖远眺，人物衣纹或是兰叶描、或是钉头鼠尾描，线条劲直，或如刀砍竹，或行笔略有颤掣，人物本身怡然惬意的神情已经跃然纸上。画幅右侧大量留白，虚渺空灵。另有一只白鹤转头回望，与高士相响应，款款深情，意蕴无穷，给观者以无穷遐想",[23,24,25,28,32,193,7,27,36,180,147,7882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4306c43ca294d4cdac872ca054890ff8.jpg","82x67",[220,42,222],{"id":13733,"slug":13734,"title":13735,"dynasty":205,"author":11483,"museum":13736,"description":13737,"tags":13738,"thumbUrl":13740,"material":298,"size":166,"collection":220,"collections":13741,"showCount":13612,"zanCount":46,"manualWeight":46,"mainColor":47},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[23,281,24,25,7,36,28,31,37,212,9070,13739,2885],"远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[220],{"id":13743,"slug":13744,"title":13745,"dynasty":205,"author":581,"museum":13746,"description":13747,"tags":13748,"thumbUrl":13749,"material":110,"size":166,"collection":220,"collections":13750,"showCount":13612,"zanCount":46,"manualWeight":46,"mainColor":461},220255,"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[23,24,281,494,95,7,27,36,481,28,624,34,211,193,6485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[220],{"id":13752,"slug":13753,"title":13754,"dynasty":18,"author":10524,"museum":120,"description":13755,"tags":13756,"thumbUrl":13757,"material":98,"size":13758,"collection":222,"collections":13759,"showCount":13612,"zanCount":1084,"manualWeight":46,"mainColor":47},219209,"ce-zhang-xun-you-tu-xie-shi-chen-219209","策杖寻幽图","图中山峰巍峨耸立，中间一条溪流将画面大体分为左右两段。山谷溪流上的桥面暗示两山间公路畅通，画左林木掩映下一文士拄杖沿山路走来，点明“寻幽”主题。谢时臣的部分作品皆自题是仿元王蒙笔法而作，如南京博物院藏正德十二年（1517年）《仿王蒙山水图》、故宫藏嘉靖二十九年（1550年）《溪亭逸思图》和上海博物馆藏《江山胜览图》等。表明王蒙在谢时臣画风的产生过程中有着重要的含义。该图是谢时臣60岁时所作（嘉靖二十五年，1546年），在山石结构、笔墨皴法上还可以看见王蒙的影子，但与王蒙典型的精细密集的牛毛皴相比，图中山石皴法粗短松动，则显著是得到了沈周的影响导致。该画整体感强，皴法晕染能较好地渗入到山石整体的构架之中，构图细腻，笔墨苍润，体现出画家融合前人笔墨创造自己风格的尽力。",[23,24,7,95,28,36,29,30,147,34,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e92a7653f3aa0d79eeb78387794f54.jpg","纵84.9厘米，横31.3厘米",[222],{"id":13761,"slug":13762,"title":13763,"dynasty":205,"author":607,"museum":3640,"description":13764,"tags":13765,"thumbUrl":13766,"material":110,"size":13767,"collection":42,"collections":13768,"showCount":13612,"zanCount":46,"manualWeight":46,"mainColor":47},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[23,24,25,281,1462,7,27,36,28,29,193,147,34,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[42],{"id":13770,"slug":13771,"title":13772,"dynasty":52,"author":13773,"museum":544,"description":13774,"tags":13775,"thumbUrl":13776,"material":98,"size":13777,"collection":42,"collections":13778,"showCount":13612,"zanCount":1084,"manualWeight":46,"mainColor":140},218328,"yan-a-qi-shu-tu-chen-xuan-218328","岩阿琪树图","陈选","图绘翠峰叠嶂，古寺高居于丛林掩映中。山间飞泉直泻，山下溪流婉转，板桥横跨于前，近处杂树参差错落，生动有致。山石以披麻皴、点子皴两种笔法相参并用。树叶则点勾结合，表现出树木葱茏、烟云变幻、一派江南山川苍郁浑厚景象，给人以山高气爽、幽深静谧之感。",[23,24,494,7,36,95,37,80,28,34,33,215,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9252782007aff5c85e16028cb6ed04f.jpg","纵66.6厘米，横27.5厘米",[42],{"id":13780,"slug":13781,"title":13782,"dynasty":52,"author":8649,"museum":120,"description":13783,"tags":13784,"thumbUrl":13785,"material":98,"size":13786,"collection":42,"collections":13787,"showCount":13612,"zanCount":46,"manualWeight":46,"mainColor":47},218305,"ping-lin-yuan-shan-tu-shen-xuan-218305","平林远山图","此图为《张观等五家集绘卷》之一。画丛林远岫，平溪小桥。远山平缓，意境幽静冷寂。无款识，",[24,7,28,36,147,610,164,29,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb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​​​​",[23,281,24,25,28,7,36,34,33,787,30,210,35,164,6133,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg",[42,222],{"id":14112,"slug":14113,"title":14114,"dynasty":205,"author":14115,"museum":265,"description":14116,"tags":14117,"thumbUrl":14118,"material":61,"size":14119,"collection":220,"collections":14120,"showCount":14000,"zanCount":46,"manualWeight":46,"mainColor":140},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,281,25,26,7,36,28,212,33,624,211,29,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[220],{"id":14122,"slug":14123,"title":14124,"dynasty":205,"author":206,"museum":92,"description":14125,"tags":14126,"thumbUrl":14128,"material":110,"size":14129,"collection":220,"collections":14130,"showCount":14000,"zanCount":46,"manualWeight":46,"mainColor":461},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,281,25,95,7,27,36,28,993,33,34,1792,3246,787,14127],"流水 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ption":14207,"tags":14208,"thumbUrl":14209,"material":314,"size":1061,"collection":166,"collections":14210,"showCount":14211,"zanCount":5,"manualWeight":46,"mainColor":140},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[281,24,25,95,7,28,57,33,30,32,180,36,37,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":14213,"slug":14214,"title":14215,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":14216,"thumbUrl":14218,"material":314,"size":1061,"collection":166,"collections":14219,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":47},290080,"hong-hua-tu-li-zhou-wu-chang-shuo-290080","红花图立轴",[23,24,95,27,7,75,14217,180,37,80],"红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188cc8526e0cecaabcb51988541cb2c9.jpg",[],{"id":14221,"slug":14222,"title":14223,"dynasty":205,"author":1682,"museum":450,"description":14005,"tags":14224,"thumbUrl":14226,"material":314,"size":1061,"collection":166,"collections":14227,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":140},288931,"liu-yan-tu-mu-xi-288931","柳燕图",[281,24,7,75,95,1853,14225],"飞燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a4bbe2fedd263205569199a0c9d5b4.jpg",[],{"id":14229,"slug":14230,"title":14231,"dynasty":174,"author":657,"museum":450,"description":14232,"tags":14233,"thumbUrl":14234,"material":314,"size":1061,"collection":166,"collections":14235,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":140},288390,"mei-hua-tu-lian-li-zhou-jin-nong-288390","梅花图联立轴","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[23,24,95,75,125,7,27,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a90a4baed7675ccdbb4e7b13fa224e.jpg",[],{"id":14237,"slug":14238,"title":1567,"dynasty":174,"author":491,"museum":120,"description":14239,"tags":14240,"thumbUrl":14242,"material":964,"size":14243,"collection":42,"collections":14244,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":47},237575,"shan-shui-zhou-wang-shi-min-237575","本幅款署：“己酉初夏为公超词兄画。王时敏。” 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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,25,74,7,27,2335,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a06080dfb464dc2918e366572dfcfde.jpg",[83],{"id":14270,"slug":14271,"title":14272,"dynasty":174,"author":5748,"museum":120,"description":5749,"tags":14273,"thumbUrl":14274,"material":6280,"size":14275,"collection":42,"collections":14276,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":47},234264,"wu-wai-tian-yuan-tu-ce-kun-can-234264","物外田园图册",[23,24,7,74,36,37,28,147,180,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651a5a2e1ca54204c673178db5637fc.jpg","纵21.5cm，横16.9cm",[42],{"id":14278,"slug":14279,"title":14280,"dynasty":18,"author":19,"museum":120,"description":14281,"tags":14282,"thumbUrl":14283,"material":537,"size":166,"collection":166,"collections":14284,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":47},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,7,27,36,37,38,3074,28,34,33,215,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":14286,"slug":14287,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":14288,"thumbUrl":14289,"material":298,"size":2515,"collection":166,"collections":14290,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":47},234096,"wu-zhong-shan-shui-ce-shen-zhou-234096",[24,25,74,7,38,36,28,29,30,31,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff615aa6731f6aad97ced3ec6ba894313.jpg",[],{"id":14292,"slug":14293,"title":2806,"dynasty":174,"author":1639,"museum":20,"description":14294,"tags":14295,"thumbUrl":14296,"material":298,"size":14297,"collection":166,"collections":14298,"showCount":14211,"zanCount":1084,"manualWeight":46,"mainColor":47},233740,"za-hua-ce-xu-gu-233740","虚谷（1823-1896），俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂，新安（今安徽歙县）人，居广陵（今江苏扬州）。工山水、花卉、动物、禽鸟，作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。\n《杂画册》题材广泛，有白猫、金鱼、松鼠、竹、荷、菊、枇杷等众多意象，堪称虚谷的代表作。如《蔬笋河豚》竹笋的长锥形与河豚的椭圆形，置于一幅中，得到了和谐的统一，情趣横生。此图的绘画技巧突破了前人的成法，显现其独特的新格局。",[24,27,7,74,80,1114,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6626be7eb24b41fff798946e9ab14f6.jpg","纵34.7厘米，横40.6厘米",[],{"id":14300,"slug":14301,"title":14302,"dynasty":52,"author":158,"museum":92,"description":14303,"tags":14304,"thumbUrl":14305,"material":166,"size":166,"collection":166,"collections":14306,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":140},232799,"shan-shui-tu-xi-shan-fang-you-wang-meng-232799","山水图(溪山访友)","此画写深秋山水。凌云而出的高山，清冽的溪水，巨石突兀，长松乔木，点缀着寻幽访友的高士，表现了寄情林泉的雅兴。",[24,25,95,7,36,28,29,30,32,33,34,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3f4507d7ed0adacc32cb42699c50a5.jpg",[],{"id":14308,"slug":14309,"title":14310,"dynasty":52,"author":621,"museum":450,"description":12660,"tags":14311,"thumbUrl":14312,"material":314,"size":1061,"collection":166,"collections":14313,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":47},230909,"ni-yun-lin-mo-zhu-tu-ye-ni-zan-230909","倪云林墨竹图页",[23,281,24,25,7,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf9873062c542b0b65a27c7d2f3fd83.jpg",[],{"id":14315,"slug":14316,"title":14317,"dynasty":174,"author":2029,"museum":450,"description":14318,"tags":14319,"thumbUrl":14327,"material":166,"size":166,"collection":166,"collections":14328,"showCount":14211,"zanCount":46,"manualWeight":46,"mainColor":47},229005,"shi-er-yue-ling-shan-shui-ce-ye-gong-xian-229005","十二月令山水册页","以淡墨晕染出郊野冬韵，枯木疏朗错落，枝桠褪尽繁叶，萧索间藏着山野幽居的静穆意趣。坡地以短笔皴擦，层层铺陈出浑厚质感，留白化作寒溪浅流，晕开冬日清寂。茅舍掩映在坡坳间，篱墙蜿蜒环绕，高悬的酒旗孤静无扰，不见行人踪迹，愈衬出林居的幽谧冷寂。笔墨简淡却意韵悠长，将冬日荒寒与山居恬然融作一处，淡墨轻皴间，把山野闲居的安然意绪缓缓铺展，尽显静穆淡远的林下风致。",[24,7,2446,494,14320,809,14321,14322,14323,12955,10414,3685,36,14324,14325,14326,1548],"冬日","茅舍","篱墙","酒旗","幽谧","静穆","恬然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1e413a3bcf06fadb00a852fcadfc1f.jpg",[],{"id":14330,"slug":14331,"title":14332,"dynasty":174,"author":377,"museum":450,"description":14333,"tags":14334,"thumbUrl":14335,"material":166,"size":166,"collection":166,"collections":14336,"showCount":14211,"zanCount":1084,"manualWeight":46,"mainColor":140},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[23,24,7,36,95,25,38,28,1853,2223,29,30,127,706,2875,193],"https:\u002F\u00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梅以胭脂参墨没骨点就，花瓣饱满浓艳，错落缀于枯槎之间，冷艳与热烈相融，生机勃发。背景湖石以大写意泼墨晕染，墨色干湿浓淡层次丰富，以虚衬实，愈发衬出梅之疏俏清妍。\n题字笔力雄健朴拙，与画面苍莽气息浑然一体，诗书画印相映成趣，将文人风骨与梅花傲雪品格融为一体，尽显冷香傲骨的精神气韵。",[24,25,95,7,27,75,125,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322dcd8a21fae752f041792747a7c8e3.jpg",[],{"id":14541,"slug":14542,"title":14543,"dynasty":174,"author":377,"museum":120,"description":14544,"tags":14545,"thumbUrl":14546,"material":298,"size":14547,"collection":166,"collections":14548,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":47},234082,"yuan-ji-zhu-ju-xiu-shi-tu-zhou-shi-tao-234082","原济竹菊秀石图轴","此画集中体现了石涛所谓“化”、“略无纪律而纪律自在其中”的艺术特点。画面左下侧湖石挺拔而起，矗立至画幅左中部。湖石脚下画有数茎兰花，花朵吐出清幽的芳香，散发在湿润的空气中。山石腰部和顶端长了花草。湖石后面，耸立着两竿新竹，竹叶直伸展画面顶端，竹叶交迭穿插，有的仰俯，有的平展，有的下垂。湖石后面又一株菊花，依石与新竹穿插生长，花朵盛开，枝叶茂盛。\n此画构图紧凑，画面虽竖长条，上不留天，下不留地，在画的右侧下，有作者自题识。此画的竹、菊全以浓墨写出，仅以淡墨点几点苔点及花萼、花蕊。画成以后，即以淡墨水全幅遍染，仅仅留出菊花的花瓣的白底子，在灰色的背景下，显得格外清亮。在背景的淡墨水将干未干之际，用较深的墨作草书题款。由于对水分的掌握恰到好处。字迹与画的底色渗化融合，浑然一体。总之，此画中的菊、竹、湖石画得淋漓挥洒，纵横豪宕绝无霸悍之气，似乎信手拈来，一挥而就，且无一笔不合画理和法度，达到了天才和功力的完美统一，是一幅笔墨意境均出神入化的佳作。",[24,7,95,123,126,134,180,2875,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d6e081a28cf954997b56c68ef141d0.jpg","51.16*129.02厘米",[],{"id":14550,"slug":14551,"title":14552,"dynasty":174,"author":9682,"museum":120,"description":14553,"tags":14554,"thumbUrl":14555,"material":964,"size":14556,"collection":42,"collections":14557,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":47},233870,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233870","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,7,28,36,74,162,35,164,3157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a2da2721f9dffe79fcc1e72526d712f.jpg","纵32.8cm，横52.8cm",[42,222],{"id":14559,"slug":14560,"title":14561,"dynasty":174,"author":14526,"museum":120,"description":14562,"tags":14563,"thumbUrl":14564,"material":564,"size":14565,"collection":600,"collections":14566,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":47},233152,"huang-shan-tu-ce-mei-qing-233152","黄山图册","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,7,36,74,28,162,32,29,193,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239d3facce2a658eb2b134f4725799.jpg","纵26厘米，横33厘米",[600,42],{"id":14568,"slug":14569,"title":14570,"dynasty":5382,"author":581,"museum":450,"description":14571,"tags":14572,"thumbUrl":14574,"material":166,"size":166,"collection":166,"collections":14575,"showCount":14490,"zanCount":1084,"manualWeight":46,"mainColor":47},231665,"ying-hua-mo-mei-tu-li-zhou-yi-ming-231665","樱花墨梅图立轴","此作上下分绘花姿，意趣迥异却相得益彰。上方设色绘樱花，柔枝舒展，素白花瓣晕染清透，嫩红芽蕊点缀其间，将春日花绽的柔妍雅致尽皆展现，侧旁题字更添悠然文心。下幅以水墨写梅，苍劲老枝皴擦得宜，浓淡墨色区分枝干层次，淡墨圈花点蕊，清冷疏朗，尽显冬梅孤高清癯的风骨。工笔与写意相融，妍丽与清寂相映，尽显文人绘事里的雅致情致。",[23,24,25,95,7,27,75,14573,125],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410c154b6bd5a5b3bc828f84a37afb21.jpg",[],{"id":14577,"slug":14578,"title":14579,"dynasty":205,"author":14580,"museum":450,"description":14581,"tags":14582,"thumbUrl":14583,"material":166,"size":166,"collection":166,"collections":14584,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":140},227704,"chun-jiang-hua-yue-ye-tu-ye-xiao-zhao-227704","春江花月夜图页","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,281,24,25,74,7,27,36,28,30,31,940,32,147,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b470b220a55c2881ae3b91662b49dd.jpg",[],{"id":14586,"slug":14587,"title":14588,"dynasty":205,"author":344,"museum":450,"description":14589,"tags":14590,"thumbUrl":14591,"material":166,"size":166,"collection":166,"collections":14592,"showCount":14490,"zanCount":1084,"manualWeight":46,"mainColor":461},227687,"shen-long-jiu-xian-tu-juan-chen-rong-227687","神龙九现图卷","在中国文化中，“龙”可谓是至高无上的图腾。从龙身人首的伏羲、女娲，再到“黄帝龙轩辕氏龙图出河”。龙的传人们对这个腾云驾雾、翱翔九天神秘形象充满敬畏，而以为精神寄托。乃至进入互联网时代，亦有着诸多亲眼见真龙的都市传说广为流传。",[23,24,25,26,7,27,349,28,454,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d3746f4b89b0a937e5719e8b89fb81.jpg",[],{"id":14594,"slug":14595,"title":14596,"dynasty":205,"author":278,"museum":120,"description":14597,"tags":14598,"thumbUrl":14599,"material":61,"size":14600,"collection":166,"collections":14601,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":140},223340,"yun-feng-yuan-tiao-tu-xia-gui-223340","云峰远眺图","图绘群山相拥，山腰中云雾霭霭，一平坦处二人观景寒暄，一小童拿一长竿站立其后；远处松木成林，楼台庭院坐落于山腰中，隐约的山峰高耸陡峭，侧面如刀削般平整。此画画风近夏圭风格，画面简而不空，所画山峰线条刚劲、峰顶尖利！",[23,281,24,25,7,28,36,193,57,211,33],"ht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家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[23,24,7,95,75,1853,14631,282,123],"燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","75.9x25.5",[222,919],{"id":14636,"slug":14637,"title":580,"dynasty":52,"author":10972,"museum":770,"description":14638,"tags":14639,"thumbUrl":14640,"material":61,"size":14641,"collection":222,"collections":14642,"showCount":14490,"zanCount":1084,"manualWeight":46,"mainColor":140},221805,"zhu-shi-tu-li-shi-xing-221805","水墨画坡石重叠，三竿晴竹顶天立地，旁傍拳石，丛篁荆棘掩映衬托。竹叶疏密偃仰有致，显出微风乍起有向上飘举之势。石皴圆润，存董、巨遗法。余图浓淡虚实，笔笔相应，同笔自然灵活稳健，墨色偏淡层次分明。画心左侧行书署：“蓟丘李士行遵道作”款。左下角钤梁清标、临圣斋收藏印证。李士行(1282—1328)，字遵道，号黄岩，河北蓟丘人是名画家李衔的长子。诗歌、书画除力承家学之外，又得赵孟頫和鲜于枢之指授，善画山水，以所画大明宫图入晃仁宗嘉奖其能。画竹石枝叶挺秀，得写生妙趣。此图墨竹画法纯出李衔，披石大披麻皴，有别于乃父之渴笔渲染。现藏辽宁省博物馆。",[23,24,7,95,126,706,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ecc7ea8f565c5eebab3e747c307003.jpg","画心纵170、横92.3厘米",[222,919],{"id":14644,"slug":14645,"title":2323,"dynasty":52,"author":1131,"museum":120,"description":14646,"tags":14647,"thumbUrl":14648,"material":457,"size":14649,"collection":42,"collections":14650,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":921},221790,"han-lin-tu-cao-zhi-bai-221790","曹知白(1272—1355), 字又元, 号云西, 又字贞素, 人称贞素先生, 华亭(今上海松江县) 人。至元中任昆山教谕, 曾北上大都(今北京), 不久辞归, 隐居不仕, 饱览经书和研究道家之说。自写书斋匾额曰：“常清净”, 以示求闲适恬静意趣。《寒林图》画枯林一行于坡石之间, 树干劲挺, 疏落有致, 笔墨带有秀润气, 属中年之作。",[23,24,25,28,7,36,610,147,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[42,222],{"id":14652,"slug":14653,"title":14654,"dynasty":205,"author":14655,"museum":1346,"description":14656,"tags":14657,"thumbUrl":14659,"material":14660,"size":14661,"collection":220,"collections":14662,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":140},221251,"yan-tu-hui-chong-221251","雁图","惠崇","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。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。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,281,24,25,7,27,6504,282,350,1004,180,3335,14658,1071],"小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[220,83,64],{"id":14664,"slug":14665,"title":14666,"dynasty":52,"author":239,"museum":450,"description":14667,"tags":14668,"thumbUrl":14669,"material":298,"size":14670,"collection":42,"collections":14671,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":140},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[23,24,25,518,481,7,194,787,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[42,222],{"id":14673,"slug":14674,"title":14675,"dynasty":52,"author":158,"museum":92,"description":14676,"tags":14677,"thumbUrl":14678,"material":61,"size":14679,"collection":42,"collections":14680,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":140},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,281,24,25,95,7,27,36,28,33,30,29,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[42,64],{"id":14682,"slug":14683,"title":14684,"dynasty":359,"author":3289,"museum":1913,"description":14685,"tags":14686,"thumbUrl":14687,"material":166,"size":166,"collection":166,"collections":14688,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":47},220494,"chan-yu-liu-zhang-da-qian-220494","蝉与柳","以淡墨挥写柳干，枯笔焦墨提点节疤，苍劲老辣。柳条以中锋曳动，兼施花青淡赭晕染，虚实交错如流烟漫卷，将秋风里柳丝的柔曼含露尽皆写出。\n\n隐于柳荫的秋蝉只以数笔点就，形简神完，似将振翅。配题诗句暗合清秋意境，笔墨诗思交融，尽现疏淡幽寂的秋日况味，以极简的写意笔墨，勾勒出物我皆忘的闲淡禅意。",[23,24,7,123,1191,1853,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac69fc3a617ba8d5e5c90182a798a91.jpg",[],{"id":14690,"slug":14691,"title":14692,"dynasty":174,"author":491,"museum":544,"description":2292,"tags":14693,"thumbUrl":14694,"material":40,"size":2295,"collection":42,"collections":14695,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":47},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[24,25,7,254,28,335,350,33,211,268,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[42],{"id":14697,"slug":14698,"title":4229,"dynasty":205,"author":11483,"museum":14699,"description":14700,"tags":14701,"thumbUrl":14702,"material":457,"size":166,"collection":42,"collections":14703,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":47},219920,"dong-ting-qiu-yue-tu-yu-jian-219920","日本文化厅","南宋玉涧的《洞庭秋月图》描绘了楼阁、圆月和树枝等，栩栩如生在大片的留白处题诗一首：“四面平湖月满出，一阿螺髻镜中看，岳阳楼上听长笛，诉尽崎岖行路难。洞庭秋月。”月光如泻，笛声悠扬，画中有声，诗画辉映，足见玉涧是一位集诗、书、画三绝为一身的僧人。",[23,281,24,25,26,7,37,80,28,940,32,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e259371a089172ab221af814ccd9dc.jpg",[42],{"id":14705,"slug":14706,"title":13047,"dynasty":205,"author":581,"museum":20,"description":14707,"tags":14708,"thumbUrl":14709,"material":110,"size":14710,"collection":42,"collections":14711,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":140},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[23,24,25,7,28,31,212,33,35,993,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[42],{"id":14713,"slug":14714,"title":14715,"dynasty":18,"author":646,"museum":120,"description":14716,"tags":14717,"thumbUrl":14718,"material":40,"size":14719,"collection":245,"collections":14720,"showCount":14490,"zanCount":46,"manualWeight":46,"mainColor":47},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,25,26,1153,7,27,481,28,194,29,30,32,33,34,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[245,42],{"id":14722,"slug":14723,"title":645,"dynasty":18,"author":10199,"museum":120,"description":14724,"tags":14725,"thumbUrl":14726,"material":40,"size":14727,"collection":42,"collections":14728,"showCount":14490,"zanCount":5,"manualWeight":46,"mainColor":47},218374,"shan-shui-tu-li-yong-chang-218374","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,24,7,36,95,80,28,34,33,717,624,35,3685],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[42],{"id":14730,"slug":14731,"title":14732,"dynasty":205,"author":581,"museum":120,"description":14733,"tags":14734,"thumbUrl":14740,"material":98,"size":166,"collection":42,"collections":14741,"showCount":14490,"zanCount":5,"manualWeight":46,"mainColor":140},218320,"lu-hong-cao-tang-shi-zhi-tu-yi-ming-218320","卢鸿草堂十志图","长卷徐徐展开，十帧隐逸图景次第铺呈。峰岫含烟，林麓交映，古树盘曲如铁，流泉飞泻似练。其间草堂错落，或临溪筑榭，或依山构宇，隐者或凭轩观瀑，或策杖行吟，或围坐论道，意态悠然。墨色浓淡相宜，皴擦点染间见丘壑之妙；题辞穿插其间，笔意与画意相生，文气氤氲。整幅作品古雅沉静，尽得林泉高致之趣，仿佛能闻松风竹韵，听山涧清音，令人心向往之，沉醉于那片远离尘嚣的幽居天地。",[23,281,24,26,7,28,669,310,7453,14735,14736,14737,36,13071,11639,14738,14739],"峰岫","林麓","隐者","古雅","林泉高致","https:\u002F\u002Foss.chuan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形与质，大小不一，疏密，散落。有人生感和禅意。 是八大山人一贯的写意风格。",[23,281,24,25,26,7,123,38,80,2335,6659,2338,14805,14806,4041],"蒜","黄瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b940c2439fdac30eea8813cf5a83875.jpg","28×206.5厘米",[],{"id":14811,"slug":14812,"title":14813,"dynasty":52,"author":4714,"museum":120,"description":14814,"tags":14815,"thumbUrl":14817,"material":964,"size":14818,"collection":166,"collections":14819,"showCount":14764,"zanCount":1084,"manualWeight":46,"mainColor":140},233824,"tao-zhu-jin-ji-tu-zhou-wang-yuan-233824","桃竹锦鸡图轴","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[24,25,95,7,481,75,4718,126,14816,180,3443,4920,80],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fe80188608afae39245cc2e1cd29b2.jpg","纵102.3cm，横55.4cm",[],{"id":14821,"slug":14822,"title":157,"dynasty":18,"author":1836,"museum":120,"description":7443,"tags":14823,"thumbUrl":14824,"material":564,"size":2973,"collection":42,"collections":14825,"showCount":14764,"zanCount":46,"manualWeight":46,"mainColor":47},233800,"shan-shui-ce-dong-qi-chang-233800",[24,25,74,7,27,28,36,335,350,33,96,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[42],{"id":14827,"slug":14828,"title":14829,"dynasty":174,"author":2605,"museum":450,"description":14830,"tags":14831,"thumbUrl":14832,"material":166,"size":166,"collection":166,"collections":14833,"showCount":14764,"zanCount":46,"manualWeight":46,"mainColor":47},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","《雨余柳色图》是 僧侣画家 的国画作品。\n该画为立轴，纸本墨笔，纵84.4厘米，横45.厘米，现藏于 。\n《雨余柳色图》奥境奇辟，缅邈幽深，峰峦俊逸，水渚错落，林木萧疏，江水辽阔，远山浮动。\n全幅以山、坡为主，图右缀有几株垂柳，一座小小木桥；图左设有几栋屋宇，远处画一道流水。\n此画笔墨苍劲整洁，以细笔为主，兼用侧锋，并用乾笔皴擦，有秀逸清幽之气。\n弘仁（161--1664）[清]僧。\n明诸生，甲申后为僧，号渐江，一号无智，人称梅花古衲，俗姓江，名韬，字六奇，后改名舫，字鸥盟， 人。\n少孤贫，性癖，以铅椠养母。\n一日负米行三十里，不逮期，欲赴练江死。\n母殡后不婚不宦。\n明亡后清兵进逼 时，曾参加反清复明斗争，后于 落发为僧，法名弘仁，字无智，号 ，又号梅花古衲，数年后重返故里，一心研习画学。\n游 之幔亭，皈依报亲寺古航师为圆顶焉。",[24,281,25,95,7,36,28,1035,29,194,180,4468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],{"id":14835,"slug":14836,"title":14837,"dynasty":174,"author":1100,"museum":450,"description":14838,"tags":14839,"thumbUrl":14840,"material":298,"size":14841,"collection":83,"collections":14842,"showCount":14764,"zanCount":5,"manualWeight":46,"mainColor":47},224236,"xia-qi-tu-zhou-wu-chang-shuo-224236","霞气图轴","昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”表现形式。",[23,24,95,7,27,75,125,180,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[83,64],{"id":14844,"slug":14845,"title":14846,"dynasty":174,"author":1100,"museum":450,"description":14847,"tags":14848,"thumbUrl":14849,"material":166,"size":166,"collection":166,"collections":14850,"showCount":14764,"zanCount":46,"manualWeight":46,"mainColor":921},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[23,24,25,95,27,7,125,128,1104,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],{"id":14852,"slug":14853,"title":14854,"dynasty":205,"author":581,"museum":92,"description":14855,"tags":14856,"thumbUrl":14858,"material":27,"size":14859,"collection":220,"collections":14860,"showCount":14764,"zanCount":46,"manualWeight":46,"mainColor":140},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,281,95,28,36,7,335,831,33,215,14857,31,1442],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[220,42,222],{"id":14862,"slug":14863,"title":6382,"dynasty":174,"author":14864,"museum":294,"description":14865,"tags":14866,"thumbUrl":14867,"material":14868,"size":14869,"collection":42,"collections":14870,"showCount":14764,"zanCount":46,"manualWeight":46,"mainColor":140},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,24,25,26,7,27,28,36,335,350,58,31,624,35,213,164,773],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 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综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,25,26,7,36,28,33,213,211,1385,335,350,180,311,32,282,610,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[220,42,222],{"id":14891,"slug":14892,"title":14893,"dynasty":18,"author":1836,"museum":92,"description":14894,"tags":14895,"thumbUrl":14896,"material":284,"size":14897,"collection":42,"collections":14898,"showCount":14764,"zanCount":46,"manualWeight":46,"mainColor":47},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,25,7,28,36,254,37,38,80,29,30,33,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[42,222],{"id":14900,"slug":14901,"title":14902,"dynasty":18,"author":6468,"museum":4012,"description":14903,"tags":14904,"thumbUrl":14905,"material":14906,"size":14907,"collection":83,"collections":14908,"showCount":14764,"zanCount":46,"manualWeight":46,"mainColor":166},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,24,25,7,123,95,75,453,282,717,180,3443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 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万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,281,24,25,1462,27,7,36,28,31,282,33,324,96,164,58,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],{"id":15070,"slug":15071,"title":15072,"dynasty":174,"author":657,"museum":450,"description":15073,"tags":15074,"thumbUrl":15075,"material":298,"size":15076,"collection":83,"collections":15077,"showCount":14999,"zanCount":46,"manualWeight":46,"mainColor":47},222710,"an-ma-tu-jin-nong-222710","鞍马图","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[23,24,25,95,7,27,193,312,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[83,64],{"id":15079,"slug":15080,"title":15081,"dynasty":174,"author":2029,"museum":770,"description":15082,"tags":15083,"thumbUrl":15084,"material":15085,"size":15086,"collection":42,"collections":15087,"showCount":14999,"zanCount":46,"manualWeight":46,"mainColor":140},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,281,24,25,95,7,13664,28,30,33,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[42,222],{"id":15089,"slug":15090,"title":15091,"dynasty":18,"author":10358,"museum":120,"description":15092,"tags":15093,"thumbUrl":15094,"material":15095,"size":15096,"collection":222,"collections":15097,"showCount":14999,"zanCount":46,"manualWeight":46,"mainColor":47},222167,"qi-shui-qing-feng-tu-xia-chang-222167","淇水清风图","夏昶（1388至1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，昆山（今江苏昆山）人。昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n有“夏卿一个竹，西凉十锭金”之谣。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。",[23,24,25,26,7,3074,37,80,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1e1ca00868d871f0471a4a53755cd6.jpg","纸本设","纵27.6CM 横98CM",[222],{"id":15099,"slug":15100,"title":6046,"dynasty":52,"author":2127,"museum":92,"description":15101,"tags":15102,"thumbUrl":15103,"material":284,"size":15104,"collection":42,"collections":15105,"showCount":14999,"zanCount":1084,"manualWeight":46,"mainColor":47},221752,"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,281,24,25,95,7,27,36,28,993,832,33,35,14321,58,533,34,7585,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[42,222],{"id":15107,"slug":15108,"title":15109,"dynasty":205,"author":15110,"museum":5692,"description":15111,"tags":15112,"thumbUrl":15114,"material":298,"size":15115,"collection":220,"collections":15116,"showCount":14999,"zanCount":46,"manualWeight":46,"mainColor":47},221449,"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","龚开","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[23,24,26,547,7,193,15113,312,8403,13874],"鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米",[220,42,64],{"id":15118,"slug":15119,"title":15120,"dynasty":205,"author":264,"museum":5692,"description":15121,"tags":15122,"thumbUrl":15123,"material":612,"size":15124,"collection":220,"collections":15125,"showCount":14999,"zanCount":5,"manualWeight":46,"mainColor":140},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,281,24,25,26,547,7,27,193,28,33,35,31,30,32,38,242,134,126,282,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[220,600,222],{"id":15127,"slug":15128,"title":15129,"dynasty":52,"author":621,"museum":593,"description":15130,"tags":15131,"thumbUrl":15132,"material":298,"size":15133,"collection":222,"collections":15134,"showCount":14999,"zanCount":46,"manualWeight":46,"mainColor":47},220805,"yun-shi-qiao-ke-tu-zhou-ni-zan-220805","筠石乔柯图轴","此画用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。树杆上挂满了细繁的藤蔓垂条，图中的篁竹属于倪瓒墨竹中叶尖向上的新篁画法，颇见功力。画面一如倪瓒一贯呈现的风格：构图简洁，干笔皴檫，意境清远萧疏。",[23,24,95,7,36,126,706,162,610,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4ba73df5db160da5171569d0a459b0.jpg","横67.3厘米，横36.8厘米",[222,919],{"id":15136,"slug":15137,"title":15138,"dynasty":18,"author":7386,"museum":92,"description":15139,"tags":15140,"thumbUrl":15141,"material":40,"size":15142,"collection":600,"collections":15143,"showCount":14999,"zanCount":46,"manualWeight":46,"mainColor":47},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[24,281,25,95,481,27,7,36,193,6485,6484,7488,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[600,64],{"id":15145,"slug":15146,"title":15147,"dynasty":18,"author":6070,"museum":92,"description":15148,"tags":15149,"thumbUrl":15150,"material":7,"size":166,"collection":600,"collections":15151,"showCount":14999,"zanCount":46,"manualWeight":46,"mainColor":47},219509,"xian-zong-lv-he-tu-wu-wei-219509","仙踪侣鹤图","吴伟（1459-1508）明代著名画家。字次翁，又字士英、鲁夫、号小仙。江夏（今湖北武汉）人，流寓金陵。画院待诏。孝宗时授锦衣卫百户及赐“画状元”的图章。他自幼收养于钱昕家，伴其子读书，行有窃弄笔墨的机会。年二十后至金陵，书画之名已渐起，画法与戴进相似。精山水，落笔健壮，最长于白描人物。时与杜堇、沈周、郭翊齐名。用笔奔放，画时泼墨如云，旁观者骇，巨细曲折，各有条理，人皆为之叹服。传其画法的有蒋嵩、张路、宋臣、蒋贵、宋澄春、王仪等，被称为“江夏派”。代表作品有：《采芝图》、《仙踪侣鹤图》、《芝仙图》、《溪山渔艇图》以及白描《人物图》、《神仙图》等。",[24,7,193,3596,123,95,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda2e7992cbb8a068d0f82e6784bf8ce.jpg",[600],{"id":15153,"slug":15154,"title":15155,"dynasty":205,"author":592,"museum":92,"description":15156,"tags":15157,"thumbUrl":15158,"material":110,"size":15159,"collection":220,"collections":15160,"showCount":14999,"zanCount":46,"manualWeight":46,"mainColor":47},218968,"da-jiang-fu-yu-tu-li-tang-218968","大江浮玉图","图片显示的是一条大河，波涛汹涌，两艘河船一起停泊在附近的码头上。有一些岛屿升入河中，几块巨石与主山遥相呼应，而森林树木、寺庙和漂浮的人物被描绘得非常详细。其笔法与郭熙的《早春》相似，结构与徽宗的《溪山秋色》相似。它可能是郭熙在宣和、绍兴年间（1119-1162）制作的。",[23,24,25,7,28,36,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[220,42],{"id":15162,"slug":15163,"title":15164,"dynasty":205,"author":15165,"museum":692,"description":15166,"tags":15167,"thumbUrl":15171,"material":110,"size":15172,"collection":166,"collections":15173,"showCount":14999,"zanCount":436,"manualWeight":46,"mainColor":140},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","阎次平","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[23,281,24,25,26,7,481,36,1839,193,15168,162,1035,7389,2043,15169,15170],"牧童","土地","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","35x99.7x4",[],{"id":15175,"slug":15176,"title":15177,"dynasty":52,"author":9673,"museum":120,"description":15178,"tags":15179,"thumbUrl":15180,"material":98,"size":15181,"collection":42,"collections":15182,"showCount":14999,"zanCount":5,"manualWeight":46,"mainColor":47},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[24,25,494,7,36,123,80,37,33,34,30,1840,215,717,127,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[42],{"id":15184,"slug":15185,"title":580,"dynasty":18,"author":15186,"museum":7183,"description":15187,"tags":15188,"thumbUrl":15189,"material":98,"size":15190,"collection":42,"collections":15191,"showCount":14999,"zanCount":46,"manualWeight":46,"mainColor":47},218002,"zhu-shi-tu-chen-jia-yan-218002","陈嘉言","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[23,24,25,95,7,36,126,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[42,83],{"id":15193,"slug":15194,"title":15195,"dynasty":174,"author":15196,"museum":378,"description":15197,"tags":15198,"thumbUrl":15199,"material":40,"size":166,"collection":600,"collections":15200,"showCount":14999,"zanCount":46,"manualWe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花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,25,7,547,74,193,717,10689,80,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 厘米",[42,600],{"id":15320,"slug":15321,"title":15322,"dynasty":18,"author":15323,"museum":294,"description":15324,"tags":15325,"thumbUrl":15326,"material":564,"size":15327,"collection":42,"collections":15328,"showCount":15215,"zanCount":46,"manualWeight":46,"mainColor":47},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,25,26,27,28,481,36,7,7407,194,29,30,32,282,34,33,211,193,5297,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 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王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[23,24,494,95,7,27,36,34,33,532,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[42,222],{"id":15357,"slug":15358,"title":13253,"dynasty":18,"author":1836,"museum":544,"description":15359,"tags":15360,"thumbUrl":15361,"material":811,"size":15362,"collection":42,"collections":15363,"showCount":15215,"zanCount":46,"manualWeight":46,"mainColor":47},220956,"shu-lin-yuan-xiu-tu-dong-qi-chang-220956","董其昌为同年袁可立而作。\n此图为近景画，坡石错落，勾勒圆浑。坡上疏林，用笔虽简而各蕴姿态。\n中景水面空旷，一山耸峙，在平远的构图上颇见险势。整幅画简洁朴拙。",[23,24,25,95,7,36,28,2953,381,213,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9762e8762c363347fa3b81bfaec84.jpg","纵98.7厘米，横38.6厘米",[42,222],{"id":15365,"slug":15366,"title":15367,"dynasty":18,"author":1836,"museum":92,"description":15368,"tags":15369,"thumbUrl":15371,"material":284,"size":15372,"collection":42,"collections":15373,"showCount":15215,"zanCount":46,"manualWeight":46,"mainColor":47},220941,"yan-shu-mao-tang-zhou-dong-qi-chang-220941","烟树茆堂轴","董其昌流连于西湖一带，于寺院中绘成此轴。画上题诗原本是为好友陈继儒题画所书，后来亦常使用于其它画作上",[23,24,25,95,7,36,28,10154,15370,335,162,480,30],"茆堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c95aa5cb46913f3d622bdcbc5a0246.jpg","107.6x37.4公分、全幅 61公分",[42,222],{"id":15375,"slug":15376,"title":15377,"dynasty":18,"author":15378,"museum":544,"description":15379,"tags":15380,"thumbUrl":15381,"material":98,"size":15382,"collection":42,"collections":15383,"showCount":15215,"zanCount":5,"manualWeight":46,"mainColor":47},219948,"fang-mi-fei-yun-shan-tu-mo-shi-long-219948","仿米芾云山图","莫是龙","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[23,24,25,26,7,254,37,38,36,28,6155,212,33,211,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1550e95af95b112efd3574d713c9812.jpg","20.8x233厘米",[42],{"id":15385,"slug":15386,"title":15387,"dynasty":18,"author":15388,"museum":265,"description":15389,"tags":15390,"thumbUrl":15391,"material":98,"size":166,"collection":42,"collections":15392,"showCount":15215,"zanCount":46,"manualWeight":46,"mainColor":47},219705,"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","邵弥。字僧弥，后以字为名，号瓜畴、芬陀居士。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《云山平远图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[23,24,7,26,36,28,454,335,350,33,31,32,282,211,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[42,222],{"id":15394,"slug":15395,"title":15396,"dynasty":18,"author":15186,"museum":92,"description":15397,"tags":15398,"thumbUrl":15399,"material":110,"size":166,"collection":83,"collections":15400,"showCount":15215,"zanCount":46,"manualWeight":46,"mainColor":47},219446,"duan-yang-jing-tu-chen-jia-yan-219446","端阳景图","墨石崚嶒，以浓淡干湿之笔写出苍劲肌理，似含嶙峋风骨。石畔百合舒卷有致，瓣白如玉，清雅绝尘；艳艳红花点缀其间，色如渥丹，相映成趣。细碎野花丛生，黄绿枝叶错落，笔墨兼工带写，设色明丽却不艳俗。整幅画面生机盎然，野趣中透着雅致，仿佛能嗅到端阳时节的草木清气，尽显文人画的疏朗意韵。笔意洒脱，构图疏密得当，于不经意间流露自然之美，引人沉醉于这方清幽小景里。",[24,95,27,7,123,75,180,8840,76,2203,367,2875,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ef5005627b1e39b1323e869dbb1145.jpg",[83],{"id":15402,"slug":15403,"title":15404,"dynasty":52,"author":8400,"museum":159,"description":15405,"tags":15406,"thumbUrl":15409,"material":98,"size":166,"collection":600,"collections":15410,"showCount":15215,"zanCount":46,"manualWeight":46,"mainColor":47},219398,"zhong-jin-shi-yuan-ye-chu-you-tu-yan-hui-219398","钟进士元夜出游图","墨线劲挺如铁，勾勒出钟馗的凛凛威仪，群鬼随扈左右——或扛幡持械，步履生风；或嬉戏打闹，憨态可掬。简括造型里藏着生动细节：鬼卒夸张的肢体、钟馗沉凝的神情，在浓淡相宜的墨色中鲜活起来。画面以动态叙事，仿佛能听见队伍行进的喧腾，元夜的神秘氛围与人间烟火气交织。笔意洒脱却不失精准，将神鬼世界的诙谐与庄重融于一卷，尽显元人写意人物画的妙趣与功力，是寓庄于谐的艺术佳构。",[281,24,25,26,547,7,193,15407,8403,15408,80,37,38,3074,242,13883,481],"鬼神","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b72bdb16674e440c200b8a4b6d4b.jpg",[600],{"id":15412,"slug":15413,"title":15414,"dynasty":18,"author":6468,"museum":120,"description":15415,"tags":15416,"thumbUrl":15417,"material":110,"size":15418,"collection":42,"collections":15419,"showCount":15215,"zanCount":46,"manualWeight":46,"mainColor":140},219207,"jin-ji-tu-lin-liang-219207","锦鸡图","画中主体为一对锦鸡，另有麻雀上下翻飞，布谷、斑鸠等在树枝间栖身；坚实的深壑，风中纷乱的细竹以及丛生的灌木构筑出一个生意盎然的自然空间。林良以画花鸟著称，他用细腻的笔端使品相富贵的花鸟表现出野逸自然的状态，将水彩绘画的活泼与宫廷画追求的具象严谨相统一，创造出新的审美情趣，在明代宫廷画中有巨大的影响。",[23,24,7,123,75,14816,96,480,282,2283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c49c9fe8d456032a8ed3bebe9f209e.jpg","纵155厘米，横92.6厘米",[42],{"id":15421,"slug":15422,"title":15423,"dynasty":52,"author":11732,"museum":92,"description":15424,"tags":15425,"thumbUrl":15426,"material":98,"size":15427,"collection":42,"collections":15428,"showCount":15215,"zanCount":1084,"manualWeight":46,"mainColor":140},218907,"gao-ting-tu-fang-cong-yi-218907","高亭图","这幅画中，云雾缭绕，青苔点点，风格轻松奔放，而山水的精髓在水墨的细微处可见，体现了元代道士通过山水寻求宁静自然和精神解脱的理念。",[23,24,7,36,25,28,335,32,162,454,5253,7489,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8948b78b7c41e70b03f086f6137a9.jpg","62.1x27.9厘米",[42],{"id":15430,"slug":15431,"title":645,"dynasty":18,"author":581,"museum":3640,"description":15432,"tags":15433,"thumbUrl":15434,"material":98,"size":15435,"collection":42,"collections":15436,"showCount":15215,"zanCount":46,"manualWeight":46,"mainColor":47},217942,"shan-shui-tu-yi-ming-217942","明朝时期，山水图在中国传统绘画中占有重要地位。这类图画以山水为主题，通常呈现出自然美景，如山川、河流、森林、花草等。佚名的山水图具有浓郁的哲学性，蕴含了对自然、人生和境界的深刻思考。\n\n山水图多以立体透视的手法呈现，描绘出丰富多彩的山水景观。在这类图画中，山川是最为突出的元素，其次是水流、树木、建筑物、人物等。在佚名的山水图中，山川往往呈现出巍峨雄伟的姿态，从而给人以肃穆、庄严的感觉。",[24,7,26,28,31,147,32,80,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a784136cd3caac172854cd7b62d81a.jpg","10.5x58.7cm",[42],{"id":15438,"slug":15439,"title":15440,"dynasty":52,"author":581,"museum":450,"description":15441,"tags":15442,"thumbUrl":15443,"material":457,"size":166,"collection":600,"collections":15444,"showCount":15215,"zanCount":5,"manualWeight":46,"mainColor":140},217067,"bai-yi-guan-yin-tu-yi-ming-217067","白衣观音图","白衣观音图是元朝时期的一幅佚名绘画，被认为是中国古代宗教图像艺术的杰作。这幅画描绘的是观音菩萨的形象，她身着白衣，头戴冠冕，手持莲花，神态庄严肃穆。\n\n观音菩萨是佛教传统中的一位菩萨，被认为是慈悲与智慧的化身。她的莲花代表了佛教的清净，而白色的衣服则象征着她的纯洁和超凡的品德。\n\n白衣观音图的风格独特，线条流畅，色彩明亮。画家巧妙地运用了透视法和光影效果，使得观音菩萨的形象更加立体生动。\n\n白衣观音图至今仍被认为是中国古代宗教绘画的杰作，其独特的风格和出色的艺术技巧吸引了众多观众的目光。它不仅是一幅优秀的艺术品，也是中国文化遗产的瑰宝。",[24,25,95,3557,547,7,27,193,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53f25759ae0a1847993ffe0f015ebbf.jpg",[600],{"id":15446,"slug":15447,"title":15448,"dynasty":18,"author":91,"museum":120,"description":15449,"tags":15450,"thumbUrl":15451,"material":40,"size":15452,"collection":83,"collections":15453,"showCount":15215,"zanCount":46,"manualWeight":46,"mainColor":47},216096,"yun-gen-cong-xiao-tu-ye-wang-fu-216096","云根丛篠图页","本幅墨笔画坡石丛竹，左边款：”王绂“。印”孟端“朱方，乾隆对题一页。有安岐、项子京藏印三方。",[23,24,7,38,80,37,74,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f6f8338035b5d4699fea149d00afb4.jpg","纵26.2cm，横29.5cm",[83],{"id":15455,"slug":15456,"title":15457,"dynasty":52,"author":53,"museum":450,"description":15458,"tags":15459,"thumbUrl":15460,"material":314,"size":1061,"collection":166,"collections":15461,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":47},290433,"ceng-yan-qu-jian-tu-huang-gong-wang-290433","层岩曲涧图","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[281,24,25,95,7,28,213,30,29,2637,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":15464,"slug":15465,"title":15466,"dynasty":52,"author":581,"museum":450,"description":15467,"tags":15468,"thumbUrl":15469,"material":314,"size":1061,"collection":166,"collections":15470,"showCount":15462,"zanCount":1084,"manualWeight":46,"mainColor":140},290258,"long-hu-tu-yi-ming-290258","龙虎图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,95,7,3914,349,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba15b6a022629488be8950a2002ec80.jpg",[],{"id":15472,"slug":15473,"title":15474,"dynasty":205,"author":278,"museum":450,"description":15475,"tags":15476,"thumbUrl":15478,"material":314,"size":1061,"collection":166,"collections":15479,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":140},289947,"song-xi-fan-yue-tu-xia-gui-289947","松溪泛月图","为夏圭的典型之作，近景几株松树，渔翁泛舟江上，明月高悬，烟波浩淼，水天一色。简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。",[23,1462,24,281,7,36,624,31,940,28,15477,80,7919],"泛舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2945a3cf2401ced6554359bde119ad.jpg",[],{"id":15481,"slug":15482,"title":15483,"dynasty":205,"author":12123,"museum":92,"description":15484,"tags":15485,"thumbUrl":15488,"material":457,"size":15489,"collection":220,"collections":15490,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":461},289867,"xue-xi-yu-fu-tu-xu-dao-ning-289867","雪溪渔父图","许道宁 北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[24,494,7,36,993,28,717,832,15486,15487,180,729,11297],"渔舍","溪岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[220],{"id":15492,"slug":15493,"title":15494,"dynasty":205,"author":842,"museum":450,"description":4964,"tags":15495,"thumbUrl":15496,"material":314,"size":1061,"collection":166,"collections":15497,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":140},289660,"song-xia-gao-shi-tu-li-cheng-289660","松下高士图",[23,24,281,95,7,28,193,717,5695,36,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f602d1c6e4474cdb9b8901a8eac0943.jpg",[],{"id":15499,"slug":15500,"title":2323,"dynasty":205,"author":206,"museum":92,"description":7994,"tags":15501,"thumbUrl":15502,"material":61,"size":1061,"collection":166,"collections":15503,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":140},288831,"han-lin-tu-guo-xi-288831",[23,24,7,494,717,832,993,36,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f730e4c4ef38aba763543541f0e5e17.jpg",[],{"id":15505,"slug":15506,"title":15507,"dynasty":174,"author":3195,"museum":450,"description":15508,"tags":15509,"thumbUrl":15510,"material":298,"size":166,"collection":42,"collections":15511,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":140},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[281,24,25,95,7,36,28,32,30,33,34,324,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[42,222],{"id":15513,"slug":15514,"title":15515,"dynasty":18,"author":15516,"museum":120,"description":15517,"tags":15518,"thumbUrl":15519,"material":11042,"size":166,"collection":166,"collections":15520,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":47},234995,"lan-zhu-zhou-chen-yuan-su-234995","兰竹轴","陈元素","陈元素，生卒年不详，明代书画家。字古白、孝平、金刚，号素翁、处廓先生，私谥贞文先生，南直隶苏州府长洲（今江苏苏州）人，万历诸生。早负才名，工诗文，尤善书法，楷书法欧阳，草入二王之室，工山水，尤善写兰，得文征明之秀媚。有《古今名将传》、《南牅日笺》。",[281,24,25,95,7,133,180,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f282cae8acc7a40f7ae7ffdf6630dba.jpg",[],{"id":15522,"slug":15523,"title":15524,"dynasty":18,"author":11541,"museum":5532,"description":15525,"tags":15526,"thumbUrl":15527,"material":298,"size":166,"collection":166,"collections":15528,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":47},234160,"hua-niao-tu-juan-li-yin-234160","花鸟图卷","李因（1610－1685），字是庵，号龛山逸史，晚号今生。明末清初女诗人、画家。会稽（今浙江绍兴）人，一作钱塘（今杭州）人。早年为江浙名妓，后嫁光禄卿葛征奇为妾，在绘画上崇尚隽雅，在山水画上学习米芾、米友仁，画山水、花鸟，疏爽隽逸，毫无女子纤弱之气。亦工诗，著有《竹笑轩吟草》等，诗笔清奇，有中唐遗韵。\n李因名声很大，也颇为自负，经常将自己视作唐朝的王维。",[23,281,24,26,7,75,282,76,37,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395b220e33ecb40388d49fc859a4ba09.jpg",[],{"id":15530,"slug":15531,"title":15532,"dynasty":174,"author":15533,"museum":92,"description":15534,"tags":15535,"thumbUrl":15536,"material":298,"size":15537,"collection":166,"collections":15538,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":47},231958,"song-shu-ren-wu-tu-zhou-pu-ru-231958","松树人物图轴","溥儒","松树画的苍劲有力。不过，要说到画松树的高手，还是要提到明代的听松老人过仪，他画的松树是最值得称道的。\n溥心畬[yú]（1896年9月2日—1963年11月18日），满族，原名爱新觉罗·溥儒，初字仲衡，改字心畬，自号羲皇上人、西山逸士，北京人，著名书画家、收藏家。为清恭亲王奕訢之孙。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,7,36,95,624,193,28,180,211,34,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd4de942e3134374eef408c4a33d.jpg","130x32cm",[],{"id":15540,"slug":15541,"title":15542,"dynasty":205,"author":264,"museum":1346,"description":15543,"tags":15544,"thumbUrl":15545,"material":298,"size":15546,"collection":166,"collections":15547,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":47},231424,"xiao-xiang-wo-you-tu-juan-li-gong-lin-231424","潇湘卧游图卷","《潇湘卧游图》为纸本墨笔，纵30.2厘米，横399.4厘米，意境开阔，大开大阖，随着观者视觉的移动，描绘了潇湘美景。 卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[23,24,25,26,7,28,36,37,38,80,164,4569,33,535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":15549,"slug":15550,"title":15551,"dynasty":52,"author":726,"museum":92,"description":15552,"tags":15553,"thumbUrl":15564,"material":15565,"size":15566,"collection":42,"collections":15567,"showCount":15462,"zanCount":1084,"manualWeight":46,"mainColor":140},231383,"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[24,494,7,15554,123,518,36,14529,164,210,15555,15556,15557,15558,15559,15560,624,10537,2477,15561,193,15562,15563],"渴笔皴法","山泉","亭台楼阁","房舍","木桥","清江","扁舟","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[42],{"id":15569,"slug":15570,"title":15571,"dynasty":174,"author":377,"museum":450,"description":15572,"tags":15573,"thumbUrl":15574,"material":166,"size":166,"collection":166,"collections":15575,"showCount":15462,"zanCount":1084,"manualWeight":46,"mainColor":47},228983,"tao-yuan-tu-shi-tao-228983","桃源图","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,25,26,27,28,7,36,212,211,59,35,33,282,30,533,6175,131,9856,215,164,6133,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],{"id":15577,"slug":15578,"title":15579,"dynasty":205,"author":2494,"museum":450,"description":15580,"tags":15581,"thumbUrl":15583,"material":166,"size":166,"collection":166,"collections":15584,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":47},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,281,24,25,26,481,7,27,80,1853,13674,15582,6504,96,282,162,397],"芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":15586,"slug":15587,"title":15588,"dynasty":52,"author":4714,"museum":92,"description":15589,"tags":15590,"thumbUrl":15591,"material":298,"size":15592,"collection":83,"collections":15593,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":47},221841,"ma-que-shan-qin-tu-li-zhou-wang-yuan-221841","麻雀山禽图立轴","王渊，元代画家，字若水，号澹轩，一号虎林逸士，生卒年不详。杭（杭州）人。幼习丹青，赵孟多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，地写生之妙，时称“绝艺”。人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[23,281,24,25,95,7,481,75,126,7852,282,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0258e250c8d399555994ef46f70fc70b.jpg","60x198cm",[83,222],{"id":15595,"slug":15596,"title":645,"dynasty":205,"author":607,"museum":3165,"description":5294,"tags":15597,"thumbUrl":15598,"material":15599,"size":15600,"collection":220,"collections":15601,"showCount":15462,"zanCount":46,"manualWeight":46,"mainColor":47},221666,"shan-shui-tu-ma-yuan-221666",[23,281,24,7,1462,36,5254,28,717,34,164,4569,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25749570680d4776f70b7c2eecee4f5.jpg","绢本 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厘米，横71.2厘米",[83,222],{"id":15760,"slug":15761,"title":15762,"dynasty":174,"author":1100,"museum":450,"description":15763,"tags":15764,"thumbUrl":15765,"material":166,"size":166,"collection":166,"collections":15766,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},235242,"shu-guo-ping-zhou-wu-chang-shuo-235242","蔬果屏轴","此作用篆籀之趣写就寻常蔬果，泼墨如椽，墨色浓淡铺陈出菜叶的舒展野逸，枯湿变化尽显苍劲老辣的笔力。朱红晕染南瓜，暖润厚重，萝卜鲜活水灵，将乡野烟火的朴拙意趣，揉入文人笔墨之中。\n题长款行书诗文，笔势跌宕烂漫，与画面相映成趣，诗画合璧间，把案头清赏与田园之思融为一体，寻常果蔬不再只是吃食，化为充满生命力的雅逸景致，烟火气裹挟书卷意，落笔皆见真性情。",[24,25,95,27,7,80,904,2337,2336,2335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fe66098bf656c8cdfdc8cafbd20a46.jpg",[],{"id":15768,"slug":15769,"title":15770,"dynasty":174,"author":1100,"museum":450,"description":15771,"tags":15772,"thumbUrl":15774,"material":166,"size":166,"collection":166,"collections":15775,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},235232,"liao-hong-he-bai-tu-zhou-wu-chang-shuo-235232","蓼红荷白图轴","以大写意之笔铺陈秋塘意趣，上方荷叶泼墨挥就，浓淡干湿交织，尽显苍浑朴拙之态，留白花瓣莹洁雅致，与墨色荷叶相映成趣。下方蓼花茎干细劲，朱红点染花序，鲜活灵动如沐秋风。\n\n左上题字错落排布，书意与画意相融相生。全作用笔兼具篆籀古意，看似率意挥洒，实则疏密得宜，红蓼墨荷冷暖相衬，将清秋疏朗野逸的意趣藏于笔底，寥寥数笔便勾勒出秋光满塘的鲜活生机，尽显文人写意画的雅逸朴厚。",[24,25,95,7,27,75,128,15773],"蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed59055e1f284cd3c40ef5375f4a0596.jpg",[],{"id":15777,"slug":15778,"title":15779,"dynasty":174,"author":15780,"museum":120,"description":15781,"tags":15782,"thumbUrl":15783,"material":564,"size":15784,"collection":166,"collections":15785,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},234683,"chen-shi-ceng-tao-liu-pi-pa-tu-zhou-chen-heng-ke-234683","陈师曾桃榴枇杷图轴","陈衡恪","图绘桃、石榴、枇杷各一枝，参差有序，果实累累。画中以花青色配以浓淡不同的墨色画桃叶，再以重墨勾勒筋脉。桃实红绿相间，色泽自然。石榴的枝条硬朗秀挺，小叶片片看似随意，然点画得轻灵活泼，与较浓重的桃叶、枇杷叶相映衬，使画面轻重有别，富有韵律感。",[281,24,25,95,75,27,7,4718,1474,1642,78,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93683f8661e46f36da1e89a8b0199c.jpg","纵87.5厘米， 横44.8厘米",[],{"id":15787,"slug":15788,"title":15789,"dynasty":18,"author":796,"museum":120,"description":15790,"tags":15791,"thumbUrl":15792,"material":1877,"size":15793,"collection":166,"collections":15794,"showCount":15694,"zanCount":1084,"manualWeight":46,"mainColor":47},234121,"fang-mi-shan-shui-tu-juan-chen-chun-234121","仿米山水图卷","图中山峦隐现起伏不断，雾气弥漫，杂树成林，山涧泉 水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[24,25,26,7,28,254,6145,211,33,34,210,32,30,164,785,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],{"id":15796,"slug":15797,"title":15798,"dynasty":174,"author":15799,"museum":450,"description":15800,"tags":15801,"thumbUrl":15802,"material":166,"size":166,"collection":166,"collections":15803,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},230854,"lan-zhu-shi-tu-zhu-sheng-230854","兰竹石图","诸昇","淡墨晕染坡岸，焦墨点苔点缀，寥寥数笔便勾勒出幽寂崖畔的清冷底色。兰叶以中锋挥就，笔势柔韧舒展，或斜曳迎风，或挺拔舒展，如君子立世，清劲洒脱。\n\n兰花以浓墨点簇，隐于叶隙之间，含而不发，暗合雅士含蓄内敛的品格。整幅画作以水墨浓淡铺陈层次，简淡疏朗，以少胜多，不着艳色，却恍见空谷幽兰暗香浮动，将兰草孤高清逸之态尽数彰显，尽显文人借物抒怀的写意意趣，把水墨的空灵雅致渲染到极致。",[24,25,7,123,133,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4634c9d1a59b7eb1c6b4e3b1a07df0.jpg",[],{"id":15805,"slug":15806,"title":15807,"dynasty":205,"author":278,"museum":450,"description":15808,"tags":15809,"thumbUrl":15810,"material":166,"size":166,"collection":166,"collections":15811,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,24,25,281,1462,7,36,28,624,210,193,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],{"id":15813,"slug":15814,"title":15815,"dynasty":18,"author":581,"museum":450,"description":15816,"tags":15817,"thumbUrl":15818,"material":3471,"size":15819,"collection":42,"collections":15820,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":140},223460,"shan-shui-lou-ge-tu-ye-yi-ming-223460","山水楼阁图页","图中绘高山峻岭，山石陡峭，树木葱郁，群山中有一楼阁，作为画中心，色彩不同于高山树木的墨绿，采用偏黄绘画，具有中国建筑特色，极为突出",[23,24,25,74,518,7,27,28,194,33,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae4ea4a3f42436225874305e3ba8ce.jpg","40X43",[42,222],{"id":15822,"slug":15823,"title":15824,"dynasty":174,"author":581,"museum":294,"description":15825,"tags":15826,"thumbUrl":15829,"material":166,"size":15830,"collection":166,"collections":15831,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":140},223357,"fang-dong-yuan-jiang-nan-yan-luan-tu-juan-yi-ming-223357","仿董源江南烟峦图卷","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。\n画面上有山峦复叠、烟树沙川的夏日景致。画面中央山峦起伏连绵，上方水面空阔回转；一道道沙川和坡丘在水上和岸边延伸推展，两人泛舟水上；岸上树木丛生，百草丰茂，其间有牛羊悠闲吃草，有农人从容劳作；一道一道的冈峦，苍苍茫茫由近向远渐渐推展开去，忽明忽暗，层峦叠嶂，极具自然掩映的趣味。",[24,25,26,7,254,36,28,211,33,31,58,15827,1338,15828,3686],"丘陵","丛竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff949cfedb91c38ffe9314bf3c1e04eb8.jpg","30x600厘米",[],{"id":15833,"slug":15834,"title":15835,"dynasty":174,"author":2823,"museum":1873,"description":15836,"tags":15837,"thumbUrl":15838,"material":15839,"size":15840,"collection":83,"collections":15841,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},223252,"zhu-ju-hua-tu-zhou-pu-hua-223252","竹菊花图轴","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,27,7,95,75,126,134,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f837281a5a3ede855624505ab9f5514.jpg","纸本，册页，设色","纵27厘米、横34厘米",[83,64],{"id":15843,"slug":15844,"title":15845,"dynasty":18,"author":10698,"museum":92,"description":15846,"tags":15847,"thumbUrl":15848,"material":40,"size":15849,"collection":222,"collections":15850,"showCount":15694,"zanCount":1084,"manualWeight":46,"mainColor":47},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,25,95,7,27,36,80,28,127,126,32,29,30,34,33,282,147,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[222,64],{"id":15852,"slug":15853,"title":15854,"dynasty":18,"author":5177,"museum":92,"description":15855,"tags":15856,"thumbUrl":15858,"material":7,"size":15859,"collection":42,"collections":15860,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","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。\n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。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，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。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n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。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,281,24,25,95,7,36,34,717,211,210,15857,832,28],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[42,64],{"id":15862,"slug":15863,"title":15864,"dynasty":18,"author":19,"museum":120,"description":15865,"tags":15866,"thumbUrl":15868,"material":298,"size":15869,"collection":83,"collections":15870,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},222129,"xin-yi-mo-cai-tu-juan-shen-zhou-222129","辛夷墨菜图卷","第一段：本幅无款，右下钤印“启南”（朱文）。另有吴宽题诗：“半含成木笔，本号是辛夷。一树石庭下，故园增我思。”钤印“延州来季子后”（朱文）。另钤“项元汴印”（朱文）等鉴藏印多方。此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\n第二段：本幅无款，右下钤“启南”朱文印。另有吴宽题诗：“翠玉晓茏葱，畦间足春雨。咬根莫弄叶，还可作羹煮。”钤“原博”朱文印。另钤项元汴“平生真赏”朱文印等鉴藏印多方。画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[23,26,7,27,123,15867,2336,76,2203,80,37],"辛夷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36497ff253f3762a4bf12e6f7a25d7a3.jpg","第一段，纸本，设色，纵34.9厘米，横58.8厘米；第二段，纸本，墨笔，纵34.9厘米，横58.8厘米。",[83,222],{"id":15872,"slug":15873,"title":15874,"dynasty":205,"author":607,"museum":1346,"description":15875,"tags":15876,"thumbUrl":15877,"material":61,"size":15878,"collection":166,"collections":15879,"showCount":15694,"zanCount":1084,"manualWeight":46,"mainColor":140},221531,"jiang-shang-xiao-chuan-tu-ma-yuan-221531","江上小船图","马远（约1140－约1225年后），南宋画家。字遥父，号钦山，原籍河中（今山西永济），侨寓钱塘（今浙江杭州）。出身绘画世家，南宋光宗、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。",[23,24,281,25,1462,7,27,193,31,28,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9920e6cf5cd9c356e5072e6bc0e4c7e.jpg","纵26厘米，横26.5厘米",[],{"id":15881,"slug":15882,"title":15883,"dynasty":205,"author":15884,"museum":120,"description":15885,"tags":15886,"thumbUrl":15887,"material":612,"size":15888,"collection":220,"collections":15889,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":140},221436,"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[23,281,24,25,26,7,36,28,1839,193,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[220],{"id":15891,"slug":15892,"title":15893,"dynasty":174,"author":15894,"museum":190,"description":15895,"tags":15896,"thumbUrl":15897,"material":98,"size":15898,"collection":222,"collections":15899,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[23,24,25,95,7,36,254,28,2637,164,147,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[222],{"id":15901,"slug":15902,"title":4545,"dynasty":18,"author":11203,"museum":120,"description":15903,"tags":15904,"thumbUrl":15906,"material":40,"size":15907,"collection":600,"collections":15908,"showCount":15694,"zanCount":1084,"manualWeight":46,"mainColor":47},219059,"yu-le-tu-zhou-chen-219059","周臣（生卒年不详），字舜卿，号东村，吴县（今江苏苏州）人。画山水师陈暹（1405－1496年），摹古于宋人李成、郭熙、马远、夏圭，用笔纯熟，所谓“行家”意胜耳。何良俊以为，与戴进（1388－1462年）并驱，则互有所长，亦是院体中一高手。兼工人物，古貌奇姿，绵细萧散，各极意能。 　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[23,24,26,7,481,193,31,162,58,1004,729,36,5431,15905],"渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[600],{"id":15910,"slug":15911,"title":15912,"dynasty":52,"author":581,"museum":450,"description":15913,"tags":15914,"thumbUrl":15915,"material":7,"size":166,"collection":222,"collections":15916,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":140},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[23,24,25,95,7,123,547,193,3902,162,34,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[222],{"id":15918,"slug":15919,"title":15920,"dynasty":174,"author":3195,"museum":120,"description":15921,"tags":15922,"thumbUrl":15923,"material":98,"size":15924,"collection":42,"collections":15925,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,24,7,28,36,254,335,350,32,162,180,30,717,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[42],{"id":15927,"slug":15928,"title":15929,"dynasty":174,"author":15930,"museum":92,"description":15931,"tags":15932,"thumbUrl":15933,"material":98,"size":15934,"collection":42,"collections":15935,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},218319,"fang-wang-meng-wan-die-fu-rong-tu-dong-bang-da-218319","仿王蒙万叠芙蓉图","董邦达","董邦达为清代画家，在山水题材上造诣颇深。他具有双重身份，不仅为朝廷命官，而且是一位颇有才气的画家。作为官员的董邦达，一生可谓仕途通达，早年高中进士，身为朝廷命官，平日忙于公务，作画只是董邦达的业余爱好。然而，董邦达具有绘画的天赋，尤其擅长山水画，名噪一时。",[24,7,494,36,254,34,33,35,58,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1794d4956e0a07d2cd810a08d5a76fc0.jpg","纵133cm，横63.3cm",[42],{"id":15937,"slug":15938,"title":15939,"dynasty":174,"author":418,"museum":159,"description":15940,"tags":15941,"thumbUrl":15942,"material":40,"size":166,"collection":166,"collections":15943,"showCount":15694,"zanCount":46,"manualWeight":46,"mainColor":47},214368,"tian-guang-yun-jing-tu-ce-zhu-da-214368","天光云景图册","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,25,74,7,28,33,35,180,282,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cfec1f032a3c376c5af72892319e611.jpg",[],{"id":15945,"slug":15946,"title":15947,"dynasty":18,"author":19,"museum":92,"description":3683,"tags":15948,"thumbUrl":15949,"material":98,"size":15950,"collection":222,"collections":15951,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":140},291002,"gu-song-tu-shen-zhou-291002","古松图",[281,24,25,7,5646,610,2348,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f287011696dffb4e0f719e2224fed22.jpg","73.9x51.2",[222],55,{"id":15954,"slug":15955,"title":15956,"dynasty":205,"author":842,"museum":450,"description":4964,"tags":15957,"thumbUrl":15959,"material":314,"size":1061,"collection":166,"collections":15960,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":140},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图",[281,24,25,95,7,494,36,993,4347,15958,717,35,30,832],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],{"id":15962,"slug":15963,"title":15964,"dynasty":205,"author":278,"museum":450,"description":5919,"tags":15965,"thumbUrl":15966,"material":314,"size":1061,"collection":166,"collections":15967,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},289444,"gao-shi-guan-hua-tu-xia-gui-289444","高士观花图",[1462,24,7,494,518,36,624,194,28,193,7919,1974,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff727011fb484f5d3322b69ceb8e8e28c.jpg",[],{"id":15969,"slug":15970,"title":15971,"dynasty":205,"author":592,"museum":450,"description":15972,"tags":15973,"thumbUrl":15974,"material":314,"size":1061,"collection":166,"collections":15975,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":140},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","江山小景图","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,281,24,25,26,7,27,36,28,31,32,1776,210,4348,213,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],{"id":15977,"slug":15978,"title":5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，明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[24,25,74,38,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf2f9a7ff11a15dc084e1a4d50397792.jpg","66.8x60.8",[83,245],{"id":15985,"slug":15986,"title":15987,"dynasty":174,"author":15988,"museum":120,"description":15989,"tags":15990,"thumbUrl":15991,"material":564,"size":166,"collection":245,"collections":15992,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},237160,"zhu-xuan-shi-tu-zhou-jin-nong-dan-237160","竹玄石图轴","金农丹","竹之为物，其性不同于众木，不因寒暑而荣谢，不以四时而变化，风雨不惧，飒飒幽幽，劲不输于青松，曲可比于细柳，故寓君子于竹。\n国人与竹的心灵交契，可上溯《诗》《礼》。自东晋王徽之说“何可一日无此君”后，“君”便成了竹的别称。后世百代，竹都以君子的形象存寓在人们的心中。古代文士爱竹、咏竹、写竹，将一切美好的品德与理想的人格都赋予竹。自唐人“君子比德于竹”，到宋人“其身与竹化”，视竹为与自身心灵相通的君子，人与竹的精神联系已达到“物我无间”的境地。\n墨竹，又称“墨君”，起于唐而源流未审。北宋文同（字与可）、苏轼开文人写意墨竹之先河，其写竹不止于状貌，非图其外美，而以纯素之心体竹高洁之性。\n后世画家，凡写墨竹，无不受到文同与苏轼的影响，无不对其推崇备至。金代王庭筠，元代李衎、高克恭、赵孟頫、吴镇、顾安、柯九思、倪瓒、王蒙等，明初王绂、夏昶，他们写竹，备竹子之法度神采，又饱含君子之气度品格，直承文苏之正脉。之后，陈芹、姚绶、文征明、陈淳、徐渭、朱耷、石涛、金农、郑燮等秉承文苏之风骨，融自己之心意，不同与可，却能“高呼与可”，为文人墨竹注入了新鲜的血液。“墨君”也因此承载了更多的意象和更高的情志。传承是艺术得以延续的根本，但是它更感人的一面乃是其绝世而独立的精神，是其郁郁勃发、生生不息的生命状态。",[24,25,95,7,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c12294b2fcf4f48504901088786c74.jpg",[245],{"id":15994,"slug":15995,"title":5598,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":15996,"thumbUrl":15997,"material":314,"size":1061,"collection":83,"collections":15998,"showCount":15952,"zanCount":1084,"manualWeight":46,"mainColor":47},235195,"hua-hui-ce-wu-chang-shuo-235195",[281,24,25,74,7,27,125,75,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f37309801ecded7fc20ed764eeb56d7.jpg",[83],{"id":16000,"slug":16001,"title":16002,"dynasty":18,"author":2851,"museum":120,"description":16003,"tags":16004,"thumbUrl":16005,"material":964,"size":16006,"collection":166,"collections":16007,"showCount":15952,"zanCount":1084,"manualWeight":46,"mainColor":47},233707,"you-ren-yan-zuo-tu-zhou-tang-yin-233707","幽人燕坐图轴","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。",[24,25,95,7,36,28,32,33,34,30,193,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448d0d425ec0f6d6a2e9b1bd7bf7016.jpg","纵120.3厘米，横25.8厘米",[],{"id":16009,"slug":16010,"title":16011,"dynasty":174,"author":1639,"museum":120,"description":16012,"tags":16013,"thumbUrl":16014,"material":564,"size":16015,"collection":166,"collections":16016,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},233178,"ping-ju-tu-zhou-xu-gu-233178","瓶菊图轴","此图为瓶插秋菊的小品画。构图匠心独运，巧于设置，高低错落的瓶和壶、“S”形走势的秋菊令画面富有活力，并形成多层次的节律变化。设色淡雅清新，笔法灵活娴熟，是虚谷晚年的花卉画代表作。",[24,25,281,95,27,7,134,127,1104,11254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd971ac61959e2aff3b2a1a61b30a51c6.jpg","纵126.2厘米，横57.7厘米",[],{"id":16018,"slug":16019,"title":16020,"dynasty":174,"author":926,"museum":20,"description":16021,"tags":16022,"thumbUrl":16023,"material":298,"size":16024,"collection":166,"collections":16025,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},231561,"lan-zhu-tu-ce-li-shan-231561","兰竹图册","李鱓 （1686-1762），清代书画家。曾为宫廷作画，后任滕县知县，为政清简，以忤大吏罢归。在扬州卖画。为扬州八怪之一。擅画花卉虫鸟，初师蒋廷锡，画法工致；又师高其佩，进而趋向粗笔写意，并取法林良、徐谓、朱耷，落笔劲健，纵横驰骋，不拘绳墨而有气势，有时使用重色或彩墨结合，颇得天趣。因在扬州见石涛作品，遂用破笔泼墨作画，风格一变。传世作品有《五松图》《芭蕉萱石图》和《墨荷图》等。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后又受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年始转入粗笔写意，大胆泼辣，挥洒自如，感情充沛，富有气势。他大大拓展了写意花鸟画的表现领域，大自然中的花草树木，人们日常生活的各种用具，乃至向来不登大雅之堂的农家食用之物如桑、蚕、破芭蕉扇之类，也一一摄入画中，其题材之广泛多样远远超过了前人。\n其写意花鸟画，努力学习石涛破笔泼墨的画法，酣畅淋漓，笔墨奔放，富有动感，充分表达了作者的创作激情。同时，他又吸取了没骨花卉的表现方法，工细严谨，色墨淡雅，变化丰富，形体富于立体感，在作画时，他经常能做到二者并用，自然浑融，灵活多变，具有较强的艺术表现力。\n在扬州八怪中，李鱓是受到清末批评家猛烈批评的一位，主要指责他脱离传统，笔墨缺乏蕴藉含蓄，有“霸悍之气”、“失之于犷”等。纵观李鱓一生创作，他是一位富有独创才能的画家。",[24,25,74,7,123,133,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b1e16345a5ca07089cab1d16f3637f.jpg","纵189．7厘米，横63．4厘米",[],{"id":16027,"slug":16028,"title":16029,"dynasty":52,"author":4110,"museum":92,"description":16030,"tags":16031,"thumbUrl":16032,"material":537,"size":4114,"collection":166,"collections":16033,"showCount":15952,"zanCount":5,"manualWeight":46,"mainColor":47},231334,"lu-yu-peng-cha-tu-yuan-dai-ji-jin-zhi-liu-zhao-yuan-231334","陆羽烹茶图－元代集锦之六","此图绘山水清远,茅檐数座,屋内峨冠博带、倚坐榻上者即为陆羽,前有一童子焙炉烹茶。本幅有作者自题:“陆羽烹茶图”。画面图文并茂,铸造了士大夫烟霞痼疾与泉石膏肓的精神世界,从一个侧面折射了元代的社会思潮。此图山石皴法的侧锋圆转,树点墨法的粗重厚实,无不着意经营,缺少空灵虚旷、自然无为的韵致,特别是湿笔淡墨的运用,还未能打破宋人的陈式。本幅有窥班诗题,还有乾隆皇帝的御题诗。\n图绘远山起伏，水面辽阔，临溪筑有草阁，丛树掩映。阁内一人坐于榻上，当为陆羽，一童子拥炉烹茶。陆羽为唐代学者，闭门著书，不愿为官，以嗜茶闻名，有《茶经》传世。此图表现了文人隐居闲适的生活。远山近坡用披麻皴，皴笔圆转虬曲，颇多侧锋，树法书落，学董巨而有变化。[画师今赵元，东吴谅无双]是当时对赵原绘画的评价。[画师]是对职业画家的称谓，元代职业画家的绘画题材、画风都不同程度地受到文人画家的影响，于此图可见一斑",[24,25,26,7,36,28,32,33,30,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8860eaa9c2ef53a43976d02ab2796f0.jpg",[],{"id":16035,"slug":16036,"title":16037,"dynasty":174,"author":377,"museum":450,"description":16038,"tags":16039,"thumbUrl":16040,"material":166,"size":166,"collection":166,"collections":16041,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},228996,"hua-hui-shan-shui-ce-ye-12-kai-shi-tao-228996","花卉山水册页12开","《陈师曾画集》是以画家个案研究为切入点，以介绍画家作品为主线，将过去未被出版的近现代有影响画家作品编辑出版，为近现代绘画学习、研究提供第一手资料。\n进入二十世纪来，中国近代画家成为美术界、收藏界研究、关注的热点。\n《陈师曾画集》由 出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 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金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 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横55.3厘米",[600],{"id":16097,"slug":16098,"title":16099,"dynasty":18,"author":16100,"museum":770,"description":16101,"tags":16102,"thumbUrl":16103,"material":964,"size":16104,"collection":222,"collections":16105,"showCount":15952,"zanCount":1084,"manualWeight":46,"mainColor":47},222083,"mo-bi-shan-shui-ren-wu-zhou-you-qiu-222083","墨笔山水人物轴","尤求","此幅完全以水墨绘制，笔法精细，功力深厚。远处丛山峻岭，山巅墨色如黛；中部一棵松树绘画清晰，枝杆细长，松枝自然伸展；近处厅一座，厅前几位雅士席地而坐，侃侃而谈，四周绿树环抱。尤求，字子求，工山水，善人物，明代画家。",[23,24,25,95,7,481,36,28,193,33,30,34,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6786c4d9ae057bd41bb8eba3527de43a.jpg","50.7x126.2cm",[222],{"id":16107,"slug":16108,"title":16109,"dynasty":205,"author":4437,"museum":92,"description":16110,"tags":16111,"thumbUrl":16112,"material":166,"size":166,"collection":220,"collections":16113,"showCount":15952,"zanCount":1084,"manualWeight":46,"mainColor":140},221421,"da-jiang-tu-yan-wen-gui-221421","大江图","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,24,25,26,7,36,28,4348,3246,194,29,33,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c21e1641668e9acb1a358f7b09ffe9f.jpg",[220,42,222],{"id":16115,"slug":16116,"title":16117,"dynasty":359,"author":1872,"museum":5712,"description":16118,"tags":16119,"thumbUrl":16120,"material":166,"size":166,"collection":166,"collections":16121,"showCount":15952,"zanCount":1084,"manualWeight":46,"mainColor":47},220543,"shuang-jun-xu-bei-hong-220543","双骏","浓淡墨色铺就两匹俊马的迥异姿态，黑马垂首衔草，浓墨泼写鬃尾，焦墨勒出筋肉起伏，留白提亮的蹄足莹润干净，尽显温驯悠然。红马昂首长嘶，赭红染就躯体，飞扬的鬃发如流云翻涌，线条劲挺利落，将烈马桀骜悍勇的气魄尽数挥洒。\n\n以写意笔法勾勒马的肌理轮廓，揉合西洋写实的精准与东方水墨的灵逸，寥寥数笔便将骏马筋骨与神采凝于纸面。画面留白营造出郊野的空寂悠远，边角题字补全章法，文气与画意相融，将生灵蓬勃的野性生机定格于尺幅间，尽显骏马的不屈风骨。",[23,281,24,25,7,27,123,312,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a982798b011d434271fc901fb3e82.jpg",[],{"id":16123,"slug":16124,"title":16125,"dynasty":359,"author":1872,"museum":1873,"description":16126,"tags":16127,"thumbUrl":16128,"material":166,"size":166,"collection":166,"collections":16129,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},220529,"pin-fu-xu-bei-hong-220529","贫妇","以水墨写意糅合西画写实技法，刻画出负重前行的劳动者形象。顿挫的墨线勾画出粗布衣衫的褶皱肌理，淡赭晕染出黝黑皲裂的皮肤，面容上尽是被岁月蚀刻的疲惫麻木。紧攥木杖的关节凸起，满载的背篓纹理写实，将底层求生的艰辛具象呈现。创作者以饱含共情的笔触，将人体解剖的精准融于东方水墨的写意语境中，粗粝朴拙的笔调里，藏着对劳苦大众的深切悲悯，静穆的画面之下，涌动着直击人心的力量，将生存的重压与劳动者的隐忍坚韧定格于纸面。",[23,24,25,7,27,193,95,13874,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed65caf0e5744e732bc73e4b5612ea0.jpg",[],{"id":16131,"slug":16132,"title":16133,"dynasty":359,"author":2560,"museum":1589,"description":16134,"tags":16135,"thumbUrl":16136,"material":166,"size":166,"collection":166,"collections":16137,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},220480,"cui-can-fu-bao-shi-220480","摧残","以淡墨晕染枝叶，萧疏破败的墨痕间，残存的花朵带着褪败的艳色，晕开朦胧颓靡的氛围。以花木残败之态寄寓心绪，将感时伤世的沉郁藏入写意笔触里。枝叶偃蹇错落，墨色虚实相生，带着随性却压抑的格调，残花虽仍有灼灼余韵，却难掩周身衰颓破败之意。\n\n题字拙朴厚重，与画面萧索的意境呼应，没有直白的呼号，只借残卉枯枝暗喻时局，把乱世忧思藏入花木描摹中，含蓄沉郁，将文人画的雅致与悲怆的忧怀相融，落笔皆是怅惘。",[23,24,25,7,27,75,134,78,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecf1760b67ff2b8a9221984d65f156b.jpg",[],{"id":16139,"slug":16140,"title":16141,"dynasty":18,"author":407,"museum":159,"description":16142,"tags":16143,"thumbUrl":16144,"material":98,"size":16145,"collection":42,"collections":16146,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":921},219993,"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[23,24,7,95,36,28,31,468,193,624,7489,30,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[42],{"id":16148,"slug":16149,"title":16150,"dynasty":174,"author":9682,"museum":294,"description":16151,"tags":16152,"thumbUrl":16153,"material":98,"size":166,"collection":42,"collections":16154,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","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。",[24,7,28,31,468,162,164,163,507,123,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[42],{"id":16156,"slug":16157,"title":16158,"dynasty":18,"author":581,"museum":378,"description":16159,"tags":16160,"thumbUrl":16161,"material":110,"size":16162,"collection":600,"collections":16163,"showCount":15952,"zanCount":1084,"manualWeight":46,"mainColor":140},219545,"qi-lv-ren-wu-shan-shui-tu-yi-ming-219545","骑驴人物山水图","此作以水墨写意秋寒山行之景，高崖斜出，枯木虬枝缀着残叶，淡墨晕染远山烟岚，虚实相生间漾出清远萧疏之境。前景行旅意趣盎然，骑驴策缓者衣衫宽博，似在缓赏山光，仆役负囊随行，将羁旅况味藏于画面细节。笔墨简括苍劲，以留白衬出山野空寂，尽显文人山水重意境、简笔墨的写意风神，铺陈出寒秋远行的清寂悠然。",[23,24,7,36,193,28,3902,717,34,311,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19352433e6cbac8b95bb8f0f5f3d2250.jpg","92x46.5厘米",[600,42],{"id":16165,"slug":16166,"title":10448,"dynasty":174,"author":10707,"museum":120,"description":16167,"tags":16168,"thumbUrl":16169,"material":98,"size":16170,"collection":83,"collections":16171,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},219298,"you-yu-tu-li-fang-ying-219298","《游鱼图》是李方膺的代表作。画中春水方生，欢腾的鲤鱼争相穿越于河水间，它们或直冲入水底，或徜徉于水面，或摇头摆尾，或展鳍跳跃，在寒冷的冬天之后尽情享受着春天河水复苏带来的喜悦。画面生动传神而富有情趣。作者用笔洗练，虽无一笔背景，却使人透过温和的春水仿佛看到了江南明媚的春日景象，达到了意到笔不到、景在画外的艺术效果。\n根据画面的风格和题诗，可以推断此图是李方膺罢官（乾隆十三年，1748年）之后的作品。画中作者以游鱼自拟，隐喻他久困樊笼，终得返归自然，表现了作者向往自由生活的思想及其品格情操。明清文人常以“四君子”题材直抒胸臆，表现闲雅高洁的品行。李方膺也善画梅，而在晚年，他选择了游鱼为题材表达自己的思想感受，跳出了文人画的樊篱，立意新颖，扩大了文人画的表现领域和审美情趣，他的创新也正表现出“扬州八怪”对绘画的突出贡献。\n在画面位置经营上，此图也与众不同。5尾姿态不同的游鱼组成一条反“S”形曲线，鱼头、鱼尾相互呼应，既有形式上的美感，又渲染了腾跃而出的气氛。右边题诗一贯到底，字体浑厚雄肆，增强了画面的整体感，从而成为诗、书、画完美统一的佳构。",[23,24,7,95,123,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff613ec4e2d38e9fcb8dd2ed4789cd59.jpg","纵123.5厘米，横60厘米",[83,222],{"id":16173,"slug":16174,"title":5496,"dynasty":205,"author":842,"museum":92,"description":16175,"tags":16176,"thumbUrl":16177,"material":110,"size":16178,"collection":220,"collections":16179,"showCount":15952,"zanCount":1084,"manualWeight":46,"mainColor":47},218933,"bu-yu-tu-li-cheng-218933","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[23,24,281,25,74,7,36,28,147,31,468,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[220],{"id":16181,"slug":16182,"title":6501,"dynasty":18,"author":6468,"museum":4566,"description":16183,"tags":16184,"thumbUrl":16185,"material":110,"size":16186,"collection":83,"collections":16187,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":140},218631,"lu-yan-tu-lin-liang-218631","画面以淡墨晕染出秋郊水畔的清寂氛围，芦苇疏斜摇曳，残荷半卷低垂，尽显萧瑟之致。一只雁振翅俯冲而下，羽翼的劲健与气流的动感跃然绢上；地面三只雁姿态各异——或低头啄食，喙尖轻触水面，似有涟漪隐现；或昂首远眺，颈间线条舒展，似与飞雁相和；或蜷身小憩，绒毛以淡墨点染，憨态可掬。\n\n笔墨兼工带写，雁的羽毛以浓淡墨色层叠晕染，质感蓬松而富有层次；芦苇则用劲挺的线条勾勒，末梢的飞白似有风掠过。整幅画于简淡中见生机，动静相宜，将禽鸟的野逸之趣与自然的清幽之境融为一体，尽显水墨写意的灵动韵味。",[281,24,7,123,75,6504,1004,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce0607b35d95314ba2cb9879ec01f41.jpg","179x99",[83],{"id":16189,"slug":16190,"title":16191,"dynasty":174,"author":377,"museum":265,"description":16192,"tags":16193,"thumbUrl":16194,"material":40,"size":166,"collection":42,"collections":16195,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,24,74,27,7,28,37,38,36,123,335,350,162,35,32,29,30,193,180,147,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[42],{"id":16197,"slug":16198,"title":645,"dynasty":18,"author":16199,"museum":92,"description":16200,"tags":16201,"thumbUrl":16203,"material":98,"size":16204,"collection":42,"collections":16205,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},214729,"shan-shui-tu-qian-gu-214729","钱谷","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,25,95,7,36,13071,80,28,34,33,32,624,57,533,211,6790,16202,532,3941,2637,3685],"林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[42],{"id":16207,"slug":16208,"title":16209,"dynasty":205,"author":782,"museum":20,"description":16210,"tags":16211,"thumbUrl":16212,"material":98,"size":8424,"collection":166,"collections":16213,"showCount":15952,"zanCount":46,"manualWeight":46,"mainColor":47},214262,"duo-jing-lou-shi-tie-20-mi-fei-214262","多景楼诗帖-20","墨色浓淡交织，似藏无尽章法于其间。每一笔皆如骤雨惊风，却又收放自如——长画如引弓待发，短撇若惊鸿一瞥。飞白处见筋骨，重墨时显沉雄。字与字气脉相连，顾盼有情，仿佛能听见纸墨相触的脆响，窥见书者挥毫的洒脱姿态。笔法跌宕起伏里，藏着不拘一格的才情，读来只觉意气飞扬，心神被灵动线条牵引，沉醉于率真与雄健的交融之美。那肆意挥洒的笔势，既见功底的深厚，更显性情的奔放，将书写时的畅快与豪情，凝在每一处转折提按之中。",[37,38,7,80,858,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba50dd4540257478299585be2cb34631.jpg",[],{"id":16215,"slug":16216,"title":2239,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":16217,"thumbUrl":16218,"material":314,"size":1061,"collection":166,"collections":16219,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},290886,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-290886",[24,7,494,254,147,669,34,37,80,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6845308d6e74e26371b15c8a563743f4.jpg",[],54,{"id":16222,"slug":16223,"title":16224,"dynasty":205,"author":2464,"museum":450,"description":16225,"tags":16226,"thumbUrl":16228,"material":314,"size":1061,"collection":166,"collections":16229,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":140},288733,"xiao-xiang-ba-jing-tu-juan-si-wang-hong-288733","潇湘八景图卷四","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。",[281,24,26,7,494,147,16227,212,163,213,6134],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034d632a84422ddb4076996f3fafebb4.jpg",[],{"id":16231,"slug":16232,"title":16233,"dynasty":18,"author":2851,"museum":450,"description":8920,"tags":16234,"thumbUrl":16235,"material":314,"size":1061,"collection":166,"collections":16236,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},287732,"wei-zhu-zui-yu-tu-tang-yin-287732","苇渚醉渔图",[24,281,7,95,28,31,940,1004,729,37,80,941],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ed30e7e4f9029d9633816e33680693.jpg",[],{"id":16238,"slug":16239,"title":16240,"dynasty":18,"author":119,"museum":1873,"description":16241,"tags":16242,"thumbUrl":16243,"material":298,"size":166,"collection":245,"collections":16244,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},240643,"tang-shi-zhou-xu-wei-240643","唐诗轴","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 ）。明代中期文學家、書畫家、戲曲家、軍事家\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。\n徐渭的文藝創作所涉及的領域很廣，但它們共同的特徵是：藝術上絕不依傍他人，喜好獨創一格，具有強烈的個性，風格豪邁而放逸，而且常常表現出對民間文學的愛好。\n明代的詩壇，由於前七子與後七子的提倡，出現了一股擬古的風潮。這種擬古的風氣，在一定意義上有礙於詩歌藝術的發展。徐渭對此深致不滿，並作了尖鋭的批評。 [16] 他説：“鳥學人言，本性還是鳥；寫詩如果一意模擬前人，學得再像，也不過是鳥學人言而已，毫無真實的價值。”徐渭自己的詩歌創作，注重表達個人對社會生活的實際情感，風格略近李賀，問學盛唐，並雜取南朝，出入宋元，而終不失其為自我。這個傾向為稍後主張抒發性靈的公安派所繼承，對改變晚明詩風具有重要意義。公安派的代表人物袁宏道對徐渭的詩有一段精彩的評述：“文長既不得志於有司，遂乃放浪麴櫱，恣情山水……其所見山奔海立。如寡婦之夜泣，羈人之寒起。當其放意，平疇千里；偶爾幽峭，鬼語秋墳。” [6] [17]\n徐渭的散文，以《自為墓誌銘》一篇最為出色。此外，許多尺牘也很有特色，潑辣機智，幽默多趣，文風遠啓金聖嘆一流。但總的來説，徐渭散文方面的成就不及詩歌。\n徐渭的書法和明代早期書壇沉悶的氣氛對比顯得格外突出，他最擅長氣勢磅礴的狂草，但一般人很難看懂，用筆狼藉，他對自己的書法極為喜歡，自認為“書法第一，詩第二，文第三，畫第四”。\n徐渭打破了以“台閣體”為主導的明代書壇的寂寞，開啓和引領了晚明“尚態”書風，把明代書法引向了新的高峯。陶望齡認為其書法“稱為奇絕，謂有明一人”。袁宏道則稱：“予不能書，而謬謂文長書決在王雅宜、文徵仲之上，不論書法而論書神，先生者誠八法之散聖，字林之俠客矣！”\n徐渭的書法及書法觀的產生，與明朝中、晚期的思想、文化、審美觀念巨大變遷相吻合。他的書法也是從吳門書派主張唐法的反叛中出發，繼而吸取北宋蘇軾、黃庭堅、米芾追求藝術個性化的積極因素中走來。徐渭的作品諸如《寄雲嶽子九首冊》《為仰南書六首詩卷》《李白蘇軾九首詩卷》《春園暮雨詩軸》等作品中黃庭堅書法的筆意比比皆是。\n徐渭在《書季子微所藏摹本蘭亭》中所説的“時時露己筆意” 的審美精神。他的原話是：“非特字也，世間諸有為事，凡臨摹直寄興耳，銖而較，寸而合，豈真我面目哉？臨摹《蘭亭》本者多矣，然時時露已筆意者，始稱高手。予閲茲本，雖不能必知其為何人，然窺其露已筆意，必高手也。優孟之似孫叔敖，豈並其鬚眉軀幹而似之耶？亦取諸其意氣而已矣。”\n如果説徐渭的行書已用“己意”實現了對傳統筆法的改變，那麼，最大的改變是那些高頭大軸的中堂行草書。以前説“董其昌破壞了墨法”，在這則要説“徐渭破壞了筆法”。徐渭在書法從卷冊翰札的文房把玩轉向廳堂展示審美的變革中，實現了作品創作中筆法的改造。《代應制詠劍草書軸》和《代應制詠墨草書軸》是其代表作。徐渭這種借鑑於繪畫的點畫表現方法，是對晉唐筆法的創造性破壞。對於書法藝術這種美術化傾向的改變。\n明代的水墨寫意畫迅速發展，以徐渭為代表的潑墨大寫意畫非常流行。徐渭憑藉自己特有的才華，成為明代成就極高的寫意畫大師。\n徐渭的潑墨寫意花鳥畫，別開生面，自成一家。其花鳥畫，兼收各家之長而不為所限，大膽變革，極具創造力。其寫意畫，無論是花卉還是花鳥，皆一揮而就，一切盡在似與不似之間，對筆下的四時花木，畫家運用勾、點、潑、皴等多種筆墨形態，將牡丹之雍容、紫薇之雋秀、竹子之蕭疏、霜菊之孤傲、寒梅之挺潔的神韻刻畫的入木三分，分別舒展九尺與五尺的梧桐和芭蕉，直衝畫外，不見首尾，與密如驟雨的葡萄、虯如蟠龍的藤蔓構成了巨大的張力，充溢在畫面中的縱橫之氣和豪放境界更是前所未有。他的水墨葡萄，串串果實倒掛枝頭，水鮮嫩欲滴，形象生動，茂盛的葉子以大塊水墨點成，風格疏放，不求形似，代表了徐渭的大寫意花卉的風格。豐富的運動軌跡與濃淡、徐疾、大小、乾濕、疏密程度各異的筆蹤墨韻，無不具備振筆疾書的即興性和不可重複性，呈現出中國繪畫中最為強烈的抽象表現主義，使其藴含某種內在的氣質、精神，這種氣質、精神又使欣賞者有如臨其境之感。徐渭筆下的南瓜、菊花圖，一氣呵成，驅墨如雲，氣勢逼人，同時又恰如其分的駕馭筆墨，輕重、濃淡、疏密、乾濕極富變化。墨法上既呈隨意浸滲的墨暈，又見控制得宜的濃淡。雖然被徐渭自稱“戲抹”，然而在寫意中仍生動的傳達出了花果的不同秉性和生韻。它的梧桐圖，只以潑墨筆法繪其一小部分，卻有使人聯想到挺拔正直的參天梧桐。正如翁方綱所説：“紙才一尺樹百尺，何以著此青林廬。恐是磊落千丈氣，夜半被酒歌噓唏。” 徐渭以其精湛的筆法，在似與不似之間，為欣賞者營造出一片開闊的審美天地。\n徐渭將自己的書法技巧和筆法融於畫中，正如張岱所言：“今見青藤（徐渭）諸畫，離奇超脱，蒼勁中姿媚躍出，與其書法奇絕略同。昔人謂摩詰之詩，詩中有畫，摩詰之畫，畫中有詩；餘謂青藤之書，書中有畫，青藤之畫，畫中有書。” [24] 他的《墨葡萄圖》，墨的濃淡顯示了葉的質感，題詩的字體結構與行距不規則，如葡萄藤蔓一樣在空中自由延伸，書與畫融為一體。\n徐渭的書法造詣很高，其跌宕縱橫的筆法有助於繪畫藝術的巧妙變化，如畫墨荷、葡萄，大刀闊斧，縱橫馳騁，沒有深厚的書法功力是難以做到的。徐渭曾做一幅《梅花蕉葉圖》，將梅花與芭蕉放在一起，並且在畫上題寫道：“芭蕉伴梅花，此是王維畫”，顯示出徐渭與王維在某些構圖上的源流關係。當然，王維畫雪裏芭蕉，更突出一種禪機，即，使得雪的清寒與芭蕉的心空構成畫面的宗教底藴，而徐渭在這樣的畫面組合中，更突出一種超越時空的主體解放性。\n徐渭的書法和畫法都極為嫺熟，功底深厚，他的題字，如他的潑墨寫意畫，縱橫不羈，洋洋灑灑；他的潑墨寫意畫，融合了精熟的筆法，意趣橫生，極富韻味。\n徐渭晚年悲苦淒涼，形影相弔，他將自己的悲憤和懷才不遇之感融注於筆端，筆下的墨竹，枝淡葉濃，逸筆草草，竹枝氣勢勁健，竹葉俯垂含情，雖屬竹枝而高潔清爽之氣不減。這正是畫家身處下層，懷才不遇，品格高潔，絕世獨立人格的光輝寫照。他的潑墨牡丹，不拘於牡丹的富貴高雅特徵，色彩絢爛，他卻常常以水墨繪之，有意改其本性，其目的是有賦予牡丹清雅脱俗的格調和神韻，所謂“從來國色無裝點，空染胭脂媚俗人。”\n徐渭的繪畫主觀感情色彩強烈，筆墨揮灑放縱，從而把中國寫意花鳥畫推向了書寫強烈思想情感的最高境界，把在生宣紙上隨意控制筆墨以表現情感的寫意花鳥畫技巧提高到了前所未有的高度。成為中國寫意花鳥畫發展中的里程碑，開創了中國大寫意畫派的先河，為文人畫的發展提供了廣闊的空間。其畫風對清代的八大山人、石濤、揚州八怪以及近現代的吳昌碩、齊白石等都產生了深遠影響。\n徐渭既採用北雜劇的形式，又吸收南曲的自然格律，創作有雜劇集《四聲猿》，其中包括《狂鼓史漁陽三弄》《玉禪師翠鄉一夢》《雌木蘭替父從軍》《女狀元辭凰得鳳》四個獨立的戲。《狂鼓史漁陽三弄》又稱《陰罵曹》，是有感於嚴嵩殺害沈鍊之事而創作的，表現出狂傲的反抗精神。後兩個戲都是寫女扮男裝建功立業的故事，反映了他對婦女的看法，有一定的反封建意義。這些作品都打破了雜劇固定的格式，為戲劇形式上的多樣化開拓了門津。《四聲猿》，高華爽俊，有着反抗思想與革新精神，對明代中後葉的戲曲創作起到重要的影響。湯顯祖曾説：“《四聲猿》乃詞壇飛將，輒為之演唱數通，安得生致文長，自拔其舌！”\n此外，徐渭對當時流行的輕視南戲之風非常反感。他認為南戲有自己寬鬆自由的格律，受到民間的歡迎，它通俗、多采，“無今人時文氣”，可是卻“無人選集，亦無表其名目者”。為此，徐渭寫下了《南詞敍錄》，首次對南戲加以總結，研究了南戲的藝術特點，著錄了宋元南戲六十種、明初戲文四十七種，以反對戲曲創作的駢麗風尚，扶植新興的俗曲。 [6] 這是中國第一部關於南戲的理論專著，在戲劇史上具有重要意義。雜劇《歌代嘯》、小説《雲合奇縱》（即《英烈傳》），據説也是徐渭所作。\n在戲劇理論方面，徐渭主張“本色”，即戲劇語言應當符合人物的身份，應當使用口語和俗語，以保證人物的真實性，而反對典雅的駢語，過度的修飾，這些看法都頗有見地。\n徐渭文自負才略，喜出奇謀，談論行軍打仗的形勢策略大多得其要領。擔任胡宗憲的幕僚時，協助其抗擊倭寇，並參與制定誘降海盜汪直、徐海等人的計謀。晚年悉心培養名將李如松，使其建立不朽功勳。",[24,25,95,7,80,37,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3a57aac6b64d6fc61ee1dcd1d59672.jpg",[245],{"id":16246,"slug":16247,"title":10038,"dynasty":174,"author":1100,"museum":450,"description":16248,"tags":16249,"thumbUrl":16250,"material":166,"size":166,"collection":83,"collections":16251,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},239112,"mo-mei-tu-zhou-wu-chang-shuo-239112","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[24,25,95,7,125,147,37,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[83,245],{"id":16253,"slug":16254,"title":16255,"dynasty":174,"author":2605,"museum":450,"description":5286,"tags":16256,"thumbUrl":16257,"material":314,"size":1061,"collection":166,"collections":16258,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},237962,"hong-ren-shan-shui-ye-hong-ren-237962","弘仁山水页",[24,7,36,74,28,335,706,162,180,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3848dc7a70e5c11a9d7c7ea91e38be.jpg",[],{"id":16260,"slug":16261,"title":16262,"dynasty":174,"author":581,"museum":450,"description":16263,"tags":16264,"thumbUrl":16265,"material":166,"size":166,"collection":166,"collections":16266,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},235610,"hong-ren-xi-yan-song-xue-tu-zhou-yi-ming-235610","弘仁西岩松雪图轴","以淡墨勾勒皴擦，笔致清劲洗练，将冬日萧寒山境铺陈眼前。危崖层叠凌然耸立，石壁方折硬挺如刀削斧劈，尽显山石孤高嶙峋之态。留白晕染出漫山积雪，素净莹洁，与虬曲枯松相映，愈添荒寒清寂之意。\n\n山间石阶、崖顶幽居藏于苍茫雪景中，似隔绝尘寰烟火，恍若世外幽境。画作以极简笔墨营造出空灵淡远的禅意，清冷孤高的意境直透纸背，尽显静穆萧散的山水逸趣，将冬日山居的幽寂出尘之美尽数铺陈开来。",[24,95,7,28,36,127,831,213,335,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febca332b4a42388ea31a1981cf2e1c04.jpg",[],{"id":16268,"slug":16269,"title":16270,"dynasty":174,"author":633,"museum":450,"description":16271,"tags":16272,"thumbUrl":16273,"material":166,"size":166,"collection":166,"collections":16274,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},230119,"hua-hui-ce-ye-si-kai-ren-yi-230119","花卉册页四开","这幅画作尽显写意花鸟的灵动意趣，左畔黄花明丽醒目，以明艳赭黄点染瓣蕊，娇俏鲜活，与浓墨绘就的叶片形成鲜明反差，苍劲墨色衬出花的妍丽。右方淡色花簇晕染柔润，清雅素净，和左侧形成虚实冷暖的精妙呼应。\n\n枝干运笔枯湿浓淡相宜，苍润兼具，写出了花木舒展自然的姿态。笔墨兼具工写之妙，既以豪放淋漓的墨色绘就叶片的苍劲质感，又细致勾勒出花蕊、花苞的娇柔细节，设色清隽雅致，将花木天然的生机逸态尽显无遗，氤氲着悠然的文人雅趣，尽显清逸灵动的花鸟意韵。",[281,24,25,74,27,7,75,76,367,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc9e9ba66454e1ab14a0ed4e8251f9f.jpg",[],{"id":16276,"slug":16277,"title":1807,"dynasty":174,"author":377,"museum":450,"description":16278,"tags":16279,"thumbUrl":16280,"material":166,"size":166,"collection":166,"collections":16281,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},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。",[281,24,25,74,7,27,28,1810,34,33,1442,163,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc902b0dd15f94b2abc4bd478738d2ba3.jpg",[],{"id":16283,"slug":16284,"title":2189,"dynasty":18,"author":796,"museum":450,"description":16285,"tags":16286,"thumbUrl":16287,"material":166,"size":166,"collection":166,"collections":16288,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},228467,"hua-hui-tu-ce-chen-chun-228467","以水墨淡彩写就湖石花木，居中湖石以浓淡干湿变化的墨色晕染勾勒，苍润朴拙，留白与周边花植相映，衬出空间层次。\n花草兼工带写，没骨点染花瓣，色泽柔淡雅致，花枝以细劲线条写出，舒展灵动、野趣横生。笔意松快随性，将春日花木的柔婉生机与湖石的古雅朴拙相融，尽显文人写意的清雅意趣，寥寥笔墨便晕染出鲜活自然之态，淡冶秀逸间饱含悠然生机。",[23,24,25,75,123,7,27,76,34,78,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a207906aca606c24b53bc39de7027b.jpg",[],{"id":16290,"slug":16291,"title":16292,"dynasty":205,"author":607,"museum":450,"description":16293,"tags":16294,"thumbUrl":16295,"material":166,"size":166,"collection":166,"collections":16296,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":140},227640,"song-ge-guan-chao-tu-ma-yuan-227640","松阁观潮图","绢本，设色，190.9×94.5ＣＭ，美国弗利尔美术馆藏。绘山峰奇险，一轮明月与绝壁相对，山脚下古松苍劲笔直，树下凉中一人凭栏眺望，不远处应有潮水奔腾，水面上避风处二船停泊，一小童在船上正伏桌打盹，看来夜已深了。此图原题：马远松阁观潮图。然则细观之下，与王谔的风格很相似，当是明代宫廷画家之作品。",[23,24,25,281,95,7,27,36,28,147,194,193,31,34,164,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42a106aaf591df8e3bae9f9e22cb844.jpg",[],{"id":16298,"slug":16299,"title":16300,"dynasty":205,"author":16301,"museum":450,"description":16302,"tags":16303,"thumbUrl":16305,"material":166,"size":166,"collection":166,"collections":16306,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},227637,"lang-tu-ma-xing-zu-227637","浪图","马兴祖","宋代 马兴祖 山西永济人，绍兴1131年-1162年间画院待诏。擅画花鸟，人物，山水，杂画。《浪图》纵20，8厘米，横22厘米，东京国立美术馆藏。",[23,281,24,25,1714,1462,7,481,350,16304,28],"浪涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a18ac02739bb609ce29d13ab637a86f.jpg",[],{"id":16308,"slug":16309,"title":1172,"dynasty":205,"author":1173,"museum":450,"description":16310,"tags":16311,"thumbUrl":16312,"material":166,"size":166,"collection":166,"collections":16313,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},227293,"mo-lan-tu-zheng-si-xiao-227293","《元郑思肖墨兰图》是元代画家郑思肖所创作的一幅写意水墨画，现为日本大阪市立美术馆藏。该作也是作者留下的传世作品，也是反映他创作思想和艺术造诣的代表作。该作是一幅非常抒情的文人写意水墨画，描绘出兰的野逸、不畏风霜，孤高自傲，无人花自馨的高尚品格。作者借笔墨抒发胸中逸气，是自我思想品格的写照。",[23,24,25,26,7,133,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c729b870cc6b268814e99c4e289b7d.jpg",[],{"id":16315,"slug":16316,"title":16317,"dynasty":18,"author":11473,"museum":544,"description":16318,"tags":16319,"thumbUrl":16320,"material":298,"size":16321,"collection":83,"collections":16322,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},222604,"hong-ye-qiu-qin-tu-lan-ying-222604","红叶秋禽图","枝头稀稀落落的几片叶子，让人联想到地上可能已有大片的落叶，秋意渐浓",[23,95,24,27,7,75,1841,1071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0891cd63ac53d923be6085e133c60d20.jpg","35.8x94.7",[83,64],{"id":16324,"slug":16325,"title":16326,"dynasty":18,"author":16327,"museum":190,"description":16328,"tags":16329,"thumbUrl":16330,"material":298,"size":16331,"collection":42,"collections":16332,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},222323,"song-bai-tu-fang-yi-zhi-222323","松柏图","方以智","图绘松柏两棵，一棵虬枝叶茂，另一棵上半段已残缺，仍坚强孤傲立于山石之上，树下隐约现长亭横顶，此处为观景纳凉之佳地；远处山色浓重，云蒸雾绕，透出孤寂冷清之意境。方以智，字密之，号曼公，明代哲学家、画家，明末清初出家为僧",[23,24,7,36,95,11927,28,180,32,7489,34,33,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60d9e5554f54a559543073dca6744eb.jpg","47.3x125.6厘米",[42,222],{"id":16334,"slug":16335,"title":16336,"dynasty":18,"author":10698,"museum":1894,"description":16337,"tags":16338,"thumbUrl":16341,"material":811,"size":16342,"collection":42,"collections":16343,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,7,95,28,126,10879,30,3881,6616,36,18,16339,2028,2203,6914,123,16340,348],"传统","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","48X123cm",[42,222],{"id":16345,"slug":16346,"title":13735,"dynasty":205,"author":1682,"museum":1346,"description":16347,"tags":16348,"thumbUrl":16349,"material":298,"size":16350,"collection":220,"collections":16351,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},221503,"yuan-pu-gui-fan-tu-mu-xi-221503","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[23,24,7,28,26,31,33,282,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[220,42,222],{"id":16353,"slug":16354,"title":16355,"dynasty":52,"author":239,"museum":92,"description":16356,"tags":16357,"thumbUrl":16358,"material":298,"size":16359,"collection":42,"collections":16360,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[24,25,26,7,36,28,942,57,213,33,164,3157,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 28.4x474公分",[42,222],{"id":16362,"slug":16363,"title":1567,"dynasty":52,"author":158,"museum":92,"description":16364,"tags":16365,"thumbUrl":16366,"material":298,"size":1571,"collection":42,"collections":16367,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},220809,"shan-shui-zhou-wang-meng-220809","王蒙（1308-1385），元代著名画家，字叔明（一作叔铭），晚年居黄鹤山，号黄鹤山樵。又自称香光居士。王蒙是元初著名书画家赵孟頫的外甥，出身书画世家，曾一度任官。绘画主要师法董、巨，与倪瓒、黄公望、吴镇齐名并有交往，后人称“元四家”。",[23,24,25,95,7,36,28,34,33,30,29,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6dcb4762f048b8615a5bade13370e9.jpg",[42,222],{"id":16369,"slug":16370,"title":16371,"dynasty":52,"author":16372,"museum":92,"description":16373,"tags":16374,"thumbUrl":16375,"material":110,"size":16376,"collection":42,"collections":16377,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":140},220239,"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[23,24,25,95,7,36,28,624,2987,34,32,33,215,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[42],{"id":16379,"slug":16380,"title":16381,"dynasty":174,"author":926,"museum":450,"description":16382,"tags":16383,"thumbUrl":16384,"material":27,"size":166,"collection":83,"collections":16385,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":140},220145,"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[23,24,25,95,27,7,123,75,624,129,551,2863,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[83],{"id":16387,"slug":16388,"title":16389,"dynasty":205,"author":206,"museum":450,"description":16390,"tags":16391,"thumbUrl":16393,"material":298,"size":16394,"collection":83,"collections":16395,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":140},220044,"ba-ba-niao-tu-guo-xi-220044","叭叭鸟图","画上并没有牧溪的落款和任何题字，只有一方“牧溪”印章。这种小尺幅的画，可能是挂在僧人的禅房中作为观想用的。牧溪的画深得日本僧人喜爱，流传到日本之后，依然会悬挂在禅寺或私家园林最具礼仪性的空间—茶室之中。",[24,281,25,7,481,75,282,610,16392],"孤枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0721f1062efb8a06417db50da227369e.jpg","纵78.5厘米，横39厘米",[83],{"id":16397,"slug":16398,"title":16399,"dynasty":18,"author":19,"museum":692,"description":693,"tags":16400,"thumbUrl":16401,"material":40,"size":696,"collection":166,"collections":16402,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":140},220012,"dong-zhuang-tu-ce-zhi-xi-xi-shen-zhou-220012","东庄图册之西溪",[23,24,28,7,36,74,126,30,32,34,33,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffae0634223bab0bddda020aa4d2825f9.jpg",[],{"id":16404,"slug":16405,"title":16406,"dynasty":52,"author":4714,"museum":92,"description":16407,"tags":16408,"thumbUrl":16409,"material":98,"size":16410,"collection":83,"collections":16411,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":140},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[23,24,281,95,7,481,75,4718,126,77,282,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[83],{"id":16413,"slug":16414,"title":16415,"dynasty":205,"author":13019,"museum":92,"description":16416,"tags":16417,"thumbUrl":16418,"material":98,"size":16419,"collection":42,"collections":16420,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":140},219183,"han-yan-ji-xue-tu-yan-su-219183","寒岩积雪图","此画面上重岩积雪，亭戴雪帽，老树寒疏，山村洁白，溪水冰结，孤舟停泊，却在旁边水岸两旁架有一座木桥，桥上有策杖、挑担二人，给雪景去掉几分寒意，而带来了几分情趣，虽是一派万丈雪崖、冰冻二尺的寒冷景象，但也是着浓厚的生活情调。鉴藏玺印有：“乾隆御览之宝”、“乾隆鉴赏”、五玺全、“宝笈三编”、“宣统鉴赏”、“宣统御览之宝”、“无逸斋精鉴玺”。收传印记有：“天籁阁”、“退密”、“项墨林鉴赏章”、“项墨林父秘笈之印”、“项子京家收藏”、“六艺之圃”、“净因庵主”、“太符真赏”、“李继泉真赏章”、“长水李氏珍藏”。",[23,281,24,25,28,7,36,335,7312,29,30,32,717,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdf1b23bd716de35f8b6425cecd63c.jpg","136.3x64",[42],{"id":16422,"slug":16423,"title":16424,"dynasty":205,"author":15110,"museum":265,"description":16425,"tags":16426,"thumbUrl":16427,"material":1898,"size":16428,"collection":83,"collections":16429,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":47},218938,"jun-gu-tu-gong-kai-218938","骏骨图","《骏骨图》绘一匹老马，瘦骨嶙峋，低首漫步风中，无辔头、缰绳，鬓尾在风中微动，腰间15条肋骨历历可数，铜骨铁臀，精神矍铄，仍有千里之志。",[23,24,25,26,547,7,312,37,38,394,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2baa8be9cf7b52aad181b30341ca78.jpg","纵29.9厘米，横56.9厘米",[83,245,222],{"id":16431,"slug":16432,"title":16433,"dynasty":205,"author":581,"museum":92,"description":16434,"tags":16435,"thumbUrl":16436,"material":98,"size":16437,"collection":220,"collections":16438,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":140},218836,"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[23,281,24,25,7,36,28,335,216,33,213,164,785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[220],{"id":16440,"slug":16441,"title":4832,"dynasty":205,"author":2727,"museum":3640,"description":16442,"tags":16443,"thumbUrl":16444,"material":98,"size":16445,"collection":42,"collections":16446,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},218638,"yun-shan-tu-mi-you-ren-218638","画面以淡墨晕染出空濛烟霭，山峦在云雾间若隐若现，如幻如真。米点皴错落铺陈，墨色浓淡相间，既显山石肌理，又衬云气轻盈流动。近景树木简笔勾勒，与远处朦胧峰峦形成虚实对比，平远构图延展空间悠远感。水面留白与墨色交融，似有波光粼粼，更添清寂之韵。整幅画不重细节描摹，而以气韵生动取胜，将江南山水的湿润灵秀与文人闲适心境融为一体，尽显“米家山水”空灵淡远之美。",[24,25,7,28,36,211,57,33,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea101c3fbc9a743e0b8c3bb0bdac1ade.jpg","18.3x72.1",[42],{"id":16448,"slug":16449,"title":16450,"dynasty":52,"author":10112,"museum":159,"description":16451,"tags":16452,"thumbUrl":16453,"material":98,"size":16454,"collection":42,"collections":16455,"showCount":16220,"zanCount":1084,"manualWeight":46,"mainColor":140},218256,"xi-ting-shan-se-tu-lu-guang-218256","溪亭山色图","峰峦层叠如黛，飞瀑如练悬垂崖间，水汽似漫过纸面。坡岸旁枯木疏枝意态萧散，秋意清寂尽现。临流筑榭，隐者凭栏或对谈，时光缓缓流淌。笔墨苍润兼具，皴擦间见山石肌理，线条灵动藏古雅韵致。整幅画清幽淡远，文人丘壑化为纸上烟霞，尽显元人山水空灵超脱。观之如入静谧之境，尘心渐息，仿佛能闻瀑声松涛，触到溪畔清风。",[24,95,7,36,28,32,162,210,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143810d1b0b02dc21227e0b62f9768c8.jpg","89.1x25.4cm",[42],{"id":16457,"slug":16458,"title":645,"dynasty":18,"author":14616,"museum":159,"description":16459,"tags":16460,"thumbUrl":16461,"material":110,"size":16462,"collection":42,"collections":16463,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":461},218098,"shan-shui-tu-li-zai-218098","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,25,281,95,7,27,36,28,57,33,29,30,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[42],{"id":16465,"slug":16466,"title":6414,"dynasty":52,"author":3508,"museum":3640,"description":16467,"tags":16468,"thumbUrl":16469,"material":110,"size":16470,"collection":42,"collections":16471,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":461},217926,"gao-shi-tu-gao-ke-gong-217926","高士图是中国元朝时期的著名画家高克恭的代表作之一。这幅画描绘了一位儒家士人的形象，体现了高克恭对传统文化的尊敬。\n\n高士图的画风典雅、精致，采用了传统的山水画的手法，但又有别于传统的山水画，展现出高克恭独特的艺术风格。在这幅画中，高士端坐在池塘边，手托着下巴，神态沉静、自若，表现出了儒家士人的谦逊、淡泊的态度。\n\n高士图被认为是高克恭的代表作之一，因为它体现了高克恭对中国传统文化的尊敬，以及他对儒家哲学的理解。这幅画也被认为是元朝时期艺术发展的里程碑，因为它展现了艺术家对传统文化的传承与创新的完美结合。",[24,25,28,7,27,147,610,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f7a2c46e365347d66d4983ee269969.jpg","179.7x101.6cm",[42],{"id":16473,"slug":16474,"title":3612,"dynasty":18,"author":16199,"museum":92,"description":16475,"tags":16476,"thumbUrl":16477,"material":40,"size":166,"collection":600,"collections":16478,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},216980,"zhong-kui-tu-qian-gu-216980","这幅画描绘了钟馗带着他的涉猎器在寒冷的森林中独自行走，旧传锺馗本唐德宗时之武举魁首，因貌丑见斥，自刎身亡，德宗后悔莫及，封为驱魔大神。此后，钟馗的名气越来越大，人们在年底和端午节挂起钟馗的雕像，以驱除邪气。钱谷的这件作品，色彩淡雅，气氛独特，与民间形象不同。",[24,25,95,7,547,193,717,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0421f0df4b30dcc416c55929cbe0eab3.jpg",[600],{"id":16480,"slug":16481,"title":16482,"dynasty":174,"author":15930,"museum":92,"description":16483,"tags":16484,"thumbUrl":16485,"material":98,"size":16486,"collection":42,"collections":16487,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[24,25,281,95,7,36,28,29,30,32,193,1839,162,126,35,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[42],{"id":16489,"slug":16490,"title":16491,"dynasty":52,"author":11732,"museum":430,"description":16492,"tags":16493,"thumbUrl":16494,"material":40,"size":16495,"collection":42,"collections":16496,"showCount":16220,"zanCount":46,"manualWeight":46,"mainColor":47},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,24,25,95,7,36,28,162,58,193,2875,180,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[42],{"id":16498,"slug":16499,"title":16500,"dynasty":174,"author":1100,"museum":450,"description":16248,"tags":16501,"thumbUrl":16503,"material":166,"size":166,"collection":83,"collections":16504,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},239224,"qiu-kui-tu-zhou-wu-chang-shuo-239224","秋葵图轴",[24,25,95,7,123,75,16502],"秋葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836ceef94f170edd7143c50853624a41.jpg",[83,222],53,{"id":16507,"slug":16508,"title":16509,"dynasty":174,"author":16510,"museum":450,"description":16511,"tags":16512,"thumbUrl":16513,"material":166,"size":166,"collection":42,"collections":16514,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[281,24,25,74,7,36,28,194,29,30,33,34,787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[42,64],{"id":16516,"slug":16517,"title":7126,"dynasty":174,"author":1100,"museum":54,"description":16518,"tags":16519,"thumbUrl":16520,"material":27,"size":16521,"collection":83,"collections":16522,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},237299,"mei-hua-tu-zhou-wu-chang-shuo-237299","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。 [1]\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,7,95,2816,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fdc0b1567dec10d70138b0220acb282.jpg","纵196.5厘米，横96厘米",[83],{"id":16524,"slug":16525,"title":16526,"dynasty":174,"author":1100,"museum":120,"description":12682,"tags":16527,"thumbUrl":16528,"material":564,"size":12685,"collection":166,"collections":16529,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},234982,"yu-lan-zhou-wu-chang-shuo-234982","玉兰轴",[24,25,95,7,123,75,929],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd17c842b319d981a7b27fe37eb3e473a.jpg",[],{"id":16531,"slug":16532,"title":16533,"dynasty":18,"author":1788,"museum":92,"description":16534,"tags":16535,"thumbUrl":16536,"material":298,"size":16537,"collection":166,"collections":16538,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,24,26,25,38,7,28,33,34,35,29,30,282,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],{"id":16540,"slug":16541,"title":16542,"dynasty":18,"author":15186,"museum":120,"description":16543,"tags":16544,"thumbUrl":16545,"material":537,"size":166,"collection":166,"collections":16546,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},234167,"song-zhu-mei-juan-chen-jia-yan-234167","松竹梅卷","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[23,281,24,25,26,7,3074,80,37,127,126,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb706e263f815b90ab97a1bb3c330a393.jpg",[],{"id":16548,"slug":16549,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":16550,"thumbUrl":16551,"material":298,"size":2515,"collection":166,"collections":16552,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},234093,"wu-zhong-shan-shui-ce-shen-zhou-234093",[24,25,74,7,28,32,33,34,38,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8897142206a362f22c1dbeaf4b0aeea3.jpg",[],{"id":16554,"slug":16555,"title":16556,"dynasty":174,"author":377,"museum":120,"description":10151,"tags":16557,"thumbUrl":16558,"material":564,"size":10156,"collection":166,"collections":16559,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":47},233770,"tao-yuan-ming-shi-yi-tu-ce-shi-tao-233770","陶渊明诗意图册",[24,25,74,7,27,38,37,28,33,35,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21739288ecf9a96bf144d35e36186e18.jpg",[],{"id":16561,"slug":16562,"title":16563,"dynasty":174,"author":1100,"museum":120,"description":16564,"tags":16565,"thumbUrl":16567,"material":298,"size":16568,"collection":166,"collections":16569,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":47},233732,"wu-jun-qing-ku-gua-tu-zhou-wu-chang-shuo-233732","吴俊卿苦瓜图轴","本幅设色。自题“和尚以为号，山家以为肴，以嗜甘者，而嗜此寥寥“款：”乙酉四月吴昌硕“。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,25,95,27,7,75,16566,551,367],"苦瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1e99426b2f6144728f43f592f51d11.jpg","纵176cm横47.7cm",[],{"id":16571,"slug":16572,"title":16573,"dynasty":18,"author":1788,"museum":120,"description":16574,"tags":16575,"thumbUrl":16576,"material":16577,"size":16578,"collection":166,"collections":16579,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":47},233711,"wen-zheng-ming-lv-yin-chang-hua-tu-zhou-wen-zheng-ming-233711","文徵明绿荫长话图轴","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[24,95,7,36,28,147,29,30,193,34,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16c50eb1cb998daffc1a6e2435c3d91.jpg","纸本 ，水墨","纵131.1cm，横32cm",[],{"id":16581,"slug":16582,"title":16583,"dynasty":174,"author":3195,"museum":120,"description":16584,"tags":16585,"thumbUrl":16586,"material":6280,"size":16587,"collection":166,"collections":16588,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":47},233403,"meng-jing-tu-zhou-wang-jian-233403","梦境图轴","本幅墨笔，局部设色，上自识一段，款：“丙申夏六月，哉生明王鉴识”。又“静岩老亲翁索画，即以此帧清政弟鉴”。钤“玄照”。\n王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,25,95,28,7,36,34,33,32,29,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26480f906c21c22bebed88bc4047ff5e.jpg","纵91.8cm，横49.5cm",[],{"id":16590,"slug":16591,"title":16592,"dynasty":52,"author":581,"museum":5692,"description":16593,"tags":16594,"thumbUrl":16595,"material":298,"size":166,"collection":166,"collections":16596,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":140},231496,"fang-liu-song-nian-song-xia-lun-dao-tu-yi-ming-231496","仿刘松年松下论道图","苍松虬曲如卧龙，扎根危岩之间，飞泉叠落撞碎成雪，循着层岩汇入深涧。右下角平坡上，二人相对晤谈，一人敛衽凝神静听，一人凭石畅意抒怀，山林幽寂将这场论辩衬得愈发悠然。\n\n画作以水墨晕染层叠山势，皴擦勾勒出岩壁嶙峋肌理，松枝笔触老辣苍劲，将山野清旷出尘之态尽数铺展。以景托人，把林下寄情、坐而论道的隐逸雅趣融于山水烟岚，尽显文人寄心林泉的林下风流，笔墨间萧散简远，于沉静古雅色调晕染出出世闲情。",[23,24,7,27,36,254,28,624,210,30,193,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ece85a22e089d31138e99f0a6f7bf48.jpg",[],{"id":16598,"slug":16599,"title":16600,"dynasty":889,"author":890,"museum":92,"description":16601,"tags":16602,"thumbUrl":16603,"material":457,"size":16604,"collection":42,"collections":16605,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":140},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[24,25,28,95,7,27,36,335,454,9632,127,33,32,706,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[42],{"id":16607,"slug":16608,"title":10120,"dynasty":174,"author":418,"museum":450,"description":16609,"tags":16610,"thumbUrl":16611,"material":166,"size":166,"collection":166,"collections":16612,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":140},231034,"mo-he-tu-zhu-da-231034","《墨荷图》是清代石涛创作的纸本墨笔画。\n图绘欣欣向荣的荷塘景色。\n构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。\n用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。\n钤白文印二方：“靖江后人”、“大涤堂”。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n石涛（1642—约1718年），俗姓朱，明宗室靖江王朱赞仪十世孙，谱名若极，广西桂林人。\n明灭亡后，出家为僧，法名原济，字石涛，号清湘老人、苦瓜和尚等。\n工于诗文，擅绘山水、兰竹、花草及人物。\n其笔情纵恣凝炼，独具创新，对扬州画派和近、现代中国画的影响极大。\n与清初画坛朱耷、髡残、弘仁合称“清四僧”，著有《苦瓜和尚画语录》，针对画坛时弊提出诸多精辟见解。",[23,24,25,281,95,7,75,128,395,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1fc908bf2c25b01fd7e185665cc123.jpg",[],{"id":16614,"slug":16615,"title":16616,"dynasty":205,"author":344,"museum":450,"description":4604,"tags":16617,"thumbUrl":16618,"material":166,"size":166,"collection":166,"collections":16619,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":921},227689,"shi-long-tu-juan-chen-rong-227689","十龙图卷",[23,24,25,26,7,349,28,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6cf259cdc833e34e4a030ea74ea01f.jpg",[],{"id":16621,"slug":16622,"title":16623,"dynasty":205,"author":293,"museum":450,"description":16624,"tags":16625,"thumbUrl":16626,"material":166,"size":166,"collection":166,"collections":16627,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":140},227498,"mo-zhu-juan-2-su-shi-227498","墨竹卷2","墨竹，即用墨画的竹子，其起源说法不一，据文献记载，其创始人有唐代吴道子、王维、张立、五代蜀李夫人等。\n\n不过，由考古发掘来看，李贤墓壁画《侍女与竹》中的墨竹，亦有可能是写意墨竹的先驱。自文同、苏轼至元四家，墨竹之风兴起，逐渐发展为独立画科。\n\n墨竹常被用来表达拔俗之情趣、正直之气节、虚心之品质和纯洁之思想，文同便是如此，他不仅有丰厚之学养，还有非凡的绘画创作才能。本文所提到的《文画苏题卷》为手卷形式，据直幅改装而成，与人们常见的文同立轴式墨竹图形制不一。正因这次有意无意的改装，为《文画苏题卷》成为一巨幅长卷，提供了得天独厚的条件，这也成为此图区别于文同其它墨竹图的最明显特征。",[24,281,25,7,1177,1153,123,96,180,2417,2886,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf98af604cad8076b0774dbcc54a8ab.jpg",[],{"id":16629,"slug":16630,"title":16631,"dynasty":889,"author":1266,"museum":92,"description":16632,"tags":16633,"thumbUrl":16634,"material":457,"size":16635,"collection":42,"collections":16636,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":140},226699,"xi-shan-lin-sou-tu-zhou-ju-ran-226699","溪山林薮图轴","本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧签，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐钟陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨",[24,25,95,7,36,28,33,34,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaea97df204f97573ac4f38769fcb90c.jpg","221.3x119.7",[42],{"id":16638,"slug":16639,"title":16640,"dynasty":174,"author":5090,"museum":450,"description":16641,"tags":16642,"thumbUrl":16643,"material":166,"size":166,"collection":166,"collections":16644,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},224445,"fang-wang-meng-shan-shui-wang-hui-224445","仿王蒙山水","此作用笔繁密苍厚，以解索皴堆叠山峦，积墨反复晕染，层岩叠嶂尽显郁茂深秀，得古贤山水苍茫沉雄之韵。下方山居临溪而筑，堂内文士围坐清谈，溪桥畔仆役缓步而行，林泉间动静相映，晕染出萧散野逸的幽居意趣。题诗佐于左上，笔墨文心相融，既循古意，又自含灵秀笔致，将林泉高致的雅逸山居图景铺陈开来，尽释传统山水里的文人幽怀。",[23,24,25,95,7,36,28,34,33,35,29,30,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7404689f6258b3af226d1aefaddbcb2.jpg",[],{"id":16646,"slug":16647,"title":16648,"dynasty":18,"author":2851,"museum":92,"description":16649,"tags":16650,"thumbUrl":16651,"material":284,"size":16652,"collection":42,"collections":16653,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},222364,"zhen-ze-yan-shu-tu-tang-yin-222364","震泽烟树图","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。",[23,24,7,28,31,126,162,34,163,80,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[42,222],{"id":16655,"slug":16656,"title":16657,"dynasty":52,"author":15631,"museum":92,"description":16658,"tags":16659,"thumbUrl":16660,"material":3471,"size":16661,"collection":42,"collections":16662,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":140},221823,"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[23,24,7,36,95,28,624,31,193,30,147,610,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[42,222],{"id":16664,"slug":16665,"title":16666,"dynasty":52,"author":10972,"museum":20,"description":16667,"tags":16668,"thumbUrl":16669,"material":10405,"size":16670,"collection":222,"collections":16671,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":140},221804,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-221804","枯木竹石图轴","绘枯木一棵，两枝树杆粗壮，枝杈繁多，恣意生长；树旁巨石耸立，棱角圆润；右侧淡墨绘一棚细竹，竹叶修长秀美，生机勃勃。李士行，字遵道，元代画家，善山水，尤工竹石更妙。绢本。墨笔。 此图绘古木两棵，形态苍古。树石的用笔遒劲深厚，皴染稠密。细枝勾勒形似蟹爪。笔墨苍劲磊落。",[23,24,25,281,95,7,809,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68d8fcc18ebecda8e22a95bd2ea3474.jpg","170x52cm",[222,919],{"id":16673,"slug":16674,"title":16675,"dynasty":205,"author":592,"museum":120,"description":16676,"tags":16677,"thumbUrl":16678,"material":16679,"size":16680,"collection":166,"collections":16681,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},221581,"cai-wei-tu-juan-quan-juan-li-tang-221581","采薇图卷全卷","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[23,24,26,7,27,193,28,33,213,36,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f5d231ca2edb3f9d85a65a937277ec.jpg","绢本，水墨淡设色","纵27.2厘米，横90.5厘米",[],{"id":16683,"slug":16684,"title":16685,"dynasty":18,"author":1836,"museum":92,"description":4273,"tags":16686,"thumbUrl":16687,"material":4276,"size":166,"collection":42,"collections":16688,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[24,25,28,7,36,254,27,34,33,194,29,30,311,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[42,222],{"id":16690,"slug":16691,"title":16692,"dynasty":18,"author":1836,"museum":593,"description":16693,"tags":16694,"thumbUrl":16695,"material":537,"size":16696,"collection":42,"collections":16697,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":47},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,281,24,25,26,7,36,28,335,350,33,80,37,38,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[42,64],{"id":16699,"slug":16700,"title":16701,"dynasty":174,"author":16702,"museum":4761,"description":16703,"tags":16704,"thumbUrl":16705,"material":98,"size":16706,"collection":222,"collections":16707,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},220418,"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[23,24,7,36,25,28,32,33,624,34,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[222,42],{"id":16709,"slug":16710,"title":16711,"dynasty":52,"author":11732,"museum":20,"description":16712,"tags":16713,"thumbUrl":16715,"material":98,"size":16716,"collection":222,"collections":16717,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":140},220407,"bai-yun-shen-chu-tu-fang-cong-yi-220407","白云深处图","以水墨横点浓淡烘染峰峦重叠，写出了云烟掩映，风雨迷濛的江南景色。山峦、杂树以焦墨点染、益见秀润可爱。溪水小桥平添了江南平淡恬静的情趣，引人进入白云深处的佳境。",[24,7,36,28,1777,57,33,29,58,211,7782,16714,215,212,6082],"树木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a430378f5317098ee833066a2ed7d.jpg","纵25.8厘米、横57.9厘米",[222],{"id":16719,"slug":16720,"title":16721,"dynasty":18,"author":16722,"museum":378,"description":16723,"tags":16724,"thumbUrl":16725,"material":457,"size":16726,"collection":42,"collections":16727,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":140},219734,"xie-qin-fang-you-tu-jiang-song-219734","携琴访友图","蒋嵩","此作用高远之法构景，主峰拔地参天，以水墨晕染出漫山烟霭，远景山峦隐没在空蒙雾气里，晕染出萧疏冷寂的天地氛围。\n\n近岸枯木虬曲苍劲，枯枝硬挺如戟，笔力老辣苍拙，尽显荒寒之态。下方旅人策杖徐行，仆从携琴缓步郊野，渺小身影衬出山川寥廓，暗合寻幽访友的雅意。\n\n全幅以浓淡水墨铺陈，简淡间尽显沉郁苍茫，将林泉寄怀的隐逸之思藏在烟岚丘壑中，纵放笔意里裹挟含蓄悠邈的林下闲情，尽显淡远疏离的山水意境。",[23,24,25,95,7,36,28,193,147,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537ec875cb6c627561f0a23bede3fac.jpg","纵148.6横89.4厘米",[42],{"id":16729,"slug":16730,"title":16731,"dynasty":52,"author":15631,"museum":92,"description":16732,"tags":16733,"thumbUrl":16734,"material":110,"size":166,"collection":42,"collections":16735,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[23,24,25,1462,7,36,28,624,30,193,2271,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[42],{"id":16737,"slug":16738,"title":1567,"dynasty":174,"author":16739,"museum":92,"description":16740,"tags":16741,"thumbUrl":16742,"material":98,"size":16743,"collection":42,"collections":16744,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":47},219481,"shan-shui-zhou-huang-ding-219481","黄鼎","这幅画中，江亭空旷，江山深邃，秀美。",[24,7,95,36,80,28,162,34,29,324,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[42],{"id":16746,"slug":16747,"title":16748,"dynasty":4342,"author":5816,"museum":92,"description":16749,"tags":16750,"thumbUrl":16753,"material":61,"size":166,"collection":222,"collections":16754,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},219232,"hua-niu-dai-song-219232","画牛","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[16751,24,25,281,7,27,481,1839,193,162,16752,480,80],"唐代","小狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",[222],{"id":16756,"slug":16757,"title":16758,"dynasty":205,"author":4437,"museum":92,"description":16759,"tags":16760,"thumbUrl":16761,"material":110,"size":16762,"collection":42,"collections":16763,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,281,24,25,1462,7,27,36,28,30,31,7312,33,993,215,832,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[42,220],{"id":16765,"slug":16766,"title":16767,"dynasty":18,"author":14875,"museum":120,"description":16768,"tags":16769,"thumbUrl":16770,"material":110,"size":16771,"collection":42,"collections":16772,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":140},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[23,24,28,27,7,36,33,282,31,29,30,32,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[42],{"id":16774,"slug":16775,"title":16776,"dynasty":52,"author":158,"museum":159,"description":16777,"tags":16778,"thumbUrl":16779,"material":110,"size":16780,"collection":42,"collections":16781,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":140},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,24,25,26,7,27,36,38,80,37,28,194,29,30,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[42],{"id":16783,"slug":16784,"title":16785,"dynasty":205,"author":581,"museum":430,"description":16786,"tags":16787,"thumbUrl":16788,"material":110,"size":16789,"collection":42,"collections":16790,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":140},214830,"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[23,24,25,95,7,36,28,212,33,210,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[42],{"id":16792,"slug":16793,"title":16794,"dynasty":174,"author":703,"museum":20,"description":704,"tags":16795,"thumbUrl":16796,"material":98,"size":708,"collection":166,"collections":16797,"showCount":16505,"zanCount":46,"manualWeight":46,"mainColor":47},214676,"mei-hua-zhu-shi-tu-ce-11-wang-shi-shen-214676","梅花竹石图册-11",[24,25,74,7,123,75,125,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2dccd336217afc6590120e3bc47b60.jpg",[],{"id":16799,"slug":16800,"title":16801,"dynasty":18,"author":16802,"museum":430,"description":16803,"tags":16804,"thumbUrl":16805,"material":40,"size":16806,"collection":42,"collections":16807,"showCount":16505,"zanCount":1084,"manualWeight":46,"mainColor":47},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,25,95,7,36,28,147,610,29,30,312,193,34,33,80,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[42],{"id":16809,"slug":16810,"title":16811,"dynasty":52,"author":621,"museum":92,"description":16812,"tags":16813,"thumbUrl":16814,"material":98,"size":16815,"collection":166,"collections":16816,"showCount":16817,"zanCount":1084,"manualWeight":46,"mainColor":47},291019,"yun-shi-gu-cha-tu-ni-zan-291019","筠石古槎图","枯树一株，寥寥数笔，下笔含蓄而有力。坡石皆用淡墨，而以焦墨写竹，极雅淡且极萧散。款下有云林子一印，旧说云林画中惟有荆蛮民一印，亦未可执一而论。",[281,24,25,95,7,717,126,180,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd707629052de9cb100aa4bd7ee76e9.jpg","44.5x32",[],52,{"id":16819,"slug":16820,"title":16821,"dynasty":18,"author":16822,"museum":450,"description":16823,"tags":16824,"thumbUrl":16825,"material":314,"size":1061,"collection":166,"collections":16826,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":140},289888,"wang-fu-zhu-he-shuang-qing-tu-zhou-bian-jing-zhao-289888","王绂竹鹤双清图轴","边景昭","边景昭，字文进，明代画家。陇西（今甘肃陇西）人，生卒年不详。边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制.\n李安忠是宣和朝画院画家，花鸟亦善然而出，边氏出生地的福建，又沿续着南宋院画风格和元代边武、张舜咨传至闽地的文人水墨花鸟画风，趋于粗简劲健，故边氏也受到一定影响。其成熟的花鸟画法即粗细相兼，妍雅并重。花鸟主体勾勒设色，工细妍丽，树石北京水墨皴染，简劲清雅，在工致华美中透出雍容浑朴气象，遂自成一格，开创了明代“院体”花鸟新风。",[24,95,75,7,126,3596,37,80,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e16c83ba939e92b50a0d66ced3a9ca.jpg",[],{"id":16828,"slug":16829,"title":16830,"dynasty":205,"author":581,"museum":450,"description":16831,"tags":16832,"thumbUrl":16834,"material":314,"size":1061,"collection":166,"collections":16835,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":140},289879,"shui-yue-guan-yin-tu-yi-ming-289879","水月观音图","水月观音的形象，最早始于中唐时期，据张彦远《历代名画记》 ，为周昉(约730-800)所创，「菩萨端严，妙创水月之体」。周昉所画，「掩障菩萨圆光及竹，并是刘整成色。」后朱景玄《唐朝名画录》及《太平广记》均有类似记载，唯其画无传。现存最早的水月观音画，见于敦煌莫高窟《千手千眼观音菩萨坐像》，水月观音位于该画右下角，绘成于九四三年，现藏法国吉美博物馆。画中观音右手持柳枝，左手托净瓶，坐姿呈半跏思维相；周围泉水萦映，背倚修竹。观音头饰宝冠，身披璎珞，富丽华美，法相庄严。",[23,24,281,95,3557,547,7,193,16833,940,34,30],"观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad1c02b1758bf9ed874046a042ba650.jpg",[],{"id":16837,"slug":16838,"title":16839,"dynasty":205,"author":14655,"museum":450,"description":16840,"tags":16841,"thumbUrl":16843,"material":314,"size":1061,"collection":166,"collections":16844,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},289350,"sha-ting-yan-shu-tu-hui-chong-289350","沙汀烟树图","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[23,24,494,25,7,38,80,37,147,282,16842,10154],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445107f68aa7c5aafbac1748922679d9.jpg",[],{"id":16846,"slug":16847,"title":16848,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":16849,"thumbUrl":16850,"material":314,"size":1061,"collection":166,"collections":16851,"showCount":16817,"zanCount":1084,"manualWeight":46,"mainColor":47},288529,"ci-hua-ruo-lao-shi-yi-tu-zhou-wu-chang-shuo-288529","此花若老诗意图轴",[23,24,95,7,27,75,129,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f598f5c457146f401751b0950996e9f.jpg",[],{"id":16853,"slug":16854,"title":16855,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":16856,"thumbUrl":16857,"material":314,"size":1061,"collection":166,"collections":16858,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},288503,"hua-jing-xin-zhu-da-288503","花镜心",[23,24,25,7,123,75,134,1549,2138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50301a88975470b059a690f4e7e4b83.jpg",[],{"id":16860,"slug":16861,"title":16862,"dynasty":205,"author":581,"museum":450,"description":16863,"tags":16864,"thumbUrl":16866,"material":314,"size":1061,"collection":166,"collections":16867,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":921},288349,"fang-ma-yuan-dong-tian-lun-dao-tu-yi-ming-288349","仿马远洞天论道图","此作截取山林一角取景，虬松盘桓苍劲，松萝垂拂摇曳，尽显古木苍莽野趣。幽壑洞天深处，二人相对清谈，逸韵飘然恍如世外。右下角山道之上，负杖策蹇的行者缓行而来，似赴雅约，动静之间，让画面生出悠远意趣。\n\n笔墨承袭院体风骨，山石以硬劲水墨皴擦，棱线清刚利落，林木晕染秀润柔和，虚实相映间，铺展出林泉高隐的悠然意境，将文人林下谈玄、寄情丘山的雅逸襟怀尽数铺陈，空灵雅致，尽显宋画小品的隽永韵味。",[1462,24,281,7,36,28,5646,34,193,16865,11639],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f673a57d4c4662982d4368a198aef3.jpg",[],{"id":16869,"slug":16870,"title":16871,"dynasty":174,"author":581,"museum":450,"description":16872,"tags":16873,"thumbUrl":16874,"material":314,"size":1061,"collection":166,"collections":16875,"showCount":16817,"zanCount":1084,"manualWeight":46,"mainColor":140},288235,"fang-chen-rong-qun-long-tu-yi-ming-288235","仿陈容群龙图","水墨晕染出漫天云海，群龙穿梭隐现于烟霭之间。长卷之上，下方惊涛卷浪，上方云气翻涌，龙形或探爪怒目，或摆尾盘空，姿态迥异，威灵毕现。作者以浓淡墨色区分虚实，云气晕染朦胧变幻，龙身勾勒精细，鳞爪筋骨分毫可见，将神龙的谲诡威严与天地交融的磅礴气韵尽数铺展。仿佛能听闻隐隐龙吟，见云浪随龙势翻涌，把神龙隐现于云水间的神秘感完美呈现，尽显画龙技法的高妙，营造出幽玄雄浑的意境，摄人心魄。",[23,24,26,7,349,454,455,11172,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6fc04f8b5ebd0e26fc878861835af.jpg",[],{"id":16877,"slug":16878,"title":16879,"dynasty":889,"author":890,"museum":450,"description":16880,"tags":16881,"thumbUrl":16883,"material":314,"size":1061,"collection":166,"collections":16884,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":140},287703,"hua-xia-shan-yu-yu-dong-yuan-287703","画夏山欲雨","该幅画重峦叠嶂，曲涧迤逦。作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,281,24,95,7,36,28,212,1776,148,16882],"阴雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3115f2a48367716514ea86733373e74e.jpg",[],{"id":16886,"slug":16887,"title":16888,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":16889,"thumbUrl":16890,"material":314,"size":1061,"collection":166,"collections":16891,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},283750,"xi-shan-yue-guan-tu-zhou-dong-qi-chang-283750","溪山樾馆图轴",[281,24,25,95,7,28,33,9829,34,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778662d1b02ed3453eaa167d51351294.jpg",[],{"id":16893,"slug":16894,"title":9235,"dynasty":174,"author":703,"museum":20,"description":16895,"tags":16896,"thumbUrl":16897,"material":811,"size":16898,"collection":83,"collections":16899,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},238069,"mei-hua-tu-ce-wang-shi-shen-238069","汪士慎(公元1686—约1759年)，字近人，号巢林，别号溪东外史、晚春老人等。安徽省歙县人，居扬州，以卖画为生。他一生清贫，却能安贫乐道，精研艺术，善画墨笔梅、兰、竹，尤以画梅著称。其画疏淡秀雅，清妙多姿，有“铁骨冰心”之号。54岁后，双目相继失明，遂练习以手摸索写字作画，竟能“工妙胜未瞽时”。亦工诗、篆刻和八分书，为“扬州八怪之一”，有《巢林诗集》行世。此册共12开，多以润笔淡墨画梅干，浓墨点刺，梅树曲劲奇倔，枝梢瘦劲，墨法单纯却风姿多变。花朵或用扬补之圈白法，浓墨密蕊，秀润清丽;或用崖白点墨法，干老花疏，风格独具。金农评他的梅花“巢林画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。”从其存世画梅作品看，并非全是繁枝，也常画疏枝，但不论繁简，都有空里疏香，风雪山林之趣。此册作于乾隆壬戌(公元1742年)二月，画家时年57岁。",[24,25,74,7,80,75,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d108d80e52eee9a2465656a987baad.jpg","纵25.1厘米，横32.3厘米",[83],{"id":16901,"slug":16902,"title":16903,"dynasty":18,"author":1836,"museum":120,"description":16904,"tags":16905,"thumbUrl":16906,"material":964,"size":8876,"collection":245,"collections":16907,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},237781,"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[24,25,95,7,36,281,28,335,162,35,58,730,480,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg",[245],{"id":16909,"slug":16910,"title":16911,"dynasty":174,"author":491,"museum":120,"description":16912,"tags":16913,"thumbUrl":16914,"material":964,"size":16915,"collection":42,"collections":16916,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},237574,"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[24,7,95,28,36,624,57,210,30,148,33,29,34,211,5695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[42,222],{"id":16918,"slug":16919,"title":16920,"dynasty":174,"author":9682,"museum":120,"description":16921,"tags":16922,"thumbUrl":16923,"material":298,"size":16924,"collection":42,"collections":16925,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},236457,"nan-cun-cao-tang-tu-zhou-cha-shi-biao-236457","南村草堂图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,25,95,7,36,28,29,30,33,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e38e76e472e20cbb1711c4106bd889c.jpg","49cm×122.5cm",[42,222],{"id":16927,"slug":16928,"title":16929,"dynasty":174,"author":581,"museum":450,"description":16930,"tags":16931,"thumbUrl":16932,"material":166,"size":166,"collection":166,"collections":16933,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},235346,"li-shan-he-hua-tu-zhou-yi-ming-235346","李鱓荷花图轴","此作用水墨写意绘就荷塘景致，泼墨挥写荷叶，浓淡干湿层次分明，墨色晕染尽显苍润淋漓之态。荷花以淡墨轻勾轮廓，清姿绰约，荷茎劲挺穿插，带着舒展野逸的生机。画面搭配狂放题诗，书画相映成趣，笔墨间带着疏放不羁的意趣，将荷塘清韵与文人风骨相融。以极简水墨笔法写尽荷花出尘之姿，尽显写意花鸟酣畅洒脱的格调，朴拙随性间逸气纵横，将夏日荷塘的悠然意趣藏在笔墨虚实之中，尽显以意驭笔的文人画妙味。",[24,7,123,75,395,396,37,38,80,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb26610f2567b72eb84b2c567e8c8efe.jpg",[],{"id":16935,"slug":16936,"title":16937,"dynasty":174,"author":377,"museum":120,"description":16938,"tags":16939,"thumbUrl":16940,"material":537,"size":166,"collection":166,"collections":16941,"showCount":16817,"zanCount":1084,"manualWeight":46,"mainColor":47},234504,"yuan-ji-mei-hua-ce-dan-ye-shi-tao-234504","原济梅花册单页","石涛（1642年－1708年）清代著名画家，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“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,281,74,7,547,38,80,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3586e802482ec56e20f1a800f31d1e.jpg",[],{"id":16943,"slug":16944,"title":16945,"dynasty":174,"author":377,"museum":120,"description":16946,"tags":16947,"thumbUrl":16948,"material":537,"size":166,"collection":166,"collections":16949,"showCount":16817,"zanCount":1084,"manualWeight":46,"mainColor":47},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,26,7,36,38,547,28,193,31,34,33,1035,624,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":16951,"slug":16952,"title":16953,"dynasty":205,"author":278,"museum":120,"description":4897,"tags":16954,"thumbUrl":16955,"material":196,"size":4901,"collection":166,"collections":16956,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":140},234069,"xue-tang-ke-hua-tu-ye-xia-gui-234069","雪堂客话图页",[281,24,7,36,74,28,831,4899,31,717,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e55a19b946913db261fab13dbdda68c.jpg",[],{"id":16958,"slug":16959,"title":16960,"dynasty":18,"author":19,"museum":120,"description":561,"tags":16961,"thumbUrl":16962,"material":564,"size":565,"collection":166,"collections":16963,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},233842,"wo-you-tu-ce-pi-pa-shen-zhou-233842","卧游图册－枇杷",[24,25,74,27,7,75,1642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b13d6b7f85d6cd1ab67e05024fd237.jpg",[],{"id":16965,"slug":16966,"title":16967,"dynasty":52,"author":621,"museum":92,"description":16968,"tags":16969,"thumbUrl":16970,"material":298,"size":16971,"collection":166,"collections":16972,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[281,24,25,26,7,28,36,38,80,164,5836,717,1442,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 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秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[23,24,25,7,27,28,31,30,729,147,36,507,164,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[220,42],{"id":17194,"slug":17195,"title":5731,"dynasty":205,"author":581,"museum":92,"description":17196,"tags":17197,"thumbUrl":17198,"material":110,"size":17199,"collection":42,"collections":17200,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},218807,"xue-jing-tu-yi-ming-218807","这幅画完全以郭熙为原型，是一幅平坦而高大的雪山图。笔法高超，渲染细腻，与唐棣、朱德润不同，与同集的《岷山晴雪》的笔法或晋代的笔法相似。",[23,24,25,28,7,27,36,717,34,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44eed831c8d808e79d6530358092763e.jpg","25.7x26.8",[42],{"id":17202,"slug":17203,"title":17204,"dynasty":205,"author":278,"museum":92,"description":17205,"tags":17206,"thumbUrl":17207,"material":110,"size":17208,"collection":42,"collections":17209,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":47},218682,"han-xi-chui-diao-tu-xia-gui-218682","寒溪垂钓图","这幅画描绘的是月光下的寒流，隐者披头散发，环境非同一般，笔触特别冰冷，署名夏圭。",[23,24,25,1462,7,36,28,31,30,624,468,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb060226a5cefc9cdcb37f39b8b4c4a.jpg","24.5x25.7cm",[42],{"id":17211,"slug":17212,"title":17213,"dynasty":52,"author":17214,"museum":92,"description":17215,"tags":17216,"thumbUrl":17217,"material":40,"size":17218,"collection":42,"collections":17219,"showCount":16817,"zanCount":1084,"manualWeight":46,"mainColor":47},214721,"xi-shan-yan-ai-tu-cui-yan-fu-214721","溪山烟霭图","崔彦辅","这幅画描绘了一座山和一条山脉，烟雾和雾气围绕着溪流。崔彦辅传世画迹罕见，此幅或学荆关，颇有新意。",[24,25,28,7,36,37,80,38,34,33,215,6082,180,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68b55b40754b6527e503dbf1a05080.jpg","71x39.2",[42],{"id":17221,"slug":17222,"title":17223,"dynasty":174,"author":17224,"museum":20,"description":17225,"tags":17226,"thumbUrl":17227,"material":166,"size":166,"collection":42,"collections":17228,"showCount":16817,"zanCount":46,"manualWeight":46,"mainColor":17229},202124,"fang-da-chi-shan-shui-tu-zhou-yuan-pei-202124","仿大痴山水图轴","袁沛","水墨晕染间，山峦以皴法勾勒出苍劲肌理，云雾似轻纱漫过峰谷，将远近景致晕成淡远之调。近岸枯树疏枝交错，几间屋舍倚岩而筑，小桥横卧溪上，流水绕石潺潺。中远景峰峦叠嶂，林木错落，留白处云雾氤氲，虚实相生间尽显山水悠远之趣。笔墨追摹古法，却藏着对自然的细腻体悟，清寂雅致的意境在尺幅间缓缓铺展。",[7,36,254,28,29,30,147,180,148,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06764f51623175d13cae3e16bffd6a7b.jpg",[42],"b3a088",{"id":17231,"slug":17232,"title":17233,"dynasty":205,"author":607,"museum":92,"description":17234,"tags":17235,"thumbUrl":17238,"material":457,"size":17239,"collection":166,"collections":17240,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":140},290999,"ju-bei-wan-yue-zhou-ma-yuan-290999","举杯玩月轴","风格独特，富有诗意画。水能表现出在不同环境气候下的种种形态。其花鸟作品善于在自然环境中描绘花鸟的神情野趣。",[281,24,95,7,28,193,940,127,717,34,17236,941,17237,36],"雾","闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde301ff84b5c3a8dfe486393212f2ca.jpg","205.6x104.1",[],51,{"id":17243,"slug":17244,"title":645,"dynasty":205,"author":307,"museum":450,"description":2162,"tags":17245,"thumbUrl":17246,"material":314,"size":1061,"collection":166,"collections":17247,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":140},288957,"shan-shui-tu-fan-kuan-288957",[24,281,25,95,28,7,36,34,30,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef7a3a0391d16f3f98076b4c93ece0d.jpg",[],{"id":17249,"slug":17250,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":17251,"thumbUrl":17252,"material":314,"size":1061,"collection":166,"collections":17253,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":47},237934,"za-hua-ce-zhu-da-237934",[281,10153,7,123,1015,74,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3541396bcba653734846251d31deed0f.jpg",[],{"id":17255,"slug":17256,"title":6351,"dynasty":174,"author":2605,"museum":450,"description":5286,"tags":17257,"thumbUrl":17258,"material":314,"size":1061,"collection":166,"collections":17259,"showCount":17241,"zanCount":1084,"manualWeight":46,"mainColor":47},237148,"hong-ren-shan-shui-zhou-hong-ren-237148",[24,281,95,7,36,28,35,96,33,34,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43ba76815e5b779027b07a80eaa2cd4.jpg",[],{"id":17261,"slug":17262,"title":17263,"dynasty":174,"author":1100,"museum":450,"description":17264,"tags":17265,"thumbUrl":17266,"material":166,"size":166,"collection":166,"collections":17267,"showCount":17241,"zanCount":1084,"manualWeight":46,"mainColor":47},235244,"li-ju-ping-zhou-wu-chang-shuo-235244","篱菊屏轴","此作以阔笔泼墨绘就葫芦秋架，枯笔写藤蔓，遒劲如铁，盘绕交错尽显野逸生机。葫芦以淡彩晕染，黄润清透，将秋实饱满的质感尽显，墨叶泼辣淋漓，浓淡铺陈相宜，苍润兼具。\n\n左侧题画诗文笔苍朴，篆隶笔法老辣厚重，诗画呼应相融，将田园秋意与文人逸趣合二为一。整幅下笔雄浑朴拙，以金石意趣入画，寥寥数笔便定格秋日架上鲜活意态，朴拙间见灵秀蓬勃，尽显大写意花鸟的盎然生机与沉厚韵味。",[24,25,95,7,27,123,75,3995,551,367,3074,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],{"id":17269,"slug":17270,"title":17271,"dynasty":18,"author":17272,"museum":120,"description":17273,"tags":17274,"thumbUrl":17275,"material":564,"size":166,"collection":166,"collections":17276,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":47},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,26,27,481,7,28,193,31,30,33,312,507,3256,147,32,311,2925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":17278,"slug":17279,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":17280,"thumbUrl":17281,"material":298,"size":2515,"collection":166,"collections":17282,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":47},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094",[24,25,74,7,28,38,80,36,37,29,30,33,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg",[],{"id":17284,"slug":17285,"title":17286,"dynasty":174,"author":926,"museum":450,"description":17287,"tags":17288,"thumbUrl":17289,"material":298,"size":17290,"collection":166,"collections":17291,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":47},232892,"hua-niao-tu-li-zhou-li-shan-232892","花鸟图立轴","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[23,24,25,95,7,123,395,396,12749,75,1004,397,77,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],{"id":17293,"slug":17294,"title":17295,"dynasty":52,"author":726,"museum":92,"description":17296,"tags":17297,"thumbUrl":17298,"material":916,"size":17299,"collection":166,"collections":17300,"showCount":17241,"zanCount":5,"manualWeight":46,"mainColor":140},231333,"zhong-shan-tu-yuan-dai-ji-jin-zhi-si-wu-zhen-231333","中山图-元代集锦之四","《中山图》绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。\n吴镇的艺术精髓在这副平淡无比的画作中体现无遗，《中山图》平铺直叙的描绘了再平凡不过的景象：七座山头大致左右对称簇拥一座主峰，即画题中的“中山”。较高大的山峰全都是特殊的平顶圆锥形，侧面微微隆起，这是吴镇绘画典型的造型。这几座山峰周边散布着山峦丘陵起起伏伏，一如荡漾的波浪；无论大小浓淡全都只有几种简单的形状；山峦没有真正的远近之别。谷间的树木被描绘得相当大，还有山头上灌木丛，几座山峰相形之下也显得不那么高峻。\n画中没有溪流、瀑布、人物、屋宇，甚至小径等等点缀。画面也没有表现任何能够显示季节和气候的特征，更没有云雾这种“通山川之气”的物象可以暗示流动或变化，全画沉浸在一种永恒的沉寂之中。即使在元代绘画之中也很难找到另外一幅画比《中山图》更显平静的。画中疏朗闲放的笔法，反复出现的简单物象在视觉上安抚镇定的效果，充分体现了平淡的境界。",[24,25,7,28,36,335,216,33,624,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75ab4b46854a6856c1d08010e0d4333.jpg","26.4cmx90.7cm",[],{"id":17302,"slug":17303,"title":17304,"dynasty":52,"author":981,"museum":450,"description":17305,"tags":17306,"thumbUrl":17307,"material":314,"size":1061,"collection":166,"collections":17308,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":47},228264,"you-gu-xian-chun-ce-ye-wang-mian-228264","幽谷先春册页","三阳腊底渐敷宣，幽谷寒梅得气先；吐萼独标百花首，含苞已露早春前。琼姿应是瑶台侣，玉骨欣逢阆苑仙；诗兴漫从雪中觅，画图省识冷香传。款：嘉庆甲子新正上澣御题。钤印二：嘉。庆。",[23,281,24,25,74,7,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71783c73ddb4cf2c5ef39924e309c3a.jpg",[],{"id":17310,"slug":17311,"title":17312,"dynasty":174,"author":377,"museum":450,"description":17313,"tags":17314,"thumbUrl":17315,"material":166,"size":166,"collection":166,"collections":17316,"showCount":17241,"zanCount":473,"manualWeight":46,"mainColor":47},224521,"shan-shui-tu-ce-8-kai-7-shi-tao-224521","山水图册8开-7","此作以高远之法取景，陡崖奇崛凌霄，枯笔皴擦写出山石嶙峋肌理，勾勒出峭拔苍劲的山势。崖畔林麓隐着古寺，山道间策杖行旅徐行，松下石台点缀幽境，留白处淡墨晕染云海，虚实相生，漾出空山幽寂之韵。\n\n笔墨干湿互用，松针勾勒劲挺老辣，题款小字清隽雅致，朱红印章点染提亮，既有黄山风骨，又自具萧散疏朗的文人意趣，将天地浩渺与林泉幽怀相融，藏着以造化为师的灵思，尽显山水间悠然淡远的禅意。",[23,281,24,25,74,7,27,36,28,193,33,34,211,194,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a6020bb641d0c028408138c6b6de59.jpg",[],{"id":17318,"slug":17319,"title":17320,"dynasty":18,"author":17321,"museum":294,"description":17322,"tags":17323,"thumbUrl":17324,"material":17325,"size":17326,"collection":42,"collections":17327,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":47},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,24,25,26,7,36,37,38,28,147,717,34,180,32,193,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[42,222],{"id":17329,"slug":17330,"title":17331,"dynasty":18,"author":1836,"museum":92,"description":17332,"tags":17333,"thumbUrl":17334,"material":17335,"size":17336,"collection":245,"collections":17337,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":461},220929,"lu-chang-shi-zhou-dong-qi-chang-220929","陆畅诗轴","董其昌以草书抄录唐陆畅〈惊雪〉：“怪得北风急，前庭如月晖。天人宁许巧，剪水作花飞。”此作书于绫本上，整体的书写效果与纸本相当不同，墨色的深浅变化较不明显，稍微晕染的性质也让整体线条精致度下滑。相较董其昌纸本书法对于材质与用笔的讲究，绫本的特性让他在书写态度上无须如此精谨，用笔也可以比较率性而不假修饰。无论是书写或是视觉表现上，此作都反映出较多应酬书法的特性。",[25,37,95,38,80,7,1437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac515934bf51ea7276a8c5e7cae2a703.jpg","绫本","95.9x28.8",[245],{"id":17339,"slug":17340,"title":7366,"dynasty":52,"author":239,"museum":120,"description":3813,"tags":17341,"thumbUrl":17342,"material":1221,"size":17343,"collection":222,"collections":17344,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":140},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839",[23,24,25,281,95,7,547,147,126,180,2875,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[222,919],{"id":17346,"slug":17347,"title":17348,"dynasty":18,"author":10358,"museum":4012,"description":17349,"tags":17350,"thumbUrl":17351,"material":17352,"size":17353,"collection":166,"collections":17354,"showCount":17241,"zanCount":46,"manualWeight":46,"mainColor":166},220727,"qi-shi-qing-feng-tu-xia-chang-220727","奇石清风图","夏昶，字仲昭，号自在居士，江苏昆山人，以其墨竹闻名。自北宋文同以来，士大夫因竹具有劲节、虚心、傲霜等特性，常画写墨竹以寄兴。夏昶画竹主要学自王绂，亦多留有以王绂「墨竹山水」构图画成的作品。然夏昶笔墨的浓淡对比较王绂更为强烈，且所绘物象更重视几何造型趣味，其近乎平面的山石形态尤为明显。虽然明人曾评夏昶的竹石亚于其师王绂，但夏昶竹的画名仍远播朝鲜、日本。当时甚至流传有「夏卿一个竹，西凉十锭金」的说法，其竹画广受欢迎的程度，可见一斑。\n\n此画绘奇石从坡岸斜出，后有竹子数株。奇石形状方整，石面遍施墨染，轮廓以较深墨笔勾出，间以侧笔劈坎出岩面质理。画中的倒「丌」字型竹节与呈「个」字「人」字层层交叠的竹叶画法，亦常见于王绂与夏昶的其他作品中。至于远近的竹叶，则分别以浓淡不同之墨色画出。前景竹干随风向右侧倾斜，加上竹梢叶片的转折与叶片的燕尾，更加强了风势的效果。如此充满韵律与生趣的笔墨构图，正是夏昶晚期作品的特征。据画中所钤「太常少卿之章」印推测，作品应绘成于夏昶领有太常少卿衔之时，即1452年至1457年间。",[23,24,25,95,7,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u00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terial":166,"size":166,"collection":245,"collections":17476,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":140},239650,"wu-kuan-lin-yin-zhong-ba-xian-ge-juan-huai-su-239650","无款临饮中八仙歌卷","怀素（737~799），史称“草圣”，唐代杰出书法家。字藏真，僧名怀素，俗姓钱，汉族，永州零陵（湖南零陵）人，是大历十才子之一考功郎中钱起的外甥。\n自幼出家为僧，经禅之暇，锐意草书，与张旭齐名，合称“颠张狂素”，形成唐代书法双峰并峙的局面，也是中国草书史上两座高峰。怀素草书，笔法瘦劲，飞动自然，如骤雨旋风，随手万变。书法率意颠逸，千变万化，法度具备。北京大学教授、引碑入草开创者的李志敏评价：“怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。\n传世书法作品有《自叙帖》《小草千字文》纸本、《苦笋帖》《圣母帖》《论书帖》诸帖。",[23,281,24,25,26,254,37,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e2b9f758d87ba9232cc8518581c6ab.jpg",[245],{"id":17478,"slug":17479,"title":17480,"dynasty":174,"author":633,"museum":450,"description":17481,"tags":17482,"thumbUrl":17483,"material":298,"size":166,"collection":83,"collections":17484,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},238963,"yang-liu-qu-yu-tu-zhou-ren-yi-238963","杨柳鸲鹆图轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[24,95,75,7,27,123,7500,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5e4f5fad3781f2b6d9d87d03ee6f2.jpg",[83,64],{"id":17486,"slug":17487,"title":17488,"dynasty":174,"author":13237,"museum":450,"description":17489,"tags":17490,"thumbUrl":17491,"material":166,"size":166,"collection":166,"collections":17492,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":140},238227,"qian-long-huang-di-song-yin-hui-bi-heng-zhou-zhang-zong-cang-238227","乾隆皇帝松荫挥笔横轴","《张宗苍等乾隆皇帝松荫挥笔横轴》是清乾隆时期 等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[281,24,25,9379,7,27,36,624,193,28,213,210,215,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],{"id":17494,"slug":17495,"title":17496,"dynasty":174,"author":581,"museum":450,"description":17497,"tags":17498,"thumbUrl":17499,"material":166,"size":166,"collection":222,"collections":17500,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":47},236420,"yuan-ji-zhu-lan-tu-zhou-yi-ming-236420","原济竹兰图轴","石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽凤阳，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。南明元宗朱亨嘉之子，与弘仁、髡残、朱耷合称“清初四僧”。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幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》，《搜尽奇峰打草稿图》，《山水清音图》，《竹石图》等。著有《苦瓜和尚画语录》。名言有“”一画论‘、“搜尽奇峰打草稿”，‘笔墨当随时代’等。",[24,95,7,126,133,80,10153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbbf2516dddb2cd2d26eee2b4d6cb66.jpg",[222,919],{"id":17502,"slug":17503,"title":17504,"dynasty":174,"author":377,"museum":450,"description":17505,"tags":17506,"thumbUrl":17507,"material":166,"size":166,"collection":166,"collections":17508,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":47},235908,"yuan-ji-shan-shui-ren-wu-tu-ye-shi-tao-235908","原济山水人物图页","这幅水墨小景以平远之法铺陈，淡墨晕染的远山如笼轻烟，虚灵悠远，将江天的空寂缓缓铺展。近岸茅舍错落，枯木遒劲疏朗，不着片叶，清寒萧索之意扑面而来。两位策杖逸士缓行低语，简括的衣纹里藏着松弛意趣，为冷寂山水晕开鲜活的人间烟火气。\n\n笔墨枯淡松秀，皴擦简省，只以淡墨扫出山形轮廓，留白疏密相宜，将江村冬日的清旷淡远尽数勾勒，禅意与野趣相融，于尺幅小景中尽显萧散简远的文人意趣，淡而有味，简中见深，藏着林泉幽居的悠悠雅怀。",[281,24,7,36,74,28,193,717,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fcbddf539067fbbc2e5d9fd3d589cc.jpg",[],{"id":17510,"slug":17511,"title":157,"dynasty":174,"author":9682,"museum":450,"description":17512,"tags":17513,"thumbUrl":17514,"material":314,"size":1061,"collection":42,"collections":17515,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},235509,"shan-shui-ce-cha-shi-biao-235509","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,25,74,7,28,335,454,162,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4280bacbc5da11ddb8e014095b837d.jpg",[42],{"id":17517,"slug":17518,"title":17519,"dynasty":18,"author":19,"museum":120,"description":5107,"tags":17520,"thumbUrl":17521,"material":17522,"size":5110,"collection":166,"collections":17523,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},234971,"yun-shan-tu-zhou-shen-zhou-234971","云山图轴",[24,95,7,28,36,335,454,33,32,58,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63fbcf4ecea4aec65a5d0eb188770189.jpg","纸本 ，局部淡设色",[],{"id":17525,"slug":17526,"title":10038,"dynasty":174,"author":657,"museum":120,"description":17527,"tags":17528,"thumbUrl":17529,"material":964,"size":11409,"collection":166,"collections":17530,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},233856,"mo-mei-tu-zhou-jin-nong-233856","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。”钤“金氏寿门”朱文印。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[24,25,95,7,125,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef244f5ba25fb7abf04927afec90742e.jpg",[],{"id":17532,"slug":17533,"title":17534,"dynasty":174,"author":5599,"museum":176,"description":17535,"tags":17536,"thumbUrl":17537,"material":61,"size":17538,"collection":166,"collections":17539,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":140},231352,"tuan-shan-pai-huai-tu-luo-pin-231352","团扇徘徊图","画以水墨画一侧面仕女，手执团扇目视前方，似进似退徘徊不定。\n右上角画一飞雁，上下呼应，连成一脉。画题“奉帚平明金殿开，且将团扇\n暂徘徊，玉颜不及寒鸦色，犹带昭阳日影来”。署款“甲寅新秋两峰道人以指\n头图此见赠。回忆王江宁长信秋词语，遂援笔书之。春湖”。",[23,24,25,95,7,27,193,636,282,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ccb06ebdae0ec08e182f813cb13c1.jpg","纵98，横31.9厘米",[],{"id":17541,"slug":17542,"title":17543,"dynasty":174,"author":10707,"museum":450,"description":17544,"tags":17545,"thumbUrl":17546,"material":166,"size":166,"collection":166,"collections":17547,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},230297,"mei-hua-ce-ye-li-fang-ying-230297","梅花册页","此幅水墨古梅以意趣见长，枯干以浓淡墨色皴擦晕染，苍劲老辣，尽显古梅饱经风霜的嶙峋傲骨。斜逸的侧枝破局而出，带着清疏野逸的生机，柔枝缀着圈花点蕊的寒梅，简淡天真，不着艳色却仿佛冷香暗涌。\n\n题字笔致纵恣，与画面写意风骨相融，朱红印信点缀素纸，更添雅韵。整作脱略形似，直抒胸臆，以寥寥数笔勾勒梅之孤高，亦是作者心性投射，淡远清寂，将文人画以物明志的意趣淋漓展现，余韵悠长。",[24,25,74,7,123,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7461b818d7022997533cd484a86bcb9.jpg",[],{"id":17549,"slug":17550,"title":17551,"dynasty":18,"author":17552,"museum":450,"description":17553,"tags":17554,"thumbUrl":17555,"material":166,"size":166,"collection":166,"collections":17556,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},228920,"xiang-feng-jing-he-tu-zhou-liu-ru-shi-228920","香风静荷图轴","柳如是","此作为水墨写意妙品，以虚实相生铺就荷塘清景。泼墨重写团荷，浓淡晕染间尽显叶片舒展的苍润质感，荷茎虬曲穿插，残莲蓬斜立，暗笼秋意浅愁。白鹭以淡墨轻勾慢染，羽毛蓬松柔润，伫立浅滩侧目凝神，身姿娴静又暗含灵动生机，于留白水面独显出尘之态。\n\n笔墨干湿互济，淡墨晕开水面清光，浓墨点染汀洲残叶，画面疏密错落，题款极简留白恰到好处，将荷塘的幽谧禅意尽数铺陈，淡而弥远，简而不空，把初秋水畔的静雅与孤高意趣融为一体，尽显文人写意的空灵雅致。",[23,24,25,95,7,75,128,396,11594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe714f3a115a37707a297ef74ff20726f.jpg",[],{"id":17558,"slug":17559,"title":17560,"dynasty":52,"author":2172,"museum":450,"description":17561,"tags":17562,"thumbUrl":17563,"material":166,"size":166,"collection":166,"collections":17564,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":140},228035,"shan-shui-hua-ce-12-ye-guan-dao-sheng-228035","山水画册12页","此作以水墨晕染铺就烟岚浮动的幽寂之境，山峦隐现于流云薄雾之间，虚实相生，似有若无，将江南山水的氤氲柔婉尽数铺陈。坡岸修竹清挺秀逸，枝叶以细劲墨线勾勒，在朦胧烟霭中愈见清雅灵秀，与淡墨晕开的云山相映成趣。\n\n全画舍去繁复皴法，以淡墨烘染出云雾流荡之态，留白与晕染交织，令观者仿若身临幽寂空茫的山林，听溪声、沐烟霞，尽显元画尚意的审美意趣，于尺幅间藏万千丘壑，将文人画简淡空灵的意境抒发得淋漓尽致。",[24,25,74,7,36,28,126,34,30,211,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fa9d27742c0b2b8d4e4c85f9f39255.jpg",[],{"id":17566,"slug":17567,"title":17568,"dynasty":174,"author":17569,"museum":450,"description":17570,"tags":17571,"thumbUrl":17573,"material":166,"size":166,"collection":166,"collections":17574,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":47},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,25,26,7,547,36,28,34,33,787,58,212,381,6133,17572,624,532,59,211,29],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":17576,"slug":17577,"title":17578,"dynasty":174,"author":4221,"museum":450,"description":17579,"tags":17580,"thumbUrl":17581,"material":166,"size":166,"collection":166,"collections":17582,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},224118,"yu-bi-da-shi-xiang-bing-xin-jing-tu-qian-long-224118","御笔大士像并心经图","此作书画合璧，首段白描观音大士，衣袂如流云舒展，趺坐莲台，线条清隽空灵，将大士的温婉端凝勾勒得形神兼备。\n\n其后小楷《心经》笔致沉劲端雅，结体匀整秀逸，墨色匀净乌亮，字字安稳静穆，经文旁辅以注音小字，尽显书写时的恭谨至诚。\n\n朱印鲜亮点缀素幅，红白相映愈见清雅古意。整幅作品将佛理禅意落于笔端，绘事简而有神，书丹工而不板，笔墨间浸着庄严肃穆的虔诚，是兼具笔墨造诣与禅心的精妙之作。",[23,24,281,25,95,10153,547,481,242,7,3557,193,80,4956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e6e6a56dd394a9cbc245ad6b393c1b.jpg",[],{"id":17584,"slug":17585,"title":17586,"dynasty":52,"author":17587,"museum":120,"description":17588,"tags":17589,"thumbUrl":17590,"material":564,"size":17591,"collection":42,"collections":17592,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":47},221807,"shan-lin-qing-qu-tu-zhang-guan-221807","山林清趣图","张观","描绘江岸老树坡石之中，一老者独坐，一童子抱琴，渺茫江面一帆归来之景，右下款署“至正戊戌八月，张观制”，现藏故宫博物院；另有《月下人物图》册页，相传为其所作，藏美国纽约大都会博物馆。",[23,24,7,36,28,147,193,34,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8247aabb43e9b76e19440df1094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厘米",[220,83],{"id":17604,"slug":17605,"title":17606,"dynasty":4342,"author":17607,"museum":1346,"description":17608,"tags":17609,"thumbUrl":17610,"material":10405,"size":17611,"collection":83,"collections":17612,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":140},221133,"bi-geng-yuan-zhang-you-221133","笔耕园","张祐","张佑（祐）[唐]（公元？年至八五三年前后）（新唐书、全唐诗等书均作佑。此从唐诗纪事及唐才子传）字承吉，南阳人。（全唐诗作清河人。此从唐才子传）生年不详，卒于唐宣宗大中中。初寓姑苏，称处士。工诗，元和、长庆间，深为令狐楚所器。楚镇天平，自草表荐，并以诗三百首献于朝。上因召元稹问之，为稹所抑，遂失意而归。客淮南，与度支使杜牧善。牧赠以诗，有“何人得似张公子，千首诗轻万户侯”之句。每苦吟，妻子累呼不应，曰：“吾方口吻生花，岂恤汝辈乎”？性爱山水，多游江南名山。尝同崔涯谒李佑，自称钓鳌客，佑壮之。晚年，与白居易日相讌谑。爱丹阳曲阿地，遂筑室隐居以终。佑著有诗集一卷，（全唐诗作十卷。此从新唐书志及唐才子传）传于世。",[23,24,25,75,125,7,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F600ed0ac0f5ad6cee417f047a2764487.jpg","21.4×25cm",[83,222],{"id":17614,"slug":17615,"title":17616,"dynasty":4342,"author":17617,"museum":120,"description":17618,"tags":17619,"thumbUrl":17620,"material":61,"size":17621,"collection":245,"collections":17622,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":140},221087,"lan-ting-shi-quan-juan-liu-gong-quan-221087","兰亭诗全卷","柳公权","《兰亭诗》卷释文\n本幅无款印。\n卷前引首清乾隆皇帝行书题“笔谏遗型”，题签“兰亭八柱第四”，题记一段。又有瘦金体题签“唐柳公权书群贤诗”。\n卷后有宋邢天宠、杨希甫、习之、蔡襄（后添）、李处益、孙大年、王易、黄伯思（伪）、宋适，金王万庆，明王世贞（两段）、莫是龙、文嘉、张凤翼，清王鸿绪等题跋和观款。\n此书传为柳公权所书东晋穆帝永和九年（353年）三月三日，王羲之与谢安、孙绰等人在会稽（今浙江绍兴）兰亭修禊时与会者所赋的37首诗及诗序。\n本卷笔法僵硬粗糙，且多枯锋，但较自然率易。卷后宋代黄伯思尾题（伪）中云“传柳书”，细观之，个别字的用笔明显不是出自柳书，如：孙统四言诗中的“希”字、庾友四言诗中的“则”字、王涣之四言诗中的“足”字等末笔写的非常丑怪，字的结体亦多不够沉稳，失于浮躁，与柳氏所书王献之《送梨帖》后之题跋墨迹对比不但笔法不类，连结体也无丝毫相同之处。从诗文看，颇有不通处，如：把孙绰四言诗“怀彼伐木”误书为“怀彼代水”，把谢安四言诗“伊昔夫子”误书为“伊昔先子”。“伐木”是《诗经》中语，“夫子”是指孔丘，说明书写者是一位文墨不够精通之人。无论从艺术特征还是艺术水平来分析，该卷决非柳公权之笔。\n此卷断为宋以前抄本。从所录37首诗中可看出，个别用字不避宋讳，如谢安诗中“契慈玄执，寄教林丘”的“玄”字、王肃之诗中“嘉会欣时游，豁朗畅心神”的“朗”字等都没有避北宋始祖皇帝赵玄朗之讳。另外从书法的主体风格看，推测应写于唐代，与杜牧墨迹《张好好诗卷》大略相近，并且是信笔直书，不是临仿得来。作为唐抄古本，此卷与敦煌遗书中《文选·陆机短歌行等残卷》（伯2554）、《玉台新咏卷第二残卷》（伯2503）有同样的文学价值。\n宋《宝章待访录》，明《东图玄览》、《清河书画舫》、《清河见闻表》，清《珊瑚网书凭》、 《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[23,25,37,26,38,242,80,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[245,4372],{"id":17624,"slug":17625,"title":17626,"dynasty":4342,"author":17627,"museum":92,"description":17628,"tags":17629,"thumbUrl":17635,"material":166,"size":17636,"collection":245,"collections":17637,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":47},221063,"shi-ba-xue-shi-yu-zhi-ning-shu-zan-juan-yan-li-ben-221063","十八学士于志宁书赞卷","阎立本","唐太宗在做秦王时建“文学馆”，收聘贤才，以杜如晦、房玄龄、于志宁、苏世长、姚思廉、薛收、褚亮、陆德明、孔颖达、李玄道、李守素、虞世南、蔡允恭、颜相时、许敬宗、薛元敬、盖文达、苏勗十八人并为学士。复命画家阎立本为十八学士画像， 即为《十八学士写真图》，褚亮题赞。当时获唐太宗选入文学馆者称为“登瀛洲”，后人有所谓“十八学士登瀛洲”，又因唐太宗常与门下十八学士弈棋，后人因此画有《十八学士弈棋图》。",[37,38,7,26,25,193,298,17630,17631,17632,17633,17634],"墨书","人物题材","书卷形式","笔墨技法","书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f296a09018a42795a522f41118a330.jpg","29.7x475",[245,4372],{"id":17639,"slug":17640,"title":17641,"dynasty":174,"author":175,"museum":450,"description":7322,"tags":17642,"thumbUrl":17643,"material":17644,"size":17645,"collection":64,"collections":17646,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},221003,"hua-guo-shu-cai-ce-ye-yun-shou-ping-221003","花果蔬菜册页",[23,24,25,74,179,27,7,75,2335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38aaa574a7446c4481fe42d5b8f15d83.jpg","纸本 设色 册页","23 X 28 CM X 10",[64],{"id":17648,"slug":17649,"title":17650,"dynasty":174,"author":175,"museum":190,"description":17651,"tags":17652,"thumbUrl":17653,"material":17654,"size":17655,"collection":42,"collections":17656,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":140},220972,"shuang-song-liu-quan-tu-yun-shou-ping-220972","双松流泉图","双松流泉图描绘巍峨高耸的远山被浮云游雾隔于天外，远处的瀑布从山崖之间逶迤婉转地涌出，因矶石抵柱而迥旋激荡，如同泉流。近景堤岸沙坡之上灵石伫立，苔草凝碧；临水的山角处双松并峙，针茂如冠，楮竹相生，杂然成林。一溪春水波光粼粼，仿佛正有和煦春风从水面掠过。画上虽然杳无人迹尘嚣，但并不荒疏冷寂。回荡壑谷的风声，击石鸣涧的水声，松涛如潮的树声，或许还有空山飞鸟的啼声，都为这本来幽静的画面平添了许多的幽趣，共同唱响一曲自然生趣的清歌，大有声情并茂的韵味。上端有画家自题语和款署：“双松流泉图，为六朋词兄六十寿。”落款：“毗陵恽寿平。”",[23,24,25,95,7,28,624,30,34,36,96,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b3e81025a8acac7cd4862aa16daff2.jpg","轴，卷本设色","纵172厘米，横67厘米",[42,222],{"id":17658,"slug":17659,"title":17660,"dynasty":18,"author":1836,"museum":450,"description":17661,"tags":17662,"thumbUrl":17663,"material":26,"size":17664,"collection":245,"collections":17665,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":921},220959,"zi-jia-shi-juan-dong-qi-chang-220959","紫茄诗卷","《董其昌书法经典鉴赏》是216年四川美术出版社出版的图书，作者是周世闻。\n董其昌，明代书画家。\n书法出入晋唐，自成一格，能诗文，刻有《戏鸿堂帖》。",[23,25,26,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf60a44922b4e634d8287b3b643ba82e.jpg","长414厘米、高24．5厘米",[245],{"id":17667,"slug":17668,"title":17669,"dynasty":18,"author":10282,"museum":4012,"description":17670,"tags":17671,"thumbUrl":17672,"material":17673,"size":17674,"collection":245,"collections":17675,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":166},220716,"xing-shu-jie-quan-wang-chong-220716","行书借券","王宠字履仁，后更字履吉，号雅宜山人，吴县（今苏州）人。出生于业商家庭，父王贞雅好收藏古器物书画，并与文征明等贤达时相往来，情谊甚笃。王宠早年与兄王守在苏州太湖洞庭山随蔡羽求学，既而读书石湖之上，二十年中「非岁时省侍，不数数入城。」王宠生平以名节着闻，关于他性情高洁的记述屡见于文词，其洒然出尘的隐者形象深入人心。自正德庚午（1510）至嘉靖辛卯（1531）间，王宠共参加了八次科考，但皆以失败告终，最后一次赴试离他去世只有两年，可想见其终生都在为科名繁忙。\n\n嘉靖七年（1528）四月，王宠请文彭作中，向袁褒借银五十两。文物馆所藏王宠借券，为是次告贷的一纸票据。全券行书八行六十八字，尺幅细小，但历经累世题咏，已成一帧长手卷。券中，双方约定以二分起息，并于同年十二月连本带利偿还，券末有王宠与文彭署名及花押，从内容到形式适合于市井借贷的常例。尽管如此，此券是否真为一件当时借贷的凭据，历来意见不一，从卷后各家的题跋可以窥其大端。质疑者认为，王宠与袁氏交情素厚，借五十金本不必有券，即使有券，亦不必言利，因而仅以「游戏之笔」视之。不过因嘉靖七年是王宠第七次赴科试之年，不少人有见于王宠当时的经济状况和赴考花销，认为借贷之举应是确有其事，虽则王、袁有通财之谊，但既属借贷，王宠也就按著成规，正式立下了借据。\n\n此券后为好事者藏去，数经转徙，甚至一度险付劫灰，而终得以保全，三四百年中代有名贤题咏赞赏，考据二氏生平及往来唱酬之风雅韵事，盖皆当日诸君无从料想之事。惜天不假年，王宠得寿仅四十。虽然人生短暂，其生前的艺术成就已为他赢得书法史上重要的一席。明中期书法以吴门为盛，年轻书家辈出，而唯有王宠得与祝允明、文征明二巨公并称「三家」而无异议。王宠书艺成熟得较早，二十多时已初具规模，大体规摹永兴、大令，高蹈晋法，后虽日臻成熟，其初衷无改。此帧借券书于三十五岁时，属「晚期」之作，即呈现出他那种为世所知的书风。虽然在王宠的传世书作中，此借券不甚起眼，且非「用意之作」，却得后世跋者如林，有为之歌咏作长篇者，有详悉考之成文章者，实洋洋大观，是知王宠书迹可贵，不独以艺事之工。而此券的流传，无疑又为后世提供了「书以人重」的又一典范。",[23,37,25,26,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a5c0832584c8de37372e723ca0e418.jpg","水墨,纸本,手卷","24.3 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21.5厘米",[245],{"id":17677,"slug":17678,"title":17679,"dynasty":359,"author":360,"museum":1873,"description":17680,"tags":17681,"thumbUrl":17683,"material":1877,"size":166,"collection":166,"collections":17684,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},220608,"cong-qun-zhong-zhong-lai-dao-qun-zhong-zhong-qu-qi-bai-shi-220608","从群众中来到群众中去","这幅书法以魏碑笔法入行，用笔厚重雄强，线条苍朴老辣，结体大开大合，极具视觉冲击力。大字顶天立地，笔墨酣畅淋漓，将质朴的口号化为震撼的视觉力量，尽显沉浑豪迈的气魄。下方小字题款灵动舒缓，与大字形成动静对比，刚柔并济，既有金石篆刻的古拙意趣，又饱含热忱的时代情怀，将文人笔墨筋骨与革命精神融为一体，是艺术与时代共鸣的精彩典范。",[37,95,3074,7,13592,17682],"笔力雄健","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fe65e4f45e24b9ce45eae2222a6825.jpg",[],{"id":17686,"slug":17687,"title":17688,"dynasty":359,"author":1872,"museum":3766,"description":17689,"tags":17690,"thumbUrl":17691,"material":196,"size":166,"collection":166,"collections":17692,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":47},220564,"jiu-fang-gao-tu-xu-bei-hong-220564","九方皋图","画面以质朴底色铺陈，左方驯马壮汉肌肉虬结，笔触精准勾勒出力量感，烈马扬蹄摆尾尽显桀骜，一旁驭者沉静注视。右侧老者目光如炬，于旁人的疑惑神情中笃定识人，寥寥数笔便将人物性格刻画分明。\n\n创作者将西式写实的人体结构与国画笔墨相融，铁线般的线条勾勒身形，淡墨晕染铺就荒郊底色，既保留写意的留白韵致，又以写实功底强化画面张力。借旧典暗喻识才辨贤的深意，将传统题材注入时代精神，筋骨兼具，形神合一，尽显创作巧思与风骨。",[23,281,24,7,27,123,193,312,7389,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffe6163f0f6d4f5d21df2d5184d3f94.jpg",[],{"id":17694,"slug":17695,"title":17696,"dynasty":359,"author":1872,"museum":1873,"description":17697,"tags":17698,"thumbUrl":17701,"material":166,"size":166,"collection":166,"collections":17702,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":47},220548,"chuan-fu-xu-bei-hong-220548","船夫","漓江烟霭如纱晕染天际，前景丹黄枝叶错落交织，框住扁舟浮生。赤身船夫们筋肉虬结，或匍匐撑篙、或伫立持杆，将劳力的沉实粗粝揉碎在漾漾水波里。蓝衣妇人静坐舱侧，指尖捻着细碎活计，松弛的背影与紧绷的船夫形成鲜明对照，将日常烟火气晕开劳作的艰涩。\n\n画作融水墨晕染与写实工笔于一体，淡墨晕开远山虚影，细笔勾勒出躯干贲张的肌理，把底层劳动者的鲜活力量揉进水乡诗意里。以平实视角定格江面上生计的重量，将烟火日常淬炼成沉凝的生命注脚，笔墨里既有写实筋骨，又带着东方意境的柔婉，苦役里透出质朴生机。",[24,27,7,6628,193,5431,350,33,78,164,11253,17142,17699,17700],"人物画","场景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287adcfa47e3a00be2e87bcf795b7f9b.jpg",[],{"id":17704,"slug":17705,"title":17706,"dynasty":52,"author":2127,"museum":593,"description":17707,"tags":17708,"thumbUrl":17709,"material":110,"size":17710,"collection":600,"collections":17711,"showCount":17431,"zanCount":46,"manualWeight":46,"mainColor":140},220410,"shui-bian-gao-shi-tu-sheng-mao-220410","水边高士图","盛懋（生卒年不详）字子昭，嘉兴（今属浙江）武塘人，与吴镇同时代，且为乡邻，“比门而居”，主要活动于元至正年间。其父盛洪，是民间画工。盛懋承家学，人物、山水、花鸟，无所不工，尤善山水。其山水画多作丛山密林，表现四时朝暮的江山胜景，结构严整，笔墨清润。早年得到陈琳(赵孟頫的学生)的指点，画山石多用披麻皴或解索皴，笔法工整，设色明丽。所以他早期的画“精致有余”，而意趣不足，被时人称作“画工”之作。但他后来逐渐接受元代文人画家的影响，吸收文人画的意趣，一定程度上摆脱了“匠气”，故其作品越来越合士大夫阶层的审美情趣，元至正年间享有盛名。盛懋的画当时也很受老百姓的欢迎，“四方以金帛求子昭画者甚众”。他的传世作品较多，如《秋林高士图》《秋江待渡图》《坐看云起图》《秋溪放艇图》《山居纳凉图》等。",[23,24,7,27,36,193,28,147,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901490fb625dc8dea15a65bdd9778bf9.jpg","23.4×25.3",[600,42,64],{"id":17713,"slug":17714,"title":17715,"dynasty":174,"author":3195,"museum":692,"description":11102,"tags":17716,"thumbUrl":17717,"material":98,"size":166,"collection":42,"collections":17718,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":47},219914,"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图",[24,25,281,7,36,95,494,28,33,30,31,34,2043,211,717,213,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[42],{"id":17720,"slug":17721,"title":17722,"dynasty":18,"author":17723,"museum":294,"description":17724,"tags":17725,"thumbUrl":17726,"material":98,"size":17727,"collection":600,"collections":17728,"showCount":17431,"zanCount":1084,"manualWeight":46,"mainColor":47},219726,"tao-yuan-ming-shang-ju-tu-du-jin-219726","陶渊明赏菊图","杜堇","陶渊明所处的时代，正属朝代更迭、战乱频发的乱世。况且当时的官制延续自汉代起的“九品中正制”，很多寒门士子无法入朝为官施展抱负，他们只能屈居于无能世家子弟的治下屡屡碰壁，故而纷纷绝望，选择归隐避世。",[23,24,95,7,481,193,134,127,34,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c5282b11790f03544ec06823922541.jpg","48 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showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":140},288416,"xian-lv-guan-pu-tu-ma-yuan-288416","仙侣观瀑图","此画精妙之处莫过于两位相对而坐的文士所面对的一大片空白——悬瀑飞下，能量极大，激起大量水气，蒸腾弥漫，善用留白的马远在此便以大幅空白来体现。根据透视原理画成的近处的山石和松树体积稍大，略有压迫感，更衬出所留空白通透自然，难能可贵。马远素有“马一角”之名，喜作边角小景。此画虽为立轴，但如此空灵有趣的布局与笔墨，也仍见马远的功力与志趣。",[24,281,95,7,36,28,193,210,624,213,30,17879,17880],"仙侣","观瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f922f451d46e8658cf24b0f7a66217.jpg","148.1x80.1cm",[],{"id":17885,"slug":17886,"title":17887,"dynasty":205,"author":278,"museum":450,"description":5919,"tags":17888,"thumbUrl":17889,"material":314,"size":1061,"collection":166,"collections":17890,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":140},288224,"song-xia-guan-pu-tu-xia-gui-288224","松下观瀑图",[23,281,24,1462,7,28,624,210,34,193,36,17880,7919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ecc0a7025721416ab7cb43a1afd43.jpg",[],{"id":17892,"slug":17893,"title":17894,"dynasty":174,"author":657,"museum":450,"description":14232,"tags":17895,"thumbUrl":17896,"material":314,"size":1061,"collection":166,"collections":17897,"showCount":17836,"zanCount":1084,"manualWeight":46,"mainColor":47},239933,"jin-nong-xiang-he-jing-zhou-jin-nong-239933","金农相鹤经轴",[10153,95,37,6186,11566,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b3656d42a4a75794538d78fd3eb256.jpg",[],{"id":17899,"slug":17900,"title":17901,"dynasty":174,"author":17902,"museum":450,"description":17903,"tags":17904,"thumbUrl":17905,"material":314,"size":1061,"collection":166,"collections":17906,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},239543,"lan-hua-shan-zhang-sheng-fu-239543","兰花扇","张升福","此作用水墨写意绘就兰石，兰叶以书法笔意挥写，墨线抑扬顿挫、穿插错落，将兰叶舒展之姿勾勒得灵动清雅，寥寥数笔便让芝兰柔润风骨尽显。淡墨点染兰花，花瓣简约却形神兼备，隐有暗香浮动之意。\n配景湖石以淡墨皴擦留白，写意出嶙峋之态，衬出芝兰幽生于岩畔的逸致。右侧题字行书隽秀，笔墨与题识相互映衬，整体简淡萧疏，将兰花高洁脱俗的品格寄寓水墨之中，尽显清幽雅致，意韵悠长。",[24,25,1462,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b98f44aa997e5edf16a17681698160e.jpg",[],{"id":17908,"slug":17909,"title":17910,"dynasty":18,"author":17911,"museum":450,"description":17912,"tags":17913,"thumbUrl":17914,"material":166,"size":166,"collection":600,"collections":17915,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":140},237889,"ba-xian-tu-zhou-zheng-wen-lin-237889","八仙图轴","郑文林","郑文林，号颠仙，明代画家，闽侯（今属福建）人。生卒年不详。活动时期约在嘉靖间（1522—1566）。工山水、人物，与汪肇、钟礼、张路等均为浙派后期名家。继蒋嵩之后，多用焦墨枯笔，点染粗豪，板重颓放，尤其是人物。《图绘宝鉴续纂》卷一以颠仙与袁尚统（字叔明，苏州人）并列一条目，谓两人“画人物俱野放”，并被吴派讥评为“狂邪”，其实颠仙所作有其独特风格。\n传世作品有《二仙图》轴、《女仙图》轴，现均藏中央美术学院；《群仙图》轴藏广州美术馆；《牧人瑞梦图》轴藏美国高居翰景元斋；《渔童吹笛图》轴、《柳荫人物图》轴均流入日本。图1以泼墨侧锋，拖泥带水，尽情挥写乱石老柳，以细碎之笔，密点柳叶，疾写杂草。人物造型，偏头斜目，举止怪诞，神情诙谐，更以颤笔写衣纹，颠狂之气，跃然画外。此幅图吸取牧溪、梁楷天然之趣，而舍浙派生硬之弊，构成此图动人的艺术特点。",[24,25,95,547,7,3557,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2a5609b3948be540700520769704c1.jpg",[600],{"id":17917,"slug":17918,"title":17919,"dynasty":174,"author":17920,"museum":120,"description":17921,"tags":17922,"thumbUrl":17923,"material":166,"size":166,"collection":42,"collections":17924,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},236645,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236645","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,74,7,36,38,80,28,180,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbecd6fb60f813cf83d989c822dd4c04b.jpg",[42,245],{"id":17926,"slug":17927,"title":17928,"dynasty":174,"author":5090,"museum":450,"description":17929,"tags":17930,"thumbUrl":17931,"material":314,"size":1061,"collection":166,"collections":17932,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,1462,7,254,36,37,80,28,32,162,34,210,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":17934,"slug":17935,"title":17936,"dynasty":174,"author":418,"museum":450,"description":17937,"tags":17938,"thumbUrl":17939,"material":166,"size":166,"collection":166,"collections":17940,"showCount":17836,"zanCount":1084,"manualWeight":46,"mainColor":47},234158,"hua-hui-juan-zhu-da-234158","花卉卷","八大山人花鸟承袭陈淳、徐渭写意花鸟画的传统，发展为阔笔大写意画法，其特点是通过象征寓意的手法，并对所画的花鸟、鱼虫进行夸张，以其奇特的形象和简练的造型，使画中形象突出，主题鲜明，甚至将鸟、鱼的眼睛画成“白眼向人”，以此来表现自己孤傲不群、愤世嫉俗的性格，从而创造了一种前所未有的花鸟造型。",[23,24,25,26,7,123,37,80,38,76,127,7908,421,128,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],{"id":17942,"slug":17943,"title":17944,"dynasty":52,"author":726,"museum":120,"description":17945,"tags":17946,"thumbUrl":17947,"material":1221,"size":1561,"collection":166,"collections":17948,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},234099,"yu-fu-tu-zhou-wu-zhen-234099","渔父图轴","在中国古代，渔、樵、耕、读，常常被文人士大夫视为理想化的生活方式，并常被用作文艺作品的主题，以表达作者避世遁隐的愿望，其中尤以“渔隐”的素材最为普遍。时至元代，汉族文人仕进无门，社会地位骤降，江南士人遭遇尤甚。于是，“渔隐”就更频繁地出现在绘画作品中，其中以吴镇的《渔父图》最为典型。吴镇善作“渔隐”题材的山水画，传世《渔父图》即有多幅，此图是其中较有代表性的一幅。图中描绘江南水乡景色，平冈丛树，一渔父驾小舟逍遥于湖弯水色之间。全图墨色苍润，山石、树木、枝叶都注意到了墨色浓淡的交替运用，借以表现层次关系并突出主要物象。笔法多变，皴擦点染，均可看出作者高超的控笔能力。湖山间幽僻清寂的意境跃然纸上，给人以远离尘俗之感。吴镇的《渔父图》大都以秀劲潇洒的草书《渔父群》相配，诗、书、画相得益彰。即如此图中所书：“目斷煙波青有無，霜凋楓葉錦模糊。千尺浪，四鰓鱸，詩筒相對酒葫蘆。”诗为画图点睛，真切地表达出 “一叶随风万里身”的隐逸情思。",[24,25,95,7,36,38,80,28,31,30,147,468,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg",[],{"id":17950,"slug":17951,"title":17952,"dynasty":52,"author":4714,"museum":120,"description":17953,"tags":17954,"thumbUrl":17955,"material":298,"size":17956,"collection":166,"collections":17957,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},233810,"mu-dan-tu-juan-wang-yuan-233810","牡丹图卷","两幅画里的杜鹃、桃花却是点虱而成，虽然只是简单的用笔，却也表现出花朵的墨色变化。这些花鸟因用水墨表现出来，显得素洁安静给人以超凡脱俗之美。王渊的画是从淡彩晕染演绎出淡彩渲染，似乎是要通过淡彩画出五色绚烂的效果。而淡彩渲染又服从于总体效果，又有了浓墨渲染便有了墨色浓淡的层次。王渊的墨彩之所以能够如此绚丽，不得不归功于另一个重要因素——纸。中国画是离不开绢和纸的，就像笔离不开墨一样。绢和纸决定了一幅画的描绘，虽然有相同处，然而在具体的用笔用墨、气质上格调上还是有本质区别的。宋以前的画一般都是用绢，绢是丝织品，透明而有光泽，不散墨，可以一遍遍的描绘，更好的塑造形象。宋以后的画包括著色画一般是用纸来完成的。纸是植物制品，而绢是丝织品，性质不同就注定用两者作画会有不一样的效果。绢的运用在绘画上做出了辉煌的贡献，已经达到了极致，而纸的使用使笔墨发生了变化，使画有了另一种味道，因此也有了流派上的变迁。元代的画纸是一种质地坚硬、半生半熟的纸，一般水墨会停留在纸面上，遵循着配合到描绘对象的写实原则，水墨落在纸上就会出现似化非化的效果，线条会有一种渴润的韵致，墨色也会更加有苍茫之感。而中国古代画家用的纸都是精心取材，按着严谨的制造程序来做的，因此无论纸还是绢都是非常好的。而现代制纸大都没那么考究，或是有些制造经验已经失传了。",[24,281,25,26,7,481,75,129,80,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb9ec2e52112fc99757bf6c16e4be0f.jpg","纵37.7cm、横61.6cm",[],{"id":17959,"slug":17960,"title":17961,"dynasty":18,"author":19,"museum":120,"description":17962,"tags":17963,"thumbUrl":17964,"material":964,"size":17965,"collection":166,"collections":17966,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},233147,"fang-dong-ju-shan-shui-tu-zhou-shen-zhou-233147","仿董巨山水图轴","五代南唐董源、巨然的风格受到明代吴门画家的重视，成为他们效仿、取法的对象，根据本幅左上角画家自题，图中仿董巨的风格是受民度本人所请。该图在狭长的尺幅中作长林巨壑之景，近处松石陂陀，中间有较大面积的湖水，水面上二人乘小舟垂钓，一座桥从画外延伸至山脚下的彼岸，桥上一文士策杖而行，岸上有茅亭屋舍。再往上山势连绵，景致层层深入，中间一条“S”形的山谷使两边的山峰在狭长的构图中并不显得拥挤，凸显了高远、深远的特色。图中皴笔短促繁密，圆润松秀，用笔注重层层渲染，笔锋内敛，具有外柔内刚的特点。该图在构图、笔墨上受到“董巨”的影响，但是画家融合古人的笔意而又有自己的特点，用笔颇为苍润醇厚，此外策杖归来、舟上垂钓均为当时吴门文士生活的真实写照。",[24,25,95,7,36,254,28,335,350,162,127,9051,32,215,213,533,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],{"id":17968,"slug":17969,"title":10038,"dynasty":174,"author":5599,"museum":120,"description":17970,"tags":17971,"thumbUrl":17972,"material":298,"size":17973,"collection":166,"collections":17974,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},232689,"mo-mei-tu-zhou-luo-pin-232689","图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[23,24,7,95,75,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa09da21d1f31d121e8101cafce14fa.jpg","纵125.5厘米，横42.5厘米",[],{"id":17976,"slug":17977,"title":17978,"dynasty":174,"author":377,"museum":294,"description":17979,"tags":17980,"thumbUrl":17981,"material":298,"size":166,"collection":166,"collections":17982,"showCount":17836,"zanCount":5,"manualWeight":46,"mainColor":47},232606,"ku-gua-he-shang-shu-hua-ce-shi-tao-232606","苦瓜和尚书画册.","此画册《苦瓜和尚书画册》为清代画家石涛绘，共12幅，一图一诗。旧藏日本大收藏家桑名铁城，书名页 “石涛道人书画神品”为日本著名画家富冈铁斋题，现藏于美国大都会博物馆。这些书画大约书绘于1695年。\n石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽鳳陽，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。与弘仁、髡残、朱耷合称“清初四僧”。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石涛擅长山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨笔墨恣肆，意境苍莽新奇，一反当时仿古之风。\n第十二帧：君与梅花同赏，岁寒时许争夸，暖日睛窗拈笔，几回清思无涯。小乘客，济。",[24,25,74,7,38,80,395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07884430a5f9c035d5167b0df2cde5b3.jpg",[],{"id":17984,"slug":17985,"title":17986,"dynasty":18,"author":11473,"museum":450,"description":17987,"tags":17988,"thumbUrl":17989,"material":166,"size":166,"collection":166,"collections":17990,"showCount":17836,"zanCount":1084,"manualWeight":46,"mainColor":140},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[23,24,281,25,95,7,27,36,28,210,33,7378,213,215,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],{"id":17992,"slug":17993,"title":17994,"dynasty":205,"author":592,"museum":450,"description":17995,"tags":17996,"thumbUrl":17997,"material":166,"size":166,"collection":166,"collections":17998,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":140},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[281,24,25,26,7,27,28,193,194,29,30,32,162,34,2223,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":18000,"slug":18001,"title":12443,"dynasty":174,"author":18002,"museum":544,"description":18003,"tags":18004,"thumbUrl":18005,"material":834,"size":18006,"collection":83,"collections":18007,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},223124,"shui-xian-tu-song-si-ren-223124","宋思仁","几簇长卷水仙花，散落在峭壁、岩石、泥土上，叶片长长，花朵艳丽，一派生机勃勃的风沙。宋思人，名雅若，名如和，是山东两道官员。能诗，善戏，善识古人，精篆刻，多古篆。他画山水、花草树木，尤其是兰花。",[23,24,25,26,7,132,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e0da0bdc665e81096b22d4695c855d.jpg","30cmx499cm",[83,64],{"id":18009,"slug":18010,"title":580,"dynasty":174,"author":5599,"museum":692,"description":18011,"tags":18012,"thumbUrl":18013,"material":18014,"size":18015,"collection":166,"collections":18016,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},222832,"zhu-shi-tu-luo-pin-222832","以浓淡二墨写竹竿枝叶，水墨撇脱，随意挥洒，以浓淡枯润的变化，尽现竹之风致意态，有云雾迷潆之感。画意空灵湿润。小溪之畔，怪石嶙峋，以干笔湿墨勾染点皴，色泽凝重，富有体积感。",[23,24,25,95,7,547,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e50e2e41066cad8b00a5868c52fa2.jpg","立轴，纸本，墨笔","纵121.8厘米，横58.8厘米",[],{"id":18018,"slug":18019,"title":18020,"dynasty":18,"author":18021,"museum":450,"description":18022,"tags":18023,"thumbUrl":18024,"material":18025,"size":18026,"collection":42,"collections":18027,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},222139,"shan-shui-shou-juan-li-liu-fang-222139","山水手卷","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。\n万历三年（1575）李流芳出生于嘉定南翔一户官宦人家。原籍南直隶徽州府歙县（今安徽歙县南丰），祖父李文邦为迁翔始祖，任成山卫指挥使，封赠公爵。父亲李汝筠系县学生。伯父李汝节是嘉靖进士，官至安吉知州。堂兄李先芳，万历进士，四川参议。李流芳兄弟四人：长兄李元芳，诸生，诗人；仲兄李名芳万历进士，翰林院庶吉士；弟李三芳，定海县丞。李流芳排行第三，人称李三长蘅。\n李流芳青少年时，潜身东林庵中，认真读书，企求科举入仕。万历三十四年(1606)，32岁中举，后又两度赴京参加殿试皆不第。时朝廷为太监魏忠贤及其党羽把持，仕途凶吉难料。他感到气馁，回到家乡，自建“檀园”，绝意仕途。他经常游览杭州西湖，一边游湖一边作画，并提笔写下一系列题跋，一派高人逸士之风度。为人耿直，诗风清新自然，文品为士林翘楚。魏忠贤建生祠不往拜，与人云：“拜，一时事，不拜，千古事。”\n李流芳和程嘉燧，诗文书画齐名，曾对好友钱谦益说：“精舍轻舟，晴窗明己，看孟阳（程嘉燧）吟诗作画乃是生平第一快事。”钱谦益曰：“吾却有二快，兼看兄与孟阳耳。”崇祯元年（1628），钱谦益被放，坐帐论牍，病中的李流芳闻讯，扶枕浩叹：“不可为矣！”\n崇祯二年 (1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[23,24,25,26,7,36,28,335,350,33,35,59,8120,164,6133,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[42,222],{"id":18029,"slug":18030,"title":18031,"dynasty":205,"author":278,"museum":294,"description":18032,"tags":18033,"thumbUrl":18034,"material":7576,"size":18035,"collection":166,"collections":18036,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},221508,"bu-yu-tu-tuan-shan-ye-xia-gui-221508","捕鱼图团扇页","按《捕鱼图》团扇页题签，此画传为南宋画家夏圭所作。有学者认为可能是明代画家的作品。夏珪腕力刚劲，运笔迅速，与此画文静秀逸的笔法不同；《捕鱼图》人物温雅的面容，简洁而细腻的衣纹，也不是夏珪的风格，反而与马远的画风一致。尽管《捕鱼图》可能不是宋代作品，但画得依然很出色，能妙笔入神，情景交融，表现出雅静虚和的韵味。",[23,24,1462,7,36,28,31,468,729,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90038fa4d4f5868eee3e4e06e13086.jpg","23.2x24.1厘米",[],{"id":18038,"slug":18039,"title":18040,"dynasty":205,"author":2727,"museum":450,"description":18041,"tags":18042,"thumbUrl":18043,"material":27,"size":18044,"collection":220,"collections":18045,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":140},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[23,281,24,25,26,7,36,37,80,28,335,454,350,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[220,42,222],{"id":18047,"slug":18048,"title":18049,"dynasty":205,"author":12123,"museum":450,"description":18050,"tags":18051,"thumbUrl":18052,"material":61,"size":18053,"collection":220,"collections":18054,"showCount":17836,"zanCount":1084,"manualWeight":46,"mainColor":140},221417,"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[23,24,281,25,74,7,36,28,147,610,1523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 30",[220,42,222],{"id":18056,"slug":18057,"title":18058,"dynasty":18,"author":1836,"museum":92,"description":18059,"tags":18060,"thumbUrl":18061,"material":98,"size":18062,"collection":42,"collections":18063,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},220938,"xia-mu-chui-yin-tu-zhou-dong-qi-chang-220938","夏木垂阴图轴","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。",[23,24,281,25,95,7,36,28,33,34,215,164,785,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[42,222],{"id":18065,"slug":18066,"title":18067,"dynasty":52,"author":18068,"museum":294,"description":18069,"tags":18070,"thumbUrl":18071,"material":457,"size":18072,"collection":42,"collections":18073,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":140},220425,"shi-shang-song-hua-tu-zhang-xun-220425","石上松花图","张逊","元代张逊书画世所罕见，故宫博物院藏有其白描双勾竹一卷，足见风采。此山水一幅是王季迁旧物，1997年捐给大都会艺术博物馆。用笔学董、巨，山中静日长，只见松花开又落。落款自题：“石上松花落又开，山樗无用亦成材，蒲轮不到樵人径，白发徒过五十来。张逊。”另有倪瓒、李瓒题诗。",[23,24,494,95,7,27,34,33,350,164,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff011efff5735f2afb6e05f576839c3ab.jpg","90.8cm×42.5cm",[42,222],{"id":18075,"slug":18076,"title":18077,"dynasty":174,"author":377,"museum":11333,"description":18078,"tags":18079,"thumbUrl":18080,"material":40,"size":18081,"collection":42,"collections":18082,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":140},219930,"liu-xi-diao-ting-tu-shi-tao-219930","柳溪钓艇图","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，僧名元济，一作原济，别号很多，大滌子、钝根、石道人、苦瓜和尚、瞎尊者、清湘陈人、清湘老人、清湘遗人、零丁老人。 明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[23,24,7,36,95,28,1853,31,30,480,33,193,194,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[42],{"id":18084,"slug":18085,"title":18086,"dynasty":18,"author":646,"museum":11333,"description":18087,"tags":18088,"thumbUrl":18089,"material":98,"size":18090,"collection":42,"collections":18091,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":140},219925,"zhu-ju-tu-wen-zheng-ming-219925","竹居图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[24,25,7,27,36,28,126,32,162,180,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292ecae83b68849fed901d8ead40a667.jpg","71.5x41cm",[42],{"id":18093,"slug":18094,"title":12175,"dynasty":18,"author":796,"museum":378,"description":18095,"tags":18096,"thumbUrl":18097,"material":457,"size":166,"collection":42,"collections":18098,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},219893,"zhou-jin-tang-ji-chen-chun-219893","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,24,25,26,38,394,3074,7,27,193,194,29,30,31,32,162,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[42,245],{"id":18100,"slug":18101,"title":18102,"dynasty":18,"author":6070,"museum":92,"description":18103,"tags":18104,"thumbUrl":18110,"material":110,"size":18111,"collection":600,"collections":18112,"showCount":17836,"zanCount":1084,"manualWeight":46,"mainColor":140},219510,"bei-hai-zhen-ren-xiang-zhou-wu-wei-219510","北海真人像轴","画中仙者束发袒襟，神态清和古雅，安坐灵龟背上行于浅渚苇荡间。他手持枯藤，灵蛇盘绕其上，衣袂飘然随微风舒展，尽显出尘之气。\n\n灵龟昂首探行，笔墨简练却将其沉健之态勾勒分明，苇草轻淡晕染衬出清虚氛围。整幅画作以粗笔写意，衣纹顿挫简练，粗率之中见法度，将真人餐霞饮风、伴云游世的逍遥仙韵尽显，把道家超然物外的隐逸意趣融于尺幅间，静穆里暗藏灵动仙气。",[24,95,193,7,123,18105,11639,18106,18107,610,18108,18109],"道家","灵龟","灵蛇","苇草","仙气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b042adf830649bd30427a7e5845d3ff.jpg","158.4x93.2",[600],{"id":18114,"slug":18115,"title":645,"dynasty":174,"author":18116,"museum":92,"description":18117,"tags":18118,"thumbUrl":18119,"material":7,"size":166,"collection":222,"collections":18120,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},219380,"shan-shui-tu-wang-duo-219380","王铎","虬枝盘曲，墨色浓淡交织，似在风中低语。苍劲笔触勾勒树的骨节，枯笔皴擦间尽显老辣之态。背景山峦以淡墨晕染，层叠隐现于烟水之间，远处汀渚点点，归帆依稀。近树与远岫形成疏密对比，留白处见空灵，墨色浓处显沉厚。写意之笔将山水荒寒与悠远融于一纸，笔墨干湿变化中藏着对自然的静观哲思，简淡里见深致，苍莽中显清逸，仿佛能听见风穿枝桠的轻响，望见烟霭中山峦的呼吸，于方寸间铺展无尽悠远之境。",[24,25,95,7,28,717,164,35,1974,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e112d70ced0d8f4884a6ea2eccbb27.jpg",[222],{"id":18122,"slug":18123,"title":18124,"dynasty":18,"author":646,"museum":92,"description":18125,"tags":18126,"thumbUrl":18127,"material":40,"size":18128,"collection":64,"collections":18129,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":140},219340,"jue-he-gao-xian-tu-wen-zheng-ming-219340","绝壑高闲图","深林密荫，悬壁周环，瀑布清冷，淙淙然仿佛可闻流水声。主来客坐，别无其它通径，真有与世隔绝之概。此图与其八十岁所作「古木寒泉」有相通之处，但不及其简链。",[24,25,7,27,36,1153,28,193,33,34,210,2477,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c19e7ef475d412fcce34d90c5a2f1f7.jpg","148.9x177.9cm",[64],{"id":18131,"slug":18132,"title":18133,"dynasty":205,"author":581,"museum":159,"description":18134,"tags":18135,"thumbUrl":18136,"material":457,"size":18137,"collection":83,"collections":18138,"showCount":17836,"zanCount":436,"manualWeight":46,"mainColor":140},219000,"tang-su-zhu-que-tu-yi-ming-219000","唐宿竹雀图","竹影扶疏，墨色浓淡间显枝干劲挺，竹叶层叠如翠云轻展，疏密有致藏自然生机。雀儿栖于竹枝，或敛翅假寐，或侧首凝睇，羽纤毫毕现——绒羽若隐若现，翅尖纹理分明，爪尖扣枝的力道隐于柔姿，神态灵动如临其境。石矶卧于竹下，皴法简淡却见朴拙，与竹的清雅相映成趣。整幅画面动静相宜，清雅中含野逸之趣，写实笔触里蕴文人雅致，尽展宋画对自然物态的精妙捕捉与诗意表达。",[23,281,24,25,95,481,7,27,75,126,8572,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","纵159.0横93.4厘米",[83],{"id":18140,"slug":18141,"title":18142,"dynasty":4342,"author":5816,"museum":92,"description":18143,"tags":18144,"thumbUrl":18145,"material":40,"size":18146,"collection":83,"collections":18147,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},218796,"hua-niu-tu-dai-song-218796","画牛图","壮硕的水牛缓步踏于郊野，肌理褶皱与蓬松毛发以浓淡墨色晕染，憨态中藏着沉实力量。牛背上的牧童半倚牛身，袖角轻扬似伴风哼歌，眉眼间漫着未泯的天真。旁侧老树枝干虬曲，墨叶层叠如盖，树下蜷伏的小狗探头张望，添了几分灵动野趣。\n\n整幅画以简练线条勾出轮廓，墨色深浅衬出物象质感，田园的悠然生机凝于尺幅。每处细节皆藏着对生活的细腻观察：牛蹄的厚重、牧童的松弛、树影的斑驳，仿佛能听见风过叶隙的轻响，与牧童唇边隐约的调子，瞬间跌入那片静谧的乡野时光里。",[23,281,24,25,7,27,481,1839,193,162,80,14024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c7dfa521d6e806e13ca8e77c45568ad.jpg","56.1x32.2cm",[83],{"id":18149,"slug":18150,"title":645,"dynasty":18,"author":18151,"museum":7183,"description":18152,"tags":18153,"thumbUrl":18154,"material":40,"size":18155,"collection":42,"collections":18156,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},218089,"shan-shui-tu-lu-zhi-218089","陆治","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[23,24,494,36,7,34,33,787,268,210,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[42],{"id":18158,"slug":18159,"title":18160,"dynasty":18,"author":1836,"museum":20,"description":9100,"tags":18161,"thumbUrl":18162,"material":40,"size":166,"collection":166,"collections":18163,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},214647,"qiu-xing-ba-jing-tu-ce-10-dong-qi-chang-214647","秋兴八景图册-10",[24,25,74,7,27,38,80,36,28,33,58,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733353bab86339fd091579c32aef95fe.jpg",[],{"id":18165,"slug":18166,"title":580,"dynasty":52,"author":239,"museum":92,"description":18167,"tags":18168,"thumbUrl":18169,"material":457,"size":18170,"collection":166,"collections":18171,"showCount":17836,"zanCount":46,"manualWeight":46,"mainColor":47},214362,"zhu-shi-tu-zhao-meng-fu-214362","这幅画用枯木、竹子和石头画成，用笔既写实又有书法的趣味，最初的记录是元代一位无名艺术家的作品。竹子的画风与他夫人管道昇的画风比较相似，而石头和干木头是赵孟頫自己的，所以不清楚这幅画是否是他们夫妇的合作。",[23,281,24,25,7,74,126,706,180,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a3adbd17609f8effa8e71d46a7253.jpg","26.6x52.2",[],{"id":18173,"slug":18174,"title":18175,"dynasty":52,"author":726,"museum":92,"description":18176,"tags":18177,"thumbUrl":18178,"material":284,"size":18179,"collection":166,"collections":18180,"showCount":18181,"zanCount":1084,"manualWeight":46,"mainColor":47},290819,"zhu-shi-zhou-wu-zhen-290819","竹石轴","吴镇存世之作几为墨画，晚年墨竹作品尤为多，由於作品上留有大量的题语，显露出个人绘画思想乃至一生学养，其中又以《竹谱册》为著。元代由於大环境的改变，文人好写“三友图”，以松竹梅表达象徵意义，或寄托情怀，吴镇亦有言“墨戏之作，盖士大夫词翰之馀，适一时之兴趣也”。然审视此轴，实为笔墨黯熟之潇洒佳作，非仅一时随兴之墨戏。竹干、岐枝皆下笔圆健，竹枝劲利，稍带回锋，尽管分枝多、发叶少，但叶随枝生，生态盎然；淡墨石以卧笔混点。幅中之墨色皆不浓重，显现一种平淡冲和的色感。竹石间，吴镇以流畅有力，墨色较浓重的行笔题下款识，画面益显沈稳。和《竹谱册》相较，此图乃其精心之作。",[24,281,25,95,7,126,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1811347de2004269449e6bfa0b94c55f.jpg","90.6x42.5公分",[],48,{"id":18183,"slug":18184,"title":18185,"dynasty":889,"author":1266,"museum":450,"description":18186,"tags":18187,"thumbUrl":18188,"material":314,"size":1061,"collection":166,"collections":18189,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":140},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[281,24,494,95,7,36,14529,29,30,32,210,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],{"id":18191,"slug":18192,"title":645,"dynasty":205,"author":278,"museum":450,"description":5919,"tags":18193,"thumbUrl":18195,"material":314,"size":1061,"collection":166,"collections":18196,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":140},289596,"shan-shui-tu-xia-gui-289596",[23,24,7,28,147,32,29,3685,36,18194],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f91faa56e9550e9e42f9fcf92e22a.jpg",[],{"id":18198,"slug":18199,"title":306,"dynasty":205,"author":9864,"museum":92,"description":18200,"tags":18201,"thumbUrl":18202,"material":457,"size":18203,"collection":166,"collections":18204,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},289563,"xi-shan-xing-lv-tu-ma-lin-289563","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、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。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，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。”",[23,281,24,25,95,7,28,36,194,311,34,312,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],{"id":18206,"slug":18207,"title":18208,"dynasty":205,"author":293,"museum":450,"description":18209,"tags":18210,"thumbUrl":18212,"material":314,"size":1061,"collection":166,"collections":18213,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":461},288988,"gu-bai-tu-su-shi-288988","古柏图","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[24,281,7,26,25,18211,147,1305,180,80,36],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a070c6607dcc35014c7ddfa1ae14d46.jpg",[],{"id":18215,"slug":18216,"title":12374,"dynasty":889,"author":18217,"museum":450,"description":18218,"tags":18219,"thumbUrl":18220,"material":314,"size":1061,"collection":166,"collections":18221,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":140},288836,"hu-shan-chun-xiao-tu-liu-dao-shi-288836","刘道士","工佛道鬼神，落笔遒怪，尤善山水，师董源，与巨然同时，画亦同。但刘道士在左，巨然则以僧在左。以此为别",[23,281,24,25,95,7,28,36,212,194,30,211,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d33542a55bbea40943f6b7f253a0dd.jpg",[],{"id":18223,"slug":18224,"title":18225,"dynasty":18,"author":7386,"museum":450,"description":18226,"tags":18227,"thumbUrl":18228,"material":314,"size":1061,"collection":166,"collections":18229,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},288005,"bai-miao-luo-han-tu-juan-xia-bu-chou-ying-288005","白描罗汉图卷（下部）","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,281,24,25,26,547,7,193,28,147,34,3557,11616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],{"id":18231,"slug":18232,"title":18233,"dynasty":889,"author":890,"museum":450,"description":18234,"tags":18235,"thumbUrl":18237,"material":314,"size":1061,"collection":166,"collections":18238,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":140},287427,"xia-jing-shan-kou-dai-du-tu-juan-hua-xin-dong-yuan-287427","夏景山口待渡图卷画心","用笔气势停匀，疏密浓淡，层层生发，甚为自然，笔笔皆活。其皴笔结体紧密，与冈峦的体势相生，融而为一。且有水晕墨章之妙，水坡之上，林木繁茂，而坡上浓淡，时以淡墨渲染，林间如透出阳光，极为生动。皴笔入骨，透于绢素，用笔一势，具方向感，运笔与气势，节奏相依存，为圆熟之境了。值得注意的还在于在其远山峰顶用笔有虚实、淡浓、隐现，极生动地表现了烟云出没，阳光明灭的空气感和空间感，真切地表现了夏山丽日下的神韵。与沈括所形容的董源《落照图》“远峰之顶，宛有反照之色，此妙处也”或米芾形容董源“峰顶不工”、“率多真意”，可以对看，一样佳妙。",[23,281,24,25,26,494,7,36,10976,212,1776,31,1925,894,18236,7314],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32afd29366d0913db08119a85bdb0e2a.jpg",[],{"id":18240,"slug":18241,"title":18242,"dynasty":52,"author":6719,"museum":450,"description":18243,"tags":18244,"thumbUrl":18248,"material":314,"size":1061,"collection":166,"collections":18249,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":140},287305,"long-chi-jing-du-tu-wang-zhen-peng-287305","龙池竞渡图","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,281,24,26,518,7,194,29,30,18245,193,80,37,18246,18247],"龙舟","竞渡","宫廷园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d18a1215d8f0edb9c0cf295fdfa17c.jpg",[],{"id":18251,"slug":18252,"title":18253,"dynasty":205,"author":4437,"museum":450,"description":4438,"tags":18254,"thumbUrl":18255,"material":314,"size":1061,"collection":166,"collections":18256,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":140},283692,"jiang-shan-lou-guan-tu-yan-wen-gui-283692","江山楼观图",[23,281,24,26,7,28,36,212,4348,211,33,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41c21ecbc8836ec3be077cef4fdb8e.jpg",[],{"id":18258,"slug":18259,"title":3402,"dynasty":174,"author":18260,"museum":450,"description":18261,"tags":18262,"thumbUrl":18264,"material":314,"size":1061,"collection":166,"collections":18265,"showCount":18181,"zanCount":1084,"manualWeight":46,"mainColor":47},239517,"he-hua-zhou-hu-yuan-239517","胡远","字公寿，号瘦鹤，画用字行，又号横云山民，华亭（今上海松江）人，侨上海。能诗，善书画，书法颜真卿，藏有戏鸿堂祖本争位座稿书，矜为至宝。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。咸丰十一年（一八六一）至上海初寓毛树徴家，后买宅颜曰寄鹤轩。与李壬叔（善兰）、胡鼻山（震）诸名流友善，卖画自给。卒年六十四。有寄鹤轩诗草。",[24,95,7,27,123,75,395,396,18263],"茎秆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81805cb9f07093259ca1f8e2008f7476.jpg",[],{"id":18267,"slug":18268,"title":18269,"dynasty":174,"author":18270,"museum":120,"description":18271,"tags":18272,"thumbUrl":18273,"material":166,"size":166,"collection":42,"collections":18274,"showCount":18181,"zanCount":1084,"manualWeight":46,"mainColor":47},238539,"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[24,25,95,7,36,28,194,3557,80,311,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[42,222,245],{"id":18276,"slug":18277,"title":18278,"dynasty":18,"author":15186,"museum":120,"description":16543,"tags":18279,"thumbUrl":18282,"material":298,"size":166,"collection":83,"collections":18283,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},237236,"bai-shi-xi-que-zhou-chen-jia-yan-237236","柏石喜鹊轴",[24,25,95,7,75,18280,480,18281,282,180],"柏树","喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5c5febd79d930762a36a6ffbfef252.jpg",[83],{"id":18285,"slug":18286,"title":2231,"dynasty":174,"author":377,"museum":450,"description":3984,"tags":18287,"thumbUrl":18288,"material":166,"size":166,"collection":166,"collections":18289,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},234168,"yuan-ji-shan-shui-tu-juan-shi-tao-234168",[23,24,25,26,7,36,28,57,33,35,58,211,38,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815dd148ee14a764573968a252a39549.jpg",[],{"id":18291,"slug":18292,"title":6431,"dynasty":174,"author":418,"museum":176,"description":18293,"tags":18294,"thumbUrl":18295,"material":916,"size":10303,"collection":166,"collections":18296,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},232936,"song-lu-tu-zhou-zhu-da-232936","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。\n八大山人是宁献王朱权的后裔，大明宗室对鹿有极深的感情。古代的鹿象征至高无上的皇权地位。鹿在中国有着非常吉祥的寓意，它不仅代表长寿，还与“禄”字谐音，故国画中间常借画鹿传达贺寿或加官进爵之意。八大山人画鹿存世十余幅，大都画一两只鹿，而画群鹿及配山水至今仅见此一幅。",[24,25,95,7,547,127,2388,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7891ac0bf8822102bdf85850797f6e1f.jpg",[],{"id":18298,"slug":18299,"title":18300,"dynasty":5382,"author":581,"museum":450,"description":18301,"tags":18302,"thumbUrl":18304,"material":314,"size":1061,"collection":166,"collections":18305,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},231794,"gu-hua-fen-ben-zhong-kui-xiang-li-zhou-yi-ming-231794","古画粉本 钟馗像立轴","此作以淡墨勾勒晕染，将钟馗威严肃杀的神态尽皆铺陈。画家以虬髯环眼塑造出钟馗狞厉刚猛的面容，按剑而立的雄硕身姿，满是镇伏邪祟的浩然正气。衣纹兼用铁线、兰叶描，笔力顿挫劲健，随身形走势跌宕起伏，将衣物的厚重质感与钟馗的刚健勇武融为一体。墨色浓淡相宜，须发、冠履层次分明，虽未施重彩，却将钟馗的凛然神采烘托得淋漓尽致，尽显传统人物画“以形写神”的精髓，把这位镇邪判官的威严气魄刻画得入木三分，是极具功力的传神佳作。",[23,24,95,7,547,193,80,18303,3557],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d0c3b8f23c66f9ab7516659a3bef79.jpg",[],{"id":18307,"slug":18308,"title":4684,"dynasty":52,"author":726,"museum":92,"description":8283,"tags":18309,"thumbUrl":18310,"material":298,"size":8286,"collection":166,"collections":18311,"showCount":18181,"zanCount":1084,"manualWeight":46,"mainColor":47},231499,"mo-zhu-ce-wu-zhen-231499",[24,25,74,7,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2b4ca20a514f26a405d08b07f9a939.jpg",[],{"id":18313,"slug":18314,"title":75,"dynasty":174,"author":926,"museum":450,"description":18315,"tags":18316,"thumbUrl":18317,"material":166,"size":166,"collection":166,"collections":18318,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},224309,"hua-niao-li-shan-224309","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[23,24,281,95,7,27,123,75,128,130,6780,2875,1004,396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],{"id":18320,"slug":18321,"title":18322,"dynasty":174,"author":633,"museum":770,"description":634,"tags":18323,"thumbUrl":18324,"material":61,"size":18325,"collection":166,"collections":18326,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},223232,"mei-que-tu-li-zhou-ren-yi-223232","梅雀图立轴",[23,95,27,7,6482,75,125,8572,132,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","纵70.7厘米，横35厘米",[],{"id":18328,"slug":18329,"title":18330,"dynasty":174,"author":9335,"museum":92,"description":18331,"tags":18332,"thumbUrl":18334,"material":18335,"size":18336,"collection":166,"collections":18337,"showCount":18181,"zanCount":1084,"manualWeight":46,"mainColor":47},222658,"lu-shan-pu-bu-tu-zhou-gao-qi-pei-222658","庐山瀑布图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,95,18333,7,36,28,210,624,193,30,213,37,80],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0731b38bbf14d460f6ddc5b90c3f50.jpg","绢本，水墨，浅设色","纵98.4厘米，横49.9厘米",[],{"id":18339,"slug":18340,"title":18341,"dynasty":174,"author":14606,"museum":294,"description":18342,"tags":18343,"thumbUrl":18344,"material":18345,"size":18346,"collection":42,"collections":18347,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":140},222631,"shan-shui-ce-ye-gao-cen-222631","山水册页","高岑（1621-1691），字善長，又字蔚生，杭州人，居金陵（今南京）。高阜弟，為“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[23,24,25,74,7,36,28,29,30,127,35,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 X21.3厘米",[42,222],{"id":18349,"slug":18350,"title":18351,"dynasty":18,"author":18352,"museum":450,"description":18353,"tags":18354,"thumbUrl":18355,"material":166,"size":166,"collection":83,"collections":18356,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},222405,"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[23,24,25,26,254,7,547,75,125,134,128,129,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[83,222],{"id":18358,"slug":18359,"title":18360,"dynasty":18,"author":19,"museum":120,"description":18361,"tags":18362,"thumbUrl":18364,"material":964,"size":18365,"collection":83,"collections":18366,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},222130,"chu-ji-tu-ye-shen-zhou-222130","雏鸡图页","本幅自题七言诗：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长。”自识“沈周”，钤“启南”朱方印、“白石翁”白方印。收藏印钤“朱卧庵收藏印”、“之赤”、“昆王成宪画印”等，右下骑缝花押。\n从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[23,24,25,7,38,75,18363,80],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6374170d786fdeec4131bd7de6727b5b.jpg","纵28.1厘米，横37.6厘米",[83,222],{"id":18368,"slug":18369,"title":18370,"dynasty":18,"author":18371,"museum":450,"description":18372,"tags":18373,"thumbUrl":18374,"material":166,"size":166,"collection":83,"collections":18375,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},221878,"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","陶成","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[23,24,25,26,7,27,1852,76,134,126,2875,34,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[83,222],{"id":18377,"slug":18378,"title":18379,"dynasty":205,"author":6572,"museum":120,"description":18380,"tags":18381,"thumbUrl":18382,"material":298,"size":18383,"collection":245,"collections":18384,"showCount":18181,"zanCount":1084,"manualWeight":46,"mainColor":140},221279,"huan-hua-xi-tu-yin-juan-huang-ting-jian-221279","浣花溪图引卷","释文：\n［拾］［遗］［流］［落］［锦］［官］城，故人作尹眼［为］［青］。碧鸡坊西［结］茅屋，百花［潭］［水］濯冠缨。［故］［衣］未补新衣［绽］，空［蟠］胸中书万［卷］。探道欲度［义］皇前，论诗未［觉］国风远。干［戈］峥嵘暗寓县，杜陵韦［曲］［无］鸡犬。老妻稚［子］且眼前，［弟］［妹］漂零不相［见］。［此］翁乐易极可［人］，［园］翁溪友肯［卜］邻。［邻］［家］有酒邀皆去，得意鱼鸟［来］［相］亲。浣花酒舩散车骑，野[墙］［］无主看桃李。［宗］［文］守家宗武扶，［落］日蹇驴驮［醉］起。愿闻解［鞍］脱兜鍪，老［儒］［不］用千户侯。［中］原未得平安［报］，醉［里］眉攒万国［愁］。生綃铺墙粉［墨］落，平生忠［义］［今］寂寞。儿呼不［苏］驴失脚，犹［恐］［醒］来有新作。［长］［使］诗人拜画［图］，［煎］胶续絃千古无。（注：［］内字为后补。）\n鉴藏印有“绍兴”、“内府书印”、“贞元”、“乾坤清赏”、“有明王氏图书之印”及清嘉庆内府诸印等。卷后有明吴宽、王世贞跋。\n此卷为火烧残本，后经明代夏德声补齐（见释文中［］内字）。\n此卷见载于《山谷外集》，作于北宋元祐三年（1088年），黄庭坚时年42岁。作品笔法苍老，多骨少肉，具有作者晚年书法的风格特征。卷后明王世贞跋中评道：“……老杜浣花溪图引也。歌词力欲求奇，然是公最合作语。书笔横逸疏荡，比素师饶姿态，亦稍平易可识。而结法之密、腕力之劲、波险神奇，似小不及也……。”可知书“素师”是指唐代著名书家怀素，王世贞对黄庭坚与怀素书法特点的比较非常准确。此件作品虽然残处较多，仍不失为佳作。\n著录于《孙氏书画钞》上册、《石渠宝笈三编·延春阁》。",[23,281,24,25,26,394,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5498ec208de96393364fd15d1d1c1f.jpg","纵35.5厘米,横391.4厘米",[245],{"id":18386,"slug":18387,"title":18388,"dynasty":205,"author":6572,"museum":92,"description":18389,"tags":18390,"thumbUrl":18391,"material":74,"size":18392,"collection":245,"collections":18393,"showCount":18181,"zanCount":1084,"manualWeight":46,"mainColor":140},221266,"qi-yan-jue-ju-ce-huang-ting-jian-221266","七言绝句册","黄庭坚的行书雄强刚劲，沉着痛快，展现出独特的个人魅力。董其昌有这样的评语：“山谷老人得笔于《瘗鹤铭》，又参杨凝式骨力，其欹侧之势，正欲破俗书姿媚。昔人云：右军如凤翥鸾翔，迹似奇而反正，黄书宗旨近之，盖见事苏而弟蓄米，自负不小。”\n此帖为黄庭坚书《七言绝句册》，创作于宋神宗熙宁七年（1074年），中国台北故宫博物院藏。据款识黄庭坚是年仅二十九岁，作书内含清刚之气，端庄雅正，初露峥嵘。",[281,24,25,37,74,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4004e2b40b7a3cfc60df0bc505f697.jpg","55.5x82.4",[245],{"id":18395,"slug":18396,"title":18397,"dynasty":18,"author":1836,"museum":294,"description":18398,"tags":18399,"thumbUrl":18400,"material":18401,"size":18402,"collection":245,"collections":18403,"showCount":18181,"zanCount":46,"manualWeight":46,"mainColor":47},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,25,26,7,28,36,1153,37,38,80,212,33,787,29,30,211,59,533,34,535,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[245],{"id":18405,"slug":18406,"title":18407,"dynasty":52,"author":158,"museum":92,"description":12114,"tags":18408,"thumbUrl":18409,"material":284,"size":18410,"collection":166,"collections":18411,"showCount":18181,"zanCount":1084,"manualWeight":46,"mainColor":47},220813,"qin-shu-zi-yu-tu-zhou-wang-meng-220813","琴书自娱图轴",[23,24,25,95,7,36,28,33,194,34,1524,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8731d7e633af79f8819632ef335518d0.jpg","144.6x41.9",[],{"id":18413,"slug":18414,"title":18415,"dynasty":359,"author":18416,"museum":6636,"description":18417,"tags":18418,"thumbUrl":18419,"mater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面前是一个窄口的直瓶。 瓶子里有两根无叶的花枝。 老者目不转睛，认真地看着花朵。 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、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。",[24,25,95,7,123,36,127,2388,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9244ade8ce785509d3cb147daa31bcce.jpg",[83],{"id":18570,"slug":18571,"title":18572,"dynasty":18,"author":796,"museum":450,"description":8275,"tags":18573,"thumbUrl":18575,"material":314,"size":1061,"collection":166,"collections":18576,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇",[1462,27,7,123,75,180,131,1114,18574,7389],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b063b4f738948ec89dde7314392fb68.jpg",[],{"id":18578,"slug":18579,"title":1567,"dynasty":174,"author":418,"museum":450,"description":18580,"tags":18581,"thumbUrl":18582,"material":166,"size":166,"collection":166,"collections":18583,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},235620,"shan-shui-zhou-zhu-da-235620","此作用淡墨干笔写层叠峰峦，删繁就简，以极简的勾勒皴擦塑造奇崛冷峻的山石体态，不着浓艳，尽是荒寒萧索。画面留白肆意，纵长构图牵引视线游走于丘壑之间，山居错落、枯木寒松点缀其间，愈发衬出山水空寂冷逸。笔墨疏淡却意韵悠长，将沉郁的遗世心绪尽数融于林泉丘壑，冷寂禅意漫溢纸面，尽显孤高疏淡的品格风骨。",[24,25,95,7,36,28,180,147,610,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666b9b8a9dd9e1bad95d24e8eaa187e7.jpg",[],{"id":18585,"slug":18586,"title":18587,"dynasty":174,"author":581,"museum":450,"description":18588,"tags":18589,"thumbUrl":18590,"material":314,"size":1061,"collection":166,"collections":18591,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},235609,"niu-shi-hui-he-ya-tu-zhou-yi-ming-235609","牛石慧荷鸭图轴","此作用水墨写就秋塘小景，留白空阔清寂。以淋漓泼墨挥写荷叶，浓淡层叠，枯湿相济：舒展的大叶墨色沉浑尽显饱满生机，残荷则笔意简劲，自带清秋萧疏之态。\n\n游鸭以焦墨勾定轮廓，淡墨晕染羽色，憨然浮于水面，俯仰间野趣自生。水面仅以细碎墨点、短线轻勾，清浅灵动，衬出水塘的空静。右上角题字笔力苍朴，与画面浑融一体。\n\n整幅不作繁复刻画，却以极简笔墨尽抒秋塘疏朗雅逸之致，以形写神，尽显写意水墨以少胜多的精妙意趣。",[24,95,7,75,128,3711,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3338331e1a2764fd325c249421dcbcf6.jpg",[],{"id":18593,"slug":18594,"title":16666,"dynasty":52,"author":726,"museum":120,"description":18595,"tags":18596,"thumbUrl":18597,"material":18598,"size":18599,"collection":166,"collections":18600,"showCount":18535,"zanCount":1084,"manualWeight":46,"mainColor":140},233752,"ku-mu-zhu-shi-tu-zhou-wu-zhen-233752","吴镇生于元至元十七年，卒于元至十四年，终年七十五岁。吴镇长住魏塘，深居简出。吴镇于六十八岁〔至正七年（1347年）〕侨寓嘉兴春波门外(今嘉兴市城区)春波客舍，专写墨竹。时与友人会于精严寺僧舍，心仪佛门，始自称“梅沙弥”。四年后回到魏塘，殁前自选生圹，自书碑文：“梅花和尚之塔”。墓在今梅花庵侧。\n祖名吴泽，字伯常，南宋时从汴梁（河南开封）移家至嘉兴，定居浙江嘉兴魏塘(今浙江嘉善魏塘)。吴镇年少好剑术，成年后与其兄吴瑱同受业于毗陵（今江苏武进）柳天骥学习易经，自此韬光养晦，讲天人性命之学，坚持高尚志气，不与众人和同，贯通儒、道、释三教，达生知命。为人抗简孤洁，一生清贫，高自标青，隐居不仕，与达官贵人很少往来。曾在村塾中教书，钱塘等地卖卜。\n十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。\n其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n相传吴镇本与盛懋比门而居，四方以金帛求盛画者甚众，而吴之门阒然。妻子颇笑之。曰：“二十年后不复尔。”后果如其言。\n吴镇事迹收录于《画史会要》、《清河书画舫》、《六研斋笔记》、《容台集》、《仓螺集》。墨迹今存世的有《双桧平远图》轴(台湾故宫博物院藏)、《渔父图》轴（北京故宫博物院藏）、《渔父图》卷（美国佛利尔美术馆藏）、《长松图》轴（南京博物院藏）、《草书心经》卷（北京故宫博物院藏）等。其风竹刻石，陈列在嘉兴南湖烟雨楼，其八竹碑及草书《心经》碑陈列于嘉善梅花庵。又有《梅道人遗墨》2卷，系后人辑录的其诗和题跋。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。因居处有橡林，故书斋又名“橡室”。\n吴镇墓现存于梅花庵内，梅花庵是纪念吴镇的附属性建筑，在墓的东侧，明万历间为守墓而建。位于魏塘镇花园弄路西侧。明泰昌元年（1620年）邑令吴旭和邑绅钱士升筹集款修理墓道、添建祠堂三楹、亭三楹、僧舍五楹。华亭陈继儒作《修梅花庵记》，并有董其昌书“梅花庵”匾额。后邑人曾几次筹资重修。新中国成立后，吴镇墓与梅花庵，曾多次作过修缮。由浙江省人民政府公布为省重点文物保护单位。\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。",[281,24,7,95,809,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63832bc58031f20afa8f53f097b5ded3.jpg","纸本 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此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,24,25,95,7,27,36,28,33,34,58,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","12×48.7厘米",[42,64],{"id":18730,"slug":18731,"title":18732,"dynasty":18,"author":1836,"museum":92,"description":4273,"tags":18733,"thumbUrl":18734,"material":4276,"size":166,"collection":42,"collections":18735,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},220933,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册",[281,24,25,74,254,28,993,180,7,36,80,38,61,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg",[42,222],{"id":18737,"slug":18738,"title":18739,"dynasty":52,"author":239,"museum":92,"description":18740,"tags":18741,"thumbUrl":18743,"material":298,"size":18744,"collection":245,"collections":18745,"showCount":18535,"zanCount":1084,"manualWeight":46,"mainColor":47},220887,"zhi-xian-yu-shu-chi-du-zhao-meng-fu-220887","致鲜于枢尺牍","该帖基本上是将行书和草书两种写法交替使用\n释文：（前文残缺）陆沉于尘土中。不得致书。悬仰之怀。何可云喻。即日伏惟动静胜常。昨见教化公。言有铜器见赠。留足下处。望附良便。发与湖州舍下为感。都下绝不见古器物。书画却时得见之。多绝品。至有不可名状者。（有晋人谢稚三牛图。妙入神。非牛非麟。古不可言。）近见双幅董元著色大青大绿。真神品也。（韩干明皇试马。张萱日本女骑。皆真迹。）若以人拟之。是一个无拘管放泼底李思训也。上际山。下际幅。皆细描浪纹。中作小江船。何可当也。又两轴屈原渔父。又一轴江乡渔父。皆董元绝品。并双幅。不得不报耳。（鲁公自书太子少师告。朝回马病帖。乞米帖。怀素客舍等帖。伯时天神鬼马。妙。又驴鸣马惊图。）因赵彦伯侍郎南去。辄附片纸。近有新收。不惜报示也。正远惟善护兴息。不宣。四月廿四日。孟頫再拜。（伯几想安胜。便中冀为道意。）",[23,37,38,7,25,2175,18742,80],"尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d22ce51678593caef9837e5d02c776.jpg","38.4x60.6厘米",[245],{"id":18747,"slug":18748,"title":18749,"dynasty":359,"author":8326,"museum":18750,"description":18751,"tags":18752,"thumbUrl":18753,"material":166,"size":166,"collection":166,"collections":18754,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},220581,"shan-hu-shui-qing-qi-huang-bin-hong-220581","山湖水清气","Hong Kong Museum of Art","此作用笔苍浑华滋，以焦墨积染绘近处茂林，层叠草木间晕开青绿淡赭，将山野蓬勃生机尽数铺展。水畔茅舍静立，泊岸小舟轻倚，行船渔者悠然划破水面，动静相生，把山居渔隐的闲逸揉入湖山之间。\n\n远景山峦以淡墨轻勾，朦胧清浅，与近景的浓郁苍郁形成虚实对照，留白处晕出水气氤氲的浩渺湖面，清润之意扑面而来。笔墨兼具浑厚与灵秀，将江南山湖的清寂温润凝于笔底，仿若踏入这幽宁天地，浸在清润山野气息中，漫品这份静谧悠然的林下意趣。",[23,24,7,27,36,28,33,58,31,14399,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b60bc42a4857c41184dcc898aecd8d.jpg",[],{"id":18756,"slug":18757,"title":18758,"dynasty":359,"author":1872,"museum":1873,"description":18759,"tags":18760,"thumbUrl":18766,"material":166,"size":166,"collection":166,"collections":18767,"showCount":18535,"zanCount":1084,"manualWeight":46,"mainColor":47},220571,"tai-ge-er-xiang-xu-bei-hong-220571","泰戈尔像","以写实笔意塑造文豪风骨，银丝覆顶，白髯垂胸，镜片后眼眸低垂凝注纸笔，握笔的手沉稳松弛，将他沉浸思绪的模样细腻铺陈。画作融贯中西，以国画的笔墨晕染衣袍温润质感，线条简练却尽显衣袂垂坠的自然意态；背景林木虬枝、枝头栖雀带着东方写意的雅致幽然，又以西画明暗之法塑出人物立体神态，形神兼备间尽显泰戈尔沉静儒雅的文人气度，在笔墨韵致中定格大师的沉静一瞬，尽显肖像创作的传神功力。",[23,24,27,193,282,147,18761,18762,18763,18764,18765,7],"长袍","书籍","白须","白发","眼镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac0d59a5f05e96478d43c7b175ae122.jpg",[],{"id":18769,"slug":18770,"title":18771,"dynasty":18,"author":19,"museum":692,"description":693,"tags":18772,"thumbUrl":18774,"material":298,"size":13909,"collection":166,"collections":18775,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},220028,"dong-zhuang-tu-ce-zhi-mai-shan-shen-zhou-220028","东庄图册之麦山",[23,24,7,36,74,28,33,35,18773],"麦田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0570bce3a0471b6a4cdf4fab5fb6e623.jpg",[],{"id":18777,"slug":18778,"title":18779,"dynasty":52,"author":16372,"museum":8411,"description":18780,"tags":18781,"thumbUrl":18782,"material":98,"size":18783,"collection":42,"collections":18784,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,281,24,25,95,7,36,28,29,30,34,33,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[42],{"id":18786,"slug":18787,"title":18788,"dynasty":18,"author":2851,"museum":378,"description":18789,"tags":18790,"thumbUrl":18791,"material":98,"size":18792,"collection":42,"collections":18793,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[24,26,7,27,28,669,33,35,730,164,36,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[42],{"id":18795,"slug":18796,"title":2323,"dynasty":18,"author":646,"museum":378,"description":18797,"tags":18798,"thumbUrl":18799,"material":98,"size":18800,"collection":42,"collections":18801,"showCount":18535,"zanCount":1084,"manualWeight":46,"mainColor":47},219772,"han-lin-tu-wen-zheng-ming-219772","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,7,95,36,28,717,147,34,30,832,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[42],{"id":18803,"slug":18804,"title":90,"dynasty":18,"author":18805,"museum":92,"description":18806,"tags":18807,"thumbUrl":18808,"material":457,"size":18809,"collection":83,"collections":18810,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":140},219508,"zhu-tu-lv-duan-jun-219508","吕端浚","此作用水墨写就，运笔爽利遒劲，丛竹叶叶交叠，以浓淡墨色区分层次，俯仰向背各具意态，繁密却不失条理，尽显修竹清刚挺拔之姿，仿佛有穿林风声拂过纸面。\n\n下方奇石以淡墨晕染轮廓，焦墨点苔，朴拙古雅，稳稳承托劲竹，与秀逸修竹形成刚柔相济的意趣，地面细草寥寥几笔，野趣自生。\n\n题款与画面相映成趣，整幅以极简水墨承载文人意趣，将竹的君子风骨融于尺素，笔情墨韵间满是萧散出尘的雅致。",[24,95,7,126,180,2875,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944e6c300e61ee66ba74b2b616fa2a07.jpg","169.1x87.6",[83],{"id":18812,"slug":18813,"title":18814,"dynasty":205,"author":3062,"museum":6332,"description":18815,"tags":18816,"thumbUrl":18817,"material":457,"size":18818,"collection":600,"collections":18819,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":140},219489,"zhu-tou-he-shang-tu-liang-kai-219489","猪头和尚图","。画中用笔凌厉刚劲，墨色苍润凝专画风率性而潇洒。 宋代方勺《泊宅编》中记载了一则民间故事：婺州（今浙江金华）有僧嗜猪头，行为莫测，或曰 猪头和尚。有衢守馔猪头召师食，守自牖窥之，见一鬼从旁食，师无预焉。已而师坐亡。衢人奉香火良谨, 有祷辄应。梁楷曾流寓杭州，或听过此传说。",[281,24,25,7,4489,193,3557,37,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039957feaf907cdaebe3debd5fc5b332.jpg","23.7x37.8厘米",[600],{"id":18821,"slug":18822,"title":18823,"dynasty":18,"author":6468,"museum":4012,"description":18824,"tags":18825,"thumbUrl":18826,"material":457,"size":18827,"collection":83,"collections":18828,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":140},219333,"gu-song-shuang-que-tu-lin-liang-219333","古松双鹊图","在这幅画中，两只喜鹊爬上一根松枝，寓意吉祥。 笔墨笔墨爽朗，为后世水墨花鸟画的发展树立了典范。",[23,24,7,123,95,75,127,12455,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5813e37306a3d1eca136d2b6f4a716c.jpg","纵140横75厘米",[83],{"id":18830,"slug":18831,"title":3631,"dynasty":205,"author":581,"museum":92,"description":18832,"tags":18833,"thumbUrl":18834,"material":110,"size":18835,"collection":220,"collections":18836,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},218852,"kong-shan-guan-pu-tu-yi-ming-218852","画面上画的是悬崖上的松树，枝干粗壮，分叉有致，一位高僧坐在松树下的空位上，看着叮咚作响的泉水，俗话说得好。智者乐水。这幅画复制了李唐和夏圭的笔法，但笔法过分转折，可能是明代浙派画家的作品。",[23,24,25,281,7,36,28,210,624,213,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[220],{"id":18838,"slug":18839,"title":18840,"dynasty":52,"author":18841,"museum":8128,"description":18842,"tags":18843,"thumbUrl":18845,"material":110,"size":18846,"collection":83,"collections":18847,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":140},218742,"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[23,281,24,25,7,36,28,282,717,7585,18844,164],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[83],{"id":18849,"slug":18850,"title":18851,"dynasty":889,"author":1266,"museum":92,"description":18852,"tags":18853,"thumbUrl":18854,"material":457,"size":18855,"collection":42,"collections":18856,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,24,25,7,27,28,32,335,33,213,211,36,893],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[42],{"id":18858,"slug":18859,"title":18860,"dynasty":205,"author":206,"museum":92,"description":18861,"tags":18862,"thumbUrl":18865,"material":110,"size":18866,"collection":42,"collections":18867,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":47},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[24,25,7,27,36,28,10879,18863,31,34,33,211,3256,164,785,18864],"江帆","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[42],{"id":18869,"slug":18870,"title":18871,"dynasty":174,"author":5090,"museum":120,"description":18872,"tags":18873,"thumbUrl":18874,"material":40,"size":18875,"collection":42,"collections":18876,"showCount":18535,"zanCount":5,"manualWeight":46,"mainColor":47},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[23,24,25,95,7,36,28,33,624,34,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[42],{"id":18878,"slug":18879,"title":4064,"dynasty":18,"author":18880,"museum":159,"description":18881,"tags":18882,"thumbUrl":18883,"material":110,"size":18884,"collection":42,"collections":18885,"showCount":18535,"zanCount":1084,"manualWeight":46,"mainColor":140},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[281,24,25,28,254,27,36,7,335,33,35,30,213,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[42],{"id":18887,"slug":18888,"title":18889,"dynasty":52,"author":581,"museum":20,"description":18890,"tags":18891,"thumbUrl":18892,"material":110,"size":18893,"collection":42,"collections":18894,"showCount":18535,"zanCount":46,"manualWeight":46,"mainColor":140},218220,"xue-xi-mai-yu-tu-yi-ming-218220","雪溪卖鱼图","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[24,25,1462,7,27,28,33,35,193,1114,831,30,729,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb9e36dd9d614a500c0ddfca9e4b48b.jpg","25.2x24.6cm",[42],{"id":18896,"slug":18897,"title":18898,"dynasty":18,"author":18899,"museum":92,"description":18900,"tags":18901,"thumbUrl":18902,"material":98,"size":18903,"collection":245,"collections":18904,"showCount":18535,"zanCount":1084,"manualWeight":46,"mainColor":461},214224,"gong-yan-shi-song-ke-214224","公宴诗","宋克","公宴诗是一首中国古代诗歌，作者是宋克明。公宴是中国古代的一种社交形式，通常由统治者或较高社会地位的人主办，以向与会者表示尊敬和感谢。\n\n这首诗歌描述了一场公宴的气氛和场景，表达了作者对古代文化和社会生活的热爱。根据诗歌的内容，我们可以想象出这场公宴是一个盛大而隆重的活动，充满了美食、音乐、艺术、娱乐和交流的氛围。",[23,24,25,37,95,38,394,7,9254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c8d2b7b8096f89247b372eedeb655.jpg","111.7x32.4",[245],{"id":18906,"slug":18907,"title":18908,"dynasty":18,"author":19,"museum":450,"description":3683,"tags":18909,"thumbUrl":18910,"material":314,"size":1061,"collection":166,"collections":18911,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},290882,"hua-bai-cai-shen-zhou-290882","画白菜",[24,7,74,28,993,29,30,33,59,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd825cee9559ff66734a5ef59f26de2b.jpg",[],46,{"id":18914,"slug":18915,"title":18916,"dynasty":52,"author":726,"museum":450,"description":9354,"tags":18917,"thumbUrl":18918,"material":314,"size":1061,"collection":166,"collections":18919,"showCount":18912,"zanCount":5,"manualWeight":46,"mainColor":140},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴",[24,25,95,7,28,31,180,282,193,30,33,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],{"id":18921,"slug":18922,"title":18923,"dynasty":174,"author":18924,"museum":450,"description":18925,"tags":18926,"thumbUrl":18928,"material":314,"size":1061,"collection":166,"collections":18929,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},290394,"chang-cheng-nei-wai-li-zhou-qian-song-nie-290394","长城内外立轴","钱松喦","此作用笔苍厚老辣，以浓墨重笔皴染危崖巨嶂，长城如苍龙盘亘山脊，雄姿尽显。山间留白晕染流云雾气，虚实相生里拉开空间层次。\n\n画作打破传统山水的古意局限，将山脊上的新旧烽塔、山下的新式厂区与高原驼队并置，把山河厚重的古韵与新生的蓬勃生机融为一体，既保留了传统山水画的悠远意境，又以细腻视角定格时代变迁，让长城不再只是关山隘口的符号，更成为连接古今、见证山河新生的载体，尽显家国山河的壮阔温情。",[23,24,95,28,27,7,36,18927,212,211,59,312,80],"长城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f285f6425982a1654d5b14d945ea01.jpg",[],{"id":18931,"slug":18932,"title":1533,"dynasty":52,"author":18933,"museum":450,"description":18934,"tags":18935,"thumbUrl":18936,"material":314,"size":1061,"collection":166,"collections":18937,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},290138,"xue-zhu-tu-tan-zhi-rui-290138","檀芝瑞","檀芝瑞，明代画家，生卒年不详。只见于《中国美术人名大辞典》，寥寥数语。介绍为元代人，擅长梅兰墨竹。",[23,281,24,25,7,126,180,831,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19287786270e4376bfc16080de26ef0.jpg",[],{"id":18939,"slug":18940,"title":18941,"dynasty":174,"author":2605,"museum":450,"description":18942,"tags":18943,"thumbUrl":18944,"material":314,"size":1061,"collection":166,"collections":18945,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},290003,"mei-hua-shu-wu-tu-zhou-hong-ren-290003","梅花书屋图轴","该图画一座房屋，一棵梅树，景物简洁。该图干墨皴擦，但在亭子上用淡墨渲染，形成大对比。用笔很少，但意趣很丰富。",[24,7,95,2748,717,126,37,80,993,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157a432cd94e76aaf0d5824a4e063eb9.jpg",[],{"id":18947,"slug":18948,"title":18949,"dynasty":18,"author":2872,"museum":450,"description":18950,"tags":18951,"thumbUrl":18952,"material":314,"size":1061,"collection":166,"collections":18953,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[24,74,28,7,27,126,131,29,282,32,31,35,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],{"id":18955,"slug":18956,"title":1731,"dynasty":205,"author":206,"museum":450,"description":18957,"tags":18958,"thumbUrl":18959,"material":314,"size":1061,"collection":166,"collections":18960,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":140},288643,"shu-se-ping-yuan-tu-guo-xi-288643","描绘的是一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。",[281,24,25,26,7,28,147,32,29,31,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cf467d4d396a0fbafbe38d1de4739.jpg",[],{"id":18962,"slug":18963,"title":18964,"dynasty":205,"author":5833,"museum":450,"description":18965,"tags":18966,"thumbUrl":18969,"material":314,"size":1061,"collection":166,"collections":18970,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},288549,"qiu-tang-tu-zhao-ling-rang-288549","秋塘图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[24,281,7,282,18967,6711,2953,18968,17142,3054],"枯柳","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0e139577d1c0981134a129ca84c66.jpg",[],{"id":18972,"slug":18973,"title":2736,"dynasty":174,"author":2737,"museum":450,"description":2738,"tags":18974,"thumbUrl":18975,"material":314,"size":1061,"collection":166,"collections":18976,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},239061,"shan-shui-hua-niao-ce-yang-jin-239061",[24,25,74,7,75,125,77,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe891ac60b5d32342d48e1d85f1585b35.jpg",[],{"id":18978,"slug":18979,"title":18980,"dynasty":18,"author":10358,"museum":450,"description":18981,"tags":18982,"thumbUrl":18983,"material":166,"size":166,"collection":83,"collections":18984,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},237861,"yi-chuang-chun-yu-zhou-xia-chang-237861","一窗春雨轴","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[24,25,95,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ffe0f0713ce4807c396998164f7582.jpg",[83],{"id":18986,"slug":18987,"title":10439,"dynasty":174,"author":5748,"museum":20,"description":18988,"tags":18989,"thumbUrl":18990,"material":298,"size":166,"collection":42,"collections":18991,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},237413,"shan-shui-tu-zhou-kun-can-237413","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,7,36,95,28,147,610,193,311,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56594c944a308240a31198566a2cbc4f.jpg",[42],{"id":18993,"slug":18994,"title":18995,"dynasty":18,"author":796,"museum":450,"description":8275,"tags":18996,"thumbUrl":18997,"material":314,"size":1061,"collection":166,"collections":18998,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},235797,"zhu-shi-shui-xian-tu-shan-chen-chun-235797","竹石水仙图扇",[24,25,1462,7,75,126,706,132,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dff079fbf4e388d791315f264fcf06.jpg",[],{"id":19000,"slug":19001,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":19002,"thumbUrl":19003,"material":314,"size":1061,"collection":166,"collections":19004,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},235508,"za-hua-ce-zhu-da-235508",[24,25,74,7,128,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad5e619dc1b48683cf49fe5f2e82cd5.jpg",[],{"id":19006,"slug":19007,"title":19008,"dynasty":174,"author":581,"museum":450,"description":19009,"tags":19010,"thumbUrl":19011,"material":166,"size":166,"collection":166,"collections":19012,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},234225,"lan-zhu-juan-yi-ming-234225","兰竹卷","此作用水墨写意挥洒兰竹，尽显草木清魂。中锋走笔写竹干，枯湿浓淡区分老干新篁，笔力沉厚见挺劲；焦墨撇写竹叶，聚散疏密如惊风穿林，欹斜之中自带着清刚傲骨。兰叶以淡墨舒卷，笔致柔婉修长，与劲竹刚柔相映，芝石以破墨晕染，静立草木之侧，更衬幽逸。\n\n长卷铺陈间虚实相生，留白空灵如江上烟岚，兰竹俯仰顾盼，似有风过林动，清韵暗生。笔墨简淡而意态丰盈，将林下幽人的疏旷襟怀藏于毫锋，尽显文人画重韵尚简的雅趣风骨。",[23,24,25,26,7,133,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9161ab891439c39cd6b1c0c97e0f882.jpg",[],{"id":19014,"slug":19015,"title":11444,"dynasty":52,"author":621,"museum":120,"description":19016,"tags":19017,"thumbUrl":19020,"material":1877,"size":11449,"collection":166,"collections":19021,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[24,25,95,7,28,19018,1349,5781,381,19019,717,35,34,30,2885,38,180],"干笔皴擦","林亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg",[],{"id":19023,"slug":19024,"title":5873,"dynasty":52,"author":621,"museum":120,"description":19025,"tags":19026,"thumbUrl":19027,"material":5877,"size":5878,"collection":166,"collections":19028,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},233883,"ku-mu-you-huang-tu-zhou-ni-zan-233883","该图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。\n该图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民，云林生。”画幅上还有马治，松泉隐者诗题。\n画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。\n平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。\n构景简洁是倪云林画的突出特色，该图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。",[24,25,95,7,809,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35cbb863ee23b56d80a3506b492b05d.jpg",[],{"id":19030,"slug":19031,"title":4193,"dynasty":52,"author":53,"museum":120,"description":4194,"tags":19032,"thumbUrl":19033,"material":564,"size":4197,"collection":166,"collections":19034,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745",[24,25,95,28,7,36,3177,33,624,34,212,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg",[],{"id":19036,"slug":19037,"title":2764,"dynasty":18,"author":119,"museum":120,"description":2765,"tags":19038,"thumbUrl":19039,"material":1877,"size":2769,"collection":166,"collections":19040,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},233477,"ren-wu-hua-hui-ce-xu-wei-233477",[24,25,74,7,123,76,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bef8a2d314d7233986a3b547635d2c.jpg",[],{"id":19042,"slug":19043,"title":19044,"dynasty":174,"author":377,"museum":120,"description":19045,"tags":19046,"thumbUrl":19047,"material":16577,"size":16587,"collection":166,"collections":19048,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},233404,"yuan-ji-jiao-ju-zhou-shi-tao-233404","原济蕉菊轴","本幅水墨，自题五言诗一首，款：“蕉诗偶书其意，石涛济”。钤“搜尽奇锋打草稿。”朱方。下钤：“问亭鉴赏图书”等收藏印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,7,95,75,421,134,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59523118ad25166a662d1dd8cd731f9.jpg",[],{"id":19050,"slug":19051,"title":19052,"dynasty":205,"author":206,"museum":120,"description":19053,"tags":19054,"thumbUrl":19055,"material":2001,"size":19056,"collection":166,"collections":19057,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},232992,"chun-jiang-fan-bao-tu-ye-guo-xi-232992","春江帆饱图页","《春江帆饱图》传为郭熙作品，其画风也与郭熙相似。原载《四朝选藻册》，绘远岫高松，中分一水。右岸竹离茅舍，窜石丛林。岸边二帆船停泊。远方夕阳西下，江水如潮。二小船饱帆破浪前进，从而点出了画面的主题。图中远山用淡墨勾染，浓墨点小树，松树，帆船用细笔勾描。全图笔法缜密严谨，画风学郭熙一派而又另立新意，不愧是宋期小幅山水的佳作。画面无款。对幅有清高宗弘历的题诗。此作曾经清内府收藏，《石渠宝笈续编》著录。",[24,25,74,28,7,36,31,147,34,30,33,1810,3257,164,14952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757940eae81773af499baea0cc31c22e.jpg","纵26.2厘米，横27厘米",[],{"id":19059,"slug":19060,"title":292,"dynasty":52,"author":621,"museum":5692,"description":19061,"tags":19062,"thumbUrl":19063,"material":298,"size":19064,"collection":166,"collections":19065,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},231478,"mo-zhu-tu-ni-zan-231478","倪瓒善画水墨山水画，元朝， 创造“折带皴”，是平远画法的典型，取材于太湖一带平原风景，其画萧瑟幽寂，寒林浅水，不见人踪，画出他伤时感事的心情。倪瓒以这种空旷而辽远的太湖意境征服了画坛，以致后世常有“太湖属于倪云林”之说。\n倪瓒的画“似嫩而苍”，简中寓繁，小中见大，外落寞而内蕴激情。他也善画墨竹，风格“遒逸”，瘦劲开张。画中题咏很多。他的画由于简练，多年来伪作甚多，但不容易仿出他的萧条淡泊的气质。\n倪瓒的绘画属于宋代兴起的“文人画”——通过主观的描绘表达更多的作者自身情怀，进入“有我之境”（李泽厚语）。他将自己的画法风格和追求总结成“逸气”一语， 可以说是中国画“笔墨”一说的最好代表。",[281,24,25,7,126,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cb10c76f5727e7efa78d2e5d9ea2c9.jpg","高29.2厘米，宽28.7厘米",[],{"id":19067,"slug":19068,"title":19069,"dynasty":174,"author":377,"museum":450,"description":19070,"tags":19071,"thumbUrl":19072,"material":166,"size":166,"collection":166,"collections":19073,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},228976,"shan-shui-ce-12-kai-shi-tao-228976","山水册12开","此帧取峡谷行舟之景，以淡赭浅绿晕染峰峦，笔墨清润秀雅。江流蜿蜒淌过春色，两岸崖石简括空灵，枯槎倒挂于危岩，野趣暗生。扁舟篷屋静立，舟子缓棹行于碧波，将羁旅闲意揉进烟岚里。\n\n左侧题诗与山水相契，把远客随波逐流的幽寂心境藏在空濛山色中。画师以灵动简约的笔法，融山川清旷与江湖行旅的澹泊诗意于一纸。不着浓艳重彩，仅以浅墨淡彩铺陈暮春江峡的柔婉空蒙，寥寥数笔便勾画出天地间的悠然意趣，引观者随舟驶入这片清远绝尘的山水烟霞，沉醉于疏朗安闲的世外情致之中。",[24,25,74,27,7,28,31,30,34,33,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eda3d02caac8e2863fc2d9a4078a1ad.jpg",[],{"id":19075,"slug":19076,"title":19077,"dynasty":18,"author":19,"museum":450,"description":19078,"tags":19079,"thumbUrl":19081,"material":166,"size":166,"collection":166,"collections":19082,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},228838,"lian-hua-dou-jia-tu-ce-shen-zhou-228838","莲花豆荚图册","此作用笔松秀淡逸，以清浅墨色晕染果实，晕化柔和雅致，墨色层次疏淡清润，墨点点缀其上，朴拙天真，尽得果实鲜活意态。枝叶以枯淡墨线勾勒，笔致苍劲随性，不求描摹工细，却将叶片舒展之姿尽显，枯荣之态暗含其间。\n画面留白开阔疏朗，以简驭繁，尽显文人写意的简淡风骨，将日常乡野小景，绘出悠然清逸的林下意趣，平淡之中藏着天真雅致的文人心境，笔底全是松弛自在的闲适之味。",[23,281,24,25,74,7,75,19080,367],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db9f55c64cddb22c8eac5284a05317e.jpg",[],{"id":19084,"slug":19085,"title":19086,"dynasty":18,"author":6070,"museum":450,"description":19087,"tags":19088,"thumbUrl":19089,"material":166,"size":166,"collection":166,"collections":19090,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},228369,"pi-pa-mei-ren-tu-wu-wei-228369","琵琶美人图","《琵琶美人图》是吴伟创作的一幅中国国画作品，创作于明代。\n该画纸本水墨，现藏于美国印地安那波里斯美术馆。\n作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n吴伟的这件传世国画作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n作者采用近白描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n画面无任何背景，主体突出，简洁明快。\n作品上面上有孙一元、黄姬水等三人题的诗跋，称“江夏兹图，允为神品”。\n《琵琶美人图》在表现技法上与工笔白描一体，略似北宋李公麟。\n但是较之画家早年的《铁笛图》，更加流畅秀润，风神俊爽。\n《画史会要》、《 》等著录。\n画一位手抱琵琶的女子,侧面低首,神情幽怨哀愁。\n画家用近折描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n吴伟（1459-158 ），江夏（今湖北武昌）人。\n龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。\n弱冠至金陵画名遂起。\n相传伟性戆直，有气岸而豪放，尝遇庞老人击石得髓，伟饮其半，遂以画名。\n成国朱公延至幕下，以小仙呼之，因以为号。\n宪宗时待诏仁智殿，好剧饮狎妓，人欲得伟画者，则载酒携妓往。\n一日被诏正醉，中官扶掖入殿，命作松泉图。\n伟跪翻墨汁，信手涂抹，宪宗叹曰：「真仙笔也。\n]又孝宗命画称旨，授锦衣百户，赐印章曰「画状元」。\n吴伟画人物出自吴道子，纵笔不甚经意，而奇逸潇洒动人，山水树石俱作斧劈皴。\n白描尤佳。\n尝游 渴，从老妪索茗，明年复过之，老妪已谢世。\n援笔追写其像，其子见之大恸，乞而藏之。\n又尝饮友人家，酒间作画，戏取莲房濡墨印纸上数处，莫测其用意，忽起纵笔挥洒成捕蟹图，最为神妙。\n孝宗喜马、夏画风，而画院戴进、吴伟均承继马、夏，成为一时风尚，号为“浙派”。\n吴伟亦号“江夏派”。\n其后吴派既盛，浙派渐归澌灭。\n卒年五十。",[23,24,25,95,547,7,193,636,2271,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5696b91097f04f9e47a6f55178478.jpg",[],{"id":19092,"slug":19093,"title":4408,"dynasty":18,"author":19094,"museum":450,"description":19095,"tags":19096,"thumbUrl":19097,"material":166,"size":166,"collection":166,"collections":19098,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},228349,"zhu-lin-tu-tao-hong-228349","陶红","以水墨晕写坡岸幽篁，修竹错落层叠，运笔秀劲灵动，竹叶以个字、介字点簇，笔断意连，尽显竹之清逸风骨。浅墨轻笼烟岚远山，淡赭晕染坡脚水岸，虚实相生间铺展出空濛雅致的林麓之景。\n\n山石以淡墨勾勒皴擦，简淡不饰雕琢，留白拓出水天相融的空阔意境，将文人画尚简重意的意趣融于尺幅间。观之如临幽林，似聆林风穿叶，清寂淡远的林下雅韵扑面而来，尽显静穆淡远的林下幽居之趣。",[24,25,7,126,28,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b74b593200ac6a53a7c1f309a38c8b.jpg",[],{"id":19100,"slug":19101,"title":19102,"dynasty":205,"author":1682,"museum":450,"description":14005,"tags":19103,"thumbUrl":19104,"material":166,"size":166,"collection":166,"collections":19105,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":461},227716,"long-hu-tu-zhou-mu-xi-227716","龙虎图轴",[281,24,25,95,7,349,3914,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb229fdf17c2f47f0594e267085c31a4b.jpg",[],{"id":19107,"slug":19108,"title":11784,"dynasty":205,"author":307,"museum":450,"description":19109,"tags":19110,"thumbUrl":19111,"material":166,"size":166,"collection":166,"collections":19112,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,281,24,25,95,36,7,28,335,831,194,33,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":19114,"slug":19115,"title":19116,"dynasty":174,"author":3195,"museum":450,"description":19117,"tags":19118,"thumbUrl":19119,"material":166,"size":166,"collection":166,"collections":19120,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,24,25,95,7,36,254,28,210,33,194,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":19122,"slug":19123,"title":19124,"dynasty":174,"author":5090,"museum":593,"description":19125,"tags":19126,"thumbUrl":19127,"material":6473,"size":18659,"collection":42,"collections":19128,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,24,25,26,7,27,28,36,37,38,80,335,350,624,194,33,180,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg",[42,222],{"id":19130,"slug":19131,"title":19132,"dynasty":18,"author":19133,"museum":770,"description":19134,"tags":19135,"thumbUrl":19136,"material":196,"size":19137,"collection":42,"collections":19138,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","萧云从","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,25,26,27,28,36,7,212,213,33,215,211,29,59,180,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[42,64],{"id":19140,"slug":19141,"title":19142,"dynasty":18,"author":16722,"museum":120,"description":19143,"tags":19144,"thumbUrl":19145,"material":19146,"size":19147,"collection":42,"collections":19148,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},222418,"yu-zhou-du-shu-tu-zhou-jiang-song-222418","渔舟读书图轴","画家用简练概括的手法，表现群山绕湖、轻舟横渡的清旷之景。湖面上一条篷船荡漾，船尾一人静坐读书，船头渔夫用力撑篙，钓竿斜插于船上，表现了文人士大夫闲适安逸的生活情趣。在画法风格上，山石虽有斧劈皴的痕迹，但不像马远、夏圭那样坚硬外露，而是落笔草草，水墨晕染浓淡相宜，此为蒋嵩粗笔水墨山水画的典型之作。",[23,24,25,95,7,27,28,31,193,33,213,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a10da506d8018ca9417d66edb6c543f.jpg","绢本设色粗笔墨","纵171厘米，横107.5厘米",[42,222],{"id":19150,"slug":19151,"title":5115,"dynasty":18,"author":407,"museum":92,"description":19152,"tags":19153,"thumbUrl":19165,"material":457,"size":19166,"collection":166,"collections":19167,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[23,24,494,6482,7,3463,36,19154,19155,19156,14529,7104,33,3177,1004,717,19157,3664,535,164,213,19158,19159,19160,19161,19162,19163,19164],"大斧劈皴","夹叶法","点叶法","溪桥","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","纵143 厘米，横81.8 厘米",[],{"id":19169,"slug":19170,"title":19171,"dynasty":205,"author":3062,"museum":120,"description":19172,"tags":19173,"thumbUrl":19174,"material":612,"size":19175,"collection":166,"collections":19176,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},221610,"shu-liu-han-ya-liang-kai-221610","疏柳寒鸦","本幅款识：“梁楷”。\n图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[23,24,281,1462,7,4489,75,1853,13674,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12681876ad222db36245da81d5c54f6.jpg","纵26.4厘米，横24.2厘米",[],{"id":19178,"slug":19179,"title":19180,"dynasty":205,"author":206,"museum":5692,"description":14125,"tags":19181,"thumbUrl":19182,"material":19183,"size":19184,"collection":220,"collections":19185,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},221287,"dai-du-tu-ye-guo-xi-221287","待渡图页",[23,24,25,74,7,27,28,717,31,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946bc8b1acd959ef038570ca597f5d99.jpg","册页绢本设色","26.1x30.4厘米",[220,42,222],{"id":19187,"slug":19188,"title":19189,"dynasty":174,"author":5090,"museum":294,"description":19190,"tags":19191,"thumbUrl":19192,"material":98,"size":19193,"collection":42,"collections":19194,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","秋景山水图","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,7,27,36,28,34,33,30,32,6001,212,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[42],{"id":19196,"slug":19197,"title":19198,"dynasty":174,"author":6172,"museum":120,"description":19199,"tags":19200,"thumbUrl":19201,"material":40,"size":19202,"collection":42,"collections":19203,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,281,24,25,26,7,36,28,33,211,58,31,164,10975,1525,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[42,64],{"id":19205,"slug":19206,"title":19207,"dynasty":18,"author":19,"museum":692,"description":693,"tags":19208,"thumbUrl":19209,"material":298,"size":696,"collection":166,"collections":19210,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},220029,"dong-zhuang-tu-ce-zhi-guo-lin-shen-zhou-220029","东庄图册之果林",[23,24,7,74,36,28,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7883293037442bb32ef56c41bce1454.jpg",[],{"id":19212,"slug":19213,"title":19214,"dynasty":18,"author":19,"museum":692,"description":693,"tags":19215,"thumbUrl":19216,"material":40,"size":696,"collection":166,"collections":19217,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[23,24,25,74,7,36,28,29,30,31,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":19219,"slug":19220,"title":8648,"dynasty":52,"author":726,"museum":92,"description":19221,"tags":19222,"thumbUrl":19223,"material":98,"size":19224,"collection":42,"collections":19225,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},219964,"shu-lin-yuan-shan-tu-wu-zhen-219964","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[23,24,281,25,28,7,36,164,2953,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[42],{"id":19227,"slug":19228,"title":645,"dynasty":18,"author":3243,"museum":4761,"description":19229,"tags":19230,"thumbUrl":19231,"material":19232,"size":166,"collection":42,"collections":19233,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},219099,"shan-shui-tu-zhang-hong-219099","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,281,24,25,95,7,36,28,335,350,33,35,211,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[42],{"id":19235,"slug":19236,"title":19237,"dynasty":205,"author":15641,"museum":92,"description":19238,"tags":19239,"thumbUrl":19241,"material":110,"size":19242,"collection":220,"collections":19243,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":47},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,24,281,481,7,27,2637,19240,34,453,33],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[220],{"id":19245,"slug":19246,"title":645,"dynasty":52,"author":11732,"museum":92,"description":19247,"tags":19248,"thumbUrl":19249,"material":98,"size":19250,"collection":42,"collections":19251,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},218826,"shan-shui-tu-fang-cong-yi-218826","这幅画显示了云层耸立在山峰之上，笔触犀利而清晰。人们怀疑这幅画被后来的人裁剪过，而且画的下部有很大一部分缺失，其含义也不完整。张大千捐赠",[23,24,25,7,36,28,34,33,610,147,672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[42],{"id":19253,"slug":19254,"title":19255,"dynasty":18,"author":581,"museum":378,"description":1800,"tags":19256,"thumbUrl":19257,"material":40,"size":166,"collection":166,"collections":19258,"showCount":18912,"zanCount":1084,"manualWeight":46,"mainColor":47},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)",[23,24,7,74,254,28,147,717,32,30,29,34,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a3aa4634d316f237a6ce6618e6632b.jpg",[],{"id":19260,"slug":19261,"title":19262,"dynasty":18,"author":581,"museum":159,"description":19263,"tags":19264,"thumbUrl":19265,"material":110,"size":19266,"collection":42,"collections":19267,"showCount":18912,"zanCount":46,"manualWeight":46,"mainColor":140},217194,"han-shan-tu-yi-ming-217194","寒山图","寒山图是一幅来自明朝的中国山水画，作者不详。这幅画描绘了寒山寺的景象。寒山寺是位于浙江省杭州市的一座古刹，据说是由印度佛教徒达摩在公元7世纪传入中国时建立的。\n\n寒山图呈现了寒山寺庙宇及其周围的山林风光。画中可以看到寺庙的精巧建筑，以及周围的峰峦叠嶂、清澈的溪流和葱郁的树木。寒山图还描绘了几个小人物，可以想象出当时僧人在寺庙里修行的情景。\n\n寒山图的画风典雅，线条流畅，色彩和谐。整幅画充满了宁静、平和的氛围，令人心旷神怡。这幅画反映了明朝时期对佛教文化和自然风光的热爱，是一件具有深刻文化意义的艺术珍品。",[24,25,7,28,36,335,717,194,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d10bba28441129d6c7c5a8126dd416.jpg","33.5x23cm",[42],{"id":19269,"slug":19270,"title":19271,"dynasty":205,"author":264,"museum":294,"description":19272,"tags":19273,"thumbUrl":19277,"material":457,"size":9348,"collection":600,"collections":19278,"showCount":18912,"zanCount":5,"manualWeight":46,"mainColor":47},2167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怎么办。”",[23,24,26,25,547,7,193,19341,3557,37,80],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9f1aff475a20d5d17b1bd203533867.jpg",[],{"id":19345,"slug":19346,"title":19347,"dynasty":205,"author":1682,"museum":450,"description":19348,"tags":19349,"thumbUrl":19350,"material":314,"size":1061,"collection":166,"collections":19351,"showCount":45,"zanCount":1084,"manualWeight":46,"mainColor":140},287573,"song-yuan-tu-mu-xi-287573","松猿图","此图绘两只黑猿踞于松干上，一成年猿将一幼猿拢于怀中，形象十分生动。画家用浓墨乾笔绘猿身皮毛，很真实地表现出蓬松的质感，墨猿刻画得较为工致，可见法常是有写生基础的。",[281,24,25,7,5666,453,147,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F785fa0ecef9736a94643b20966a7cfc7.jpg",[],{"id":19353,"slug":19354,"title":19355,"dynasty":174,"author":9335,"museum":450,"description":19356,"tags":19357,"thumbUrl":19361,"material":314,"size":1061,"collection":166,"collections":19362,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":140},287450,"zhi-hua-nu-rong-zhong-kui-tu-gao-qi-pei-287450","指画怒容钟馗图","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[281,24,25,95,7,547,193,18333,19358,19359,19360],"钟馗","怒容","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387e507c0fdc2a5bd90e16e3c58a00a8.jpg",[],{"id":19364,"slug":19365,"title":19366,"dynasty":174,"author":418,"museum":120,"description":19367,"tags":19368,"thumbUrl":19369,"material":19370,"size":19371,"collection":245,"collections":19372,"showCount":45,"zanCount":1084,"manualWeight":46,"mainColor":47},240307,"shu-tao-hua-yuan-ji-juan-zhu-da-240307","书桃花源记卷","释文：\n晋武陵人渔，忘路之远近，忽逢桃花夹岸，数百步中无杂林，落英缤纷。渔人甚异之，复前行，欲穷其林。尽水源，得一山，山有小口，初极狭，才通人。复行数十步，豁然开朗。土地平旷，屋舍俨然，有良田、美池、桑竹之属。阡陌交通，鸡犬相闻。其中往来耕作，男女衣着，悉如外人。黄发垂髫，并怡然自乐。见渔人，乃大惊，问所从来，具答之。便要还家，设酒杀鸡作食。村中闻此人，咸来问讯。自云先世避秦时乱，率妻子邑人来此绝境，遂不复出焉，既与外人间隔。问今是何世，乃不知有汉，无论魏、晋。此人一一具言所闻，皆叹惋。余人各复延至其家，皆出酒食。停数日，辞去。此中人语云：“不足为外人道也。”既出，得其舟，便扶向路，处处志之。及郡下，诣太守，说如此。太守即遣人随其往，寻向所志，遂迷不复得路。南阳刘子骥，高尚士也。欣然规往，未果。后遂无问津者。丙子六月既望，纳凉在芙山房书，八大山人。\n下钤“可得神仙”、“八大山人”、“遥属”等4印。书前配有清无名氏山水画一段，尾纸有近代陈师曾、齐白石题跋二则。\n此为朱耷书录东晋陶渊明《桃花源记》之作。《桃花源记》系东晋隐逸诗人陶渊明之代表作。当时东晋朝廷腐败，内乱不止，陶渊明不欲从仕，一心归隐，故书此篇。\n朱耷身为前明宗室，面对家国之悲，民族之恨，却无力抗争，只得出家为僧。他习静修真，参研书画，以此抚慰内心的亡国之痛，故朱耷深爱《桃花源记》，时常书之，以表达其誓不与清廷合作而追求世外桃源生活之意。\n据署款，此书写于清康熙三十五年（1696年），作者时年71岁。该书学东晋王献之，兼融小篆之体，笔法纯朴圆润，笔势流畅，意尽笔止，有傲岸之情态和奇妙之格调。此作品为朱氏晚年佳作。",[23,24,25,26,7,38,28,193,6801,131,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aeebef5d9d61f7776caf9efc2c0472.jpg","纸本，行草书","纵26厘米，横211厘米",[245],{"id":19374,"slug":19375,"title":19376,"dynasty":174,"author":11792,"museum":450,"description":19377,"tags":19378,"thumbUrl":19379,"material":314,"size":1061,"collection":83,"collections":19380,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},239398,"hua-niao-tu-ce-ma-yuan-yu-239398","花鸟图册","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[24,25,74,7,27,75,125,133,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf29bd90c79214ba6d288bab877f2a.jpg",[83,64],{"id":19382,"slug":19383,"title":19384,"dynasty":174,"author":1100,"museum":450,"description":16248,"tags":19385,"thumbUrl":19386,"material":166,"size":166,"collection":83,"collections":19387,"showCount":45,"zanCount":1084,"manualWeight":46,"mainColor":47},239223,"mo-mei-zhou-wu-chang-shuo-239223","墨梅轴",[24,25,95,7,75,125,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F616f4702c3bcf964d4d3612a77d98457.jpg",[83,222],{"id":19389,"slug":19390,"title":19391,"dynasty":18,"author":8669,"museum":450,"description":13437,"tags":19392,"thumbUrl":19393,"material":166,"size":166,"collection":166,"collections":19394,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},234219,"mo-zhu-juan-feng-qi-zhen-234219","墨竹卷",[23,24,25,26,7,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450002a1adc819ad44c3454e667ea.jpg",[],{"id":19396,"slug":19397,"title":19398,"dynasty":18,"author":1836,"museum":120,"description":19399,"tags":19400,"thumbUrl":19401,"material":19402,"size":19403,"collection":166,"collections":19404,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":140},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,25,26,7,28,36,37,80,547,33,5329,29,30,164,1005,35,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":19406,"slug":19407,"title":19408,"dynasty":174,"author":2029,"museum":544,"description":19409,"tags":19410,"thumbUrl":19412,"material":166,"size":166,"collection":166,"collections":19413,"showCount":45,"zanCount":1084,"manualWeight":46,"mainColor":140},229009,"gao-gang-mao-wu-tu-zhou-gong-xian-229009","高岗茅屋图轴","《历代名画宣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出版。",[23,24,25,95,7,36,28,19411,324,33,213,717],"山岗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c33871e5f3f8e6492d8428c33b2d3a.jpg",[],{"id":19415,"slug":19416,"title":19417,"dynasty":205,"author":2494,"museum":450,"description":19418,"tags":19419,"thumbUrl":19420,"material":166,"size":166,"collection":166,"collections":19421,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":140},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,24,281,25,481,7,27,5666,366,610,180,2203,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":19423,"slug":19424,"title":12595,"dynasty":18,"author":11541,"museum":544,"description":19425,"tags":19426,"thumbUrl":19427,"material":537,"size":19428,"collection":83,"collections":19429,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},226155,"fu-rong-yuan-yang-tu-zhou-li-yin-226155","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[23,24,281,95,7,75,130,4817,180,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","138.9x47.8cm",[83],{"id":19431,"slug":19432,"title":19433,"dynasty":174,"author":19434,"museum":450,"description":19435,"tags":19436,"thumbUrl":19439,"material":166,"size":166,"collection":166,"collections":19440,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","蒋溥","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,24,25,95,481,7,27,3452,19437,19438,3443,2875,37],"桂","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],{"id":19442,"slug":19443,"title":19444,"dynasty":174,"author":5090,"museum":450,"description":19445,"tags":19446,"thumbUrl":19450,"material":166,"size":166,"collection":166,"collections":19451,"showCount":45,"zanCount":1084,"manualWeight":46,"mainColor":140},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,19447,27,36,7,481,19448,212,215,1777,787,33,34,35,211,19449,268,210],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],{"id":19453,"slug":19454,"title":19358,"dynasty":174,"author":1100,"museum":450,"description":19455,"tags":19456,"thumbUrl":19458,"material":166,"size":166,"collection":166,"collections":19459,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},224233,"zhong-kui-wu-chang-shuo-224233","此作跳出钟馗惯常的狞厉驱邪范式，以写意之笔勾勒出闲散疏朗的别样风神。淡墨晕染衣袍，寥寥数笔便将宽袍缓带的慵懒姿态写尽，腰间佩剑暗藏威仪，却无肃杀之气。钟馗抬首凝望丝线上的小虫，神情松弛淡然，全然不见捉鬼镇邪的刚猛，更似幽居世外的逸士。\n\n左侧题诗与画意相得益彰，篆籀笔法的题字朴拙雄劲，和简淡的人物形成视觉张力，尽显诗画合璧的文人意趣，将民间俗神化为寄寓闲情逸致的文人心象，笔墨间满是随性自在的雅逸格调。",[23,24,25,27,7,193,8403,38,80,19457],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb6298ff111c592b2ddf649923c616.jpg",[],{"id":19461,"slug":19462,"title":19463,"dynasty":174,"author":633,"museum":544,"description":19464,"tags":19465,"thumbUrl":19466,"material":298,"size":19467,"collection":166,"collections":19468,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},223239,"que-tu-ren-yi-223239","雀图","绘山石中古梅一株，梅枝粗壮遒劲，枝头梅花朵朵绽放；三只麻雀或立于枝头，或立于石块上，似被梅花的清新香气吸引；石块缝中水仙花儿绽放，叶绿繁茂，朵朵花儿白净素雅，给寒冷的冬天带来生机勃勃。",[23,24,25,95,27,75,125,132,180,282,123,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719b5812cc696b603a81b715b4e36969.jpg","40x150厘米",[],{"id":19470,"slug":19471,"title":19472,"dynasty":174,"author":1639,"museum":120,"description":19473,"tags":19474,"thumbUrl":19475,"material":298,"size":19476,"collection":166,"collections":19477,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},222824,"mei-he-tu-xu-gu-222824","梅鹤图","《梅鹤图》为1891年(清光绪十七年)，虚谷时年69岁所作。以梅鹤双清为题。两株梅树茁壮挺拔，细枝交错穿插，花朵星星点点，二只白鹤立于梅枝间。梅树始以湿笔淡墨写出，后以干笔复加勾点，线条断续顿挫。梅树奇绝，如剑如戟、铁干清曜。梅花花瓣棱角分明，突出其天生寒骨、峥嵘向上的铮铮傲骨。白鹤亦造型古朴，一改光洁华美、悠闲典雅的贵族气象，长颈后缩收紧，雪羽铺展。画面设色清淡，鹤顶却以朱红重色点醒，使整幅画冷俊之中又富变化，质朴而又耐人寻味。此画作充分体现了虚谷的用笔特点，虚谷晚年代表作之一。顾鹤逸曾称虚谷作画“清而不枯，密而不乱”，此画可见一斑。",[23,281,24,25,95,7,27,123,75,125,3596,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b85f24a66a6be354601ee9a0b9ed2.jpg","纵145.2厘米，横78.9厘米",[],{"id":19479,"slug":19480,"title":19481,"dynasty":174,"author":1639,"museum":17046,"description":19482,"tags":19483,"thumbUrl":19484,"material":298,"size":19485,"collection":83,"collections":19486,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},222823,"shan-yin-cao-tang-tu-xu-gu-222823","山阴草堂图","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。",[23,281,24,25,26,7,36,37,38,28,33,34,669,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d1a7fdce3cd4a97891e59a5fb55386.jpg","283.6x29",[83,222],{"id":19488,"slug":19489,"title":19490,"dynasty":18,"author":10524,"museum":1334,"description":19491,"tags":19492,"thumbUrl":19493,"material":7,"size":19494,"collection":166,"collections":19495,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,25,26,7,27,28,36,38,80,37,194,29,30,31,32,33,34,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 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创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[23,24,25,95,7,27,36,38,80,28,34,33,35,164,785,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[42,222],{"id":19560,"slug":19561,"title":19562,"dynasty":18,"author":7726,"museum":20,"description":19563,"tags":19564,"thumbUrl":19565,"material":98,"size":19566,"collection":42,"collections":19567,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":140},220351,"shan-shui-he-juan-du-qiong-220351","山水合卷","此卷原是摺册，佚存五开，入清连跋裱成一卷。其中第一幅杜琼，第三、四幅刘珏，均是晚年笔。第二幅沈周尚是早年之作。第五幅无款印，风格与刘珏相同。",[23,24,25,26,7,36,28,335,350,162,32,29,30,211,213,5912,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1629f0915cbca22a90245242ec026360.jpg","纵29.2厘米，横44.2厘米",[42],{"id":19569,"slug":19570,"title":19571,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":19573,"thumbUrl":19574,"material":298,"size":19575,"collection":166,"collections":19576,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},220329,"huang-shan-tu-ce-2-hong-ren-220329","黄山图册-2","《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。",[23,24,7,36,74,28,335,624,210,30,193,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1784059c41c0edc0bd66e2212bbbb5cc.jpg","21.5x18.3厘米",[],{"id":19578,"slug":19579,"title":19580,"dynasty":18,"author":19,"museum":692,"description":693,"tags":19581,"thumbUrl":19582,"material":298,"size":696,"collection":166,"collections":19583,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},220020,"dong-zhuang-tu-ce-zhi-sang-zhou-shen-zhou-220020","东庄图册之桑州",[23,24,25,74,7,27,28,33,34,10414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd451e05aae9ee860e65702e5c77a968d.jpg",[],{"id":19585,"slug":19586,"title":19587,"dynasty":18,"author":19,"museum":692,"description":693,"tags":19588,"thumbUrl":19589,"material":40,"size":696,"collection":166,"collections":19590,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},220017,"dong-zhuang-tu-ce-zhi-zhu-ying-jing-shen-zhou-220017","东庄图册之朱樱径",[23,281,24,7,27,74,36,28,33,533,193,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15839f4d94e03e2266c9b42a00660105.jpg",[],{"id":19592,"slug":19593,"title":19594,"dynasty":18,"author":19,"museum":692,"description":693,"tags":19595,"thumbUrl":19597,"material":40,"size":696,"collection":166,"collections":19598,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},220011,"dong-zhuang-tu-ce-zhi-dong-cheng-shen-zhou-220011","东庄图册之东城",[23,281,24,25,74,7,36,28,194,29,33,19596,12529,34],"城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e337d9ab671c3c1794f7a4f8e3e804.jpg",[],{"id":19600,"slug":19601,"title":19602,"dynasty":174,"author":2586,"museum":593,"description":19603,"tags":19604,"thumbUrl":19605,"material":98,"size":19606,"collection":42,"collections":19607,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},220006,"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[23,24,25,26,7,36,6186,80,28,32,29,30,282,33,34,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[42],{"id":19609,"slug":19610,"title":19611,"dynasty":174,"author":2605,"museum":190,"description":19612,"tags":19613,"thumbUrl":19614,"material":40,"size":19615,"collection":42,"collections":19616,"showCount":45,"zanCount":46,"manualWeight":46,"mainColor":47},219953,"xiao-jiang-feng-bian-tu-hong-ren-219953","晓江风便图","图绘自新安至扬州，由浦口练江入新安江壹线实景。前段写练江沿岸将军山诸山嵌岩峭峙，林木萧瑟之景。后段写新安江对岸晓雾迷蒙烟峦重叠，轻舟挂帆乘风的情景。笔墨线条遒缓，意境荒僻，不染尘垢。\n图尾自题“辛丑十壹月，伯炎居士将广陵之装，学人写晓江风便图以送，揆有数月之间，蹊桃初绽，瞻望旋旌。弘仁”。钤“弘仁”、“渐江”印。\n图后附吴羲行书、程守行书、许楚草书、石涛楷书跋各壹段。辛丑为清顺治十八年，公元1661年，作者时年52岁。款署“辛丑十一月”，另纸有渐江的好友吴羲、程宁、许楚跋语。吴、许二跋署年癸卯(康熙二年，公元1663年)，皆在渐江卒前数月。还有石涛丙子年(1696年)题跋，皆为研究渐江生平及其艺术的重要资料。",[23,24,26,7,28,36,31,32,717,162,30,942,164,10975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6a2a3eed5925dfa7655939a663e8c.jpg","纵28.5横43厘米",[42],{"id":19618,"slug":19619,"title":19620,"dynasty":174,"author":19621,"museum":92,"description":19622,"tags":19623,"thumbUrl":19624,"material":98,"size":19625,"collection":600,"collections":19626,"showCount":45,"zanCount":1084,"manualWeight":46,"mainColor":140},219594,"sui-chao-zhong-kui-tu-zhang-zhong-xue-219594","岁朝钟馗图","张仲学","该幅画岁除时节，钟馗搦管书桃符。桃木自古即被视同可以制鬼避邪的灵物。",[24,7,95,193,624,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d7d656b930f10e70ec46acf48de3e4.jpg","127.5×63.5公分",[600],{"id":19628,"slug":19629,"title":1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[1] 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非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,7,27,74,193,28,2388,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F829e7d3f099522e9857d1983f1256050.jpg","纵38.8厘米，横60.4厘米",[600,64],{"id":19782,"slug":19783,"title":19784,"dynasty":18,"author":10358,"museum":450,"description":10670,"tags":19785,"thumbUrl":19786,"material":314,"size":1061,"collection":166,"collections":19787,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},235671,"ban-chuang-chun-yu-tu-juan-xia-chang-235671","半窗春雨图卷",[24,281,25,26,7,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f3757d23ecd698c0710bd31456a191.jpg",[],{"id":19789,"slug":19790,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":19791,"thumbUrl":19792,"material":314,"size":1061,"collection":166,"collections":19793,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},235507,"za-hua-ce-zhu-da-235507",[24,7,74,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71944dd81ba9eca5eee9681c09324d50.jpg",[],{"id":19795,"slug":19796,"title":19797,"dynasty":18,"author":10358,"museum":20,"description":19798,"tags":19799,"thumbUrl":19800,"material":298,"size":166,"collection":166,"collections":19801,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},234124,"zhu-shi-tu-juan-xia-chang-234124","竹石图卷","夏昶，后人誉其画竹高手。他画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。\n其兄夏昺，字孟旸，亦以书法召试称旨，命与昶同拜中书舍人，时称“大小中书”。画山水师元画家高克恭；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[24,26,7,126,706,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771edf395a8aca801f918da40388517d.jpg",[],{"id":19803,"slug":19804,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":19805,"thumbUrl":19806,"material":298,"size":2515,"collection":166,"collections":19807,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},234090,"wu-zhong-shan-shui-ce-shen-zhou-234090",[24,25,74,7,28,38,80,36,194,624,31,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cc85b8ca75b41a1903f016a2209202.jpg",[],{"id":19809,"slug":19810,"title":19811,"dynasty":18,"author":4131,"museum":120,"description":19812,"tags":19813,"thumbUrl":19815,"material":19816,"size":19817,"collection":166,"collections":19818,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},233892,"mei-shi-jia-die-tu-juan-chen-hong-shou-233892","梅石蛱蝶图卷","本幅墨笔画，钤毕泷、毕沅、庞元济等藏印。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,281,25,26,7,547,80,75,125,706,19814],"蛱蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adf709c74efa862426abfaf7ff8a533.jpg","金笺","纵37.9cm横123cm",[],{"id":19820,"slug":19821,"title":18341,"dynasty":174,"author":11397,"museum":450,"description":19822,"tags":19823,"thumbUrl":19824,"material":166,"size":166,"collection":166,"collections":19825,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},230254,"shan-shui-ce-ye-dai-ben-xiao-230254","此作用笔枯淡简老，危崖陡立，笔墨寥寥便勾勒出崖壁的空灵高旷，下方丘石隐于淡墨晕染之中，古松斜生崖侧，自带荒寒萧疏之气。\n\n以书入画，左上角题诗与山水意境相融，淡墨轻皴间不见繁饰，尽显幽寂清寒的林下襟怀，将天地寥廓的沉静与遗民孤高的心境相合，静穆淡远间溢出清冷出尘的禅意，尽显简淡空灵的山水意趣，淡岚浅墨里皆是超然物外的悠远之致。",[24,25,74,7,28,36,180,717,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991f998630870f784c679c1986745d2c.jpg",[],{"id":19827,"slug":19828,"title":19829,"dynasty":174,"author":657,"museum":450,"description":19830,"tags":19831,"thumbUrl":19832,"material":166,"size":166,"collection":166,"collections":19833,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},230242,"hua-hui-ce-liu-kai-jin-nong-230242","花卉册六开","此作以淡墨轻勾花形，敷色浅淡清润，将花卉柔婉之态晕染尽致。叶片以枯涩苍劲的墨线勾勒叶脉，淡青晕染叶面，朴拙之中不失秀灵。题字古雅厚朴，金石意趣与画面浑然相融。整体构图疏朗空寂，摒弃繁复修饰，尽显文人画简淡野逸之致。寥寥数笔便捕捉住花草清寂神韵，以极简的笔墨传递出沉静内敛的古拙之美，将文人高逸品格寄寓在一花一叶之间，平淡中见奇崛，清疏里藏雅意。",[24,7,27,74,76,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d028cce8fba0f93a54076616de43b82.jpg",[],{"id":19835,"slug":19836,"title":19837,"dynasty":18,"author":2851,"museum":450,"description":19838,"tags":19839,"thumbUrl":19840,"material":166,"size":166,"collection":166,"collections":19841,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":140},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,281,24,25,26,7,27,494,36,37,38,80,28,162,35,193,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":19843,"slug":19844,"title":4229,"dynasty":205,"author":278,"museum":450,"description":19845,"tags":19846,"thumbUrl":19848,"material":166,"size":166,"collection":166,"collections":19849,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":140},227747,"dong-ting-qiu-yue-tu-xia-gui-227747","《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。",[23,24,25,281,95,7,36,28,940,147,180,163,19847],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":19851,"slug":19852,"title":19853,"dynasty":174,"author":5090,"museum":450,"description":17929,"tags":19854,"thumbUrl":19855,"material":314,"size":1061,"collection":166,"collections":19856,"showCount":19706,"zanCount":1084,"manualWeight":46,"mainColor":47},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面",[23,24,25,1462,7,36,28,32,147,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":19858,"slug":19859,"title":580,"dynasty":18,"author":9621,"museum":19860,"description":19861,"tags":19862,"thumbUrl":19863,"material":19864,"size":19865,"collection":83,"collections":19866,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":140},222830,"zhu-shi-tu-zhu-yun-ming-222830","河北省博物馆","竹石图轴，此图顽石突兀，修竹三竿，清雅宜人。构图简洁明晰，用墨浓淡适.",[23,24,25,95,7,126,706,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92f7cc0839c81fbce897d7978e64e42.jpg","绫本，墨笔","纵163.5、横52厘米",[83,222],{"id":19868,"slug":19869,"title":90,"dynasty":18,"author":10358,"museum":92,"description":19870,"tags":19871,"thumbUrl":19872,"material":298,"size":166,"collection":222,"collections":19873,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":140},222169,"zhu-tu-xia-chang-222169","本幅画水滨修竹三竿，婷立於斜坡之上。竹杆落笔稳健，墨色润厚。竹叶、小草挺劲锋利，画石则笔法扭转灵动。夏氏妙於运笔使墨，极得飘洒清妍之趣。画竹往往能进入一种风梢舞空烟，露叶滴晴月，风竹潇洒婆娑，楚楚动人的境界。此作堪为例证。",[23,24,25,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c36b6a35df7db3b5f3468a574a84e0e.jpg",[222,919],{"id":19875,"slug":19876,"title":19877,"dynasty":18,"author":4131,"museum":450,"description":19878,"tags":19879,"thumbUrl":19880,"material":19881,"size":19882,"collection":42,"collections":19883,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":140},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,24,95,7,27,36,28,32,162,717,624,213,30,164,180,533,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[42,64],{"id":19885,"slug":19886,"title":18629,"dynasty":205,"author":3062,"museum":92,"description":19887,"tags":19888,"thumbUrl":19889,"material":284,"size":19890,"collection":220,"collections":19891,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":140},221613,"guan-pu-tu-zhou-liang-kai-221613","图绘飞瀑从山涧中直泻而下，与山脚乱石激起层层浪花，瀑前枯树对立，竹石苔茵，瀑下平坦处一人捻髭立眺，三童子洗砚抱琴烹茶。",[23,281,24,25,95,7,36,193,610,147,210,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9939980581eebaa2e7edecbbd4fd44.jpg","135.9x64.1厘米",[220,42,64],{"id":19893,"slug":19894,"title":19895,"dynasty":205,"author":5899,"museum":20,"description":19896,"tags":19897,"thumbUrl":19899,"material":27,"size":19900,"collection":166,"collections":19901,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":140},221376,"yan-jiang-die-zhang-tu-wang-shen-221376","烟江叠嶂图","《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,281,24,25,26,28,7,27,36,19898,942,57,33,211],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":19903,"slug":19904,"title":19905,"dynasty":18,"author":1836,"museum":92,"description":19906,"tags":19907,"thumbUrl":19908,"material":298,"size":19909,"collection":245,"collections":19910,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},220927,"zhou-zi-tong-shu-dong-qi-chang-220927","周子通书","此作书写的是北宋大儒周敦颐所著《通书》中的内容：“圣可学乎？曰可。有要乎？曰有要。一为要。一者，无欲也。无欲则静虚动直。静虚则明，动直则公。明则通，公则溥。庶矣乎！”董书之内容与周敦颐之原文有出入",[23,37,38,7,25,24,95,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49525064acaf73341e131973f30c9278.jpg","纵189.4厘米，横154.5厘米",[245],{"id":19912,"slug":19913,"title":16692,"dynasty":18,"author":1836,"museum":593,"description":16693,"tags":19914,"thumbUrl":19915,"material":537,"size":16696,"collection":42,"collections":19916,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[23,24,25,26,7,254,36,37,80,28,57,33,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[42,64],{"id":19918,"slug":19919,"title":19920,"dynasty":52,"author":239,"museum":544,"description":19921,"tags":19922,"thumbUrl":19923,"material":19924,"size":19925,"collection":245,"collections":19926,"showCount":19706,"zanCount":473,"manualWeight":46,"mainColor":140},220893,"gao-shang-da-dong-yu-jing-zhao-meng-fu-220893","高上大洞玉经","趙孟頫的作品為歷代書家所重，其小楷書風主要得益於二王、鍾繇以及東晉道士楊羲。元代書法家鮮于樞在趙孟頫《過秦論》卷後跋云：“子昂篆、隸、正、行、顛草 俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 “精勁渾厚，字字珠璣，全卷洋洋灑灑小楷數千言，而首尾精力充沛，似一氣呵成，著實驚人。”誠是一件傳世精品之作。",[23,37,4956,26,242,7,3557,80,8047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4003d5f3f30ddffa391ebf4005d664bb.jpg","纸本,墨迹","縱29.7釐米，橫457釐米",[245],{"id":19928,"slug":19929,"title":19930,"dynasty":359,"author":1872,"museum":1873,"description":19931,"tags":19932,"thumbUrl":19933,"material":811,"size":166,"collection":166,"collections":19934,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},220523,"xing-shu-wei-ren-min-fu-wu-xu-bei-hong-220523","行书（为人民服务）","此作用魏碑筋骨揉入行书意趣，笔墨沉厚苍劲。右侧笔势开张纵逸，起笔斩截收笔朴拙，将满腔热忱寄于开张笔锋之中，尽显雄强气魄。左侧稍敛锋芒，笔画敦实厚重，墨色枯润相生，枯笔处见苍茫意趣，藏锋裹气尽显沉稳内敛。落款小字与正文形成疏密对比，举重若轻，通篇错落有致，刚柔并济，将碑版的雄强与行书的流丽融为一体，质朴誓言化作沉浑笔墨力量，尽显笔墨风骨与赤诚襟怀。",[25,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690533d439aa7dab00bb7a9de44aceb1.jpg",[],{"id":19936,"slug":19937,"title":19938,"dynasty":18,"author":19939,"museum":8128,"description":19940,"tags":19941,"thumbUrl":19942,"material":457,"size":19943,"collection":222,"collections":19944,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":140},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[23,24,25,95,7,27,125,940,80,37,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[222,83],{"id":19946,"slug":19947,"title":19948,"dynasty":174,"author":6172,"museum":120,"description":19949,"tags":19950,"thumbUrl":19951,"material":40,"size":19952,"collection":42,"collections":19953,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,25,28,993,717,35,6790,30,164,32,7,27,36,95,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[42],{"id":19955,"slug":19956,"title":19957,"dynasty":174,"author":19958,"museum":159,"description":19959,"tags":19960,"thumbUrl":19965,"material":110,"size":19966,"collection":83,"collections":19967,"showCount":19706,"zanCount":1084,"manualWeight":46,"mainColor":140},218957,"xue-jing-lu-yan-tu-dou-chi-dao-ren-218957","雪景芦雁图","都痴道人","寒江雪岸，双雁栖于坡间。一雁昂首引颈，似望垂枝冰棱；一雁敛翅低首，若思冬日闲情。岸边枯草丛生，竹枝覆雪，柳丝悬冰，凝住凛冬气息。雁羽勾勒细腻，墨色浓淡相衬，绒羽质感毕现；雪地以淡墨晕染，留白见意，坡岸起伏自然。冰棱线条劲挺，柳枝疏朗，与双雁的生动形成呼应。画面虽寒，双雁相依却含暖意，于萧瑟中藏生机。笔墨兼具工致与写意，工笔绘雁之形神，写意写雪之空灵，意境清寂而不失温情，尽显冬日禽鸟之态与自然之趣。",[23,24,25,4152,7,481,123,993,6504,18967,19961,2417,19962,19963,1463,19964,12290],"冰棱","枯草","雪坡","温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d6f5402bf65e673703469de4723fd.jpg","135x74cm",[83],{"id":19969,"slug":19970,"title":19971,"dynasty":205,"author":19972,"museum":92,"description":19973,"tags":19974,"thumbUrl":19975,"material":98,"size":19976,"collection":42,"collections":19977,"showCount":19706,"zanCount":5,"manualWeight":46,"mainColor":47},218644,"yan-yu-tu-huang-qi-218644","烟雨图","黄齐","这幅画是一个小溪和山的场景，安静而遥远，全部来自写生。黄齐不知道是哪一代人或哪一个地方的人，但这幅画中的笔法几乎是元代的山水风格。",[23,24,25,7,36,28,33,211,34,30,10879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeda478f2951b201e64af557bf02a0f7.jpg","28.9x52cm",[42],{"id":19979,"slug":19980,"title":19981,"dynasty":18,"author":6070,"museum":378,"description":19982,"tags":19983,"thumbUrl":19984,"material":457,"size":19985,"collection":600,"collections":19986,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":140},218514,"yu-fu-tu-wu-wei-218514","渔夫图","该图描绘了一个渔夫在溪边的老柳树下捕捉一条新鲜的鱼。人物造型细致，渔夫捕鱼的喜悦之情刻画得淋漓尽致，山水、服饰用笔浑厚，面部和手脚用笔精细，是吴伟人物的典型特征。",[23,24,25,95,7,193,147,2875,180,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e15e29ad6e911cc0f9de6f8bd082ea.jpg","195.8x102",[600],{"id":19988,"slug":19989,"title":19990,"dynasty":174,"author":581,"museum":450,"description":19991,"tags":19992,"thumbUrl":19993,"material":98,"size":166,"collection":600,"collections":19994,"showCount":19706,"zanCount":1084,"manualWeight":46,"mainColor":47},218453,"di-wang-ming-chen-xiang-zhi-wang-xi-zhi-yi-ming-218453","帝王名臣像之王羲之","墨线勾勒的衣袂如行云流转，宽博的袍服衬出人物清雅风骨。长髯垂胸，目光沉静似藏砚池烟霞，巾帽下的面容温润儒雅，尽得书圣旷达之态。左侧题跋笔力苍劲，与肖像相映成趣，文墨间流淌着人物轶事，添了古朴意韵。墨色浓淡相宜，衣纹转折见笔锋，工笔与写意相融，将王羲之的文人灵韵凝于尺幅。整幅画气韵生动，笔墨含情，似能窥见这位书法大家挥毫时的风采，是传统人物肖像中颇具韵味的佳作。",[23,24,25,74,547,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad2ca69093f4ab3dd5c940ec366ecaa.jpg",[600],{"id":19996,"slug":19997,"title":19998,"dynasty":52,"author":11732,"museum":159,"description":19999,"tags":20000,"thumbUrl":20001,"material":98,"size":20002,"collection":42,"collections":20003,"showCount":19706,"zanCount":1084,"manualWeight":46,"mainColor":47},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,281,24,25,26,7,28,36,80,38,212,211,33,787,215,164,4569,532,1525,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[42],{"id":20005,"slug":20006,"title":20007,"dynasty":174,"author":20008,"museum":159,"description":20009,"tags":20010,"thumbUrl":20011,"material":40,"size":20012,"collection":42,"collections":20013,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,24,25,95,7,36,28,335,32,29,30,31,33,35,211,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[42],{"id":20015,"slug":20016,"title":20017,"dynasty":174,"author":20018,"museum":4566,"description":20019,"tags":20020,"thumbUrl":20021,"material":110,"size":20022,"collection":42,"collections":20023,"showCount":19706,"zanCount":46,"manualWeight":46,"mainColor":47},217924,"shan-jing-tu-liu-du-217924","山景图","刘度","刘度的山景图画风细腻，笔墨流畅，富有张力，写意洒脱。他善于描绘山川的峰峦、水流的曲折、云雾的缭绕，营造出一种幽静的气氛。刘度的山水画作品常以山水中的人物为主，人物造型优美，神态自然，与山水相互映衬，互相辉映，给人以感性的享受。\n\n刘度的山景图在清朝时期颇受欢迎，被誉为“山水画圣”。他的著名作品有《山城图》、《江南图》、《渔隐图》等。这些作品不仅展现了刘度独特的艺术风格，而且也揭示了他对中国传统文化的热爱和对自然界的敬畏。\n\n在刘度的山景图中，我们不仅能感受到他对山水的热爱和描绘的精细，还能感受到他对自然的尊敬和对传统文化的执着。这些作品不仅是一种艺术的瑰宝",[24,7,36,28,29,194,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ca116a0bcaa406e268e8884a1a2c78.jpg","32.1x36.2cm",[42],{"id":20025,"slug":20026,"title":20027,"dynasty":174,"author":20028,"museum"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—1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,281,24,25,26,547,7,481,193,15113,453,8403,15408,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],{"id":20627,"slug":20628,"title":20629,"dynasty":18,"author":18151,"museum":190,"description":20630,"tags":20631,"thumbUrl":20634,"material":298,"size":20635,"collection":83,"collections":20636,"showCount":20477,"zanCount":1084,"manualWeight":46,"mainColor":47},222178,"hong-xing-ye-fu-tu-zhou-lu-zhi-222178","红杏野凫图轴","此画杏花盛开、野尧戏游、水草挺秀，一派自然界安宁、雅静、自由、活泼的和谐景象。赏之让人生趣，令人神往。\n画面上的“天空”，几乎被杏树的枝条占满了，盛开的红色杏花伸展于水面的上空，可以用“花枝招展”来形容杏树的形态。花枝横跨画面，连画的右侧顶端也是杏树的枝干，画面的下部，是一只大野尧，优哉优哉地浮现于水面之上，仿佛被盛开的红杏所吸引，在偏首高望;画面的左下侧，河岸边的水草簇簇挺拔，卓然而立。生动和谐、愈趣高雅的画面体现出作者观察之细腻，绘画技艺之高超，令人赏心悦目。这幅花鸟写意画中的“亮”，即是野鸭。古代时这种水鸟，是甚有声望的。",[23,24,25,95,27,7,75,20632,20633,350,397,79,38],"红杏","野凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33b057f3aab56336cb3fa23d67505c5.jpg","43.1x119cm",[83,64],{"id":20638,"slug":20639,"title":20640,"dynasty":52,"author":20641,"museum":1346,"description":20642,"tags":20643,"thumbUrl":20644,"material":20645,"size":20646,"collection":166,"collections":20647,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":140},221856,"yu-tu-lai-an-221856","鱼图","赖庵","赖庵《藻鱼图轴》，在中国古代大量有关鱼的绘画中具有代表性，鱼在水藻间出游从容，身体扭曲自然，画家以此明志。\n元代画家常常赋予鱼以类似人的个性。此图中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[23,24,25,2175,547,481,7,1114,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6c0167aad2f00c768ac238d83f7767.jpg","绢本墨画","19.4×31.0",[],{"id":20649,"slug":20650,"title":1567,"dynasty":52,"author":1131,"museum":92,"description":12784,"tags":20651,"thumbUrl":20652,"material":7,"size":20653,"collection":42,"collections":20654,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":47},221789,"shan-shui-zhou-cao-zhi-bai-221789",[23,24,25,95,7,36,28,717,96,34,33,164,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 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52.2公分",[42,222],{"id":20656,"slug":20657,"title":19384,"dynasty":52,"author":20658,"museum":92,"description":20659,"tags":20660,"thumbUrl":20661,"material":98,"size":17973,"collection":83,"collections":20662,"showCount":20477,"zanCount":1084,"manualWeight":46,"mainColor":47},221764,"mo-mei-zhou-chen-li-shan-221764","陈立善","款题：“白玉蟾善画梅，梅枝戍削几类荆棘，著花甚繁，寒葩冻萼不知有世上人。玉蟾本姓葛名长庚，出游海上，号海琼子，又号缤庵、武夷散人、神霄散吏、紫清真人，殆乎仙者也。昔年曾见其小幅题诗亦清绝，今擬之颇多合处。予初号两峰子，又号花之寺僧、金牛山人、蓼洲渔父、鹿裘生、人日生人，可谓遥遥相契于千载上矣。此帧为云峰先生作回溯厥画梅之源自若家始也。己亥孟冬罗聘记”。钤“两峰”白文印。“己亥”为乾隆四十四年（1779年），罗聘时年47岁。\n图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[23,24,25,95,7,125,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd340bc3b59e9c79c1a466dbf8d908424.jpg",[83,222],{"id":20664,"slug":20665,"title":20666,"dynasty":205,"author":1682,"museum":1346,"description":20667,"tags":20668,"thumbUrl":20669,"material":2001,"size":20670,"collection":166,"collections":20671,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":140},221499,"yan-yuan-hou-tu-mu-xi-221499","岩猿猴图","日本古籍《松斋梅谱》中评价牧溪的绘画“皆随笔点墨而成，意思简当，不费装缀。”中国《画继补遗·卷上》载：“僧法常，自号牧溪。善作龙虎、人物、芦雁、杂画，枯淡山野，诚非雅玩，仅可僧房道舍，以助清幽耳。”其画笔墨淋漓，颇具禅意。遗迹多流日本。其《远浦归帆图》真迹藏于京都国立博物馆。其《松猿图》对日本禅画尤有影响。甚至被评为“日本画道的大恩人”。\n南宋画家牧溪是一个谜一样的人物，他擅长画山水、蔬果、和大写意破墨僧道人物，从这张《六柿图》中，我们可以体会到六个柿子随机的摆设，用在每个柿子上不同的笔墨、虚实、阴阳、粗细间的灵活运用，作品呈现出静物作品的“随处皆真”的境界。\n史籍关于牧溪的记载语焉不详。元代吴大素《松斋梅谱》有关于这位画家比较多的文字描述：“僧法常，蜀人，号牧溪。喜画龙虎、猿鹤、禽鸟、山水、树石、人物，不曾设色。多用蔗渣草结，又皆随笔点墨而成，意思简当，不费妆缀。松竹梅兰石具形似，荷芦写，俱有高致。”",[23,281,24,25,95,7,3557,5666,180,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5cdc6899d1872fe756bc08c0532dfd.jpg","37.3×28",[],{"id":20673,"slug":20674,"title":20675,"dynasty":18,"author":1836,"museum":159,"description":20676,"tags":20677,"thumbUrl":20678,"material":61,"size":166,"collection":245,"collections":20679,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":140},220895,"lin-mi-fei-fang-yuan-an-ji-quan-juan-dong-qi-chang-220895","临米芾方圆庵记全卷","《董其昌临米芾方圆庵记》，绢本，二十五开，每开六行，行五或六、七、八字。全文共计七百六十八字，首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。\n米芾《方圆庵记》书于北宋元丰六年（一○八三年），是专为当时天竺高僧辩才法师主持杭州龙井山方圆庵所作。由陶拯刊石，墨迹末传。刻石早毁，故宋拓鲜见。沈石田旧藏此记拓本，同过沈俨云：“米友仁称，‘其父书，四角转折有八面，笔笔皆翔劲’，又称，‘有云烟卷舒飞扬之态’。观此记信然矣！” 董其昌（一五五五——一六三六）卒年八十二。少早学李邕，又学米芾，二家盘旋最深，得李十之二三，米之五六。生平无所不临。七十岁时初师颜真卿，又学虞永兴。进而****晋唐诸家，继往开来。行楷之妙，跨绝一代。自云：“与赵文敏较，各有短长……当吾作意，赵书迹输一筹。”但对米芾，则云：“米元章书沉着痛快，直夺晋人之社。”又云：“米老行草书传于世间，与晋人几争道驰矣”！屡云“学书运笔得米元章髓”。 辩才法师方圆之道，亦正米、董书法方贺之悟，所以“过予爱之”。此书是董其昌临本，所以流转与自运无别，一经着其作意书得秀色，于是淋漓翰墨，随意所如，更自起自倒，自收自束，自成体势，笔不能自休，以之书“先”为“圣”，少“观”多“庵”，一气呵成，书之雅逸扑人，熠熠夺目，堪称董书中神品，与米氏宋拓孤本正相映媲美，令人陶然入胜。董书喜用淡墨，但类此着意书往往为浓墨。又历来书家恨不见真迹，现在影印与真迹极度近，是一大快事。此帖因是真迹，或更宝于宋拓孤本。 李宗翰云：“米芾书《方圆庵记》年才三十三岁，正专学晋人之时，运笔能控引王羊，其他诸帖每以奇气掩其古法。因些，世人称此帖为米书第一。”此帖结体用“圣教序”，且兼用大令，褚河南两家之法。董其昌的临写过程不仅再现了米芾风神骏爽的神韵，而且在此基础上发挥国自己个性的他造。",[23,37,26,254,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1602f2b3800c830ac35c9871d04782.jpg",[245],{"id":20681,"slug":20682,"title":20683,"dynasty":52,"author":239,"museum":20,"description":20684,"tags":20685,"thumbUrl":20687,"material":811,"size":20688,"collection":245,"collections":20689,"showCount":20477,"zanCount":5,"manualWeight":46,"mainColor":47},220857,"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","元代对书法的重视不亚于前代，书法得到一定的发展。探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。在应用价值上来说，算得是最伟大的。故能自后汉相传至今，历久而弥新。《元·赵孟頫法书选——行书灵隐大川济禅师塔铭》为基中一本。\n《灵隐大川济禅师塔铭》卷系赵孟頫于杭州任上所书。有专家考证，此作书于大德十一年，即公元1307年，时年书家54岁。此卷书写工致，融右军、北海笔意于一炉，丰润间蕴含劲拔，一字一珠，是赵中年后极为纯熟的代表作品。后有元人虞集、黄溍、郑元祐等跋，曾经王世贞、徐渭仁等收藏。",[23,38,37,858,20686,80,26,7,3557],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纵34.4厘米，横408.9厘米",[245,4372],{"id":20691,"slug":20692,"title":20693,"dynasty":359,"author":1872,"museum":1873,"description":20694,"tags":20695,"thumbUrl":20697,"material":166,"size":166,"collection":166,"collections":20698,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":47},220568,"li-jiang-chun-yu-xu-bei-hong-220568","漓江春雨","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。",[24,7,123,28,212,31,468,33,163,20696,729],"倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228f0942de448fbbc8e726550e5df463.jpg",[],{"id":20700,"slug":20701,"title":20702,"dynasty":359,"author":1872,"museum":1873,"description":20703,"tags":20704,"thumbUrl":20705,"material":166,"size":166,"collection":166,"collections":20706,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":47},220567,"e-nao-xu-bei-hong-220567","鹅闹","这幅写意小品以淋漓笔墨勾勒群鹅嬉闹之景，淡墨晕染白羽，蓬松柔软，红喙红掌施以浓艳朱色，醒目跳脱，与素洁绒羽形成强烈视觉对比。群鹅姿态各异，前者引吭展翅，步履昂然，后者振翅疾追，将乡野间喧闹鲜活的瞬间定格。背景墨叶以大写意晕染，朦胧错落衬出沙地的柔和明净，笔意纵放间不失精微，把鹅的憨直率性尽数铺展，鲜活灵动的生机跃然纸面，将乡野闲趣揉进笔墨之中，形神兼备，尽显写意花鸟的动人意趣。",[23,24,7,27,123,5490,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd47f325de146d3f35c08e8b1cbe754.jpg",[],{"id":20708,"slug":20709,"title":20710,"dynasty":359,"author":1872,"museum":1873,"description":20711,"tags":20712,"thumbUrl":20713,"material":166,"size":166,"collection":166,"collections":20714,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":47},220546,"xi-ma-la-ya-shan-zhi-yi-xu-bei-hong-220546","喜马拉雅山之一","以泼墨晕染翻涌的云海林雾，苍茫混沌间烘托出主峰的高绝伟岸。下半重墨铺就深幽林海云烟，裹挟着湿润朦胧的山野之气，而上半处以留白糅合淡粉提亮雪峰，将积雪覆峰的冷冽圣洁具象化。\n突破传统山水程式，融西画光影写实于水墨写意中，把雪域高原雄浑辽远的气魄尽显笔下，既有东方水墨的氤氲空灵，又兼具写实的巍峨质感，让观者恍若立于云海之上，仰望这方冷峻壮美的神山胜景，尽展创作者开阔的襟怀与独特的山水表达。",[24,7,27,348,28,4347,211,212,12556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec56556922f3bab21e0c7a8fd702ad1e.jpg",[],{"id":20716,"slug":20717,"title":20718,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":20719,"thumbUrl":20720,"material":298,"size":19575,"collection":166,"collections":20721,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":47},220328,"huang-shan-tu-ce-3-hong-ren-220328","黄山图册-3",[23,24,25,7,36,74,28,57,194,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc1eb815cf62e85ff746ecaa76da231.jpg",[],{"id":20723,"slug":20724,"title":20725,"dynasty":205,"author":581,"museum":92,"description":20726,"tags":20727,"thumbUrl":20728,"material":110,"size":20729,"collection":42,"collections":20730,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":140},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[23,24,25,281,95,7,36,28,831,624,29,453,34,33,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[42],{"id":20732,"slug":20733,"title":20734,"dynasty":52,"author":8400,"museum":378,"description":20735,"tags":20736,"thumbUrl":20737,"material":110,"size":20738,"collection":600,"collections":20739,"showCount":20477,"zanCount":46,"manualWeight":46,"mainColor":140},219567,"xian-ren-tu-yan-hui-219567","仙人图","苍古松壑间，三位仙者围坐清谈。左侧童子恭谨侍立，执器物垂首静听；居中仙者虬眉圆睁，神态矍铄灵动；右侧长髯仙人安坐抚膝，意态萧散出尘。\n\n画家以粗简苍劲的笔触勾勒山石古松，暗沉色调晕染出幽寂山野氛围，人物衣纹顿挫凝练，兼具写意笔趣与写实精微，将仙人各异的神采刻画入微，整体冷逸清旷，尽显出世高玄的仙道意境。",[23,24,25,95,7,27,193,28,3557,481,36,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1392a21c9e50699689313e4c79cf7f.jpg","纵144.8横82.2厘米",[600],{"id":20741,"slug":20742,"title":20743,"dynasty":205,"author":581,"museum":265,"description":20744,"tags":20745,"thumbUrl":20746,"material":98,"size":166,"collection":83,"collections":20747,"showCount":20477,"zan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流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,281,95,7,75,395,398,1071,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f778bdc9fa45f731411e9760150e9cd.jpg","97.4x31.1",[],{"id":20813,"slug":20814,"title":9963,"dynasty":205,"author":4437,"museum":92,"description":9964,"tags":20815,"thumbUrl":20816,"material":314,"size":9967,"collection":166,"collections":20817,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":140},290283,"xi-shan-lou-guan-tu-yan-wen-gui-290283",[24,281,494,95,36,34,1776,194,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b73be18e2ebf50025d87fd42a56693.jpg",[],{"id":20819,"slug":20820,"title":20821,"dynasty":18,"author":581,"museum":450,"description":20822,"tags":20823,"thumbUrl":20825,"material":314,"size":1061,"collection":166,"collections":20826,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},287957,"fang-zhao-meng-fu-shi-liu-luo-han-tu-yi-ming-287957","仿赵孟頫十六罗汉图","此作用笔清逸秀雅，罗汉形象线条匀净灵动，将世外高人沉静安然的神态刻画入微，衣褶流转间兼具温润质感与古朴意趣。搭配的书法题识笔意萧散，与图像相映成趣，墨色浓淡相宜。古雅的暗纹衬底更添沉静书卷气，整体气韵呼应元人笔墨的温婉雅致，尽现禅意悠远的意境，复刻出原作的文人画风骨。将释道题材的静穆和书法的文雅融为一体，尽显古拙澹泊的古典美学韵味，是一件兼具临摹意趣与审美价值的长卷。",[23,24,26,3557,193,20824,11616,7,37,254],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778036322ea0f4d59bd5410859e7de73.jpg",[],{"id":20828,"slug":20829,"title":20830,"dynasty":18,"author":2851,"museum":450,"description":20831,"tags":20832,"thumbUrl":20833,"material":298,"size":166,"collection":245,"collections":20834,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},241555,"tang-yin-shi-juan-tang-yin-241555","唐寅诗卷","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 [1] 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。 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迎春的生机悄然铺展，清隽雅致，饶有闲情。",[23,24,95,27,7,75,125,126,180,77,80,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":20993,"slug":20994,"title":20995,"dynasty":174,"author":581,"museum":450,"description":20996,"tags":20997,"thumbUrl":20998,"material":612,"size":20999,"collection":166,"collections":21000,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":140},223551,"hai-tang-bai-tou-tu-yi-ming-223551","海棠白头图","绘蓝色湖石一块，形状凹凸有致；两枝海棠上下各一枝，枝上花朵或绽放，或含苞待放，红色的花朵鲜艳美丽，枝上两只白头翁相向而望，上面的扭头看着下面的那只，而下面也抬头呼应着上面鸟儿，二只鸟儿相亲相爱，活泼可爱。",[23,24,27,75,6482,61,1071,3931,180,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d21e5bf0b445cf9d0b9e44de9e88be.jpg","35.9x50.6cm",[],{"id":21002,"slug":21003,"title":21004,"dynasty":174,"author":21005,"museum":92,"description":21006,"tags":21007,"thumbUrl":21008,"material":3463,"size":21009,"collection":42,"collections":21010,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,24,25,28,74,7,36,335,127,32,706,162,210,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","34.7x29厘米",[42,222],{"id":21012,"slug":21013,"title":21014,"dynasty":18,"author":21015,"museum":770,"description":21016,"tags":21017,"thumbUrl":21018,"material":298,"size":21019,"collection":42,"collections":21020,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,24,25,26,7,28,36,33,34,30,211,80,9254,6001,2477,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[42,222],{"id":21022,"slug":21023,"title":21024,"dynasty":18,"author":20396,"museum":92,"description":21025,"tags":21026,"thumbUrl":21027,"material":196,"size":21028,"collection":42,"collections":21029,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":140},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,95,7,27,28,210,30,33,34,211,36,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[42,64],{"id":21031,"slug":21032,"title":21033,"dynasty":18,"author":19,"museum":692,"description":21034,"tags":21035,"thumbUrl":21036,"material":811,"size":21037,"collection":166,"collections":21038,"showCount":20802,"zanCount":5,"manualWeight":46,"mainColor":47},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,24,25,26,27,7,38,37,36,28,33,34,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":21040,"slug":21041,"title":3812,"dynasty":52,"author":21042,"museum":120,"description":21043,"tags":21044,"thumbUrl":21045,"material":21046,"size":21047,"collection":222,"collections":21048,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":140},221870,"zhu-shi-tu-zhou-xie-ting-zhi-221870","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[23,24,7,95,126,706,180,2875,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0acf41e6dc1be49409c9c5df041b0e.jpg","绢本墨笔.","173.2cmx105.1cm",[222,919],{"id":21050,"slug":21051,"title":21052,"dynasty":52,"author":4714,"museum":92,"description":21053,"tags":21054,"thumbUrl":21056,"material":284,"size":21057,"collection":42,"collections":21058,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":140},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[23,24,25,95,481,27,7,21055,1004,942,480,1071,282],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg","149.7x62.7公分、全幅 90公分",[42,222],{"id":21060,"slug":21061,"title":21062,"dynasty":52,"author":4476,"museum":92,"description":21063,"tags":21064,"thumbUrl":21065,"material":98,"size":17396,"collection":222,"collections":21066,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},221831,"wan-xiang-gao-jie-zhou-ke-jiu-si-221831","晚香高节轴","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 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亦工诗、朽，著有《瓯香馆集》、《南田诗抄》。传世作品有《落花游鱼图》轴、《锦石秋花图》轴等。",[23,24,95,7,28,36,34,3102,1776,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[42,222],{"id":21177,"slug":21178,"title":21179,"dynasty":174,"author":21180,"museum":378,"description":21181,"tags":21182,"thumbUrl":21183,"material":40,"size":21184,"collection":42,"collections":21185,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},220078,"feng-dong-tu-ye-xin-220078","风洞图","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。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[23,24,494,7,36,34,33,193,3177,1524,37,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[42],{"id":21187,"slug":21188,"title":21189,"dynasty":174,"author":11397,"museum":190,"description":21190,"tags":21191,"thumbUrl":21192,"material":298,"size":21193,"collection":42,"collections":21194,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},219991,"shan-jing-po-zhou-tu-dai-ben-xiao-219991","山径泊舟图","戴本孝（1621年－1691年），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代新安派画家之一。",[23,24,7,36,95,28,180,624,194,31,17095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e7c0febcd0f56ffa4fd38b837a6abc.jpg","132cm×60cm",[42],{"id":21196,"slug":21197,"title":21198,"dynasty":18,"author":11038,"museum":3640,"description":21199,"tags":21200,"thumbUrl":21201,"material":98,"size":21202,"collection":42,"collections":21203,"showCount":20802,"zanCount":1084,"manualWeight":46,"mainColor":461},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松画派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[24,7,36,95,28,831,335,162,717,29,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[42],{"id":21205,"slug":21206,"title":21207,"dynasty":205,"author":3062,"museum":21208,"description":21209,"tags":21210,"thumbUrl":21212,"material":110,"size":21213,"collection":83,"collections":21214,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":140},219075,"han-tang-tu-liang-kai-219075","寒塘图","哈佛艺术博物馆","寒塘漾着薄暮的影，枯树的枝桠如写尽沧桑的笔锋，斜斜划过空濛的背景。几只水鸟依偎在岸石边，绒羽的留白透着怯怯的暖，与周遭的冷寂形成温柔对照。淡墨晕开的水面，似有若无的波纹，把清寒气息漫向画外。\n\n减笔不简意，枯槁里藏生机，空疏中含情味——萧瑟里是生命在冷意中的坚守，空濛间是天地幽远的淡然。寥寥数笔，将冬日寒塘的清寂与微芒揉合，每一处墨色浓淡、线条曲直，都藏着对自然的深刻观照：冷到极致时，反而见得生命本真的模样。这方圆镜里，是画，更是心与天地的对话。",[24,7,4489,28,610,147,282,180,21211],"寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3589e99e2899dbb7d805d459868c98e0.jpg","24.6x25.7cm",[83],{"id":21216,"slug":21217,"title":21218,"dynasty":174,"author":21219,"museum":92,"description":21220,"tags":21221,"thumbUrl":21222,"material":110,"size":21223,"collection":83,"collections":21224,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},218876,"hua-niao-tu-yu-sheng-218876","花鸟图","俞笙","绘制八哥相搏，情态甚为生动。画柳、芙蓉、草虫，笔意潇洒简当。",[24,27,481,7,75,282,129,1035,79,18707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027ca06eef5220d7c34a3b53d8eedd35.jpg","132.5x49cm",[83],{"id":21226,"slug":21227,"title":21228,"dynasty":205,"author":581,"museum":92,"description":21229,"tags":21230,"thumbUrl":21231,"material":110,"size":21232,"collection":220,"collections":21233,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},218844,"zong-yin-xi-jing-tu-yi-ming-218844","棕荫习静图","这幅画描绘了一个高丘在棕榈树荫下的石凳上睡觉，旁边有蝴蝶在飞舞。这幅画中的人物是用减笔描写的，棕榈树和石凳也是用笔描写的，石夔和梁楷应该是学过的，但笔画太逼真，太露骨。这幅画的标题可以是：庄周梦蝶。",[23,24,7,74,193,33,126,123,5781],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98ad217fdf5f3633a9235875c1c6e2cb.jpg","21x21.1",[220],{"id":21235,"slug":21236,"title":21237,"dynasty":205,"author":2688,"museum":92,"description":21238,"tags":21239,"thumbUrl":21240,"material":98,"size":166,"collection":222,"collections":21241,"showCount":20802,"zanCount":1084,"manualWeight":46,"mainColor":47},218685,"gu-mu-liu-quan-tu-ma-he-zhi-218685","古木流泉图","画面构景极简，古木枝干如老龙盘空，墨色浓淡晕染出苍劲生机。流泉隐于林麓，清越似穿疏枝而来。右侧空濛处轻羽掠过，留白铺展天地空阔，暗合宋画“虚处藏神”之妙。用笔兼工带写，线条含篆籀圆劲与行书灵动，皴擦间古木肌理毕现。留白与实景相衬，营造清寂悠远的林下之趣。简淡中见深致，尽显宋画文人意趣，观者仿佛闻泉声穿林，听鸟啼落梢，沉浸于那份与世隔绝的静谧禅意里。",[23,24,25,7,74,30,610,147,180,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceaf0fdf52528f3e4d2f5c2edbd8b9b.jpg",[222],{"id":21243,"slug":21244,"title":21245,"dynasty":205,"author":581,"museum":843,"description":21246,"tags":21247,"thumbUrl":21248,"material":98,"size":21249,"collection":600,"collections":21250,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":140},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[23,24,25,26,547,7,3557,193,3914,5666,2388,453,127,126,162,706,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[600],{"id":21252,"slug":21253,"title":21254,"dynasty":205,"author":581,"museum":7059,"description":21255,"tags":21256,"thumbUrl":21257,"material":110,"size":21258,"collection":600,"collections":21259,"showCount":20802,"zanCount":1084,"manualWeight":46,"mainColor":140},218461,"gao-shi-guan-shui-tu-yi-ming-218461","高士观水图","凭栏者凝眸向水，衣袂轻垂似与波痕共息。亭榭半掩于疏枝间，木构纹理隐现岁月静穆。秃枝如笔，蘸着空濛天色，在绢上勾勒清寂骨线；水面无波，却载千般思绪，与观者目光遥遥相契。通篇不着艳色，墨线浓淡交错，留白虚实相生，铺展文人心中丘壑——非喧嚣山水，是心与自然对语的片刻安宁。笔意简淡却藏深致，枯枝的疏朗、亭台的稳静、高士的凝思，织就一幅含蓄的精神图景，让千载后的目光，仍能触到那份清寂中的悠远。",[23,24,7,547,518,2446,193,194,30,717,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea1f9bda4c7207655fc3e8783405b61.jpg","21.6x24.6cm",[600],{"id":21261,"slug":21262,"title":21263,"dynasty":52,"author":581,"museum":4230,"description":21264,"tags":21265,"thumbUrl":21266,"material":98,"size":166,"collection":600,"collections":21267,"showCount":20802,"zanCount":1084,"manualWeight":46,"mainColor":47},218438,"dui-yue-tu-yi-ming-218438","对月图","素绢上的身影敛衣而坐，指尖似拈着月光的碎片。眉目低垂间，似与清辉私语，又或沉湎于案上书卷的墨香？身旁石案上的茶盏尚温，远山隐在淡墨晕染里，留白处尽是夜的空濛。线条如行云流水，不着浓彩，却将月夜的幽寂与内心的澄澈晕染开来。风过林梢的轻响，月色落地的微声，仿佛都藏在简淡笔触里，引观者一同沉入静谧时光，与画中人共享此刻清宁。那简素的勾勒中，藏着对自然与心境的叩问，让每一寸留白都成了思绪的延伸。",[24,25,281,95,547,7,193,940,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd60483ffc03c351b0cd0fcc7ebfb4c4.jpg",[600],{"id":21269,"slug":21270,"title":4832,"dynasty":52,"author":11732,"museum":3640,"description":21271,"tags":21272,"thumbUrl":21273,"material":40,"size":21274,"collection":42,"collections":21275,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},217890,"yun-shan-tu-fang-cong-yi-217890","这幅图画描绘了云山之间的壮丽景色。方从义精细地捕捉了云山间的层次感，并使用清晰的线条勾勒出了山体的轮廓。同时，他还运用了多种不同的颜色来表现云山的美丽，让图画整体看起来十分生动。\n\n除了描绘自然景色，云山图中还有许多人物和动物的身影。这些人物和动物与山体相互呼应，使图画看起来更加真实。\n\n总的来说，云山图是一幅令人惊叹的艺术杰作，值得一看。",[24,25,1462,7,36,28,454,335,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027831a0ebcaf82168a5a483608c7ea1.jpg","22.9x25.1cm",[42],{"id":21277,"slug":21278,"title":21279,"dynasty":52,"author":726,"museum":92,"description":1362,"tags":21280,"thumbUrl":21281,"material":98,"size":166,"collection":166,"collections":21282,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},216383,"mo-zhu-pu-ce-6-wu-zhen-216383","墨竹谱册-6",[24,25,74,7,38,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe89212c009f37154e122f2c251742aa.jpg",[],{"id":21284,"slug":21285,"title":21286,"dynasty":52,"author":726,"museum":92,"description":1362,"tags":21287,"thumbUrl":21288,"material":98,"size":166,"collection":166,"collections":21289,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":47},216378,"mo-zhu-pu-ce-11-wu-zhen-216378","墨竹谱册-11",[24,25,74,7,126,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F837739d68f888888bc6b721b559d57e1.jpg",[],{"id":21291,"slug":21292,"title":21293,"dynasty":18,"author":2872,"museum":20,"description":2873,"tags":21294,"thumbUrl":21295,"material":40,"size":2877,"collection":166,"collections":21296,"showCount":20802,"zanCount":1084,"manualWeight":46,"mainColor":47},214672,"san-jue-tu-3-yao-shou-214672","三绝图-3",[24,25,27,7,36,28,31,193,147,624,1004,164,282,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67ad5f71e8a0537085abdb8c153b4b0f.jpg",[],{"id":21298,"slug":21299,"title":21300,"dynasty":205,"author":581,"museum":20,"description":21301,"tags":21302,"thumbUrl":21303,"material":166,"size":166,"collection":220,"collections":21304,"showCount":20802,"zanCount":46,"manualWeight":46,"mainColor":21305},201746,"xi-shan-tu-juan-yi-ming-201746","溪山图卷","画面峰峦层叠，皴染结合的山石质感浑厚，如剑戟般刺破云雾。轻烟似纱缠绕峰谷，虚实相生间拓展空间纵深。山间林木葱茏，墨色浓淡交错尽显苍劲生机；溪畔屋舍隐现，与流水、舟楫相映，添了几分人间烟火气。远处水天相接，朦胧远山若隐若现，整体意境悠远静谧，尽显宋代山水画的雅致与深邃。",[24,28,26,7,36,211,34,1776,215,148,7105,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e50403cbfddbda8fae18d4254da81a2.jpg",[220],"82786f",{"id":21307,"slug":21308,"title":9395,"dynasty":18,"author":19,"museum":450,"description":3683,"tags":21309,"thumbUrl":21310,"material":314,"size":1061,"collection":166,"collections":21311,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883",[24,25,74,28,7,36,254,34,210,194,29,30,311,32,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],40,{"id":21314,"slug":21315,"title":13631,"dynasty":174,"author":10707,"museum":450,"description":21316,"tags":21317,"thumbUrl":21318,"material":314,"size":1061,"collection":166,"collections":21319,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},290000,"zhu-shi-tu-li-zhou-li-fang-ying-290000","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,281,24,25,95,7,126,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],{"id":21321,"slug":21322,"title":21323,"dynasty":205,"author":607,"museum":450,"description":5294,"tags":21324,"thumbUrl":21326,"material":314,"size":1061,"collection":166,"collections":21327,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},289344,"gu-song-lou-ge-tu-ma-yuan-289344","古松楼阁图",[1462,24,25,518,7,36,5646,194,28,21325],"萧疏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecdcd1b7f2e5df3f39c8f2645afbde3.jpg",[],{"id":21329,"slug":21330,"title":21331,"dynasty":889,"author":1089,"museum":450,"description":10661,"tags":21332,"thumbUrl":21334,"material":314,"size":1061,"collection":166,"collections":21335,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},288362,"yu-le-tu-juan-jing-hao-288362","渔乐图卷",[23,281,24,26,7,28,729,29,30,34,33,2316,21333],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0672ea030382358d7cd79b172143a3.jpg",[],{"id":21337,"slug":21338,"title":21339,"dynasty":18,"author":581,"museum":450,"description":21340,"tags":21341,"thumbUrl":21342,"material":314,"size":1061,"collection":166,"collections":21343,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},288159,"ku-teng-lao-shu-tu-li-zhou-yi-ming-288159","枯藤老树图立轴","此作用笔苍劲老辣，以枯墨皴擦出古松嶙峋老干，虬曲枝桠如铁戟森然，松针攒簇细密，尽显饱经风霜的古拙意气。冷月高悬，淡墨晕染出空濛清辉，将夜色的荒寒铺陈开来。坡石旁丛竹挺秀疏朗，瘦劲枝叶与苍松相映，刚柔互济。全画以水墨写就，浓淡相宜，淡墨晕染出空寂夜色，浓墨勾勒筋骨，萧疏静谧间，尽显林下幽居的孤高意趣，暗合寄情林泉、不与俗伍的文人心境。",[23,24,95,7,610,147,126,180,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07026ed6aab10adbe73f7f746e3383.jpg",[],{"id":21345,"slug":21346,"title":8578,"dynasty":174,"author":1100,"museum":450,"description":16248,"tags":21347,"thumbUrl":21348,"material":166,"size":166,"collection":83,"collections":21349,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},239219,"mei-zhu-tu-zhou-wu-chang-shuo-239219",[24,25,95,7,27,75,125,126,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[83],{"id":21351,"slug":21352,"title":21353,"dynasty":174,"author":11415,"museum":450,"description":21354,"tags":21355,"thumbUrl":21356,"material":166,"size":166,"collection":42,"collections":21357,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},239026,"gao-jian-hu-xiang-qiu-lu-tu-zhou-gao-jian-239026","高简湖乡秋露图轴","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》",[24,25,95,7,36,28,335,350,32,31,29,147,480,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57d860f9cf257f2f01248ac8831f242.jpg",[42,64],{"id":21359,"slug":21360,"title":21361,"dynasty":174,"author":749,"museum":450,"description":21362,"tags":21363,"thumbUrl":21365,"material":298,"size":166,"collection":42,"collections":21366,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},238970,"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[24,25,95,7,36,254,28,33,213,215,164,6133,21364,17572],"中景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[42,222],{"id":21368,"slug":21369,"title":21370,"dynasty":174,"author":21371,"museum":120,"description":21372,"tags":21373,"thumbUrl":21374,"material":196,"size":21375,"collection":600,"collections":21376,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},238295,"shi-liu-luo-han-ce-jia-quan-238295","十六罗汉册","贾全","贾全，生卒年不详，乾隆时供奉内廷。工画人物及马。此册画不同形象的罗汉十六尊。佛像采用中国传统人物画技法，勾线填色。人物神态平和，面部晕染有致，衣纹流畅，背景简率。",[24,25,74,27,481,7,3557,193,453,28,30,180,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d73bf3f1eb13ad969126a5b8ecc69d.jpg","纵31.5厘米横25厘米",[600,64],{"id":21378,"slug":21379,"title":21380,"dynasty":18,"author":11038,"museum":450,"description":21381,"tags":21382,"thumbUrl":21383,"material":314,"size":1061,"collection":166,"collections":21384,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},237927,"qiu-chuang-du-shu-tu-zhou-song-xu-237927","秋窗读书图轴","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[24,95,7,27,28,624,324,193,34,519,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaebd32b4026d7b73f0eaa9c2c5d7b62.jpg",[],{"id":21386,"slug":21387,"title":21388,"dynasty":174,"author":9682,"museum":450,"description":21389,"tags":21390,"thumbUrl":21391,"material":166,"size":166,"collection":42,"collections":21392,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},237240,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237240","古木竹石图册","此作用笔松秀空灵，以枯淡墨色绘就溪畔垂柳，柔条袅袅垂落，尽显清灵舒展之态。远山以淡墨晕染，虚实交融，朦胧悠远，溪岸点缀丛竹顽石，意到即止。\n画面留白疏阔，以空衬实，尽显逸笔草草的文人意趣，笔简意足，以极简笔墨勾勒江南水畔的清寂春景。整幅画风淡穆萧散，将闲散淡远的林下之风融于毫端，观之如临幽寂水滨，心神随之沉静，尽显文人画简雅空疏的幽远意境。",[24,7,74,36,28,147,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3c69b0bbe9a5fb1f7734c4a3221339.jpg",[42,222],{"id":21394,"slug":21395,"title":21396,"dynasty":18,"author":18116,"museum":120,"description":21397,"tags":21398,"thumbUrl":21399,"material":298,"size":166,"collection":83,"collections":21400,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},236980,"mo-zhu-tu-zhou-wang-duo-236980","墨竹图轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n明朝万历二十年（1592年），生于河南孟津县。天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[24,7,95,126,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51936768834ede011f6ae5fbcc3fc68b.jpg",[83,222],{"id":21402,"slug":21403,"title":21404,"dynasty":174,"author":633,"museum":120,"description":17481,"tags":21405,"thumbUrl":21406,"material":166,"size":166,"collection":83,"collections":21407,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},236932,"shu-shi-zhou-ren-yi-236932","树石轴",[24,25,95,27,36,7,28,162,706,1841],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247e360fb7e59b111c8c0d5ee3fec789.jpg",[83,222],{"id":21409,"slug":21410,"title":21411,"dynasty":174,"author":581,"museum":120,"description":21412,"tags":21413,"thumbUrl":21414,"material":166,"size":166,"collection":42,"collections":21415,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":47},236182,"hong-wu-shan-shui-shan-mian-yi-ming-236182","弘旿山水扇面","此作用笔松秀温润，以淡墨皴擦写尽山林意趣。取景幽寂，草堂临水依林而建，柴扉半虚掩，暗合幽居避俗之思。坡岸错杂，古木虬曲苍劲，细笔点染枝叶，疏密间尽显山野萧森之态。曲水蜿蜒绕于石滩，右侧崖壁悬泉轻落，为静谧山居添了几分灵动生机。\n\n整幅浅施淡彩，干笔勾勒山石肌理，湿墨晕染林木华滋，将文人林泉高致凝于尺幅。无市井喧嚣，只余丘壑闲澹之美，淡远清和，引人沉湎于这份江南山居的悠然雅意之中。",[24,25,1462,28,36,7,29,30,33,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e5ed61aa16afbae7a5f0315de3a66.jpg",[42],{"id":21417,"slug":21418,"title":21419,"dynasty":174,"author":1100,"museum":450,"description":21420,"tags":21421,"thumbUrl":21422,"material":166,"size":166,"collection":166,"collections":21423,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":47},235224,"he-liao-tu-zhou-wu-chang-shuo-235224","荷蓼图轴","此作用笔纵老苍劲，以篆籀笔法入画。泼墨写荷叶，浓淡干湿间尽显氤氲苍润，大写意的笔力带着厚重朴拙的金石气。荷花勾勒简雅，莲蓬、蓼花点染鲜活，赭色顽石拙朴雄浑，与水墨荷色相映成趣。\n画面纵轴布陈，荷蓼错落排布，将汀洲秋日清寂疏凉的秋意铺展纸面。题款行书跌宕老辣，与画面笔墨意趣浑然相融，以恣意纵横的笔墨，把萧索秋景化作饱满的文人意趣，藏着沉静又蓬勃的生机，尽显写意花鸟的极致韵味。",[24,95,7,27,75,123,128,395,15773],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd680434786fc52bb6d3830e98572c7cc.jpg",[],{"id":21425,"slug":21426,"title":17786,"dynasty":174,"author":2605,"museum":120,"description":7218,"tags":21427,"thumbUrl":21428,"material":564,"size":7221,"collection":166,"collections":21429,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},234952,"fang-ni-shan-shui-tu-hong-ren-234952",[24,7,28,95,36,32,717,180,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76b1e0fbf86ad46a2347ec4246aa9e3.jpg",[],{"id":21431,"slug":21432,"title":21433,"dynasty":18,"author":21434,"museum":120,"description":21435,"tags":21436,"thumbUrl":21437,"material":964,"size":21438,"collection":166,"collections":21439,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},234851,"lan-zhu-shui-xian-tu-ma-shou-zhen-234851","兰竹水仙图","马守真","作者以娴熟的笔墨勾画出清风吹拂下兰、竹摇曳的形貌。兰、竹是妓女画家们最热衷描绘的题材。其因：第一，兰、竹与松、梅被历代文人赞美为画中的“四君子”，通过表现有君子风范的兰、竹 可以标示出画家自身的高洁情怀；第二，兰的清幽、竹的虚静均能映衬出妓女们的某种特殊心态；第三，也是最为关键的一点，即绘画为文人雅士与青楼女子交流的一项文化内容，兰、竹形象简单，创作时所需的时间较短，纵情涂抹三二枝便可形完气足，以助一时之兴。因此，在明代涌现出众多以擅绘兰、竹闻名的妓女画家，马守真是其中的佼佼者。马守真以画兰之精、之专而扬名江南，因此自号“湘兰”。\n马守真在兰、竹创作上不重视对兰、竹外在形态的细致刻画，而重在写出兰、竹的内涵精神，聊以抒发心中之逸气。因此，她从用笔、施墨到构图都极其随意，但内藏机巧，不失韵味。她笔下的具飘逸野趣的兰、竹不同于文俶等闺秀画家精工细描的庭院中的闲花静草，而与男性文人画家、尤其是“吴门画派”中文徵明等人的花卉艺术有更多相近之处，反映了妓女对男性文人画家的迎合及师承关系。",[24,25,7,123,133,126,132,180,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa023505e604a1f2ec2adedadc3d6df7b.jpg","纵83.5厘米，横47.2厘米",[],{"id":21441,"slug":21442,"title":21443,"dynasty":18,"author":1788,"museum":120,"description":21444,"tags":21445,"thumbUrl":21446,"material":5460,"size":21447,"collection":166,"collections":21448,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[23,24,25,26,7,38,254,80,133,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纵28厘米,横62.5厘米",[],{"id":21450,"slug":21451,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":21452,"thumbUrl":21453,"material":298,"size":2515,"collection":166,"collections":21454,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},234095,"wu-zhong-shan-shui-ce-shen-zhou-234095",[24,25,74,7,28,31,1035,282,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b73c5295ebb98f54c55fa1cd601045b.jpg",[],{"id":21456,"slug":21457,"title":2764,"dynasty":18,"author":119,"museum":120,"description":2765,"tags":21458,"thumbUrl":21459,"material":1877,"size":2769,"collection":166,"collections":21460,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},233476,"ren-wu-hua-hui-ce-xu-wei-233476",[24,7,74,123,193,468,397,164,163,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1538271c2dfd88f0c7cb1a73760be4.jpg",[],{"id":21462,"slug":21463,"title":157,"dynasty":52,"author":1131,"museum":120,"description":21464,"tags":21465,"thumbUrl":21466,"material":564,"size":21467,"collection":42,"collections":21468,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},233170,"shan-shui-ce-cao-zhi-bai-233170","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,25,74,7,36,28,335,350,162,32,29,624,34,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[42,245],{"id":21470,"slug":21471,"title":5115,"dynasty":52,"author":11732,"museum":450,"description":21472,"tags":21473,"thumbUrl":21474,"material":166,"size":166,"collection":166,"collections":21475,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},228270,"feng-yu-gui-zhou-tu-fang-cong-yi-228270","以水墨晕染铺就漫天雨雾，峰峦在烟岚中若隐若现，焦墨勾勒的山石苍劲朴拙，与朦胧水汽形成虚实对照。孤舟扬帆穿雨而归，渺小的舟楫在浩渺烟雨中衬出江湖寥廓，暗合归人冒雨赶路的匆匆意绪。\n近景以淡墨点染丛木，斜逸的松树带着风雨飘摇之姿，呼应着满幅湿冷雨意。整幅画作以留白晕染营造空濛苍茫氛围，将山野骤雨之景绘得灵动写意，把江南雨中山水的空寂清冷与旅人归思相融，尽显元代文人山水空灵简远的意趣。",[23,24,7,28,36,31,162,211,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18e3d81d317532706d52b707a3c30e9.jpg",[],{"id":21477,"slug":21478,"title":21479,"dynasty":205,"author":278,"museum":450,"description":21480,"tags":21481,"thumbUrl":21482,"material":166,"size":166,"collection":166,"collections":21483,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},227727,"song-xi-fan-yue-tu-ye-xia-gui-227727","松溪泛月图页","《松溪泛月图》页，南宋，夏圭，绢本设色，24.7×25.2cm，北京故宫博物院藏。\n\n夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。",[23,281,24,25,74,7,36,28,127,940,31,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8343726fb542a41407b3b3bf085bb.jpg",[],{"id":21485,"slug":21486,"title":21487,"dynasty":205,"author":21488,"museum":450,"description":21489,"tags":21490,"thumbUrl":21491,"material":166,"size":166,"collection":166,"collections":21492,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":140},227335,"song-li-tu-song-tian-227335","松栗图","松田","这幅小品以淡墨铺就底色，枯笔皴写松枝，苍拙老辣，自带山野清寂意趣。松鼠以浓墨破淡，晕染出蓬松柔润的绒毛，俯身探看，眼目灵动机警，将小兽憨然灵动的神态全然托出。松针攒簇、松果朴拙，简笔勾勒便生野趣。\n\n大片留白不着一笔，尽得山林空寂之味，将山野间一瞬的灵动定格，以小景见天地，尽显简淡中藏着的盎然生机，把文人画疏淡清雅的审美意韵融在尺幅之间。",[3335,24,25,281,7,75,127,3325,2348,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4546d1410a71aa3f9bc40f0b4509ba54.jpg",[],{"id":21494,"slug":21495,"title":21496,"dynasty":174,"author":377,"museum":450,"description":21497,"tags":21498,"thumbUrl":21499,"material":166,"size":166,"collection":222,"collections":21500,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[23,24,25,26,7,36,38,37,28,57,213,33,164,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[222],{"id":2150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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,25,95,7,27,37,2369,3443,1841,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纵124.6厘米，横59.8厘米",[83,64],{"id":21527,"slug":21528,"title":21529,"dynasty":18,"author":18116,"museum":21530,"description":21531,"tags":21532,"thumbUrl":21533,"material":17335,"size":21534,"collection":245,"collections":21535,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},222538,"wu-yan-lv-shi-si-shou-juan-wang-duo-222538","五言律诗四首卷","无锡市博物馆","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[23,37,394,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bfad7f5c9832225ba8082013f88182.jpg","纵31cm，横238cm",[245],{"id":21537,"slug":21538,"title":21539,"dynasty":18,"author":1788,"museum":120,"description":21540,"tags":21541,"thumbUrl":21542,"material":964,"size":21543,"collection":42,"collections":21544,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[23,24,29,30,28,335,350,162,1792,7,123,95,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[42,222],{"id":21546,"slug":21547,"title":21548,"dynasty":52,"author":9806,"museum":120,"description":21549,"tags":21550,"thumbUrl":21551,"material":1221,"size":21552,"collection":42,"collections":21553,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":140},221819,"feng-le-lou-tu-xia-yong-221819","丰乐楼图","作者采用对角构图法，用水墨界画殿阁山水，线条纤如毫发，背景远山平缓润泽，开阔的水面与依依杨柳恰到好处地交待出建筑处于江南的环境。展观其作品，方寸之间微入毫芒，画家再现了宏大建筑的整体和细部，技艺精湛超凡，令人叹服。\n此幅构图之用笔与故宫藏夏永另几幅界画作品如出一辙。丰乐楼为为南宋都城临安著名的大酒楼之一。地处涌金门外西湖岸边。作品所取材的“丰乐楼”早已不存，夏永极度写实的画风以及右上以“小如蚁目”的蝇头小楷题写的31行“十里挲平丰乐楼”长题，无疑成为今天了解这座在宋代杭州曾颇有声名的楼阁的重要史料。",[23,24,25,518,547,28,194,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844d7f5926052f741a315b41c30867db.jpg","纵25.8厘米，横25.8厘米",[42,222],{"id":21555,"slug":21556,"title":21557,"dynasty":52,"author":1424,"museum":92,"description":21558,"tags":21559,"thumbUrl":21560,"material":457,"size":21561,"collection":222,"collections":21562,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,281,24,25,95,7,547,481,126,706,180,36,2175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[222,919],{"id":21564,"slug":21565,"title":21566,"dynasty":52,"author":21567,"museum":770,"description":21568,"tags":21569,"thumbUrl":21570,"material":298,"size":21571,"collection":245,"collections":21572,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},221685,"shu-wang-an-shi-za-shi-juan-quan-juan-xian-yu-shu-221685","书王安石杂诗卷全卷","鲜于枢","书王安石杂诗四首：《题侍郎山水》、《招约之职方并示正甫书记》、《示元度》、《奉酬约之见招》。全卷600余字，书于至元二十八年（公元1291年）。时鲜于枢36岁，正值书艺旺盛时期，故书气恢宏，骨力劲健，圆转流畅，表现了鲜于枢极深的书 * 力。",[23,25,37,26,38,7,1437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a218ba9122cc9b248081e8fb15f101.jpg","纵50厘米 横1025厘米",[245],{"id":21574,"slug":21575,"title":21576,"dynasty":205,"author":13019,"museum":120,"description":21577,"tags":21578,"thumbUrl":21579,"material":811,"size":15888,"collection":220,"collections":21580,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[23,24,25,26,7,27,28,29,30,180,147,32,282,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg",[220,42,222],{"id":21582,"slug":21583,"title":21584,"dynasty":205,"author":293,"museum":120,"description":21585,"tags":21586,"thumbUrl":21587,"material":298,"size":21588,"collection":245,"collections":21589,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},221314,"ti-wang-shen-shi-tie-ye-su-shi-221314","题王诜诗帖页","释文：\n晋卿为仆所累，仆既谪齐安，晋卿亦贬武当。饥寒穷困，本书生常分，仆处之不戚戚。固宜。独怪晋卿以贵公子罹此忧患而不失其正，诗词益工，超然有世外之乐。此孔子所谓可与久处约，长处乐者耶。元祐元年九月八日苏轼书。\n北宋元祐元年（1086年）苏轼年49岁。\n本帖钤“金巩伯精鉴印”“景行维贤”“小如庵秘笈”“卞令之鉴定”等鉴藏印四方，左右各有“式古堂”等半印六方。此帖原装于王诜《颖昌湖上诗，蝶恋花词卷》后，但非此卷原配，而是从别处挪移而来。《石渠宝笈续编》著录。\n该帖是苏轼为王诜自书诗所作的题跋，记述了王诜因受其累而贬至武当，然仍醉心于诗词，有世外之乐。此跋在《东坡集》卷六五有记载。《东坡集》卷一三中还有苏轼另一跋“和王晋卿诗、并叙”的记载：“元丰二年，予得罪贬黄州，而驸马都尉王诜亦坐类远谪，不相闻者七年。予既召用，而诜亦还朝，相见殿门之外，感叹之余，做诗相属。词虽不慎工，然托物悲慨厄穷而不怨，泰而不骄，怜其贵公子有志如此，故和其韵。”以上两段跋文再结合《宋史》卷二四八《公主传》中的史料，证明了王诜的贬官一方面是受苏轼的牵连，另一方面是因为得罪了他的妻子魏国大长公主。\n该帖笔丰墨满，结体长短交错，纵横抑挫，富有动感。虽是叙事而兼有议论，充满感情色彩，是为知己而作。",[25,37,38,7,80,858,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffbc82412091c1976ee6ce24e619542.jpg","纵29.9厘米，横25.7厘米",[245],{"id":21591,"slug":21592,"title":21593,"dynasty":205,"author":293,"museum":92,"description":21594,"tags":21595,"thumbUrl":21596,"material":21597,"size":21598,"collection":245,"collections":21599,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},221311,"du-hai-tie-su-shi-221311","渡海帖","元符三年（1100），苏轼被诏徙廉州（今广西合浦），路过澄迈（今海南澄迈）时未遇赵梦得，便留下此札。为其晚年书迹之代表，如同东坡自云：“自出新意，不践古人。”全作信笔写来，浑然天成。此札用笔劲利，结体斜向右上，时人认为颇有李邕（北海）之风，如黄庭坚语：“沉著痛快，乃似李北海。”\n“我书意造本无法，点画信手烦推求”，这是苏轼对自己书法的评语。相异传统的笔法与特殊结字，是其书法中最受赞赏的部分。\n此作又名「渡海帖」，为典型苏轼风格，苍劲有力，沉著痛快，为其晚年之代表作。上有项元汴千字文第八0一“具”字编号。",[281,24,25,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824dd81f2df22aa2f03b4e91a13bfe7.jpg","行书，纸本","纵28.6，横4.2cm",[245],{"id":21601,"slug":21602,"title":21603,"dynasty":205,"author":293,"museum":450,"description":21604,"tags":21605,"thumbUrl":21606,"material":298,"size":166,"collection":245,"collections":21607,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},221305,"tian-ji-wu-yun-tie-you-cheng-song-yang-tie-su-shi-221305","天际乌云帖又称嵩阳帖","《天际乌云帖》又称《嵩阳帖》，苏轼诗文一章，行书，真迹曾由明代项元汴收藏，清归翁方纲，有翁氏题跋。共三十六行，计三百零七个字。藏处不详。\n此帖无年款，据清翁方纲所考，苏轼有《常润道中，有怀钱唐，寄述古五首》之作，其次章有“去年柳絮飞时节，记得金笼放雪衣”句，并自注云：“杭人以放鸽为太守寿。”此正是帖中所言陈太守放营妓周韶事，杭人称誉之。因周韶诗中有“开笼若放雪衣女”事，正应放鸽为寿。此在熙宁五、六年间事。翁氏又考苏诗外集有《过潍州驿，见蔡君谟题诗壁上云：“绰约新娇生眼底，逡巡旧事上眉尖。春来试问愁多少，得似春潮夜夜添。不知为谁而作也?和一首》。此事在苏轼自密州移徐州之际，即在熙宁九年苏轼潍州度岁时。翁氏即猜此帖在熙宁十年书。然诗与帖又有矛盾：帖云“仆在钱塘”见“堂前小阁中壁上”书蔡君谟“绰约新娇”诗，而诗云：“过潍州驿，见蔡君谟题诗壁上云：‘绰约新娇……'。”二者必有一伪。再，《苏文忠公诗编注集成总案》又载苏轼《题蔡君谟诗草》云：“此蔡君谟—《梦中》—诗,真迹在济明家，笔力遒劲。”并自署为“元皊五年十月四日”。此是苏轼知杭州事，距初悴杭州又十五、六年时间。这又留下一个可猜想的余地。但帖中“仆在钱塘”云云，书此帖时必不在钱塘。因之，断为熙宁十年左右较合理。然翁氏在帖考中又云此帖书颇类《满庭芳词——为王长官作》和《上清宫词》书。前者书于元丰六年，后者书于元皊二年。因此断定在熙宁十年至元皊二年这十年之间。此又平添一重疑难也。\n翁氏收藏此帖后，又引起了是否钧填本的争论。因存世苏书钩填本很多，而此帖纸质擦损严重，“有二一描失处”，故疑之。但翁氏肯定说这是真迹本，并将此帖与《快雪堂帖》刻本逐一比较，而断定《快雪堂帖》刻本所据乃为董其昌记载所见之摹本。在没有寻找到更多的证据前，我们尊重翁氏之论，也是有道理的。",[23,37,38,26,858,25,7,80,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9cd5f10698a081bf325106fa748e07.jpg",[245],{"id":21609,"slug":21610,"title":21611,"dynasty":18,"author":1836,"museum":120,"description":8036,"tags":21612,"thumbUrl":21613,"material":1843,"size":2973,"collection":166,"collections":21614,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},220914,"shan-shui-ce-8-dong-qi-chang-220914","山水册8",[23,281,24,25,74,7,36,28,147,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496907c0f9c739e3dc2561042f92a439.jpg",[],{"id":21616,"slug":21617,"title":21618,"dynasty":18,"author":1836,"museum":120,"description":8036,"tags":21619,"thumbUrl":21620,"material":1843,"size":2973,"collection":166,"collections":21621,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},220912,"shan-shui-ce-6-dong-qi-chang-220912","山水册6",[23,24,7,36,74,28,335,162,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d454b71b8d54a070f37dccb8b6aedc.jpg",[],{"id":21623,"slug":21624,"title":21625,"dynasty":52,"author":239,"museum":593,"description":21626,"tags":21627,"thumbUrl":21629,"material":298,"size":166,"collection":222,"collections":21630,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","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。",[23,281,24,25,26,7,38,36,126,706,21628,180,80],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[222,919],{"id":21632,"slug":21633,"title":21634,"dynasty":359,"author":1872,"museum":1873,"description":21635,"tags":21636,"thumbUrl":21637,"material":21638,"size":166,"collection":166,"collections":21639,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":47},220520,"zeng-tie-fu-dui-lian-xu-bei-hong-220520","赠铁夫对联","此作取法汉隶，笔力沉浑苍劲，起收斩截利落，线条如铸铁一般厚重雄强，兼具碑版金石气与写意疏朗意趣。竖向排布行气贯通，大字舒张宽博，每字皆具筋骨力道，墨色浓枯自然变幻，朴茂之中暗含灵秀意韵。左侧小字题款灵动跳脱，与正文的端稳厚重形成动静对照，朱红印文提亮画面，整幅刚柔相济，将碑学雄健气度与文人雅逸风骨相融，尽显沉郁大气的书风，字里行间尽显创作者的磊落襟怀。",[37,6187,242,38,80,7,359,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf85e58c30355e2301e59706de7ba709.jpg","纸本墨笔、 纸本墨笔",[],{"id":21641,"slug":21642,"title":21643,"dynasty":174,"author":21644,"museum":593,"description":21645,"tags":21646,"thumbUrl":21647,"material":98,"size":21648,"collection":42,"collections":21649,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[23,24,7,26,37,80,36,28,34,33,210,787,164,211,215,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[42],{"id":21651,"slug":21652,"title":21653,"dynasty":52,"author":581,"museum":92,"description":21654,"tags":21655,"thumbUrl":21656,"material":7,"size":21657,"collection":222,"collections":21658,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},219961,"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[23,24,7,36,37,80,28,147,29,30,180,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[222],{"id":21660,"slug":21661,"title":971,"dynasty":18,"author":9325,"museum":8128,"description":21662,"tags":21663,"thumbUrl":21664,"material":110,"size":21665,"collection":42,"collections":21666,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},219941,"han-jiang-du-diao-tu-zhu-duan-219941","朱端，是以粗放笔墨为特色的浙派后期代表性画家之一，其山水师法戴进等浙派早期名家，后溯源两宋，尤其马夏画法为重，本图是以雪景山水作品，水墨绢本，略带淡彩，有明显梁楷、牧溪笔意，构图空旷，笔意悠远，体现作者内心渴望的一种寂静与禅意。此作曾为曼殊院旧蔵品，现存于东京国立博物馆。",[23,24,281,25,95,7,36,28,31,468,717,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e54c1695abeb8054da50fc4026f2a3.jpg","171.9×109.0cm",[42],{"id":21668,"slug":21669,"title":9663,"dynasty":174,"author":491,"museum":120,"description":9665,"tags":21670,"thumbUrl":9667,"material":110,"size":21671,"collection":42,"collections":21672,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":140},219747,"du-fu-shi-yi-tu-wang-shi-min-219747",[23,24,25,26,494,7,27,126,33,34,215,29,32,30,180],"纵39厘米，横25.5厘米",[42],{"id":21674,"slug":21675,"title":21676,"dynasty":18,"author":7726,"museum":120,"description":21677,"tags":21678,"thumbUrl":21679,"material":7,"size":21680,"collection":42,"collections":21681,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},219206,"wei-wu-kuan-zuo-shan-shui-tu-du-qiong-219206","为吴宽作山水图","此图绘深山幽谷，溪桥流水，林木草屋，极为森藐悠远。构图饱满繁密，用笔秀润苍健，画风慎密清逸，格调高远古朴，意境深邃澹然。",[23,24,7,36,95,28,33,34,30,31,29,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3d1b0e984c125a383b3b438fdff855.jpg","纵108.2cm，横38.2cm",[42],{"id":21683,"slug":21684,"title":21685,"dynasty":18,"author":21686,"museum":294,"description":21687,"tags":21688,"thumbUrl":21690,"material":98,"size":21691,"collection":600,"collections":21692,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":140},218318,"ri-ben-di-chui-di-zang-tu-shou-ye-tan-you-218318","日本· 笛吹地藏图","狩野探幽","素线勾勒的身影乘云翩跹，衣袂舒展如流霞漫卷。唇边横笛轻启，清韵似随柔风逸出，绕过身后朦胧圆月，在云气间悠悠弥散。线条柔婉却藏静定之姿，地藏的慈悲在笛音里化作淡暖光晕，与月色相融。整幅画如一首无声禅曲，空灵中裹挟着抚慰人心的力量，将佛性悲悯与艺术清雅织就成静谧天地，引人沉于这份超越尘嚣的平和安宁。",[281,24,25,95,3557,547,7,193,454,21689],"笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4950f0b0cd418d7e2e7b2082d209528.jpg","98.5x38.1",[600],{"id":21694,"slug":21695,"title":21696,"dynasty":174,"author":581,"museum":159,"description":21697,"tags":21698,"thumbUrl":21699,"material":110,"size":21700,"collection":42,"collections":21701,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},218093,"huang-cun-du-shu-yi-ming-218093","荒村独尌","这幅画主要描写了荒凉的村庄和孤独的农夫生活。表达了农民面对贫穷和困难时的悲惨心情。该画中使用了许多自然形象，如荒芜的田野、萧条的树木、寂寞的河流等，来描绘出农民贫困的生活环境。",[23,24,95,7,27,28,147,126,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2315df54f03804acdb72342539551.jpg","94x44.6cm",[42],{"id":21703,"slug":21704,"title":645,"dynasty":18,"author":21705,"museum":159,"description":21706,"tags":21707,"thumbUrl":21708,"material":40,"size":21709,"collection":42,"collections":21710,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":140},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[23,24,7,28,281,95,29,30,57,33,3686,12529,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[42],{"id":21712,"slug":21713,"title":21714,"dynasty":18,"author":581,"museum":378,"description":1800,"tags":21715,"thumbUrl":21716,"material":40,"size":166,"collection":166,"collections":21717,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":47},217951,"ming-ren-shan-shui-hua-ce-si-yi-ming-217951","明人山水画册(四)",[23,24,7,74,36,28,31,33,3177,212,32,163,381,127,730,1840,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65090f9ae3fb49fb75219114df41c63.jpg",[],{"id":21719,"slug":21720,"title":4832,"dynasty":18,"author":21721,"museum":3640,"description":21722,"tags":21723,"thumbUrl":21724,"material":110,"size":21725,"collection":42,"collections":21726,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":140},217944,"yun-shan-tu-he-cheng-217944","何澄","《云山图》是一幅山水画，描绘的是山峦起伏的山岭，被浓密的云雾笼罩。何澄在画中运用了笔触细腻的技巧，将云山的起伏变化和神秘感表现得淋漓尽致。画中还有几只飞鸟，增添了画面的生动感。\n\n《云山图》被认为是何澄的代表作，也是明朝山水画的经典之作。它不仅体现了何澄的艺术才华，也展示了明朝时期对自然、山水的描绘方式。",[24,25,95,7,28,454,335,350,33,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[42],{"id":21728,"slug":21729,"title":21730,"dynasty":52,"author":726,"museum":92,"description":1362,"tags":21731,"thumbUrl":21732,"material":98,"size":166,"collection":166,"collections":21733,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":47},216388,"mo-zhu-pu-ce-2-wu-zhen-216388","墨竹谱册-2",[281,24,25,7,74,38,80,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3c05bce231b2c30f11f1daf051aca3.jpg",[],{"id":21735,"slug":21736,"title":21737,"dynasty":174,"author":581,"museum":430,"description":21738,"tags":21739,"thumbUrl":21741,"material":98,"size":21742,"collection":600,"collections":21743,"showCount":21312,"zanCount":1084,"manualWeight":46,"mainColor":47},214914,"qian-dai-jun-chen-gu-shi-tu-yi-ming-214914","前代君臣故事图","前代君臣故事图是清朝时期的一幅条幅式绘画，其中描绘了前代君臣的故事。这幅画作品的画家是清朝时期的一位佚名画家。\n\n前代君臣故事图中描绘了许多传说中的君臣人物，如唐朝的李靖、西汉的范蠡、周朝的车骑将军等。这些君臣人物均以其忠心耿耿、才华横溢的形象呈现在画面中，并以细腻精巧的线条勾勒出了他们的肖像。\n\n在前代君臣故事图中，这些君臣人物被描绘成温厚谦逊、不畏权势、敬畏天命的英雄人物。他们不仅身经百战、深谙军事，而且还具有极高的政治才能，深受皇帝信任。\n\n前代君臣故事图是清朝时期一幅非常著名的绘画作品，其中所描绘的君臣人物形象鲜活生动，富有感染力，对后代的绘画艺术具有重要的影响。",[23,24,25,26,547,7,193,312,80,242,21740],"历史故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ae494934b6299c2afccbf637aa0c5c.jpg","24.1x299.4",[600],{"id":21745,"slug":21746,"title":21747,"dynasty":18,"author":796,"museum":20,"description":797,"tags":21748,"thumbUrl":21749,"material":98,"size":800,"collection":166,"collections":21750,"showCount":21312,"zanCount":46,"manualWeight":46,"mainColor":140},214626,"hua-hui-ce-17-chen-chun-214626","花卉册-17",[24,25,74,7,75,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94559f93cf4255b74fe376265618355f.jpg",[],{"id":21752,"slug":21753,"title":21754,"dynasty":52,"author":726,"museum":450,"description":21755,"tags":21756,"thumbUrl":21757,"material":314,"size":1061,"collection":166,"collections":21758,"showCount":21759,"zanCount":5,"manualWeight":46,"mainColor":140},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,25,95,7,36,28,29,30,31,194,33,34,37,38,80,729,6483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],39,{"id":21761,"slug":21762,"title":4535,"dynasty":205,"author":278,"museum":450,"description":5919,"tags":21763,"thumbUrl":21765,"material":314,"size":1061,"collection":166,"collections":21766,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},290058,"ba-qiao-feng-xue-tu-xia-gui-290058",[281,24,25,95,7,28,36,29,311,717,194,5298,193,21764,38,37],"风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf383bfeca5b213ba1fc05bc62d43a90.jpg",[],{"id":21768,"slug":21769,"title":7506,"dynasty":205,"author":206,"museum":450,"description":7994,"tags":21770,"thumbUrl":21771,"material":314,"size":1061,"collection":166,"collections":21772,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},289446,"xue-shan-xing-lv-tu-guo-xi-289446",[23,24,494,7,36,993,4347,717,210,32,1385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a739ad33a1160112ff9c10479fca563.jpg",[],{"id":21774,"slug":21775,"title":21776,"dynasty":52,"author":18841,"museum":450,"description":21777,"tags":21778,"thumbUrl":21779,"material":314,"size":1061,"collection":166,"collections":21780,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":140},289347,"gu-mu-han-ya-tu-luo-zhi-chuan-289347","古木寒鸦图","罗稚川 江西临川人。元代著名画家。生卒年不详，大致生活于元代前期。\n生卒年不详，大致生活于元代前期。据元代虞集（1272-1348）《空山歌》载，他于“弱冠”之年，曾见罗稚川“挥翰甚风流”，从虞氏生年（1272）下推，大约在1292年时罗稚川尚在世。虞集记载了罗氏早年生涯：“忆昔侍郎镇成都，将佐盈庭宾客趋；锦官城外笳鼓发，驷马桥边高盖车。”据此，罗稚川曾是南宋时镇守四川成都的年轻将领。理宗端平三年（1236）金兵陷成都，特别是宋亡，彻底改变了他的人生道路，他开始了隐居生活。宋亡，入元不仕，以诗画自娱。",[24,7,28,717,282,993,3054,95,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29982bf2593c2e7d2d3c6f8160d10cb9.jpg",[],{"id":21782,"slug":21783,"title":306,"dynasty":205,"author":4120,"museum":450,"description":14486,"tags":21784,"thumbUrl":21785,"material":314,"size":1061,"collection":166,"collections":21786,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},288950,"xi-shan-xing-lv-tu-zhu-rui-288950",[24,494,7,36,993,311,717,34,148,10001,1385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5e368d045f07f690c0d3294e3aae4.jpg",[],{"id":21788,"slug":21789,"title":7709,"dynasty":205,"author":2464,"museum":450,"description":21790,"tags":21791,"thumbUrl":21796,"material":314,"size":1061,"collection":166,"collections":21797,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":140},288940,"xiao-xiang-ba-jing-yan-si-wan-zhong-wang-hong-288940","金碧招提古，高峰最上层。喧风僧入梵，宿雾佛前灯。禅观延空寂，蒲牢忽震凌。黄昏山路险，窘步一枝藤。",[24,281,26,28,7,36,212,30,21792,1776,211,21793,21794,21795],"古寺","悠远","潇湘八景","烟寺晚钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3166e7284dc5ff42ff0284cdff74ab71.jpg",[],{"id":21799,"slug":21800,"title":21801,"dynasty":205,"author":592,"museum":92,"description":11358,"tags":21802,"thumbUrl":21805,"material":110,"size":21806,"collection":166,"collections":21807,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},288475,"yan-lan-xiao-si-tu-li-tang-288475","烟岚萧寺图",[23,24,494,7,36,212,21803,29,194,21804,33,37,80],"萧寺","烟岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ab447323c9edca7a862052bde53b86.jpg","51x49.5",[],{"id":21809,"slug":21810,"title":21811,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":21812,"thumbUrl":21814,"material":314,"size":1061,"collection":166,"collections":21815,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":47},288093,"fang-guo-zhong-shu-shan-shui-gua-zhou-zhu-da-288093","仿郭忠恕山水挂轴",[23,24,281,25,95,7,36,254,28,34,33,21813,193,80],"亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba1eb735d31099514794c6d03e0419.jpg",[],{"id":21817,"slug":21818,"title":21819,"dynasty":18,"author":6468,"museum":450,"description":21820,"tags":21821,"thumbUrl":21823,"material":314,"size":1061,"collection":166,"collections":21824,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},287384,"qiu-shui-fu-yi-tu-zhou-lin-liang-287384","秋水凫鹥图轴","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具。\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。",[23,24,281,95,75,7,12289,21822,6658],"芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59dbd576c61cce6c8b19156b821e455.jpg",[],{"id":21826,"slug":21827,"title":21828,"dynasty":18,"author":1836,"museum":120,"description":21829,"tags":21830,"thumbUrl":21831,"material":21832,"size":21833,"collection":245,"collections":21834,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},240412,"dong-qi-chang-qi-jue-shi-zhou-dong-qi-chang-240412","董其昌七绝诗轴","释文： 水北原南野草新，雪消风暖不生尘。城中车马知无数，能解闲行有几人。\n款署：“其昌。”钤“董氏玄宰”、“大宗伯印”、“玄赏斋”。鉴藏印有“鹤舟所藏”、“紫云山房鉴藏书画印”。\n本幅书唐张籍《与贾岛闲游》七言诗，文字与原诗作有出入。此幅诗轴未署年款，从书风及所钤“大宗伯印”判断，当为董其昌77岁就任南京礼部尚书、掌詹事府事以后之作品。\n书法行中夹草，融合自然，行笔流畅，风格洒脱，为董氏晚年之代表作。",[37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb750b29f43e687b97622e1861b58bdd.jpg","金笺，草书","纵145.1厘米，横34.7厘米",[245],{"id":21836,"slug":21837,"title":21838,"dynasty":18,"author":119,"museum":450,"description":21839,"tags":21840,"thumbUrl":21841,"material":298,"size":166,"collection":245,"collections":21842,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},240282,"li-bai-qi-lv-shi-juan-xu-wei-240282","李白七律诗卷","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 [1] ）。明代中期文學家、書畫家、戲曲家、軍事家。\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三 。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。",[23,281,24,25,26,37,394,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[245],{"id":21844,"slug":21845,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":21846,"thumbUrl":21847,"material":314,"size":1061,"collection":166,"collections":21848,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},237933,"za-hua-ce-zhu-da-237933",[24,25,74,7,75,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d84fb47152fc632f858825f45ba2e6.jpg",[],{"id":21850,"slug":21851,"title":21852,"dynasty":174,"author":21853,"museum":120,"description":21854,"tags":21855,"thumbUrl":21856,"material":298,"size":166,"collection":42,"collections":21857,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":140},237451,"fei-quan-bi-liu-zhou-fu-shan-237451","飞泉壁流轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[281,24,25,95,7,36,28,7453,33,34,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[42,222],{"id":21859,"slug":21860,"title":1567,"dynasty":174,"author":5748,"museum":450,"description":18988,"tags":21861,"thumbUrl":21862,"material":166,"size":166,"collection":42,"collections":21863,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},236915,"shan-shui-zhou-kun-can-236915",[24,7,36,95,37,80,28,194,34,33,533,324,164,211,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[42,222,245],{"id":21865,"slug":21866,"title":21867,"dynasty":174,"author":175,"museum":450,"description":21868,"tags":21869,"thumbUrl":21870,"material":166,"size":166,"collection":166,"collections":21871,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},235913,"xiao-shan-zhu-shu-ye-yun-shou-ping-235913","小山竹树页","此作以修竹为画面核心，几竿新篁挺拔清劲，竹叶以浓淡墨色点染，攒聚错落间尽显阴阳开合，笔力爽利，将竹的清健风骨跃然纸上。\n远景山峦以淡墨晕染勾勒，留白为水，不着一笔却见湖光悠悠，湖畔茅亭极简勾勒，野逸闲淡之趣自生。\n全作用笔简净空灵，以少胜多，舍弃繁复皴擦，借浅淡水墨写尽丘林幽致。右上角题识与朱印呼应，书画相融，为画面添了雅致文气，将江南小景的清寂空阔藏在尺幅之中，尽显萧散淡远的文人意韵，借花木山水寄寓了幽远襟怀。",[24,7,28,126,162,32,180,36,2446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4220102cf9fcc83ce62cc8c4a1a42f1e.jpg",[],{"id":21873,"slug":21874,"title":157,"dynasty":18,"author":18021,"museum":450,"description":21875,"tags":21876,"thumbUrl":21877,"material":166,"size":166,"collection":42,"collections":21878,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},235817,"shan-shui-ce-li-liu-fang-235817","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。",[24,25,74,7,27,36,28,33,34,35,58,5552,6739,1776,1840,12529,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[42,83],{"id":21880,"slug":21881,"title":376,"dynasty":174,"author":6172,"museum":450,"description":21882,"tags":21883,"thumbUrl":21884,"material":166,"size":166,"collection":42,"collections":21885,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},235638,"shan-shui-tu-ce-wu-li-235638","此作用笔苍秀，干笔皴擦间墨色清润澹远。近岸枯木虬曲，石径隐于荒草间，寒林错落自具苍劲姿态。水畔茅亭孑立，空无一人，愈发衬出周遭岑寂。远景汀渚层叠，烟波留白晕出水天浩渺，将江南水滨冬日的荒寒淡远尽数铺陈。\n\n画面萧疏冷寂，题句呼应着幽栖独处的意趣，以简淡笔墨写尽林泉幽致，尽显文人画的雅致襟怀，把避俗幽居的澹泊心境融于山水间，空濛冷逸，意境萧散清远。",[24,7,28,74,36,32,147,30,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd513fedc147c373822b59addc09428d0.jpg",[42],{"id":21887,"slug":21888,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":21889,"thumbUrl":21890,"material":314,"size":1061,"collection":166,"collections":21891,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},235504,"za-hua-ce-zhu-da-235504",[24,25,74,7,123,75,77,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4fbc6f21704ae7e6f82c0ab3700c6d.jpg",[],{"id":21893,"slug":21894,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":21895,"thumbUrl":21896,"material":298,"size":2515,"collection":166,"collections":21897,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089",[24,25,74,7,38,36,28,335,350,162,147,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd47a46f6ca498fde781cc73a947eca.jpg",[],{"id":21899,"slug":21900,"title":490,"dynasty":174,"author":5090,"museum":120,"description":21901,"tags":21902,"thumbUrl":21909,"material":811,"size":21910,"collection":166,"collections":21911,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},231511,"xian-shan-lou-ge-tu-wang-hui-231511","此画描绘的是长松高岭，溪水村舍。由画中题识可知此画是一幅贺寿之作。画中以两株粗朴茂盛的参天巨松压轴，寓意常青不老。画面的远景是连绵的山岭，水溪从山中流出，至低处汇成大河，在山水林木的环抱中隐约可见幽静的楼阁。此画在笔墨表现上宗法黄公望，峰峦层叠，树从浓郁，勾线空灵，苔点细密，皴笔干湿浓淡相映衬，皴擦点染兼用。此画的用墨明洁苍润，得自于董其昌的影响，这幅画气厚力陈，显示王时敏深厚的笔墨功力。\n王时敏的绘画，受到董其昌文人画和“南北宗”理论的极大影响，其作大多致力于摹古，强调以笔墨图式来营造山水结构。他早年师从于董其昌，以古代名家的真还作为临摹粉本，并不局限于一家而习。王时敏的绘画追求平淡天真、苍秀隽逸，重视笔墨中所表达的逸气，即“文人气”。他强调在描绘客观事物的同时，仍要注重心灵抒发和精神表现，这与董其昌及其所提倡的“南北宗”论不谋而合。纵观南宗的文人画脉络，从五代董源、巨然到宋代李成、范宽，苒到元代的黄公望、吴镇、倪瓒、王蒙等，无一不注重文人的内在学识与修养。\n王时敏最大的艺术特点就是“摹古”，注重“笔墨”的运用，以临摹古代名家作品作为绘画的基础。尤其在研习宋元山水作品中的运笔、用墨、造型、结构等各方面时，主张摹古而不拘泥于古人之法，经过摹古举习，结合自身的文化修养，再重新进行艺术创造。王时敏的山水作品早年严格遵照董其吕及南宗各家的艺术风格，形态上比较细腻清秀，如《仿倪瓒山水图轴》等。到了中期，他开始脱离董其昌的笔意，醉心于对黄公望的学习，在这一时期，王时敏个人风格开始逐步形成，如《秋山白云图》《丛林曲涧图轴》等作品皆为代表。晚期则以康熙元年（1662)王时敏71岁为分界点，这一时期其绘画融众家之长于一炉，以黄公望为宗，上溯董源、巨然等南宗诸家，笔墨苍劲浑厚，风格沉稳雄坚，如《仙山楼阅图》《仿杜甫诗意图册》等。",[23,24,494,518,20765,21903,4764,3664,194,21904,21905,21906,36,7,1153,21907,21908],"高岭","山岭","大河","巨松","贺寿","常青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c9e00824c0726216aa5aa68aa095974.jpg","133.2cmx63.3cm",[],{"id":21913,"slug":21914,"title":21915,"dynasty":174,"author":15699,"museum":450,"description":21916,"tags":21917,"thumbUrl":21918,"material":166,"size":166,"collection":166,"collections":21919,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},230192,"jiu-long-tu-ce-zhou-xun-230192","九龙图册","此作以水墨晕染铺就翻涌云海，虚实掩映间神龙破云而出。画师以浓淡变幻的墨色烘托出混沌氤氲的云气，将龙身隐没在烟岚之中，仅露威严龙首与遒劲鳞爪，藏头露爪间尽显神龙幽渺难测的神秘感。\n\n龙首刻画工细，眉须戟张，目光沉凝威严，鳞爪筋骨苍劲有力，与泼墨晕染的朦胧云海形成鲜明虚实对比。干湿浓淡的笔墨层次丰富，将神龙腾云的磅礴气势与云雾翻卷的空茫意境相融，尽显神兽潜藏天地间的慑人神威，把东方神龙的灵韵威严藏于烟云万象之中，是水墨绘龙的精妙之作。",[23,24,25,74,7,349,453,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e5ab036e4a2b558af5a0323993952a.jpg",[],{"id":21921,"slug":21922,"title":5244,"dynasty":174,"author":377,"museum":450,"description":21923,"tags":21924,"thumbUrl":21925,"material":166,"size":166,"collection":166,"collections":21926,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":47},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[281,24,25,74,7,36,37,80,28,29,30,31,213,33,13071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":21928,"slug":21929,"title":21930,"dynasty":18,"author":7799,"museum":450,"description":21931,"tags":21932,"thumbUrl":21933,"material":166,"size":166,"collection":166,"collections":21934,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,25,26,7,28,36,37,38,335,350,33,29,30,32,282,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":21936,"slug":21937,"title":21938,"dynasty":52,"author":2127,"museum":450,"description":21939,"tags":21940,"thumbUrl":21941,"material":166,"size":166,"collection":166,"collections":21942,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":140},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,7,27,28,36,31,193,212,33,32,194,30,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":21944,"slug":21945,"title":21946,"dynasty":205,"author":581,"museum":450,"description":21947,"tags":21948,"thumbUrl":21949,"material":166,"size":166,"collection":166,"collections":21950,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[23,24,25,26,7,28,36,30,31,212,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":21952,"slug":21953,"title":5796,"dynasty":889,"author":1266,"museum":593,"description":12715,"tags":21954,"thumbUrl":21955,"material":166,"size":166,"collection":166,"collections":21956,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},227597,"xi-shan-lan-re-tu-ju-ran-227597",[23,24,25,28,95,7,36,335,33,5799,215,268,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":21958,"slug":21959,"title":21960,"dynasty":205,"author":1577,"museum":450,"description":21961,"tags":21962,"thumbUrl":21963,"material":166,"size":166,"collection":166,"collections":21964,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},227536,"wan-ai-tu-wen-tong-227536","晚霭图","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?",[23,24,25,26,7,36,28,57,33,324,58,31,282,717,164,785,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":21966,"slug":21967,"title":21968,"dynasty":174,"author":739,"museum":450,"description":21969,"tags":21970,"thumbUrl":21971,"material":166,"size":166,"collection":166,"collections":21972,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},224188,"hua-niao-cao-chong-tu-ba-07-hua-yan-224188","花鸟草虫图八-07","此作用淡墨晕染湖石，皴擦间尽显苍润空寂之态，以清劲白描勾勒水仙，线条秀挺舒展，将花瓣柔润、叶片修长的风姿尽数铺展，尽显水仙冰姿玉骨的清逸之态。左上角题以行书小诗，书画相融，文气盎然。\n\n整体笔墨简淡清隽，不着浓艳，却将水仙的幽绝尘姿诠释得淋漓尽致，淡墨湖石与素白水仙相映，营造出出尘空寂的氛围，尽显文人画独有的清雅意趣，笔简意足，韵致悠长。",[23,24,7,481,74,36,180,132,672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e33e35df1057ef9012851ceb54ab5.jpg",[],{"id":21974,"slug":21975,"title":21976,"dynasty":174,"author":819,"museum":450,"description":1239,"tags":21977,"thumbUrl":21978,"material":284,"size":166,"collection":245,"collections":21979,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[23,24,25,95,7,126,180,38,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[245],{"id":21981,"slug":21982,"title":21983,"dynasty":174,"author":739,"museum":770,"description":21984,"tags":21985,"thumbUrl":21986,"material":166,"size":166,"collection":42,"collections":21987,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[24,25,27,7,28,76,75,1853,128,282,30,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[42,64],{"id":21989,"slug":21990,"title":21991,"dynasty":174,"author":9335,"museum":843,"description":18331,"tags":21992,"thumbUrl":21993,"material":3463,"size":21994,"collection":42,"collections":21995,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},222646,"zhi-hua-xi-lie-zhi-hua-xin-zhu-gao-qi-pei-222646","指画系列-指画·新竹",[23,24,25,18333,7,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb762941767222f61c46e64997c0aa546.jpg","35.88x57.31cm",[42,83],{"id":21997,"slug":21998,"title":21999,"dynasty":18,"author":9621,"museum":22000,"description":22001,"tags":22002,"thumbUrl":22003,"material":298,"size":22004,"collection":245,"collections":22005,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":47},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","苏州博物馆","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,38,37,26,80,7,858,25,31,194,28,282,2925,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[245],{"id":22007,"slug":22008,"title":22009,"dynasty":18,"author":2851,"museum":92,"description":22010,"tags":22011,"thumbUrl":22013,"material":284,"size":22014,"collection":42,"collections":22015,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},222353,"li-shi-cong-hui-tu-tang-yin-222353","立石丛卉图","此画描绘了立石之下，几丛草花盛开。整幅作品只用水墨以没骨法大笔写出。\n立石通过皴笔的染擦，并以留白的方式写出阴阳向背，突出山石的质感。草花的浓淡墨色运用恰到好处。构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。画幅中自题：“杂卉烂春色，孤峰积雨痕。 譬若古贞士，终身伴菜根。”",[23,24,25,95,7,36,180,22012],"丛卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8502ef94696876ba6fce97d697a6ca9.jpg","52.60x28.60cm",[42,222],{"id":22017,"slug":22018,"title":22019,"dynasty":18,"author":11120,"museum":92,"description":22020,"tags":22021,"thumbUrl":22022,"material":166,"size":22023,"collection":42,"collections":22024,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,24,25,74,27,7,28,36,29,30,717,624,535,34,268,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[42,64],{"id":22026,"slug":22027,"title":22028,"dynasty":18,"author":19,"museum":92,"description":22029,"tags":22030,"thumbUrl":22032,"material":298,"size":166,"collection":166,"collections":22033,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":47},222091,"tai-jing-lin-ting-tu-shen-zhou-222091","苔迳林亭图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,1462,7,36,28,32,147,34,22031,80],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a2b67b5b31a4fb17975c34793c69e7.jpg",[],{"id":22035,"slug":22036,"title":22037,"dynasty":52,"author":20417,"museum":92,"description":22038,"tags":22039,"thumbUrl":22040,"material":537,"size":22041,"collection":42,"collections":22042,"showCount":21759,"zanCount":5,"manualWeight":46,"mainColor":47},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,25,95,7,36,28,210,33,268,213,211,37,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[42,222],{"id":22044,"slug":22045,"title":22046,"dynasty":52,"author":1424,"museum":120,"description":22047,"tags":22048,"thumbUrl":22049,"material":3471,"size":22050,"collection":222,"collections":22051,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},221816,"mu-yu-tu-zhou-li-kan-221816","沐雨图轴","《沐雨图轴》是元代李衎所画的中国古画。\n此图描绘雨中竹子的形态，手法极其写实，强调雨中之竹的清姿，其画法与双勾竹图基本相同，竹叶因雨水而显得沉重，叶尖自然下垂，在表现雨中竹叶下垂之姿上，李衎用笔显得娴熟自如。\n《沐雨竹图》将主要景物集中于画幅左侧。\n在画幅左下端力坡石，坡上倚附山石长有四竿翠竹，中间两株高大，且相互交错，竹竿交错后向左右伸展，枝叶茂密，竹叶纷披。\n左侧一株掩映于二株高大的翠竹荫下，略向左弯斜；右侧一株小竹向右弯斜，叶子呈下垂状。\n这一株翠竹虽不怎么起眼，但却是妙笔，起到了填补画幅右下部分的空白，对整个画面起到了充实和平衡作用：除竹石外，在坡石间还有数株兰草，点缀其间。\n自宋以来，“梅，兰、竹、菊”被士大夫称为“四君子”，象征“清高”、“幽洁”、“虚心”、“隐逸”、“气节”等精神品格。\n当社会危机、民族危机之时，一些知识分子无力抗争，在孤十贲与失望之中，“适性寄意”于笔墨：人元后“四君子”画不但更为兴盛，而且在思想感情的表现上更加丰富和深刻。\n特别是墨竹，单纯简易、挥洒便利又最具书法性格，所以最能引起士大夫的兴趣。\n可是李衍身为大官，他与赵孟頫是元代汉族文人画家中官职最显著者， 他喜欢画松、竹，这说明“松”、“竹”并非都是文人用来自诩“名节”之物。\n他为了画竹，“行役万余里”，深入南方竹乡，对竹的“形色情状，牛聚枯荣”做了深入研究，成为享有盛名的写生墨竹专家。\n此《沐雨竹图》轴是他画墨竹的代表作之一，其作品中之“竹”并不带有什么政治色彩，仅作为绘画的一个题材而已。\n此画虽将景物集中于画幅左侧，但经画家的确当布局，使整幅画的构图 较工稳；造型准确，设色匀净，枝叶繁复而不乱，层次分明。\n作者由于有过对竹子的认真观察和研究，并掌握了画竹的造型规律。\n故他画出的竹竿、们‘枝的线条挺坚，用笔实在有力，竹竿、竹枝、竹叶均用双勾画出，即用线条描绘竹叶的轮廓，再用汁绿烘染，叶尖微染赭黄，且其阴阳向背等细节都刻画得十分准确、细腻。\n其背景石都用双勾，然后用粗笔水墨皴染，分出阴阳面。\n坡石间的几丛兰和小草的安排，更使画面充满勃勃生机。\n此画的主题沐雨，作者强调了雨中之竹。\n故在作者笔下将沾满了雨水的竹子，竹叶个个呈下垂的自然神态，突出了“沐雨”这一主题，使画幅具有很强的写实性。\n此画给人以充实秀美的感觉，实属精品。\n这幅作品中只有四竿修竹和一些小枝是用汁绿晕染，竹干的晕染基本是平涂，只在竹节两端略有晕染。\n竹叶的敷色较为精工，不但叶根部和叶尖部的色调有所变化，而且叶面和叶背也不相同，繁多的叶片中没有一片是染出边缘轮廓之外．也可见作者的细致程度。\n在水墨环境的映衬下．《沐雨竹图》中的修竹亭亭玉立，青翠悦目。\n即使秋风萧瑟，也是竹叶摩娑，别具一番“如鸣环翠”的风韵。\n在翠竹右侧一竿高耸直指，左侧一竿向左上伸展，最前的一竿指向右方，右侧竹叶相对密集，造成左高右低的形势。\n竹干、竹枝的线条挺坚，竹叶的线条则圆润；竹干、竹枝的用笔比较实在有力，而竹叶的用笔就显得轻细活泼。\n李衎（1244—12年），字仲宾，号息斋道人，元大都（今北京）人，仕至集贤殿学士。\n他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾（今越南），到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。\n他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[23,24,25,95,481,7,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db8d493b70c64e938a16711c94486e2.jpg","纵111.5cm，横55cm",[222,919],{"id":22053,"slug":22054,"title":4927,"dynasty":205,"author":3062,"museum":20,"description":4487,"tags":22055,"thumbUrl":22056,"material":3471,"size":22057,"collection":166,"collections":22058,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":140},221603,"bu-dai-he-shang-tu-liang-kai-221603",[23,24,25,193,3557,7,4489,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a3b6d4db81452ecdf7a090b19e5c62.jpg","纵31 3厘米，横24 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公分",[42,83],{"id":22148,"slug":22149,"title":22150,"dynasty":174,"author":581,"museum":4566,"description":22151,"tags":22152,"thumbUrl":22153,"material":98,"size":22154,"collection":83,"collections":22155,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":140},219097,"shi-li-tu-yi-ming-219097","事犁图","斗笠覆顶，布衣宽袖，农夫躬身扶犁的姿态，似将田垄的气息凝在绢素之上。黑牛沉腰发力，犁铧划开的浅痕如时光笔触，在泛黄纸页间漾开生活真味。线条简劲却藏温度，无繁复设色，仅以墨色浓淡勾勒劳作肌理——农夫手背的筋络、牛身的鬃毛，都在极简中见生动。\n\n整幅画截取农耕日常的一瞬，无喧嚣，只有人与耕牛的默契，及土地里生长的烟火气。古朴绢色如岁月滤镜，让劳作的质朴更显厚重，仿佛能听见犁尖蹭过泥土的轻响，触到农人间歇时的喘息。这份对平凡劳作的描摹，藏着最本真的生活诗意，于简淡笔墨里，照见古人与土地相依的温情。",[24,547,7,193,1839,468,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38490095cc1dab28575b96775c05b60e.jpg","23x27.1cm",[83],{"id":22157,"slug":22158,"title":22159,"dynasty":205,"author":581,"museum":92,"description":22160,"tags":22161,"thumbUrl":22162,"material":110,"size":22163,"collection":42,"collections":22164,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":140},218799,"wu-kuan-shan-shui-yi-ming-218799","无款山水","本幅绘高士乘舟赴幽谷观瀑，清谈，山远地偏，谷深树茂，正是避世绝佳处。此幅树法笔墨近于李唐，而山石又掺以郭熙卷云皴，成画年代可上溯到南宋。",[23,24,281,28,7,31,5695,3015,33,34,210,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dddbf70d238823f6026d2c535d95f7e.jpg","28.9x54",[42],{"id":22166,"slug":22167,"title":22168,"dynasty":52,"author":239,"museum":92,"description":22169,"tags":22170,"thumbUrl":22172,"material":61,"size":166,"collection":83,"collections":22173,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":47},218744,"shuang-gou-shui-xian-tu-zhao-meng-fu-218744","双钩水仙图","素笺之上，水仙疏影悄然铺展。双钩线条如缕金萦玉，勾勒花叶轮廓——叶片修长劲挺，似含墨韵风骨；花瓣轻绽，脉络细劲，若凝霜雪之姿。墨色层次隐现，花叶间留白透气，衬得水仙清逸出尘。\n\n线条自带书法意趣，转折处见笔力，既摹物象之真，又抒文人雅怀。无浓艳设色，却以极简之笔，写尽“凌波仙子”的冰洁灵秀。淡墨浅痕里，仿佛有暗香浮动，于简静中藏生机，素朴中见雅致，尽显传统文人画的审美韵致，令人心驰神往。",[23,24,25,547,22171,7,75,132],"双钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3a0cd86b20ca5480736257072df823.jpg",[83],{"id":22175,"slug":22176,"title":22177,"dynasty":52,"author":12875,"museum":92,"description":22178,"tags":22179,"thumbUrl":22180,"material":457,"size":166,"collection":42,"collections":22181,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":47},218741,"xi-shan-xue-yi-tu-zhang-yu-218741","溪山雪意图","雪裹溪山，素净如笺。寒林疏枝横斜，似在静默中与天地对语。山间茅舍隐于皑雪，不见人踪，却藏着一份遗世的安然。笔墨简淡而意韵深幽，枯笔勾勒的山石与留白的雪色交织，将冬日的空濛与文人的孤高心境凝于画间。每一处留白都是雪的呼吸，每一笔线条都是心的独白，似能透过画面触到那份远离尘嚣的清寂，感受元代文人笔下山水的空灵与禅意。寒枝、皑峰、幽舍，共同织就一幅冷寂却温情的冬日图景，尽显文人画的雅致与哲思。",[23,24,25,7,27,36,28,993,717,34,324,832,215,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d448db60ab16f22dad017cba7f8823.jpg",[42],{"id":22183,"slug":22184,"title":22185,"dynasty":174,"author":5599,"museum":378,"description":22186,"tags":22187,"thumbUrl":22190,"material":98,"size":22191,"collection":600,"collections":22192,"showCount":21759,"zanCount":46,"manualWeight":46,"mainColor":47},218384,"wang-shi-zhen-yu-zhu-yi-zun-he-xiang-luo-pin-218384","王士禛与朱彝尊合像","苍松虬劲，藤蔓垂丝，幽涧边两位长衫文人对坐清谈——或拄杖凝思，或持卷浅笑，眉宇间尽是林下风致。画面以淡墨皴染山水，线条简练却神形兼备，松针的挺劲、衣袂的飘举皆见笔力。四周密布的题跋，墨色浓淡相间，与山水人物相映成趣，既是对画中人物的追慕，也为画面增添了厚重的文化底蕴。整幅作品融山水、人物、书法于一体，既展现了文人雅集的闲适氛围，也传递出对先辈的敬仰之情，笔意间流淌着传统文人画的气韵与风骨，仿佛能听见松风里的清谈声，望见涧水边的诗思流转。",[23,7,547,481,36,22188,624,193,34,215,551,2637,533,28,2885,22189,33,10414],"书画结合","文人形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389765da7665ff9ada03940d3872f88d.jpg","167.5x56.6",[600],{"id":22194,"slug":22195,"title":22196,"dynasty":52,"author":22197,"museum":159,"description":22198,"tags":22199,"thumbUrl":22200,"material":98,"size":22201,"collection":42,"collections":22202,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":47},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[24,25,95,7,36,38,80,28,8439,32,33,34,35,215,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[42],{"id":22204,"slug":22205,"title":22206,"dynasty":18,"author":19,"museum":2596,"description":2597,"tags":22207,"thumbUrl":22208,"material":98,"size":166,"collection":166,"collections":22209,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":47},214924,"mo-hua-ce-3-shen-zhou-214924","墨花册-3",[23,281,24,25,7,549,367,79,80,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9bc8e0e22c8ac2a3d56fdc5547b6ef7.jpg",[],{"id":22211,"slug":22212,"title":22213,"dynasty":18,"author":19,"museum":2596,"description":2597,"tags":22214,"thumbUrl":22215,"material":98,"size":166,"collection":166,"collections":22216,"showCount":21759,"zanCount":1084,"manualWeight":46,"mainColor":47},214916,"mo-hua-ce-10-shen-zhou-214916","墨花册-10",[23,24,7,74,75,1252,551,367,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36174ca3ee0e711e4558881ccb44938f.jpg",[],{"id":22218,"slug":2221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荡浮烟岚的峰峦冈岭，逶迤起伏连绵不断。\n山坳平坦处水榭、茅舍散落于林溪岸畔。\n近处的麓坡岸石，各种苍郁古茂的大树掩映着的草亭尤显幽静。\n上方题：“作画意在笔先，以得势为主….时康熙乙亥仲夏望后麓台祁”。\n王原祁（1642-1715年）字茂京，号麓台。\n江苏太仓人。\n王时敏之孙。\n擅山水，精鉴定，有“娄东派”之称。\n为清初六大家之一",[24,25,281,74,7,36,28,212,33,35,5253,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711b08e8224858c05339fb7b788a52d4.jpg",[600,222],{"id":22400,"slug":22401,"title":22402,"dynasty":174,"author":14526,"museum":450,"description":22403,"tags":22404,"thumbUrl":22405,"material":166,"size":166,"collection":166,"collections":22406,"showCount":22235,"zanCount":1084,"manualWeight":46,"mainColor":47},235674,"huang-shan-tian-dou-feng-tu-zhou-mei-qing-235674","黄山天都峰图轴","此作用高远章法铺陈景致，方折硬皴刻画嶙峋山石，层叠岩壁尽显峰峦雄崛之势。留白摹写空濛云海，衬出天都峰的高拔清逸。松下孤亭旁二人策杖对语，在雄奇山景晕染出世外幽意。\n题诗与山水相融，以书入画尽显新安画派灵秀苍劲。水墨晕染出清冷空寂的意境，既绘出黄山天险之姿，又寄寓画家对林泉高致的向往，笔致清隽，将自然奇绝与文人雅趣合为一体。",[24,25,281,95,7,36,28,57,211,32,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c78ff500e4796524b4ff31de712606.jpg",[],{"id":22408,"slug":22409,"title":22410,"dynasty":174,"author":5748,"museum":120,"description":13690,"tags":22411,"thumbUrl":22412,"material":964,"size":13693,"collection":166,"collections":22413,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},234953,"yu-xi-shan-gen-tu-kun-can-234953","雨洗山根图",[24,7,494,36,335,350,33,34,31,324,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e57309da538f66ef8d198690cf3042b.jpg",[],{"id":22415,"slug":22416,"title":19391,"dynasty":18,"author":71,"museum":450,"description":22417,"tags":22418,"thumbUrl":22419,"material":166,"size":166,"collection":166,"collections":22420,"showCount":22235,"zanCount":1084,"manualWeight":46,"mainColor":47},234204,"mo-zhu-juan-sun-ke-hong-234204","中国成语中有“胸有成竹”之说，原意是指画竹之前心里已经有了竹子的形象，后来比喻在做事之前已经有了全面的设想和安排。“胸有成竹”出自宋代苏轼的《文与可画筼筜谷偃竹记》——“故画竹，必先得成竹于胸中”。苏轼的这篇文章写的是文同画竹。宋代文同开创了“墨竹”一派，在中国绘画史上有着重要的地位，而他笔下的竹也被赋予了一种百折不挠的奋斗精神。例如在他的作品《墨竹》中，竹子在岩石的压迫下，先俯以应时，再延伸而上仰，展现出旺盛的生命意志。历代画竹者数不胜数，很多人能够面对“墨竹”这一题目画一辈子。除文同之外，历史上亦有赵孟頫、管道昇、夏昶、李衎、吴镇等人笔下的竹堪称经典。历朝历代也不乏优秀的画家以竹作为描绘对象抒写胸中逸气，明代孙克弘便是其中之一。\n现藏于苏州博物馆的孙克弘《墨竹图》（见下图）纵113厘米、横31.8厘米。画家在画面左下角题识：“湘皋春雨楚烟霏，绿玉参差路欲迷。流水接天人不见，满林花落鹧鸪啼。雪居。”画面右下角生出三枝竹子，其中一枝成为此画的主角。竹子从右下方生长至左上角，显得生机盎然。竹叶施以浓墨，墨笔犀利，竹干和竹枝则用淡墨描绘。画家将两者的前后关系清楚地展现在观者面前，同时又突显了全画的主角，从中可以看出他的良苦用心。另外两枝竹子则沿画面右侧而上，均以淡墨着色，再次衬托出画面中心的主角。\n孙克弘（1533—1611），字允执，号雪居，上海松江人。他善楷、隶、篆等书体，取法宋克，上追秦汉，自成风格。在绘画方面，他早期长于写生花鸟，师法徐熙、赵昌、沈周、陆治。他的绘画作品或工笔，画法工整，色彩明丽；或写意，笔墨放逸，造型工致。他画墨竹仿文同。此幅《墨竹图》笔法谨严有致，又不失潇洒之态，深得文同墨竹的精髓。墨竹不仅如同文人画的一种标本和尺度，同时也反映了中国画笔墨的基本。此画中，竹干劲挺。画面正中的一枝呈“S”形构图，竹枝虬曲，变化中不失弹性，具有一定的节奏感。竹子枝头向上挑起，密叶以向上的趋势奔放扩张、凌空倚势，显示了无穷的生命力度。竹节与竹节之间虽断离而又有牵连之意。画面下方的小枝行笔疾速，婉顺而柔和。三枝主枝横斜曲直、顾盼有情。再看整幅画面的竹叶，看似笔笔随意却又不失生意，显得疏密有致、聚散兼顾。\n孙克弘的《墨竹图》画面整体层次分明，墨色的运用和处理较为丰富。竹干墨色偏淡，不同枝干上的竹叶颜色有深有浅。画家以浓墨描绘竹叶正面，以淡墨表现竹叶背面；老枝以浓墨绘成，嫩叶新枝又以淡墨表现。画面的前后关系随着一虚一实、一明一暗的节奏来表达。同时，画面中留有大量空白，带给人无限的遐想。从画面中，还可以看到无处不在的书法用笔。撇叶锋长却不露毫芒，叶尾转折处提笔露白，以示向背之势，这足以显示出孙克弘深厚的书法功底。\n古人喜画墨竹。从这些墨竹中，后人可体会到观万物之生意的意境，并对这种绵延不息的生意肃然起敬。古人云：“天地之大德曰‘生’。”“生”便是一切万物之源，而墨竹恰恰就体现了这种倔强的生机。画家通过对竹的不同形式的表达，所要传递的便是“生生之谓易”（《周易》）的道理。这也是中国文化中十分珍贵的精义。",[23,24,7,26,126,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ab4f26dfa87319af0ed8c422a44a60.jpg",[],{"id":22422,"slug":22423,"title":17519,"dynasty":174,"author":377,"museum":120,"description":22424,"tags":22425,"thumbUrl":22426,"material":564,"size":22427,"collection":166,"collections":22428,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},233958,"yun-shan-tu-zhou-shi-tao-233958","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[24,25,95,7,36,28,6155,211,34,33,993,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8523eeee7217dae1b5bb91657e0c2417.jpg","纵45.1厘米，横30.8厘米",[],{"id":22430,"slug":22431,"title":22432,"dynasty":174,"author":5748,"museum":120,"description":22433,"tags":22434,"thumbUrl":22435,"material":564,"size":22436,"collection":166,"collections":22437,"showCount":22235,"zanCount":1084,"manualWeight":46,"mainColor":47},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[24,25,95,28,36,7,27,454,9632,14156,624,194,34,33,3660,210,216,268,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纵110.3厘米，横30.8厘米",[],{"id":22439,"slug":22440,"title":22441,"dynasty":174,"author":491,"museum":120,"description":22442,"tags":22443,"thumbUrl":22444,"material":564,"size":22445,"collection":166,"collections":22446,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},233822,"qiu-shan-bai-yun-tu-zhou-wang-shi-min-233822","秋山白云图轴","图绘烟云浩渺、林木葱郁的雨后山景。据款题而知，此图是作者有感于“三伏生秋”之意于盛夏的雨后仿元人黄公望笔意所作的秋景图。王时敏自明崇祯五年（1632年）辞官归里后便潜心于对宋、元诸家绘画的研究，期间创作了大量摹仿黄公望的作品，此图便是其中一幅深得黄氏“浅绛”画风的力作。其笔法松秀灵动，色、墨富于变化而有层次，重叠交错的墨点更是将山形树貌有机地统一于高逸的境界中。\n款题：“己丑六月望，过西田村舍，毒热不异炮灼，僵卧挥汗，雠睨笔砚。适雨后稍凉，忆古人三伏生秋之句，戏作秋山白云图。虽曰摹仿大痴，实未得其脚汗气也，愧绝愧绝。王时敏识。”钤“王时敏印”白文印、“西田”朱文印。又题：“此余十年前所作，公瑕将以赠宿章道兄。复携见示，追忆挥汗舐笔时，宛然如昨。今年至力衰，百事慵懒，不复求旧管城公，诵少陵‘丹青不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[24,25,95,7,27,28,36,8439,1777,33,34,215,324,164,10537,3157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纵96.7厘米，横41厘米",[],{"id":22448,"slug":22449,"title":22450,"dynasty":18,"author":1788,"museum":120,"description":22451,"tags":22452,"thumbUrl":22453,"material":811,"size":22454,"collection":166,"collections":22455,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,25,26,7,481,37,38,80,624,35,193,597,34,2283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 横67CM",[],{"id":22457,"slug":22458,"title":22459,"dynasty":18,"author":18899,"museum":5692,"description":22460,"tags":22461,"thumbUrl":22462,"material":196,"size":22463,"collection":166,"collections":22464,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[23,24,25,26,7,28,126,324,33,34,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":22466,"slug":22467,"title":22468,"dynasty":174,"author":657,"museum":450,"description":22469,"tags":22470,"thumbUrl":22471,"material":166,"size":166,"collection":166,"collections":22472,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},230234,"mo-xi-tu-ce-jin-nong-230234","墨戏图册","这幅画以淡墨轻色晕染出初夏庭院的闲静意趣。垂拂的柳丝漫过墙头，池面散落点点花片，廊间文士负手凭栏，将心神沉溺在眼前景致里。画面与题诗相映，把荷开新晴后的慵懒缱绻缓缓晕开。\n\n简淡的线条勾勒出人物与庭院轮廓，浅施色彩晕染出江南空濛柔婉的氛围，形简而意足。将文人闲居的清雅心境藏在笔底，淡而有味，静中生情。松弛的书卷气漫在画面里，寥寥数笔便揉进中式文人的隐逸闲情，把江南初夏独有的缱绻诗意铺展开来，尽显文人画以意取胜的妙处，藏着日常闲居的松弛意趣，耐看又动人。",[24,25,74,7,27,80,37,193,395,1035,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85b2036e93ac5dade0ec531e29c266f.jpg",[],{"id":22474,"slug":22475,"title":22476,"dynasty":174,"author":633,"museum":450,"description":22477,"tags":22478,"thumbUrl":22479,"material":166,"size":166,"collection":166,"collections":22480,"showCount":22235,"zanCount":1084,"manualWeight":46,"mainColor":47},230125,"hua-hui-tu-ce-12-zhen-ren-yi-230125","花卉图册12帧","此作用笔兼工带写，以朱砂点簇秋实，圆厚鲜活，仿佛能触到饱满生机。浓墨绘叶，焦墨勾筋，苍劲朴拙，和淡墨晕染的湖石形成强烈的虚实对照。右侧留白疏朗空灵，衬出花木蓬勃意态。设色艳而不妖，朱红、浓墨与浅灰层次分明，将秋果鲜活与湖石清寂相融，既有写生的生动写实，又兼具文人写意的疏放洒脱，把花木生机与清雅文心合而为一，尽显雅致灵动的画中逸趣。",[24,25,74,27,7,75,180,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745db1e5257ed10b6f6364e406e8c5a4.jpg",[],{"id":22482,"slug":22483,"title":22484,"dynasty":52,"author":4714,"museum":450,"description":22485,"tags":22486,"thumbUrl":22487,"material":166,"size":166,"collection":166,"collections":22488,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":140},228162,"fu-rong-hua-tu-ye-wang-yuan-228162","芙蓉花图页","以水墨写就芙蓉，淡墨晕染花瓣，层层铺陈间将柔媚蓬松的花态尽显，花瓣边缘虚淡朦胧，如带清露。浓墨绘叶，枯笔勾勒叶脉，晕分出叶片阴阳向背之态，枝叶舒展错落，尽显芙蓉清妍雅致之姿。\n\n画面间题诗错落排布，朱红印章点缀其间，诗画合璧，褪去设色浓丽，以素净水墨尽现芙蓉秀润风骨，尽显尚意简淡的审美意趣，将文人情思融于笔墨意趣之中，清雅脱俗，余韵悠长。",[24,25,74,7,481,75,130,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9168b45b7cbef3fdbda8ee446bb21498.jpg",[],{"id":22490,"slug":22491,"title":9539,"dynasty":205,"author":592,"museum":450,"description":22492,"tags":22493,"thumbUrl":22494,"material":166,"size":166,"collection":166,"collections":22495,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":140},227774,"mu-niu-tu-li-tang-227774","李唐牧牛图，绢本， 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钤印：苏氏文印、西磵云樵、昌龄、苏。",[23,281,24,25,28,193,1839,147,27,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":22497,"slug":22498,"title":22499,"dynasty":205,"author":278,"museum":450,"description":19845,"tags":22500,"thumbUrl":22501,"material":166,"size":166,"collection":166,"collections":22502,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":140},227730,"dong-ting-qiu-yue-tu-xiao-xia-gui-227730","洞庭秋月图（小）",[23,24,281,25,95,7,28,940,147,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706adea0be21d3e2be8c5b05315e7cc4.jpg",[],{"id":22504,"slug":22505,"title":22506,"dynasty":205,"author":206,"museum":450,"description":22507,"tags":22508,"thumbUrl":22511,"material":166,"size":166,"collection":166,"collections":22512,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":140},227413,"xue-shan-lan-re-tu-guo-xi-227413","雪山兰若图","郭熙（约1000-约1080），字淳夫，今河南孟县人，北宋画家、绘画理论家。郭熙出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。树枝如蟹爪下垂，笔势雄健，水墨明洁。早年风格较工巧，晚年转为雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n\n郭熙在学画之初并无老师，后在临摹李成山水画中受到启发，笔法大进，亦能自放胸臆，笔势雄健，水墨明洁。画山石多用卷云或鬼脸皴，画树如蟹爪下垂。1068-1077年间为图画院艺学，后任翰林待诏直长，成为宫廷画院重要成员。于画论方面亦有建树，总结出对四季山水的审美感受及山水构图三远法等。创作活动旺盛的时代正是宋神宗在位的1068-1085年，深受神宗的恩宠，有“神宗好熙笔”，“评为天下第一”之说。",[24,494,281,7,36,22509,4347,993,34,14996,194,215,22510],"卷云皴","雄阔意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64c6c4a6dae4f904ca25689a573a408.jpg",[],{"id":22514,"slug":22515,"title":22516,"dynasty":174,"author":377,"museum":450,"description":22517,"tags":22518,"thumbUrl":22519,"material":166,"size":166,"collection":166,"collections":22520,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},224519,"shan-shui-tu-ce-8-kai-6-shi-tao-224519","山水图册8开-6","此作以极简笔墨铺陈林泉幽境，虬松苍劲盘曲，焦墨攒写松针，古拙老辣尽现岁寒风骨。茅舍板桥轻勾淡染，野朴天真。浅赭花青晕染远山，留白代水，虚实相生间漾开空濛淡远的烟岚之气。\n\n桥头渔翁寥寥数笔，便勾画出垂纶忘机的闲淡模样，暗合寄情丘壑、与世无争的林下襟怀。全幅笔致纵逸灵秀，以水墨浅绛写就幽居逸趣，淡而愈远，简中见雅，将文人幽栖林泉的意趣藏入每寸笔墨，悠悠然漾出静穆清和的林下之风。",[23,281,24,25,74,7,36,28,29,324,624,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47caab48b06d630ce9946e368b7e7336.jpg",[],{"id":22522,"slug":22523,"title":1381,"dynasty":52,"author":581,"museum":120,"description":22524,"tags":22525,"thumbUrl":22526,"material":3471,"size":22527,"collection":220,"collections":22528,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":461},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,24,25,7,27,36,28,212,34,33,717,31,6001,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[220,42,222],{"id":22530,"slug":22531,"title":22532,"dynasty":52,"author":581,"museum":120,"description":22533,"tags":22534,"thumbUrl":22536,"material":298,"size":22537,"collection":166,"collections":22538,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},223560,"yu-lan-guan-yin-tu-yi-ming-223560","渔篮观音图","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。\n佛教中三十三观音之一。手持鱼篮。明宋濂有《鱼篮观音像赞》：“序按《观音感应传》：唐元和十二年（公元817年），陕右金沙滩上有一美艳女子，絜篮鬻鱼，人竞欲室之。女曰：‘妾能授经，一夕能诵《普门品》者，事焉。’黎明，能者二十。女辞曰：‘一身岂堪配众夫邪！请易《金刚经》，如前期。’能者复居其半。女又辞，请易《法华经》，期以三日。惟马氏子能。女令具礼成婚。入门，女即死，死即糜烂立尽，遽瘗之。他日，有僧同马氏子启藏观之，惟有黄金锁子骨存焉。僧曰：‘此观音示现以化汝耳。’言讫飞空而去。自是陕西多诵经者。“",[23,281,24,25,95,3557,193,7,547,37,80,22535],"篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc18d37597ee238c26ceb0b013f0ee58.jpg","82.1x32",[],{"id":22540,"slug":22541,"title":22542,"dynasty":174,"author":739,"museum":92,"description":22543,"tags":22544,"thumbUrl":22545,"material":284,"size":22546,"collection":42,"collections":22547,"showCount":22235,"zanCount":1084,"manualWeight":46,"mainColor":47},223130,"zi-hua-xiang-hua-yan-223130","自画像","本幅自题：“新罗山人小景。嗤余好事徒，性耽山野僻。每入深谷中，贪玩泉与石。或遇奇邱壑，双飞折齿屐。翩翩排烟云，如翅生两腋。此兴四十年，追思殊可惜。迩来筋骨老，迥不及畴昔。聊以孤松唫，闭之蒿间宅。洞然窥小牖，寥萧浮虚白。炎风扇大火，高天苦燔炙。倦卧竹筐床，清汗湿枕席。耶得踏层冰，散发倾崖侧。其坐捉笔砚，写我躯七尺。嬴形侣鹤臒，峭兀比霜柏。俯仰绝尘境，晨昏不相迫。草色荣空春，苔纹华石壁。古藤结游青，寒水浸僵碧。悠悠小乾坤，福地无灾厄。雍正丁未长夏新罗山人坐讲声书舍戏墨。”钤“秋岳”、“华岩”。引首钤“小园”，右下钤“离垢”。“雍正丁未”为1727年，华岩时年46岁。\n华岩是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华岩潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华岩一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华岩身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[23,24,25,95,7,123,193,28,213,210,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618e9659c8ac72917cca6831b14c9888.jpg","纵130.5厘米，横50.7厘米",[42,222],{"id":22549,"slug":22550,"title":22551,"dynasty":174,"author":22552,"museum":450,"description":22553,"tags":22554,"thumbUrl":22555,"material":298,"size":22556,"collection":245,"collections":22557,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},223125,"shu-hua-ce-ye-ji-gui-zhuang-223125","《书画册页》-寄","归庄","归庄（1613年8月29日——1673年10月1日） ，明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[23,10153,25,2446,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0175a63c532bdaa1c34eaf797535b8ec.jpg","纵24.5厘米，横35.5厘米",[245],{"id":22559,"slug":22560,"title":22561,"dynasty":174,"author":15930,"museum":120,"description":22562,"tags":22563,"thumbUrl":22564,"material":284,"size":22565,"collection":42,"collections":22566,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":140},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[23,24,25,28,7,36,34,33,210,32,268,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[42,222],{"id":22568,"slug":22569,"title":22570,"dynasty":174,"author":22571,"museum":593,"description":22572,"tags":22573,"thumbUrl":22575,"material":6136,"size":22576,"collection":42,"collections":22577,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[23,24,26,7,36,494,22574,33,34,58,35,533,193,211,164,785,1840],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[42,222],{"id":22579,"slug":22580,"title":22581,"dynasty":174,"author":2029,"museum":450,"description":9611,"tags":22582,"thumbUrl":22583,"material":964,"size":22584,"collection":166,"collections":22585,"showCount":22235,"zanCount":46,"manualWeight":46,"mainColor":47},222622,"shan-shui-shan-mian-3-gong-xian-222622","山水扇面-3",[23,24,25,1462,7,36,28,32,162,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6191e681c7f9801e2bd66e8502b32f.jpg","纵22.7厘米，横63.1厘米",[],{"id":22587,"slug":22588,"title":22589,"dynasty":18,"author":19,"museum":92,"description":22590,"tags":22591,"thumbUrl":22592,"material":166,"size":166,"collection":83,"collections":22593,"showCount":22235,"zanCount":1084,"manualWeight":46,"mainColor":47},222126,"jiao-yin-qin-si-tu-shen-zhou-222126","蕉阴琴思图","一块长形的太湖石，一株高大翠绿的芭蕉，下坐一名高士扶琴静思，左上题诗日：“焦下不生暑，坐生知古心。抱琴未须鼓，天地自知音。”落款长洲沈周。整幅作品笔简意赅，虽墨点无多却意蕴凿凿、余味深长，布局与《秋林独步图》如出一辙，其悠然自得之情跃然方寸。",[23,281,24,25,1462,7,27,193,180,6452,2271,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebd64831ee8b273146574817aaefdc3.jpg",[83,64],{"id":22595,"slug":22596,"title":8821,"dynasty":18,"author":16100,"museum":770,"description":22597,"tags":22598,"thumbUrl":22599,"material":196,"size":22600,"collection":42,"collections":22601,"showCount":22235,"zanCount":1084,"manualWeight":46,"mainColor":921},222084,"han-shan-shi-de-tu-you-qiu-222084","寒山、拾得是唐代富有传奇色彩的人物。此图画唐贞观年间高僧寒山与拾得二人。寒山亦称寒山子，居天台始丰县寒岩，好吟词偈，状似疯癫。拾得是孤儿，寺僧拾而养之，故名拾得，在寺执炊涤器，与寒山友善。\n《寒山拾得图》是人物画中的佳作, “奇而不诡于正，真高流逸墨”。用笔大胆粗犷,线条流畅爽利。图中寒山右手指天,谈笔风生；拾得袒胸露腹,欢愉静听。两人披头散发,憨态可掬。从画面上，我们能够感觉到他是受了李唐画风的影响，两个人物安排在近处，给人一种很强烈的视觉印象，而远景的虚化处理，更强化了人物的形象。背景部分用笔较为豪放粗简，向外探出的树干向背分明，树枝行笔错落而不失坚挺，表现藤蔓的线条潇洒飘逸。",[23,24,7,547,95,193,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9b4eeb60e8f3530895eeb0a7701d9c.jpg","纵121厘米，横30 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，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,25,95,7,36,254,28,29,30,31,32,717,35,34,33,3246,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[42],{"id":22811,"slug":22812,"title":22813,"dynasty":174,"author":20845,"museum":450,"description":22814,"tags":22815,"thumbUrl":22820,"material":166,"size":166,"collection":166,"collections":22821,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},239360,"fang-huang-gong-wang-fu-chun-shan-tu-juan-fang-cong-239360","仿黄公望富春山图卷","此作用干笔淡墨铺展千里江山，开篇平林远渚，烟波澹荡，村舍隐于茂林，渐而山峦层叠皴染，苍秀兼具，暗合原作平淡天真的气韵。丘壑排布舒展自然，峰峦以披麻皴写就，松枝挺劲苍古，林麓间田亩交错，渔舟泛于空蒙水面，尽显江南山水的温润清远。全卷气脉贯通，将富春林峦深秀、水乡闲雅尽皆揽入，笔墨追摹古意又自含静穆简远之致，留白处烟岚浮动，复刻出原作的萧散野逸，尽显文人山水的淡远襟怀。",[23,281,24,25,26,7,28,254,36,1337,22816,3664,212,670,13995,1925,21804,22817,22818,22819],"远渚","文人山水","萧散野逸","淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1572a10ef65de14456fc4e85525a18.jpg",[],{"id":22823,"slug":22824,"title":2940,"dynasty":174,"author":2605,"museum":450,"description":2941,"tags":22825,"thumbUrl":22826,"material":166,"size":2944,"collection":166,"collections":22827,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},238030,"hong-ren-shan-shui-tu-ce-hong-ren-238030",[281,24,25,74,7,36,28,180,30,717,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3f0273ba838ad249818da5b0f02d07.jpg",[],{"id":22829,"slug":22830,"title":1567,"dynasty":174,"author":418,"museum":450,"description":4299,"tags":22831,"thumbUrl":22832,"material":166,"size":166,"collection":42,"collections":22833,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},237906,"shan-shui-zhou-zhu-da-237906",[24,7,95,36,28,33,34,147,180,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb96d04f2547d63809c206cc57897c.jpg",[42],{"id":22835,"slug":22836,"title":22837,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":22838,"thumbUrl":22839,"material":166,"size":166,"collection":83,"collections":22840,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},237888,"wang-hui-ya-zhen-tu-heng-fang-ye-wang-hui-237888","王翚鸦阵图横方页",[24,6779,2446,36,7,282,717,34,30,33,180,80,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f77cb5f5efef0d0dd541b2a6f81ea3a.jpg",[83,222],{"id":22842,"slug":22843,"title":22844,"dynasty":174,"author":3195,"museum":120,"description":22845,"tags":22846,"thumbUrl":22847,"material":964,"size":6015,"collection":42,"collections":22848,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},237611,"fang-wu-zhen-shan-shui-zhou-wang-jian-237611","仿吴镇山水轴","本幅上部自识长题，款署：“王原祁画并题。”钤“王原祁印”白文印，“茂京文”白朱文印，“扫华庵”朱文印。右下角钤“西庐后人”朱文印。\n此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[24,7,95,36,254,80,28,210,33,35,34,215,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg",[42,222],{"id":22850,"slug":22851,"title":22852,"dynasty":174,"author":377,"museum":120,"description":22853,"tags":22854,"thumbUrl":22855,"material":298,"size":166,"collection":42,"collections":22856,"showCount":22737,"zanCount":1084,"manualWeight":46,"mainColor":140},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,25,95,123,7,36,28,35,33,624,34,30,193,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[42,245],{"id":22858,"slug":22859,"title":22860,"dynasty":18,"author":22861,"museum":20,"description":22862,"tags":22863,"thumbUrl":22864,"material":196,"size":22865,"collection":42,"collections":2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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（1719年）至扬州鬻画，人争客之。\n雍正五年（1727年）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。\n乾隆十六年(1751年)黄慎的母亲去世，他又重游扬州，居住六年，才返故里，苦度晚年。\n乾隆三十三年（1768年）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[23,24,25,74,7,27,75,394,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032ca96686e1dafcb055cff42ba16f41.jpg",[83],{"id":22908,"slug":22909,"title":22910,"dynasty":18,"author":1788,"museum":120,"description":22911,"tags":22912,"thumbUrl":22914,"material":964,"size":22915,"collection":166,"collections":22916,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},233789,"cha-ju-shi-yong-tu-wen-zheng-ming-233789","茶具十咏图","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏•茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。",[24,25,95,7,28,33,268,282,37,36,22913],"细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078ace09b71a9b7aa104d7a634ed1d23.jpg","纵136.1厘米，横26.8厘米",[],{"id":22918,"slug":22919,"title":22920,"dynasty":18,"author":19,"museum":120,"description":22921,"tags":22922,"thumbUrl":22923,"material":3883,"size":22924,"collection":166,"collections":22925,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},233413,"jiang-ting-bi-shu-tu-shan-ye-shen-zhou-233413","江亭避暑图扇页","此图是幅笔笔紧贴诗意的画作。图绘夕阳下，高士策杖至江亭避暑的小景。扇面构图为左右开合式，设色以绿色为主，其青翠明洁的色调与简约的景致相呼应。清爽、平淡的审美意趣与消除烦燥求得清凉的避暑主题相契合，烘托出远离市俗寻幽独行高士其清逸雅淡的心境。",[24,25,1462,7,27,36,28,32,624,34,193,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f7c91afe93a2c98ff6b01f36ce6f9d.jpg","纵18厘米，横46厘米",[],{"id":22927,"slug":22928,"title":11202,"dynasty":18,"author":11203,"museum":120,"description":22929,"tags":22930,"thumbUrl":22931,"material":612,"size":22932,"collection":166,"collections":22933,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,25,95,7,36,28,29,30,312,193,33,34,35,624,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":22935,"slug":22936,"title":22937,"dynasty":18,"author":18151,"museum":593,"description":22938,"tags":22939,"thumbUrl":22940,"material":61,"size":22941,"collection":166,"collections":22942,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,281,24,25,74,7,27,36,132,125,180,940,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],{"id":22944,"slug":22945,"title":11304,"dynasty":174,"author":5748,"museum":450,"description":22946,"tags":22947,"thumbUrl":22948,"material":298,"size":166,"collection":166,"collections":22949,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},231940,"qiu-shan-tu-kun-can-231940","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,281,24,25,26,7,27,36,28,717,34,30,31,2925,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":22951,"slug":22952,"title":22953,"dynasty":52,"author":16372,"museum":92,"description":22954,"tags":22955,"thumbUrl":22956,"material":811,"size":22957,"collection":166,"collections":22958,"showCount":22737,"zanCount":5,"manualWeight":46,"mainColor":47},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[24,25,26,7,36,28,34,33,30,31,194,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":22960,"slug":22961,"title":376,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":22962,"thumbUrl":22963,"material":314,"size":1061,"collection":166,"collections":22964,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},230276,"shan-shui-tu-ce-zhu-da-230276",[24,7,36,74,80,28,147,34,35,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4472f7aa214cb40bd93f48ed4bffbe09.jpg",[],{"id":22966,"slug":22967,"title":157,"dynasty":174,"author":5748,"museum":450,"description":22968,"tags":22969,"thumbUrl":22970,"material":166,"size":166,"collection":166,"collections":22971,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},228965,"shan-shui-ce-kun-can-228965","淡赭晕开薄暮天色，月色悬于天际晕出朦胧清光，远山隐在烟岚之中，如被夜雾浸得温润朦胧。近林以焦墨挥写，笔意苍劲老辣，繁枝密叶错落有致，将山野草木萧森之态尽显。\n\n蜿蜒山径之上，白衣策杖人缓步行游，为幽密林色添上清寂文人气韵。画作以干湿浓淡的墨色变化，揉合出月夜空山的空濛辽远，静穆萧散的禅意藏在笔底，将夜游林麓的幽闲况味融在烟霞里，淡远悠长的林下之思随月色漫溢开来，清寂悠然直入人心。",[23,24,25,281,7,36,80,28,940,311,33,193,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8628031461d94722f467f710beefc78.jpg",[],{"id":22973,"slug":22974,"title":22975,"dynasty":18,"author":3243,"museum":450,"description":22976,"tags":22977,"thumbUrl":22978,"material":166,"size":166,"collection":166,"collections":22979,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[23,24,26,7,36,254,28,4347,29,30,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":22981,"slug":22982,"title":22983,"dynasty":18,"author":407,"museum":450,"description":22984,"tags":22985,"thumbUrl":22993,"material":166,"size":166,"collection":166,"collections":22994,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":140},228850,"xi-gu-cai-wei-tu-dai-jin-228850","溪谷采薇图","此作用笔苍劲老辣，以高远与平远结合铺展画面。右侧危崖壁立，斧劈皴写出山石方硬峭拔的质感，左侧烟波浩渺，水墨晕染出朦胧烟岚，虚实相映勾勒出山水层次。\n近处枯槎老枝遒劲舒展，茅舍掩映林间，暗含林下幽居的隐逸意趣；中景溪泉蜿蜒汇入平湖，楼阁凌于谷间，添了几分雅致烟火气。远景山峦晕染朦胧，残月悬于淡墨长空，归雁成行掠破清寂，烘托出淡远萧疏的氛围。工写兼备间，将山林隐逸的幽澹之境尽显，兼具院体山水的雄浑笔力与文人画的散淡意趣。",[23,24,494,7,5254,22986,22987,717,14321,22988,22989,194,212,22990,282,11639,22991,22992,1153],"工写兼备","危崖","溪泉","平湖","残月","萧疏淡远","院体山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41db834b0f7a314f221f8d8eb2bfc010.jpg",[],{"id":22996,"slug":22997,"title":22998,"dynasty":18,"author":22999,"museum":450,"description":23000,"tags":23001,"thumbUrl":23002,"material":166,"size":166,"collection":166,"collections":23003,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},228404,"mo-he-tu-li-zhou-xiang-yuan-bian-228404","墨荷图立轴","项元汴","此作虚实相生，以文绘相融尽显文人意趣。右上角题诗留白衬映画面，下半段挥写墨荷。大写意泼染荷叶，墨色干湿浓淡交织，晕染出翠盖舒展的蓬勃野态；花瓣以清隽白描勾勒，尽显菡萏清雅绰约之姿。挺劲荷茎点缀苔斑，舒展兰草环绕侧畔，更添幽塘清逸之趣。\n\n整幅以极简水墨抒怀，将荷塘晓风的清寂诗意融于笔底，以简驭繁尽显晚明文人画重韵尚意的风骨，在水墨氤氲间晕染出空灵澹远的幽塘意境，是借物寄怀的文人水墨佳构。",[23,24,25,95,7,395,396,397,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e662119b33919b8f58181bb78653082.jpg",[],{"id":23005,"slug":23006,"title":4064,"dynasty":174,"author":749,"museum":120,"description":23007,"tags":23008,"thumbUrl":23009,"material":964,"size":11391,"collection":42,"collections":23010,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":140},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,281,24,494,254,36,7,27,95,335,350,33,29,35,215,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg",[42],{"id":23012,"slug":23013,"title":23014,"dynasty":174,"author":739,"museum":450,"description":23015,"tags":23016,"thumbUrl":23017,"material":166,"size":166,"collection":166,"collections":23018,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},224177,"tao-tan-yu-ya-hua-yan-224177","桃潭浴鸭","暖红桃枝垂曳入水，柔丝轻拂春水，将烂漫春色揉进涟漪。浴鸭憨态可掬，翎毛晕染细腻蓬松，俯身在清波中理羽，把春日闲静慵懒尽数绘出。\n\n整幅画虚实相生，艳而不俗的花色，和淡墨晕开的汀草灵石相映，兼工带写间既有精妙写实，又具疏朗雅致。笔意秀逸清新，将水畔清和的春日温柔晕染开来，把闲淡生机藏在每一处细节，尽显灵动雅致的文人意趣。",[23,24,27,75,481,95,131,9253,350,480,2875,8372,7,6482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c66d85b5a377c609d50d01fb40a230f.jpg",[],{"id":23020,"slug":23021,"title":23022,"dynasty":174,"author":633,"museum":159,"description":23023,"tags":23024,"thumbUrl":23025,"material":196,"size":23026,"collection":166,"collections":23027,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},223229,"tao-hua-shuang-ji-tu-ren-yi-223229","桃花双鸡图","这图在徐小仓的传世的花鸟画作品中亦属上品。任氏所创用的以侧锋塑方形物象的画法，也与“侧取媚”的书学理论息息相通。因这种造型特征，能使欣赏者得到清新愉悦的观感而不陷于艰深的笔墨意境之中。这一点，在徐祥的作品中也得到了很好的体观。至于坡石的勾勒，坡草的节奏和用色方法，这些都与任伯年的作风一脉相承，置诸伯年作品中，几乎是可以混人耳目的。徐祥的自运之处，在于画面的整体布局，此作构图饱满，充溢三角而稍留空虚之地，使画面丰满而不滞塞。桃枝的穿插层层叠错，相当繁杂，这一点，固可以目之为“琐碎”，但反思之，这种变简单为繁茂，变孤清为热闹的画法，恰恰是符合徐小仓作为一个平民画家的本色的，雅俗共赏是未尝可以轻易非议的。款识：海上徐小仓写。钤印：徐祥之印。\n通观全作，设色淡雅，用笔以方峻的侧锋铺点为主，枝叉的转折，桃叶的分布，树干的盘旋出节，均与任伯年如出一辙；雄鸡的造型也取三角形，有棱有角，古人论书尝云“侧取媚”，意即侧锋出笔则姿态婀娜。",[23,24,25,281,27,7,75,131,10069],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa59cfc11c1f09f6b7195be05c9967f.jpg","138×68厘米",[],{"id":23029,"slug":23030,"title":23031,"dynasty":174,"author":2913,"museum":294,"description":11818,"tags":23032,"thumbUrl":23033,"material":9255,"size":23034,"collection":245,"collections":23035,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开",[23,24,25,74,7,27,28,38,36,30,212,33,519,35,9102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","31.8x24.8cm",[245,42],{"id":23037,"slug":23038,"title":23039,"dynasty":18,"author":796,"museum":1334,"description":2190,"tags":23040,"thumbUrl":23041,"material":196,"size":2194,"collection":166,"collections":23042,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},222566,"hua-hui-tu-5-chen-chun-222566","花卉图5",[23,281,24,25,9254,75,123,7,27,76,551,1593,2283,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138d65dbbfc167920322e416ba20c1e.jpg",[],{"id":23044,"slug":23045,"title":23046,"dynasty":18,"author":10282,"museum":450,"description":23047,"tags":23048,"thumbUrl":23049,"material":298,"size":23050,"collection":166,"collections":23051,"showCount":22737,"zanCount":1084,"manualWeight":46,"mainColor":47},222243,"yue-yi-lun-wang-chong-222243","乐毅论","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。\n王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。\n青年时代苦读书20年，建越溪庄，设有“采芝堂”、“御风亭”、“小隐阁”、“大雅堂“、“辛夷馆”、“铁观斋”等收藏书画之所，读书练字、作画于湖上，后以诸生入国子监。藏书颇多，于书无所不窥，手写经书皆一再过。滂喜斋藏宋刻《云斋广录》有“王履吉印”、“铁观斋”朱记。又宋刻《东观余论》、元本《扬子法言》印有“雅宜山人珍藏图籍”、“古吴王氏”“王履吉印”“王宠履吉”“太原王宠”“玄微子”“辛夷馆印”“王宠”“雅宜山人”“履吉父”等。",[23,37,242,7,80,13883,25,254,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c8ad259d9b2083b71961ca8508794a.jpg","29.63*90.31",[],{"id":23053,"slug":23054,"title":22363,"dynasty":18,"author":1788,"museum":450,"description":23055,"tags":23056,"thumbUrl":23057,"material":23058,"size":23059,"collection":42,"collections":23060,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":140},221982,"shan-shui-juan-wen-zheng-ming-221982","此时文征明的山水画有两种比较典型的风格：“粗文”和“细文”。他的粗笔山水主要取法沈周和吴镇，在粗简中表现出层次和韵味；细笔山水则取法于赵孟頫、王蒙，用笔细密，布景繁密。设色多以青绿重彩或间施浅绛绘之，清雅宁静，具有很强的装饰意味。文征明性情温和儒雅，尤推崇秀润、细丽、含蓄的画风，作品以细笔山水为主。这与沈周的雄强刚健、粗犷张扬的画风明显不同。收藏界历来有“粗文细沈”之说，他的粗笔山水因数量较少而更受藏家钟爱。",[23,24,28,335,350,162,1791,7,123,26,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[42,222],{"id":23062,"slug":23063,"title":23064,"dynasty":18,"author":23065,"museum":92,"description":23066,"tags":23067,"thumbUrl":23068,"material":98,"size":23069,"collection":222,"collections":23070,"showCount":22737,"zanCount":46,"manualWeight":46,"mainColor":47},221877,"yun-lin-shu-shi-zhou-gu-zheng-yi-221877","云林树石轴","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。”",[23,24,7,95,36,162,96,180,37,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca8b4dda7acc4293094d57d245fb08e.jpg","92.6 x 38.8 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和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。\n其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。\n款署：“渐江学者为子翁居士作陶庵图。\n”钤“弘仁”朱文印、“渐江僧”白文印。\n画幅上方有罗逸题七律一首，款署：“八十五老友罗逸为子陶先生题。\n”钤“罗逸之印”朱文印、“远游”白文印。\n鉴藏印有“礼耕堂”等二方。\n画右中部有篆书“庚子”二字。\n“庚子”是清顺治十七年（166年），作者时年51岁。",[281,24,25,95,7,36,28,335,162,32,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],{"id":23400,"slug":23401,"title":23402,"dynasty":18,"author":796,"museum":450,"description":8275,"tags":23403,"thumbUrl":23404,"material":314,"size":1061,"collection":166,"collections":23405,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},235796,"chen-dao-fu-tian-xiang-tu-shan-ye-chen-chun-235796","陈道复天香图扇页",[1462,7,75,134,37,38,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc792f32bb6847098aa7d32e3c97c6c5e.jpg",[],{"id":23407,"slug":23408,"title":23409,"dynasty":18,"author":1788,"museum":120,"description":23410,"tags":23411,"thumbUrl":23412,"material":964,"size":23413,"collection":166,"collections":23414,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,24,25,26,7,547,37,38,126,133,706,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":23416,"slug":23417,"title":23418,"dynasty":18,"author":10358,"museum":450,"description":23419,"tags":23420,"thumbUrl":23421,"material":166,"size":166,"collection":166,"collections":23422,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":461},234172,"xiang-jiang-chun-yu-tu-juan-xia-chang-234172","湘江春雨图卷","夏昶（188—147），字仲昭，号自在居士、玉峰， 人，后人誉其画竹高手。\n他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。\n号自在居士，又号玉峯，江苏昆山人， 弟。\n正统中官至 直内阁。\n画墨竹师 ，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为 。\n文皇十分赏识他的楷书，被推荐 内省，授 。\n永乐命书宫殿榜。\n尝侍从皇帝出巡于南、北二京。\n(公元1426一145年)中，转考工主事，仍供内直。\n正统(公元146—1449年)中升太常卿。\n他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。\n晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学 兼学 ，有自己的面目，声誉大大超过了他的老师。\n其兄 ，字孟旸，亦以书法 称旨，命与昶同拜中书舍人，时称“大小中书”。\n画山水师元画家 ；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n其孙女为 祖母，另一孙女则在其过世后嫁予 为妻。\n夏昶以 笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而 。\n当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞( )的 (字廷瑞)、钱塘(杭州)的詹和（字仲和)。\n而以屈礿为突出。\n明 《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。\n”徐沁 说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。\n所作竹枝烟姿雨色，偃值浓疎，动和 ，盖行家也。\n昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。\n尤精楷法，永乐命书宫殿榜。\n卒年八十三。\n传世作品有《湘江风雨图卷》（ 藏）、《满林春雨图轴》（ 藏）、《 》（ 藏）等。",[23,24,25,26,7,28,126,706,36,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce25658d7757cb59f52d9d91b347bb7.jpg",[],{"id":23424,"slug":23425,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":23426,"thumbUrl":23427,"material":298,"size":2515,"collection":166,"collections":23428,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},234085,"wu-zhong-shan-shui-ce-shen-zhou-234085",[24,25,74,7,38,36,28,194,33,29,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490de890778b4cc3370fad14bbd48de.jpg",[],{"id":23430,"slug":23431,"title":23432,"dynasty":18,"author":19,"museum":120,"description":561,"tags":23433,"thumbUrl":23434,"material":564,"size":565,"collection":166,"collections":23435,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},233837,"wo-you-tu-ce-liu-chan-shen-zhou-233837","卧游图册－柳蝉",[24,25,74,7,1853,1191,75,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c5a7074fd91a202d775350e6aeb99d1.jpg",[],{"id":23437,"slug":23438,"title":10038,"dynasty":18,"author":2851,"museum":120,"description":23439,"tags":23440,"thumbUrl":23441,"material":964,"size":10042,"collection":166,"collections":23442,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},233782,"mo-mei-tu-zhou-tang-yin-233782","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。",[24,95,7,125,37,80,75,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4f5ac2515103604a1a28cdb834aab2.jpg",[],{"id":23444,"slug":23445,"title":10188,"dynasty":205,"author":2727,"museum":120,"description":23446,"tags":23447,"thumbUrl":23450,"material":964,"size":10193,"collection":166,"collections":23451,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[24,25,26,7,28,454,33,80,37,36,123,10780,164,785,211,212,13071,1177,1153,2028,23448,23449],"米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],{"id":23453,"slug":23454,"title":23455,"dynasty":52,"author":4110,"museum":450,"description":23456,"tags":23457,"thumbUrl":23458,"material":298,"size":23459,"collection":166,"collections":23460,"showCount":23248,"zanCount":1084,"manualWeight":46,"mainColor":47},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,281,24,25,26,254,7,36,28,335,211,30,33,58,6225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":23462,"slug":23463,"title":23464,"dynasty":205,"author":278,"museum":843,"description":23465,"tags":23466,"thumbUrl":23467,"material":1735,"size":23468,"collection":166,"collections":23469,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，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。",[24,25,26,7,36,38,80,28,31,30,32,282,2925,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","全卷长达七米",[],{"id":23471,"slug":23472,"title":157,"dynasty":174,"author":18665,"museum":450,"description":23473,"tags":23474,"thumbUrl":23475,"material":166,"size":166,"collection":166,"collections":23476,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},230115,"shan-shui-ce-jian-jiang-230115","这幅以渴笔淡墨绘就的山水，清劲冷逸。山石仅以疏朗线条勾勒轮廓，略施苔点，便将丘壑的清峭风骨尽数托出。留白代水，不着一笔却尽显秋江空茫之意。\n\n坡上矮屋孑然，旁立两株枯木，枝桠疏疏落落，和远山细树遥遥相对。整幅画删尽冗杂，以极简笔墨撑起满幅萧疏空寂，角落朱印如空山余温，更衬出天地静穆。于淡远简净之中藏着苍润深秀，将人带入空山无人、水流无息的幽寂禅境。",[24,25,74,7,36,28,35,33,34,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1421d5380835cb3a6b3385be97e94568.jpg",[],{"id":23478,"slug":23479,"title":23480,"dynasty":18,"author":10524,"museum":450,"description":23481,"tags":23482,"thumbUrl":23484,"material":166,"size":166,"collection":166,"collections":23485,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":140},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,24,25,95,7,27,36,28,23483,31,33,210,34,211],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":23487,"slug":23488,"title":23489,"dynasty":205,"author":2727,"museum":450,"description":23490,"tags":23491,"thumbUrl":23492,"material":166,"size":166,"collection":166,"collections":23493,"showCount":23248,"zanCount":1084,"manualWeight":46,"mainColor":47},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,25,26,7,36,37,80,28,33,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":23495,"slug":23496,"title":23497,"dynasty":205,"author":2494,"museum":450,"description":19418,"tags":23498,"thumbUrl":23499,"material":166,"size":166,"collection":166,"collections":23500,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷",[23,24,25,26,481,7,75,3931,77,78,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],{"id":23502,"slug":23503,"title":23504,"dynasty":174,"author":9682,"museum":190,"description":23505,"tags":23506,"thumbUrl":23507,"material":537,"size":23508,"collection":42,"collections":23509,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},224253,"gu-mu-yuan-shan-tu-cha-shi-biao-224253","古木远山图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,24,7,28,95,2637,164,180,36,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbbb93b849c20f73993df993353af8.jpg","47.7x108.8cm",[42],{"id":23511,"slug":23512,"title":23513,"dynasty":174,"author":633,"museum":770,"description":634,"tags":23514,"thumbUrl":23515,"material":196,"size":18325,"collection":166,"collections":23516,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},223231,"mei-que-tu-ren-yi-223231","梅雀图",[23,24,25,95,27,7,75,125,77,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b46401bef043423b368b688dbe0e57.jpg",[],{"id":23518,"slug":23519,"title":3793,"dynasty":174,"author":633,"museum":176,"description":23520,"tags":23521,"thumbUrl":23522,"material":196,"size":23523,"collection":166,"collections":23524,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},223223,"san-yang-kai-tai-tu-ren-yi-223223","这是清代著名画家任伯年的代表作品，所画人物形象用笔颇有新意，直接以色彩做画，略加勾线，表现出良好的西洋画素描功夫，对三羊的描绘亦表现出这一点，用浓淡结合的墨色勾勒三只姿态各异的羊，紧紧抓住羊的动态，形成繁简虚实的统一。同时，其画法又保持了中国画造型夸张与线条表现的基本艺术特征，以及书法一气贯通的意韵，可谓中国画艺术在近代融和中西、探求新路的成功之作",[23,24,27,7,123,453,3796,2875,2925,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04307a52460e0e28b559ac3ccee2c932.jpg","145cmx75cm",[],{"id":23526,"slug":23527,"title":23528,"dynasty":18,"author":2851,"museum":23529,"description":23530,"tags":23531,"thumbUrl":23534,"material":564,"size":23535,"collection":600,"collections":23536,"showCount":23248,"zanCount":46,"manualWeight":46,"mainColor":47},222361,"jin-chang-song-bie-tu-tang-yin-222361","金昌送别图","吴氏梅景书屋","图绘柳溪水岸边四人拱手作别，即将远去的朋友回头顾盼他的三个朋友，深含依依不舍之情，旁边一樵夫等待离别的人上船，即将扬帆起航。远处群山连绵，云雾霭霭，空旷高远。整幅图以水墨与淡设色相融合，使画面呈现出清雅的格调。",[23,24,26,7,27,28,193,29,30,31,194,23532,1035,211,32,10930,23533],"群山","依依不舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd1421c45dfa306f19591e4f68b6877.jpg","21×132cm",[600,222],{"id":23538,"slug":23539,"title":23540,"dynasty":18,"author":1788,"museum":450,"description":1789,"tags":23541,"thumbUrl":23542,"material":298,"size":23543,"collection":42,"collections":23544,"showCount":23248,"zanCount":1084,"manualWeight":46,"mainColor":140},221989,"shou-juan-quan-juan-wen-zheng-ming-221989","手卷全卷",[23,24,37,28,335,350,706,162,1791,7,123,26,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cc0fc779d8f58a62155659cdff9839.jpg","27×637cm",[42,222],{"id":23546,"slug":23547,"title":23548,"dynasty":205,"author":3062,"museum":1346,"description":23549,"tags":23550,"thumbUrl":23551,"material":61,"size":23552,"c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） 元画家。字定之，号迂讷居士，淮东人，家昆山（今属江苏）。官泉州路行枢密院判官。擅画墨竹，喜作风竹新篁，运笔遒劲挺秀。用墨润泽焕烂，于李衎、柯九思外，自成一家。亦工行、楷书。存世作品有《拳石新篁》、《平安磐石》、《幽篁秀石图》、《竹石图》、《墨竹图》等。",[24,7,95,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5986ce135d71930321fd9631e1fa25b.jpg",[],{"id":23846,"slug":23847,"title":2736,"dynasty":174,"author":2737,"museum":450,"description":2738,"tags":23848,"thumbUrl":23849,"material":314,"size":1061,"collection":166,"collections":23850,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},239059,"shan-shui-hua-niao-ce-yang-jin-239059",[24,25,74,7,547,75,363,5892,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63e6e415ef05404b5373e9472d91023.jpg",[],{"id":23852,"slug":23853,"title":23854,"dynasty":174,"author":20806,"museum":450,"description":23855,"tags":23856,"thumbUrl":23857,"material":298,"size":23858,"collection":83,"collections":23859,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},238972,"hua-hui-zhou-chen-shu-238972","花卉轴","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,95,27,7,75,2816,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8444c4174ac46ef74113137226711cf.jpg","33*65厘米",[83,245],{"id":23861,"slug":23862,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":23864,"tags":23865,"thumbUrl":23866,"material":166,"size":166,"collection":42,"collections":23867,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},238708,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238708","画弘历和江文通诗意图册","此作用淡墨绘就幽居小景，敞轩之内，文士展卷校读，神态悠然专注。周遭古木虬枝舒展，湖石玲珑错落，浅溪萦回其间，清寂雅致。\n\n笔墨秀润清简，以淡墨皴擦晕染山石肌理，细笔点染出林叶苍然之态，构图疏密得宜，将林下闲居的静穆氛围铺陈开来。画作呼应诗意，把耽于文墨、寄兴丘山的隐逸襟怀融于景致之中，尽显冲淡萧散的文人雅趣，将文人心底幽远的林下之思藏在清和水墨间，尽显风雅静谧的文人画意趣。",[24,25,74,7,36,193,32,33,34,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84e46151266133c953b99627ae19f1f.jpg",[42,600,222],{"id":23869,"slug":23870,"title":23871,"dynasty":174,"author":15930,"museum":120,"description":23872,"tags":23873,"thumbUrl":23874,"material":537,"size":23875,"collection":42,"collections":23876,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},238302,"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[24,7,27,36,28,127,335,706,32,33,193,268,533,213,15170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[42,64],{"id":23878,"slug":23879,"title":2940,"dynasty":174,"author":2605,"museum":450,"description":2941,"tags":23880,"thumbUrl":23881,"material":166,"size":2944,"collection":166,"collections":23882,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032",[24,7,36,2446,28,624,34,532,96,30,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg",[],{"id":23884,"slug":23885,"title":15227,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":23886,"thumbUrl":23887,"material":166,"size":166,"collection":222,"collections":23888,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},237930,"yuan-ji-mo-zhu-tu-zhou-shi-tao-237930",[24,25,95,7,126,37,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56ab48f8433faa0c3d1fc3aa96ea0d3.jpg",[222,245],{"id":23890,"slug":23891,"title":23892,"dynasty":174,"author":10707,"museum":450,"description":23893,"tags":23894,"thumbUrl":23895,"material":298,"size":166,"collection":83,"collections":23896,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},237639,"shuang-yu-tu-zhou-li-fang-ying-237639","双鱼图轴","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一 。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[24,25,95,7,38,80,123,1114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b19355579f3c5af08250390d4501ce2.jpg",[83],{"id":23898,"slug":23899,"title":23900,"dynasty":174,"author":1100,"museum":450,"description":23901,"tags":23902,"thumbUrl":23904,"material":166,"size":166,"collection":166,"collections":23905,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},237411,"tian-zhu-zhou-wu-chang-shuo-237411","天竹轴","以篆隶笔意写绘，枯笔勾勒的枝干苍古嶙峋，尽显朴拙老辣的金石质感。叶片以浓淡墨色晕染，层次分明，艳红、明黄的天竹果实点缀其间，鲜活饱满，与水墨的素雅形成强烈对比，艳而不俗。\n\n右侧以大写意绘顽石，笔致写意简括，虚实相生，衬出天竹的清逸生机。整幅画作将花木的蓬勃生命力与文人画的雅致意趣相融，笔墨沉郁浑朴，尽显雄浑古拙的独特风韵。",[281,24,25,95,75,27,7,123,23903,180,79],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93127e7d2bdb1b52ef872fb7c8c28e5.jpg",[],{"id":23907,"slug":23908,"title":17759,"dynasty":18,"author":7182,"museum":450,"description":23909,"tags":23910,"thumbUrl":23911,"material":166,"size":166,"collection":42,"collections":23912,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},236404,"xiao-xiang-ba-jing-ce-wen-jia-236404","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,7,74,28,31,32,147,80,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d1f1866b63e635521521dd0043dc9a.jpg",[42,64],{"id":23914,"slug":23915,"title":23916,"dynasty":18,"author":796,"museum":450,"description":8275,"tags":23917,"thumbUrl":23918,"material":314,"size":1061,"collection":166,"collections":23919,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},235800,"qiu-kui-tu-shan-chen-chun-235800","秋葵图扇",[24,25,1462,7,123,75,16502,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec55ae0b1c4d7da1e7662300f3fccfc.jpg",[],{"id":23921,"slug":23922,"title":23923,"dynasty":174,"author":5748,"museum":120,"description":23924,"tags":23925,"thumbUrl":23926,"material":564,"size":23927,"collection":166,"collections":23928,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[24,25,95,7,27,36,28,194,30,31,147,32,211,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":23930,"slug":23931,"title":23932,"dynasty":205,"author":2688,"museum":120,"description":23933,"tags":23934,"thumbUrl":23935,"material":3471,"size":23936,"collection":600,"collections":23937,"showCount":86,"zanCount":1084,"manualWeight":46,"mainColor":140},233988,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,281,25,74,547,7,193,147,212,180,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[600,42],{"id":23939,"slug":23940,"title":23941,"dynasty":174,"author":377,"museum":120,"description":23942,"tags":23943,"thumbUrl":23944,"material":11042,"size":9381,"collection":166,"collections":23945,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},233957,"yuan-ji-cai-shi-tu-zhou-shi-tao-233957","原济采石图轴","《采石图》中石头峻峭奇丽，独具一格。石涛石涛山水画非常大胆新奇，他对景物的勾勒描绘灵活多变，意境高深，他人很难模仿，他笔下的景物有一种灵性和生命，是中国山水画的珍品。",[24,7,36,95,28,180,624,34,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a194ee879f1e77435ad72edf054ce3b.jpg",[],{"id":23947,"slug":23948,"title":9888,"dynasty":205,"author":344,"museum":120,"description":23949,"tags":23950,"thumbUrl":23951,"material":2001,"size":23952,"collection":166,"collections":23953,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":921},233741,"mo-long-juan-chen-rong-233741","陈容，字公储，号所翁，福唐（今福建福清）人，生卒年不详，南宋理宗端平二年（公元1235年）进士，曾任福建莆田太守，是当时一位画龙高手，亦擅画松、竹、鹤、虎等。\n陈容人称“所翁龙”，他笔下的龙是后人画龙的典范，倍受国人特别是明清以来画家们的追捧，甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容\n此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[24,26,7,349,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0e691f1d73dae3e59f95736f72e80a.jpg","纵34.3厘米，横50厘米",[],{"id":23955,"slug":23956,"title":23957,"dynasty":174,"author":657,"museum":120,"description":23958,"tags":23959,"thumbUrl":23960,"material":298,"size":23961,"collection":166,"collections":23962,"showCount":86,"zanCount":1084,"manualWeight":46,"mainColor":47},233719,"zi-hua-xiang-zhou-jin-nong-233719","自画像轴","此图为扬州八怪之一金农73岁时的自画像。画中老者身着布衣，持杖侧身而立，姿态笃定，神情超然。其头部画法较为写实，具有肖像画的特征，浓密的长髯，细细的发辫，矍烁的双目，真实传神地描绘出金农本人奇倔傲世的性格特征。\n图中人物的体貌不求形似，极尽夸张，具有漫画意味，这是一种文人画家逸笔的肖像画。画家以焦墨渴笔勾勒人物形象，线条生拙简朴，脱胎于南宋马和之“兰叶描”，与题款及诗文的“漆书”共同体现出生涩拙朴、奇绝脱俗的风格。",[24,25,95,547,7,193,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9ed191e96e74c538004f23d2e40f11.jpg","纵131.3厘米 ，横59.1厘米",[],{"id":23964,"slug":23965,"title":3136,"dynasty":174,"author":377,"museum":120,"description":9377,"tags":23966,"thumbUrl":23967,"material":23968,"size":23969,"collection":166,"collections":23970,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},233426,"yuan-ji-shan-shui-ce-shi-tao-233426",[24,7,36,74,28,34,533,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8b294c65ccb30f4efcb803f6d027904.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":23972,"slug":23973,"title":23974,"dynasty":18,"author":11203,"museum":120,"description":23975,"tags":23976,"thumbUrl":23977,"material":564,"size":23978,"collection":166,"collections":23979,"showCount":86,"zanCount":1084,"manualWeight":46,"mainColor":140},233233,"chun-quan-xiao-yin-tu-juan-zhou-chen-233233","春泉小隐图卷","此图为别号图，是周臣为一位裴姓，号春泉的文人所作。画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫，体现出闲雅出尘之趣。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。中国画中往往绘文人隐士昼眠以示对外界的漠不关心，暗示他们与作官者有不同的享受，宣扬自我解脱、自我慰籍的处世哲学。画家巧妙地突出近景的板桥流水，以示“春泉”之意，又以假寐表示“小隐”，点明主题。\n此件作品在艺术风格上继承了南宋的“院体”画传统，构图洗练紧凑，状物准确生动，人物线条细劲流畅，情态传神。树石用笔刚劲峭利，多为小斧劈皴，墨色浓重而清润，显示了画家高超的绘画技巧。",[24,26,7,481,36,28,29,30,193,32,624,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1304a7914be5bc7d69117e298de3e6c9.jpg","纵26.3厘米，横85.5厘米",[],{"id":23981,"slug":23982,"title":23983,"dynasty":174,"author":4221,"museum":92,"description":23984,"tags":23985,"thumbUrl":23986,"material":166,"size":166,"collection":42,"collections":23987,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},232797,"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[23,24,25,74,547,7,242,37,28,193,32,33,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[42],{"id":23989,"slug":23990,"title":23991,"dynasty":18,"author":11809,"museum":92,"description":23992,"tags":23993,"thumbUrl":23995,"material":298,"size":23996,"collection":166,"collections":23997,"showCount":86,"zanCount":1084,"manualWeight":46,"mainColor":47},232695,"fang-wang-meng-jiao-shi-tu-qian-gu-232695","仿王蒙蕉石图","该画左侧画有高大的芭蕉，枝干粗壮挺拔，蕉叶茂盛，蕉叶的大小和形状各异在芭焦树右侧下，竖立着一块巨石，紧紧依仗在芭蕉树干上。奇石下长着数株花朵盛开的牡丹和茂密的枝叶。该画以粗笔泼墨把芭蕉，牡丹和湖石创造而成，细致的刻画没有作做。该幅墨韵气势，奔放横溢，笔墨和造型在徐渭的写意画中生动的表现出来，把花鸟、蔬菜、走兽、人物、山水等都给显示其中，令人耳目一新",[24,25,95,7,547,36,254,80,421,180,2203,23994],"蕨类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9519a20dcb4c79c70479b45708fd193.jpg","145.8x49.8 厘米",[],{"id":23999,"slug":24000,"title":24001,"dynasty":5382,"author":24002,"museum":450,"description":24003,"tags":24004,"thumbUrl":24005,"material":314,"size":1061,"collection":166,"collections":24006,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},231748,"an-tu-tao-shan-shi-dai-song-lin-tu-ping-feng-di-er-ping-zhang-gu-chuan-231748","安土桃山时代 松林图屏风-第二屏","长谷川","长谷川东白（长谷川等伯，1539年－1610年3月19日）是日本 画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[23,7,28,127,5487,5385,2028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc11c61caf8720caa141d314a0ddd57.jpg",[],{"id":24008,"slug":24009,"title":2806,"dynasty":174,"author":418,"museum":450,"description":24010,"tags":24011,"thumbUrl":24012,"material":166,"size":166,"collection":166,"collections":24013,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},230278,"za-hua-ce-zhu-da-230278","此帧以极简笔墨绘就松下双鹿，苍松横斜，枯干缀以寥寥松针，山石空灵淡远。双鹿姿态悠然，犄角挺秀，躯体线条清劲凝练，于幽寂山隅流露自在生机。\n\n配书题诗笔致圆劲古雅，朴拙疏朗，诗画相生，将世外丘壑的清逸冷寂尽藏其间。清冷笔墨下暗涌细腻意趣，荒简构图里饱含澹泊襟怀，尽显简远空灵的禅意逸韵，将天地生灵与林泉幽境融为一体，尽释超然物外的文人意趣。",[24,25,74,7,2388,453,624,34,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626f6421259e86c2bb63e5b96a3926d.jpg",[],{"id":24015,"slug":24016,"title":24017,"dynasty":174,"author":739,"museum":450,"description":24018,"tags":24019,"thumbUrl":24020,"material":166,"size":166,"collection":166,"collections":24021,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},230185,"hua-niao-cao-chong-tu-ce-8-zhen-hua-yan-230185","花鸟草虫图册8帧","此帧以淡墨晕染湖石，枯槎斜出，缀着将残的花枝，清寂秋意扑面而来。四只文雀神情灵动鲜活，一只振翅回身，似在呼引枝上同伴，三雀或侧耳或抬首，亲昵相映，将秋日荒寒里的生趣尽数勾勒。\n\n设色清浅柔和，禽鸟绒羽蓬松宛然，湖石墨色苍润有层次。左侧题诗与朱红印章错落排布，留白疏密相宜，诗画相生，将萧索秋意与小雀的生机揉合，清冷中带着融融暖意，尽显隽秀雅致的笔墨意趣。",[281,24,25,74,7,27,75,180,77,3443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd89d3818b81f0bfd0b7ea1bf2d27ff9.jpg",[],{"id":24023,"slug":24024,"title":24025,"dynasty":18,"author":17272,"museum":450,"description":24026,"tags":24027,"thumbUrl":24033,"material":166,"size":166,"collection":166,"collections":24034,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},228496,"yuan-ri-xin-nian-tu-li-shi-da-228496","元日新年图","此作用淡墨晕染出疏朗萧寒的柳林，枝桠错落萧散，衬出元日的清寒底色。河畔村舍错落，堂内乡人围坐把盏，院间孩童嬉闹、邻里揖礼贺岁，桥头水榭行人徐行，处处漫溢着新年的融融暖意。\n画家以松秀灵动的线条勾勒景物，设色简淡古雅，将冬日水乡的清寂与世俗年味相融，写实中饱含诗意。细腻铺陈江南乡间的淳朴乡风，把邻里间的新年温情藏在日常烟火里，让古朴鲜活的乡间元日跃然纸上，尽显雅致又贴近平常的画中意趣。",[23,24,7,27,193,24028,29,3664,6869,18967,30,24029,24030,24031,19964,24032,6628,11437],"孩童","水乡","新年","贺岁","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6928196d431c0946ab7bed432df00a6d.jpg",[],{"id":24036,"slug":24037,"title":24038,"dynasty":18,"author":11473,"museum":450,"description":24039,"tags":24040,"thumbUrl":24041,"material":166,"size":166,"collection":166,"collections":24042,"showCount":86,"zanCount":1084,"manualWeight":46,"mainColor":47},228423,"fang-song-yuan-ce-ye-12-kai-lan-ying-228423","仿宋元册页12开","此作用笔苍秀老辣，绘几株古松虬曲苍劲，枯枝嶙峋间点缀松针，尽显古木饱经风霜之态。淡墨晕染远山，留白铺就烟岚空濛，将天地山水的空阔清远晕染开来。右下角溪湾扁舟静泊，渔翁垂坐，简笔勾勒出林下幽居的闲逸图景。\n\n整作以干笔皴擦写就林木古拙意趣，淡彩轻敷浅染坡岸，虚实相生间，融宋元山水的萧散简淡于笔底，将幽寂隐逸的文人意趣藏于淡远空濛的景致中，寥寥数笔便托出天地间静穆旷远的林下清境，尽显山水苍劲空灵的韵致。",[24,25,74,27,7,36,28,147,31,468,34,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8946bfefdc5cc70a0b0588ed9a63688e.jpg",[],{"id":24044,"slug":24045,"title":24046,"dynasty":205,"author":278,"museum":450,"description":5919,"tags":24047,"thumbUrl":24048,"material":166,"size":166,"collection":166,"collections":24049,"showCount":86,"zanCount":1084,"manualWeight":46,"mainColor":140},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[281,24,25,26,7,36,28,57,58,33,31,730,6225,213,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],{"id":24051,"slug":24052,"title":24053,"dynasty":205,"author":4183,"museum":450,"description":24054,"tags":24055,"thumbUrl":24056,"material":166,"size":166,"collection":166,"collections":24057,"showCount":86,"zanCount":1084,"manualWeight":46,"mainColor":140},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,24,25,26,28,481,7,36,335,350,33,180,147,30,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":24059,"slug":24060,"title":24061,"dynasty":205,"author":1089,"museum":450,"description":24062,"tags":24063,"thumbUrl":24064,"material":166,"size":166,"collection":166,"collections":24065,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","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。",[23,24,25,7,27,36,28,164,785,35,180,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":24067,"slug":24068,"title":24069,"dynasty":174,"author":377,"museum":450,"description":24070,"tags":24071,"thumbUrl":24072,"material":166,"size":166,"collection":166,"collections":24073,"showCount":86,"zanCount":5,"manualWeight":46,"mainColor":921},224513,"shan-shui-tu-ce-8-kai-3-shi-tao-224513","山水图册8开-3","此作用笔纵逸朴拙，以淡赭晕染坡石，浓墨点染林木，皴擦间写出山岩苍浑肌理，远近层次随墨色虚实铺陈开来。近景村居隐于松荫之下，谷间蹊径蜿蜒向林壑深处，远景峰峦裹挟空濛岚气，将山野幽寂尽数藏于尺幅。\n\n题诗衬景，把寻幽山径、千峰如帘的诗意融于画中，尽显林泉山居的澹泊桃源之趣。虚实相生间落笔随性自在，不滞成法，将对山野深秀静穆的偏爱藏在笔底，淡墨浅彩里满是出世幽居的悠然意致。",[23,24,25,74,7,36,28,33,35,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a28274ae84fa01320bbfa5f181452.jpg",[],{"id":24075,"slug":24076,"title":24077,"dynasty":174,"author":21853,"museum":450,"description":24078,"tags":24079,"thumbUrl":24080,"material":166,"size":166,"collection":42,"collections":24081,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},224270,"shan-shui-hua-hui-ce-fu-shan-224270","山水花卉冊","此作用笔纵逸随性，以淡墨写垂柳长条，笔致轻柔连贯，如见春风拂柳之姿。芙蓉花以浓淡墨色晕染点簇，淡墨勾描花瓣轮廓，浓墨点苔铺叶，干湿互衬，尽显花之娇柔蓬松。\n\n画面留白疏朗，右上角题字与绘景相映成趣，诗画交融间尽显文人画萧散简淡的意韵。整幅水墨写意不重形似而尚神趣，带着林下幽人的闲适疏放，将花木清灵与文人澹泊襟怀相融，寥寥笔墨间晕染出清逸脱俗的雅致氛围。",[23,24,25,74,7,75,8372,129,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b0015526d185a3e1348fa9df2adfd1.jpg",[42,83],{"id":24083,"slug":24084,"title":3526,"dynasty":205,"author":581,"museum":450,"description":24085,"tags":24086,"thumbUrl":24087,"material":166,"size":166,"collection":166,"collections":24088,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":140},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,24,25,26,481,547,7,27,193,80,37,8048,8049,1437,8050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":24090,"slug":24091,"title":37,"dynasty":174,"author":819,"museum":450,"description":1239,"tags":24092,"thumbUrl":24093,"material":298,"size":166,"collection":245,"collections":24094,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":140},223291,"shu-fa-zheng-ban-qiao-223291",[23,37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c550b955dd9dc9b64ba0d922a1a85e0.jpg",[245],{"id":24096,"slug":24097,"title":24098,"dynasty":174,"author":2029,"museum":450,"description":9611,"tags":24099,"thumbUrl":24100,"material":964,"size":22584,"collection":166,"collections":24101,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},222625,"shan-shui-shan-mian-4-gong-xian-222625","山水扇面-4",[23,1462,24,25,7,36,28,147,29,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030eef42f9fe02485556236ab0f68ff9.jpg",[],{"id":24103,"slug":24104,"title":24105,"dynasty":18,"author":1788,"museum":120,"description":24106,"tags":24107,"thumbUrl":24108,"material":964,"size":24109,"collection":83,"collections":24110,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":140},221993,"ku-mu-shu-huang-tu-zhou-wen-zheng-ming-221993","枯木疏篁图轴","此图绘古松如龙，虬干曲枝，老气横秋；疏竹翠色盎然，丛簇纷披。画家运用自己在书法尤其是行草书方面的高深造诣和雄放的笔力，以湿润淋漓的墨色自由挥写，既表现了雨后竹树苍润欲滴、秋意渐浓的状态和美感，也反映出作者安逸闲适的放松心态，是文徵明盛年粗笔绘画中具有较强笔墨个性和诗化意境的作品之一。",[23,75,126,7,123,95,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772a95dcda3e0ac56d1e3817034c10bf.jpg","纵88.2厘米，横47.8厘米",[83,64],{"id":24112,"slug":24113,"title":24114,"dynasty":18,"author":1788,"museum":92,"description":24115,"tags":24116,"thumbUrl":24117,"material":284,"size":24118,"collection":600,"collections":24119,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},221991,"qiao-lin-zhu-ming-tu-zhou-wen-zheng-ming-221991","乔林煮茗图轴","不见鹤翁今几年，如闻仙骨瘦于前。\n只应陆羽高情在，坐荫乔林煮石泉。",[23,24,28,335,350,162,7,123,95,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 84.1x26.4公分、全幅 51公分",[600,222],{"id":24121,"slug":24122,"title":24123,"dynasty":52,"author":239,"museum":92,"description":24124,"tags":24125,"thumbUrl":24127,"material":284,"size":24128,"collection":42,"collections":24129,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":140},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,26,7,27,481,36,37,38,80,28,24126,1005,58,33,35,59,381,4569,3053,19847,773],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[42,64],{"id":24131,"slug":24132,"title":24133,"dynasty":52,"author":239,"museum":120,"description":24134,"tags":24135,"thumbUrl":24136,"material":298,"size":24137,"collection":245,"collections":24138,"showCount":86,"zanCount":1084,"manualWeight":46,"mainColor":140},220873,"zi-shu-shi-tie-zhao-meng-fu-220873","自书诗帖","书此帖时赵孟坚年六十一岁，是赵氏晚年之笔，笔力雄健，纵逸豪放，有黄庭坚书风。而结体瘦劲，中宫紧结欹侧俯仰之势则师法米芾，自有标度，为其书法代表作。\n旧传宋亡不仕，隐居广陈(今平湖市广陈镇北)。县令往访，孟坚飞舟逸去，县令叹息说“名可闻，身不可见”。从弟孟頫宋亡仕元，自湖州来访，闭门不纳。《芦川竹枝词》中《子固见弟诗》云：“南渡王孙此隐居，踵门贵客枉停车。当年介弟犹坚拒，座上那堪受浊污。”与陶菊隐、殷澄并称“秀州三义”。据近代学者考证，赵孟坚逝于宋亡前10余年，所谓宋亡不仕及拒见赵孟頫事不实。\n《宋人轶事汇编》载：赵孟坚入元以后，不乐仕进，隐居州之广陈镇（古海盐县，今平湖市广陈镇北）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”",[52,37,38,858,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6866225e40ebc88ad1c158c9034d8734.jpg","纵28.8厘米，横216.7厘米",[245],{"id":24140,"slug":24141,"title":24142,"dynasty":359,"author":24143,"museum":3766,"description":24144,"tags":24145,"thumbUrl":24147,"material":7053,"size":166,"collection":166,"collections":24148,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},220460,"bai-she-chuan-guan-liang-220460","白蛇传","关良","关良（1900-1983，出生于广东番禺）笔下的水墨戏曲人物乍一看总会让人怀疑是儿童画，略显稚拙天真。本幅表现的是《白蛇传•断桥》中小青拔剑欲杀许仙而被白素贞阻止的一幕。画中小青双手执剑，一剑正要刺向许仙，而许仙因这突如其来的惊吓而狼狈地跌倒在地；而画面更富戏剧性张力的矛盾则聚焦在白素贞与许仙二人身上，二人妆扮一白一黑，白娘子面对薄情郎，流露出既义愤又怨恨的眼神，双手按住小青的动作又将其爱恨交加的心理表现得淋漓尽致；许仙神色微愠，懊恼地望向了出手相救的白娘子，正欲辩说。画中人物的动作以及眼神的一勾、一搭点出了三人微妙的关系。关良尤其擅长将画面定格在最富于表现力的瞬间，其创作并不诉诸的宏大叙事，而是专注于其笔下人物的爱恨情仇。其画画中有戏、画中有情，往往尺幅虽小，然而生趣无穷。",[24,7,27,193,123,24146],"戏曲人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ce9a521acc084f6ba970bf12bfb5f69.jpg",[],{"id":24150,"slug":24151,"title":24152,"dynasty":18,"author":22999,"museum":92,"description":24153,"tags":24154,"thumbUrl":24155,"material":98,"size":24156,"collection":600,"collections":24157,"showCount":86,"zanCount":46,"manualWeight":46,"mainColor":47},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴（明 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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。",[24,25,74,7,27,28,29,32,717,34,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[42,222],{"id":24401,"slug":24402,"title":157,"dynasty":174,"author":24403,"museum":5354,"description":24404,"tags":24405,"thumbUrl":24406,"material":166,"size":166,"collection":42,"collections":24407,"showCount":24259,"zanCount":1084,"manualWeight":46,"mainColor":47},234102,"shan-shui-ce-wang-gai-234102","王概","王概，又作王槩。字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。其兄王耆，其弟王臬皆擅画。王概的山水师法龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：\n“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”\n王概擅治印、刻竹，并善诗文，著有《澄心堂纸赋》。王概在中国绘画史上留名，主要是三十五岁时曾应沈因伯之请，携兄弟，以明李流芳课徒画稿为基础，为《芥子园画传》编绘山水集，率先编绘了中国画技法图谱——《芥子园画谱》。",[24,27,7,74,28,147,32,180,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1c5d69c9f1d0968dfce493fa609542.jpg",[42],{"id":24409,"slug":24410,"title":24411,"dynasty":52,"author":12606,"museum":120,"description":24412,"tags":24413,"thumbUrl":24414,"material":298,"size":24415,"collection":166,"collections":24416,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":140},233875,"xue-jiang-yu-ting-tu-juan-yao-ting-mei-233875","雪江渔艇图卷","《雪江渔艇图》描绘冬天雪景，寒江两岸的景色，突出了冬天平远雪景。\n整幅画画法宗北宋 而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[24,7,26,28,610,147,31,729,80,36,942,831,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],{"id":24418,"slug":24419,"title":24420,"dynasty":18,"author":19,"museum":120,"description":561,"tags":24421,"thumbUrl":24422,"material":564,"size":565,"collection":166,"collections":24423,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},233835,"wo-you-tu-ce-xing-hua-shen-zhou-233835","卧游图册－杏花",[281,24,25,74,7,27,75,4745,79,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1f2aa10e8f3812d10b6863c0c7125a.jpg",[],{"id":24425,"slug":24426,"title":7649,"dynasty":52,"author":2127,"museum":120,"description":24427,"tags":24428,"thumbUrl":24429,"material":964,"size":7653,"collection":166,"collections":24430,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","是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。",[24,25,95,7,27,36,481,28,33,31,30,164,213,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg",[],{"id":24432,"slug":24433,"title":24434,"dynasty":174,"author":14864,"museum":120,"description":24435,"tags":24436,"thumbUrl":24437,"material":564,"size":24438,"collection":166,"collections":24439,"showCount":24259,"zanCount":1084,"manualWeight":46,"mainColor":47},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[24,25,95,7,27,36,28,33,34,193,729,180,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":24441,"slug":24442,"title":24443,"dynasty":52,"author":581,"museum":5692,"description":24444,"tags":24445,"thumbUrl":24449,"material":298,"size":24450,"collection":166,"collections":24451,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},232835,"fang-li-song-xi-hu-qing-qu-tu-yi-ming-232835","仿李嵩西湖清趣图","画中心突出明净湖水，四围群山环绕，雷峰塔、孤山、双峰插云、断桥诸名胜皆隐现于烟锁雾迷之中，画风上于马远、夏圭之外，自出机杼。 全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,24,281,26,494,481,123,7,5836,23532,194,11003,24126,24446,24447,24448],"晨雾","春光","名胜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae990ac4d591dcb0ff85a8eb39d73a88.jpg","32.9x1581.1厘米.",[],{"id":24453,"slug":24454,"title":24455,"dynasty":18,"author":407,"museum":593,"description":24456,"tags":24457,"thumbUrl":24458,"material":61,"size":24459,"collection":166,"collections":24460,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":140},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[23,24,25,95,7,27,28,193,624,30,213,36,147,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":24462,"slug":24463,"title":24464,"dynasty":52,"author":2172,"museum":92,"description":24465,"tags":24466,"thumbUrl":24467,"material":298,"size":24468,"collection":166,"collections":24469,"showCount":24259,"zanCount":1084,"manualWeight":46,"mainColor":47},232253,"zhu-xi-lan-sheng-tu-guan-dao-sheng-232253","竹溪揽胜图","此幅旧传为管氏所作，画山峦起伏，缘溪瓦屋数椽，丛竹错落其间，溪边泊舟，桥上行人，以水墨细致之笔调，写宁静之村景，真得小桥、流水、人家之诗意\n管道升（1262－1319年），吴兴人。字仲姬，赵孟頫妻。（1317年延祐四年）封魏国夫人。翰墨辞章不学而能，笃信佛法，书牍行楷与乃夫赵孟頫几不可辨异同，为中国书画史上著名女性作家之一。",[24,7,28,126,215,31,324,164,3157,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72880b50c05fbf5396230366c11651d.jpg","此幅 57.2x27.5公分；全幅 62公分",[],{"id":24471,"slug":24472,"title":24473,"dynasty":52,"author":11732,"museum":92,"description":24474,"tags":24475,"thumbUrl":24476,"material":40,"size":24477,"collection":166,"collections":24478,"showCount":24259,"zanCount":1084,"manualWeight":46,"mainColor":47},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[24,25,95,7,28,57,33,29,30,213,215,6790,36,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],{"id":24480,"slug":24481,"title":24482,"dynasty":52,"author":24483,"museum":92,"description":24484,"tags":24485,"thumbUrl":24486,"material":6136,"size":24487,"collection":166,"collections":24488,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[24,25,7,28,36,26,29,30,324,147,193,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":24490,"slug":24491,"title":24492,"dynasty":52,"author":24493,"museum":450,"description":24494,"tags":24495,"thumbUrl":24496,"material":166,"size":166,"collection":166,"collections":24497,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":140},230870,"cang-lang-du-diao-tu-sheng-zhu-230870","沧浪独钓图","盛著","此作用笔清润简淡，近景坡岸虬松偃蹇，苍枝拂向水面，扁舟系于松下，渔翁垂纶独钓，汀渚蒹葭轻摇，漾出幽寂闲淡之味。平湖如镜隔开远近，彼岸林木蔚然成簇，淡墨晕染出远山层叠，云气空濛将天地晕融一处，虚实相生间铺展出萧散淡远的山水格局。\n\n画师以干笔皴擦写山石肌理，湿墨点染苔树烟岚，笔墨间藏着元人山水的林下之致，将沧浪渔隐的出世意趣融于烟水云山，把遁世忘机的雅兴寄在一竿一线之中，尽显文人画崇尚的林泉高致，满幅皆是清远脱尘的幽寂诗意。",[23,24,25,7,28,31,1352,33,30,180,36,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde68514a3c2323b7552184a3b1e22519.jpg",[],{"id":24499,"slug":24500,"title":24501,"dynasty":205,"author":13111,"museum":450,"description":24502,"tags":24503,"thumbUrl":24505,"material":314,"size":1061,"collection":166,"collections":24506,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},230846,"gong-shi-tie-cai-jing-230846","宫使帖","蔡京（1047年2月14日－1126年8月11日），字元長，福建路興化仙遊（今福建省莆田市）人。北宋時期書法家、政治家，先後四次任宰相，掌權共達十七年之久。",[37,38,80,7,205,25,24504],"名帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1903805d2c334bb9b74fe673b1850d5e.jpg",[],{"id":24508,"slug":24509,"title":24510,"dynasty":174,"author":24511,"museum":450,"description":24512,"tags":24513,"thumbUrl":24514,"material":314,"size":1061,"collection":166,"collections":24515,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":140},230135,"huang-di-shu-fa-dui-lian-ai-xin-jue-luo-xuan-ye-230135","皇帝书法对联","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[23,37,6187,38,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771a21123d24bc3c55158473342d6a12.jpg",[],{"id":24517,"slug":24518,"title":24519,"dynasty":52,"author":18441,"museum":450,"description":24520,"tags":24521,"thumbUrl":24522,"material":166,"size":166,"collection":166,"collections":24523,"showCount":24259,"zanCount":1084,"manualWeight":46,"mainColor":47},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,24,25,26,7,28,36,37,80,212,33,29,30,787,211,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":24525,"slug":24526,"title":24527,"dynasty":205,"author":592,"museum":450,"description":24528,"tags":24529,"thumbUrl":24530,"material":166,"size":166,"collection":166,"collections":24531,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":140},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,281,24,25,74,7,27,28,31,624,213,30,193,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":24533,"slug":24534,"title":24535,"dynasty":205,"author":12123,"museum":450,"description":7542,"tags":24536,"thumbUrl":24539,"material":166,"size":166,"collection":166,"collections":24540,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":140},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）",[23,281,24,25,26,7,36,28,212,57,33,717,3256,211,730,7105,193,24537,11095,24538],"岸坡","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":24542,"slug":24543,"title":24544,"dynasty":174,"author":15533,"museum":450,"description":24545,"tags":24546,"thumbUrl":24547,"material":166,"size":166,"collection":166,"collections":24548,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},226629,"si-shi-shan-shui-02-pu-ru-226629","四时山水02","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,25,281,95,7,27,28,180,624,282,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbaef9558d710642e3f6aa6b5a09eb.jpg",[],{"id":24550,"slug":24551,"title":24552,"dynasty":174,"author":5090,"museum":450,"description":24553,"tags":24554,"thumbUrl":24555,"material":166,"size":166,"collection":166,"collections":24556,"showCount":24259,"zanCount":5,"manualWeight":46,"mainColor":47},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[23,24,25,95,7,36,254,28,335,2315,33,211,213,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":24558,"slug":24559,"title":24560,"dynasty":174,"author":926,"museum":450,"description":24561,"tags":24562,"thumbUrl":24563,"material":166,"size":166,"collection":83,"collections":24564,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},224320,"hua-niao-shi-er-kai-tu-li-shan-224320","花鸟十二开图","泼墨写就湖石，酣畅间尽显灵秀通透，似藏嶙峋古意。石畔花枝挺秀，粉紫娇花轻点晕染，明雅柔丽的设色晕开春日清趣。双鸡意态生动，一昂首侧目警觉周遭动静，一垂首理羽尽显慵懒闲适。禽鸟羽毛以淡墨晕染辅以细笔轻勾，将绒羽蓬松柔润的质感尽数铺陈。\n\n左畔行书款识笔意潇洒，与写意画格相融，诗书画印浑然一体。整幅兼工带写，既有文人写意的简逸纵恣，又不失精微写实的生趣，将花木禽鸟的天趣雅致藏于笔端，尽显悠然野逸的林下清致。",[23,24,25,74,7,27,75,180,1071,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04865c6f750cd80cf1f66c8c803e6a71.jpg",[83],{"id":24566,"slug":24567,"title":24568,"dynasty":174,"author":739,"museum":450,"description":24569,"tags":24570,"thumbUrl":24571,"material":166,"size":166,"collection":166,"collections":24572,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":140},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[23,24,25,281,74,27,7,75,4154,551,367,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],{"id":24574,"slug":24575,"title":24576,"dynasty":174,"author":12042,"museum":450,"description":12043,"tags":24577,"thumbUrl":24578,"material":298,"size":166,"collection":245,"collections":24579,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},223270,"shou-gao-hong-yi-fa-shi-223270","手稿",[23,25,37,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba929a2566c55462d1563549dbb0007c.jpg",[245],{"id":24581,"slug":24582,"title":10439,"dynasty":18,"author":19133,"museum":294,"description":24583,"tags":24584,"thumbUrl":24585,"material":24586,"size":24587,"collection":42,"collections":24588,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},222835,"shan-shui-tu-zhou-xiao-yun-cong-222835","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑孰画派创始人。其父萧慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。",[23,24,7,36,95,28,34,33,30,32,164,535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9506285d1f977096cfef7d4935bf92db.jpg","轴","67×52cm",[42,64],{"id":24590,"slug":24591,"title":24592,"dynasty":174,"author":7295,"museum":450,"description":24593,"tags":24594,"thumbUrl":24595,"material":537,"size":166,"collection":42,"collections":24596,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},222711,"mo-bi-shan-shui-zhong-tang-zheng-min-222711","墨笔山水中堂","水墨绘远处山石连绵，中部河道宽广，河面一条船只行驶；近处岸边树木葱郁。技法上，山石以细墨勾皴，再以墨点绘树木绿植，画上有画家自题诗一首。郑旼，字慕倩，号遗娃，善画山水，工诗文，尤工篆刻，新安派画家之一。",[23,24,25,28,95,7,36,335,162,180,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7d2495e8028e35e34df00482f874b8.jpg",[42,222],{"id":24598,"slug":24599,"title":24600,"dynasty":18,"author":24601,"museum":544,"description":24602,"tags":24603,"thumbUrl":24604,"material":1735,"size":24605,"collection":83,"collections":24606,"showCount":24259,"zanCount":5,"manualWeight":46,"mainColor":140},222051,"bing-hun-leng-rui-tu-wang-qian-222051","冰魂冷蕊图","王谦","用墨笔截取倒垂老梅，枝干劲健挺拔，梅花双勾而成，繁花密蕊，清奇可爱。 以淡墨晕染绢地，更衬托出梅花凄厉冷艳的姿色。 作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[23,24,281,25,7,123,125,180,79,552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","纵186cm，横111cm",[83,64],{"id":24608,"slug":24609,"title":24610,"dynasty":52,"author":24611,"museum":92,"description":24612,"tags":24613,"thumbUrl":24614,"material":27,"size":24615,"collection":83,"collections":24616,"showCount":24259,"zanCount":1084,"manualWeight":46,"mainColor":47},221859,"tie-di-tu-zhou-yang-wei-zhen-221859","铁笛图轴","杨维桢","乾隆皇帝于苏州题咏时，引杨维祯〈冶师行〉的内容作题，认为舟上吹笛者为杨维祯，岸上听笛者是为其铸铁笛的冶师缑长弓。题诗内容展现他对杨维祯诗文、生平的认识，以及将文史知识连结到画面内容的欣赏角度",[281,24,25,95,7,193,126,31,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff828bd52bc7e967b8fa17905c2fe1009.jpg","该幅 95.6x51.6公分、诗塘 28.4x51.6公分、全幅 72.3公分",[83,222],{"id":24618,"slug":24619,"title":24620,"dynasty":52,"author":24621,"museum":294,"description":24622,"tags":24623,"thumbUrl":24624,"material":7,"size":24625,"collection":166,"collections":24626,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,281,24,25,26,547,7,193,28,34,33,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":24628,"slug":24629,"title":24630,"dynasty":205,"author":3062,"museum":294,"description":24631,"tags":24632,"thumbUrl":24634,"material":1735,"size":24635,"collection":166,"collections":24636,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":921},221609,"ze-pan-xing-yin-tu-liang-kai-221609","泽畔行吟图","《史记·屈原列传》有“屈原即放，披发行吟泽畔”，“泽畔行吟”的意思是在河边边走边吟（诗）。此画的左上部是隐隐的山峰，中上部大片的空白给人于无限的想象，空白中又有渲染的淡墨，似云似雾却绵延出了中景的山石与彼岸。左下角沙洲上摇曳的枯苇，暗示着秋冬的凛冽，右下角一岸斜坡上，一位高士手拄竹杖，迎着寒风，似行似吟仰头面对寥廓，似屈原、似李白更似画家本人吧！",[24,25,7,4489,193,28,180,24633],"泽畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31310ea121bd5bab6b9106fd76e6d10.jpg","22.9×24.3cm",[],{"id":24638,"slug":24639,"title":24640,"dynasty":205,"author":5541,"museum":120,"description":24641,"tags":24642,"thumbUrl":24643,"material":61,"size":24644,"collection":220,"collections":24645,"showCount":24259,"zanCount":1084,"manualWeight":46,"mainColor":47},221467,"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[23,281,24,25,26,7,38,125,831,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[220,83],{"id":24647,"slug":24648,"title":24649,"dynasty":359,"author":14913,"museum":3766,"description":14914,"tags":24650,"thumbUrl":24651,"material":1877,"size":166,"collection":166,"collections":24652,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},220487,"qiu-lu-tu-lin-feng-mian-220487","秋鹭图",[23,24,7,282,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b252b0f31d2532d468749936e84cdea.jpg",[],{"id":24654,"slug":24655,"title":24656,"dynasty":18,"author":796,"museum":294,"description":24657,"tags":24658,"thumbUrl":24659,"material":40,"size":24660,"collection":42,"collections":24661,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},220051,"luo-bi-yan-yun-tu-chen-chun-220051","落笔烟云图","绘山水相连，几叶扁舟顺风而下，房子、小亭依山而建，好一派清静优雅的景像！此卷用笔略显轻浮，题款亦不真，或是托名之作。",[23,24,26,7,123,28,31,29,30,33,34,35,282,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74da3cb2410a235ae2231e497fab346d.jpg","32.7cm×750.6cm",[42],{"id":24663,"slug":24664,"title":24665,"dynasty":18,"author":24666,"museum":294,"description":24667,"tags":24668,"thumbUrl":24674,"material":298,"size":24675,"collection":42,"collections":24676,"showCount":24259,"zanCount":1084,"manualWeight":46,"mainColor":47},219987,"si-shi-fang-gu-shan-shui-tu-wei-zhi-ke-219987","四时仿古山水图","魏之克","此长卷以淡墨浅彩铺展四时景致，移步换景间尽显文人山水意趣。画家以细劲淡笔勾勒山峦脉络，皴擦出岩岫肌理，林木点染疏密有致，随季候变换枯荣：春山明润，新枝浅黛；夏木蓊郁，浓荫藏亭；秋林萧疏，霜色点染；冬岭清寂，寒石留白。屋舍田圃错落丘壑间，溪泉萦回穿绕林麓，将四时山光物候悄然串联。整体气韵淡逸简远，师古而不拘泥，把仿古山水的程式笔墨化为灵动的丘园胜境，藏着古人寄迹林泉的隐逸幽怀，尽显雅致空灵的山水风神。",[23,24,26,14366,7,27,36,28,24669,24670,1523,24671,148,24672,22988,787,22817,11639,24673],"春山","夏木","冬岭","田圃","淡逸空灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b366db58b957e2587f750331f4c4cf3.jpg","105.83×59.58cm",[42],{"id":24678,"slug":24679,"title":24680,"dynasty":18,"author":646,"museum":294,"description":24681,"tags":24682,"thumbUrl":24683,"material":40,"size":24684,"collection":600,"collections":24685,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[23,24,25,26,7,36,28,162,9819,32,480,35,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[600],{"id":24687,"slug":24688,"title":24689,"dynasty":174,"author":24690,"museum":20,"description":24691,"tags":24692,"thumbUrl":24693,"material":7,"size":166,"collection":600,"collections":24694,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},219751,"su-xiao-mei-xiang-chen-zhuan-219751","苏小妹像","陈撰","此作以极简白描勾勒仕女，凝练舒展的墨线塑就身形，少女垂首捧卷，眉梢眼底尽是沉浸书卷的静雅温婉，将才女的灵秀聪慧藏于无言。画面左侧题诗与人物相映成趣，诗画共生，晕染出清雅脱俗的文人意趣。全作不施多余敷色，纯以墨线写形传神，寥寥数笔便将闺中才女耽于诗书的娴静情态刻画入微，笔墨清逸秀朗，尽显写意雅致的格调，把人物的温婉灵韵全然铺陈开来，尽显文人仕女画的写意风神。",[24,25,95,547,7,193,636,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c45638293df21733715bda30704781.jpg",[600],{"id":24696,"slug":24697,"title":24698,"dynasty":18,"author":24699,"museum":265,"description":24700,"tags":24701,"thumbUrl":24702,"material":98,"size":24703,"collection":42,"collections":24704,"showCount":24259,"zanCount":5,"manualWeight":46,"mainColor":47},219719,"qiu-lin-yuan-xiu-tu-yang-wen-cong-219719","秋林远岫图","杨文骢","此画构图可分远景、中景、近景三段式；远景为重山叠嶂，山峰林立，山间杂木和衰草丛生。山巅烟云缭绕，似与天相连：中景一片广阔的江水，一泓清流，平静如镜，近河岸处，山石露小，近景为坡岸山石，乱石横卧，坡石间树木和杂草丛生，一株株树木，根根枝干挺直而上，枝叶疏密相间，错落有致。若人居之，上可聆听萧萧山风，下可俯观静谧的江水。",[23,24,25,95,7,36,28,33,34,717,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d6d41811a6271aa2a6e27944c864f0.jpg","纵144.5厘米，横55.8厘米",[42],{"id":24706,"slug":24707,"title":24708,"dynasty":174,"author":5599,"museum":294,"description":11925,"tags":24709,"thumbUrl":11930,"material":40,"size":166,"collection":42,"collections":24710,"showCount":24259,"zanCount":46,"manualWeight":46,"mainColor":47},219712,"xiao-yuan-yin-jiu-tu-luo-pin-219712","筱园饮酒图",[24,27,518,7,194,717,34,597,193,33,268,6739,11928],[42],{"id":24712,"slug":24713,"title":24714,"dynasty":18,"author":24715,"museum":92,"description":24716,"tags":24717,"thumbUrl":24718,"material":298,"size":166,"collection":83,"collections":24719,"showCount":24259,"zanCount":1084,"manualWeight":46,"mainColor":47},219652,"qiu-kui-shuang-ji-tu-zhou-fan-219652","秋葵双鸡图","周蕃","此作用淡墨晕染铺陈，秋葵斜逸而出，花瓣晕开柔润淡影，掌状叶片以浓墨勾描筋络，舒展挺拔，枝梢花苞含露清气。下方双鸡依偎，以干湿变化的墨色细摹蓬松羽翎，冠爪勾勒劲挺，一只抬首侧目，一只探身藏于其后，神态警觉安然，野趣自生。全幅以水墨写意，笔意简逸苍秀，未施粉彩却形神俱足，将篱边秋日的闲雅生机尽显，把禽鸟憨态与秋花清姿相融，尽显文人画的疏淡雅致，留白里浸透悠然禅意，是水墨花鸟的精妙之作。",[9254,24,25,95,7,4152,16502,10069,80],"https:\u002F\u002Foss.chuangqi.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幅左篆书款署嘉靖己酉（一五四九），时仇英约五十六岁。左下角「剑光阁」、「华氏明伯」两印，均华云所有，故此画应是仇英为华氏所作",[24,281,25,95,547,7,193,624,2271,80,17237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ccceac39e78de66c277baf5ea414e1.jpg","54.9×28.4",[],{"id":24883,"slug":24884,"title":14090,"dynasty":205,"author":278,"museum":450,"description":5919,"tags":24885,"thumbUrl":24886,"material":314,"size":1061,"collection":166,"collections":24887,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},290860,"gui-zhao-tu-zhou-xia-gui-290860",[24,281,95,7,28,36,180,147,30,31,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dda2ad562cec97379a61278376bfa6.jpg",[],{"id":24889,"slug":24890,"title":1567,"dynasty":52,"author":726,"museum":450,"description":9354,"tags":24891,"thumbUrl":24892,"material":314,"size":1061,"collection":166,"collections":24893,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":140},290830,"shan-shui-zhou-wu-zhen-290830",[24,281,25,95,7,36,28,33,194,29,30,34,3685,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],{"id":24895,"slug":24896,"title":24897,"dynasty":205,"author":9864,"museum":92,"description":18200,"tags":24898,"thumbUrl":24899,"material":457,"size":24900,"collection":166,"collections":24901,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},290333,"jing-ting-song-feng-tu-zhou-ma-lin-290333","静听松风图轴",[281,24,25,95,28,193,624,34,30,7,36,7919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0deb7cf38921a741612cf702fb534c.jpg","226.6x110.3",[],{"id":24903,"slug":24904,"title":24905,"dynasty":205,"author":12123,"museum":92,"description":24906,"tags":24907,"thumbUrl":24908,"material":457,"size":24909,"collection":222,"collections":24910,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},290300,"qiao-mu-tu-xu-dao-ning-290300","乔木图","南宋一代的豪纵简硬之笔，虽主要脱胎于李唐，但多少也遥承许道宁的衣钵-《国绘宝鉴》说他：“早年所画俗恶，至中年脱去旧学，稍自检束，行笔简易，风度益著，峰头直皴而下，林木劲硬，自成一家体，至细微处，始人妙理。”《圣朝名画评》渭其画格“所长者二，一林木，二平远，二野水，皆造其妙。”识者以为得李成之气，实际上许道宁在李成基础上自有创造，文同称赞他：“许生虽学李营丘，墨路纵横多自出”。许氏以峰头直皴而下的笔道，画出山势的峭厉瘦硬；以轻灵之笔，画出枯竭的泉水及背后庄严的山脉，令人感受到了强烈的萧条之气。此图以寒林孤秀，树态严凝，展现出林木劲硬的风格。\n许道宁以卖药为主，不直接卖画，有人顾买他的药，必画树石以赠之。这幅可能是其中之一。请看这幅有点怪意的图中右侧的山石，近者显，远者隐。石形棱角突出，石质坚硬；左侧平缓的山坡上，长着几棵秃枝无叶乔木，树枝龙爪型。有两棵并肩相长，树干粗壮挺立，上部摆出动态枝头，扭曲着的躯干，尤如双龙在空中舒展身子，窜向苍茫昊天；中间那棵乔木弯腰弓背，伸展枝头，倾向右侧的岩石，似与远处的那棵乔木交叉重叠。秃枝无叶乔木和光秃无草的山石，这都是隆冬时节的象征。严冬里只有乔木挺立在山岗上，与山石作伴，在接受严冬的考验。这是一幅富有诗意的树石图。此图中乔木落叶而挺拔，山石坚硬而清利，多么像作者峭拔的性格，也是作者的豪放、简硬之笔，在图中得到了充分的体现。",[24,494,7,36,717,2863,95,3054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02d67bdf8e318cfcd5d74b0eee68b84.jpg","188.6x115",[222],{"id":24912,"slug":24913,"title":24914,"dynasty":52,"author":53,"museum":450,"description":15458,"tags":24915,"thumbUrl":24916,"material":314,"size":1061,"collection":166,"collections":24917,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图",[23,24,26,25,28,7,36,212,33,148,30,38,6186,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],{"id":24919,"slug":24920,"title":14248,"dynasty":174,"author":5748,"museum":450,"description":11526,"tags":24921,"thumbUrl":24923,"material":314,"size":1061,"collection":166,"collections":24924,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978",[281,24,95,7,28,29,30,31,194,32,610,147,24922,36,80,37,6001,3685],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":24926,"slug":24927,"title":24928,"dynasty":889,"author":890,"museum":92,"description":24929,"tags":24930,"thumbUrl":24932,"material":314,"size":1061,"collection":166,"collections":24933,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},289893,"xia-shan-yu-yu-tu-dong-yuan-289893","夏山欲雨图","作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,281,24,28,7,36,212,1776,1384,5331,24931,95,25],"雨意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554d2a856f62dacda937b5e2a3cce51a.jpg",[],{"id":24935,"slug":24936,"title":8188,"dynasty":205,"author":607,"museum":450,"description":5294,"tags":24937,"thumbUrl":24938,"material":314,"size":1061,"collection":166,"collections":24939,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},289763,"dong-shan-du-shui-tu-ma-yuan-289763",[23,281,24,25,95,7,27,193,30,28,3557,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dbe032eb939aa2d084a741375cb0554.jpg",[],{"id":24941,"slug":24942,"title":24943,"dynasty":18,"author":11038,"museum":450,"description":24944,"tags":24945,"thumbUrl":24946,"material":314,"size":1061,"collection":166,"collections":24947,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,281,24,25,26,28,7,36,212,211,2637,194,787,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],{"id":24949,"slug":24950,"title":24951,"dynasty":205,"author":2494,"museum":450,"description":24952,"tags":24953,"thumbUrl":24955,"material":314,"size":1061,"collection":166,"collections":24956,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},289725,"liu-ya-lu-yan-tu-zhao-ji-289725","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,281,24,26,4152,7,27,481,1035,1004,96,24954,13674,2863,80,37,1351],"大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa7fe1a9da342eabc769e9f1cdda3f4.jpg",[],{"id":24958,"slug":24959,"title":24960,"dynasty":174,"author":657,"museum":450,"description":14232,"tags":24961,"thumbUrl":24963,"material":314,"size":1061,"collection":166,"collections":24964,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},289653,"da-mo-ming-xiang-jin-nong-289653","达摩冥想",[24,281,25,95,3557,7,27,193,24962,180,80],"达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d5d61c05ffae860bb0c53c96985fb9.jpg",[],{"id":24966,"slug":24967,"title":24968,"dynasty":205,"author":8238,"museum":120,"description":24969,"tags":24970,"thumbUrl":24972,"material":612,"size":24973,"collection":220,"collections":24974,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},289326,"qian-tang-guan-chao-tu-li-song-289326","钱塘观潮图","此卷描给钱塘张潮时的壮阔景象。蒸腾鼓荡的海湖以排山倒海之势自江口流入，而江中弄潮的舟船正依次排开、逆水而上。两岸民居、城池，远山历历在目，笔法简括。 该画作用隐喻的手法表达了作者的爱国思想。",[23,281,24,26,25,7,27,28,5780,31,24971,38,37],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[220],{"id":24976,"slug":24977,"title":7356,"dynasty":205,"author":607,"museum":450,"description":24978,"tags":24979,"thumbUrl":24980,"material":314,"size":1061,"collection":166,"collections":24981,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},288430,"xiao-xue-shan-xing-tu-ma-yuan-288430","作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[24,7,494,993,311,717,193,3902,1385,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed436c0d3f62c1b92ca57ca18b61d988.jpg",[],{"id":24983,"slug":24984,"title":24985,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":24986,"thumbUrl":24987,"material":314,"size":1061,"collection":166,"collections":24988,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},283756,"yao-cen-po-mo-tu-zhou-dong-qi-chang-283756","遥岑泼墨图轴",[281,24,25,95,7,28,33,34,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50409061721d8c2cbf948c0a5a0e7f86.jpg",[],{"id":24990,"slug":24991,"title":24992,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":24993,"thumbUrl":24994,"material":314,"size":1061,"collection":166,"collections":24995,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},283748,"shan-shui-tu-ce-ba-kai-dong-qi-chang-283748","山水图册（八开）",[24,74,7,36,28,33,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438769c9f3457e4c3c930a50fcdcfa13.jpg",[],{"id":24997,"slug":24998,"title":24999,"dynasty":18,"author":18116,"museum":450,"description":25000,"tags":25001,"thumbUrl":25002,"material":298,"size":166,"collection":245,"collections":25003,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},240425,"wang-duo-shi-zhou-wang-duo-240425","王铎诗轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人 。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[9254,37,25,95,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38973f25a308f9343ab9f19300e7f3bb.jpg",[245],{"id":25005,"slug":25006,"title":25007,"dynasty":205,"author":293,"museum":450,"description":25008,"tags":25009,"thumbUrl":25010,"material":166,"size":166,"collection":245,"collections":25011,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},239687,"su-shi-san-ma-tu-zan-can-juan-su-shi-239687","苏轼三马图赞残卷","此卷笔墨丰腴厚重又不失灵动跳脱，行书笔意裹挟楷法筋骨，朴茂沉雄间自带旷达书卷气。将追思神骏的惘然寄于笔端，起落转合皆是率真性情。纸间朱印错落排布，与墨色题字相映成趣。残卷的斑驳痕迹晕开旧时光晕，笔墨情思与岁月质感交织相融，尺牍行间既有咏叹神骏的豪迈，又藏旧友追思的缱绻，尽显宋代文人书法的隽永意韵。",[26,38,37,80,25,312,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4139420856c9df426a7a93e05413dd.jpg",[245],{"id":25013,"slug":25014,"title":25015,"dynasty":174,"author":9335,"museum":450,"description":19356,"tags":25016,"thumbUrl":25017,"material":314,"size":1061,"collection":166,"collections":25018,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},239486,"hua-guan-yu-xiang-zhou-gao-qi-pei-239486","画关羽像轴",[24,95,27,7,193,8403,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa853648962019cc681189db7b842e6.jpg",[],{"id":25020,"slug":25021,"title":11366,"dynasty":174,"author":15780,"museum":450,"description":25022,"tags":25023,"thumbUrl":25024,"material":314,"size":1061,"collection":83,"collections":25025,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},239154,"shan-shui-hua-hui-ce-chen-heng-ke-239154","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[24,25,74,27,7,37,80,125,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef877738ff31c16dc13027b98f191b9.jpg",[83,42,64],{"id":25027,"slug":25028,"title":25029,"dynasty":174,"author":25030,"museum":450,"description":23298,"tags":25031,"thumbUrl":25032,"material":314,"size":1061,"collection":83,"collections":25033,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},238335,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238335","画弘历清圹楼咏竹诗意册","董诰",[24,25,74,7,27,126,180,672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26b9903dbf7a5197e9f55ddfbe00e6.jpg",[83,64],{"id":25035,"slug":25036,"title":25037,"dynasty":174,"author":581,"museum":450,"description":25038,"tags":25039,"thumbUrl":25040,"material":964,"size":25041,"collection":600,"collections":25042,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},238022,"hua-di-wang-ming-chen-xiang-ce-zhu-ge-liang-yi-ming-238022","画帝王名臣像册-诸葛亮","淡墨轻勾，绘出武侯宽袍博带的儒雅身形，发丝虬髯丝丝分明，眉眼间沉敛着半生尽瘁朝堂的弘毅忠忱，将其智绝忠纯的风骨凝于笔端。左侧配精整小楷题跋，录武侯生平评赞，笔墨清隽端雅，与画像彼此映衬。\n\n整作摒弃浓艳修饰，以工致写实的手法，用素净无华的笔触勾勒贤相仪容，不求繁复，只凭淡墨线条便将武侯忠贞弘毅的精神内核尽数彰显，书画合璧，尽显肖像画以形传神的精妙意趣，把一代名相的卓然风骨藏于简淡笔墨之中。",[24,25,74,547,7,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e19027ae7c4d5721732c1c5739a3d8c.jpg","纵25.1厘米，横20厘米",[600],{"id":25044,"slug":25045,"title":2806,"dynasty":174,"author":25046,"museum":450,"description":25047,"tags":25048,"thumbUrl":25049,"material":314,"size":1061,"collection":83,"collections":25050,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},237986,"za-hua-ce-xue-huai-237986","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[24,7,74,80,4379,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c02b9ac6b226b056d529a5e4f8b6e1.jpg",[83],{"id":25052,"slug":25053,"title":70,"dynasty":18,"author":25054,"museum":450,"description":25055,"tags":25056,"thumbUrl":25057,"material":166,"size":166,"collection":166,"collections":25058,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},237675,"hua-niao-ce-ling-bi-zheng-237675","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[24,25,74,27,481,7,125,75,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359d5c55d4ebcc585ed4026001545636.jpg",[],{"id":25060,"slug":25061,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":25062,"thumbUrl":25063,"material":166,"size":166,"collection":166,"collections":25064,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589",[24,25,281,7,36,3217,28,33,35,29,30,180,96,624,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":25066,"slug":25067,"title":25068,"dynasty":18,"author":18116,"museum":120,"description":25069,"tags":25070,"thumbUrl":25071,"material":811,"size":25072,"collection":42,"collections":25073,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},237122,"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[24,25,95,7,36,28,57,33,215,211,213,1525,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纵95厘米，横36.4厘米",[42,245],{"id":25075,"slug":25076,"title":157,"dynasty":174,"author":749,"museum":450,"description":25077,"tags":25078,"thumbUrl":25079,"material":314,"size":1061,"collection":42,"collections":25080,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},236859,"shan-shui-ce-wang-yuan-qi-236859","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,25,74,7,36,28,335,33,148,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e761a3d5bcf48ddf7d44981a19a3513.jpg",[42,245],{"id":25082,"slug":25083,"title":157,"dynasty":174,"author":9682,"museum":450,"description":16921,"tags":25084,"thumbUrl":25085,"material":166,"size":166,"collection":42,"collections":25086,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},236588,"shan-shui-ce-cha-shi-biao-236588",[24,7,36,74,28,29,30,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9491df3cb3d8b92bf94c07c82473a2d9.jpg",[42,222],{"id":25088,"slug":25089,"title":1567,"dynasty":174,"author":22805,"museum":450,"description":25090,"tags":25091,"thumbUrl":25092,"material":166,"size":166,"collection":42,"collections":25093,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},236444,"shan-shui-zhou-xu-fang-236444","徐枋：(1622—1694)字昭法，号俟斋、涧叟、秦馀山人、雪床庵主人，江苏吴县(今苏州)人。崇祯15年举人，工诗文，书善行草，宗孙过庭及王羲之。山水师董源、巨然、荆浩、关仝，亦宗倪瓒、黄公望，用笔工整，墨气明净，不设色。诗文出入韩、柳间。传世作品有康熙4年《山水》册页，录于《中国绘画史图录》下册；9年作《山水》扇面现藏故宫博物院；24年作《仿关仝山水图》轴，录于《晋唐五代宋元明清名家书画集》。著有《居易堂集》、《俟斋集》等。",[24,7,95,36,28,29,30,147,180,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6512dc7e0e5403960b7c77a4799e4bf.jpg",[42,64],{"id":25095,"slug":25096,"title":25097,"dynasty":174,"author":5090,"museum":120,"description":19190,"tags":25098,"thumbUrl":25099,"material":11042,"size":25100,"collection":42,"collections":25101,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴",[24,95,7,36,28,335,210,33,35,215,213,1525,787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纵184.8cm，横79.4cm",[42,222],{"id":25103,"slug":25104,"title":25105,"dynasty":18,"author":25106,"museum":450,"description":25107,"tags":25108,"thumbUrl":25109,"material":166,"size":25110,"collection":83,"collections":25111,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":140},236107,"sun-qi-mei-hua-zhou-sun-qi-236107","孙启梅花轴","孙启","此作以淡墨绢地托衬，老梅古干嶙峋遒劲，枝桠盘折如铁，横斜破壁，满缀素色梅花。作者以焦墨点苔刻画出老干的沧桑质感，浓墨写枝尽显虬劲姿态，圈花留白晕染出梅花冰肌玉骨之态，冷香暗涌纸面。\n\n画幅下方以浅淡笔墨绘拳石细草，清寂空疏，愈发烘托出冬梅凌霜孤高的品格。整幅布局空灵雅致，以极简笔触写尽文人心底的清雅意趣，笔意苍秀古拙，将梅花傲雪不屈的风骨与幽淡清逸的气韵相融，藏暗香于素绢，含清韵于笔端。",[24,25,95,7,123,2816,180,2875,76,9254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51c92a8adcfb9367d4420abfbb471a7.jpg","纵156.8cm,横61.6cm",[83,64],{"id":25113,"slug":25114,"title":25115,"dynasty":18,"author":3243,"museum":120,"description":25116,"tags":25117,"thumbUrl":25118,"material":564,"size":25119,"collection":166,"collections":25120,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[23,24,25,26,7,27,28,7489,311,38,80,36,211,3845,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":25122,"slug":25123,"title":22363,"dynasty":18,"author":10698,"museum":450,"description":25124,"tags":25125,"thumbUrl":25126,"material":166,"size":166,"collection":166,"collections":25127,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},234151,"shan-shui-juan-wen-bo-ren-234151","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,24,26,7,36,25,28,335,350,147,29,30,31,32,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":25129,"slug":25130,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":25131,"thumbUrl":25132,"material":811,"size":4319,"collection":166,"collections":25133,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":921},233868,"mei-hua-ce-jin-nong-233868",[24,25,74,547,7,75,125,147,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb34432e0d3f92f887635aac9010c975.jpg",[],{"id":25135,"slug":25136,"title":376,"dynasty":18,"author":1836,"museum":120,"description":7443,"tags":25137,"thumbUrl":25138,"material":564,"size":2973,"collection":166,"collections":25139,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},233805,"shan-shui-tu-ce-dong-qi-chang-233805",[24,25,74,7,36,28,162,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc0101e770c5965b8981d382075a663.jpg",[],{"id":25141,"slug":25142,"title":25143,"dynasty":174,"author":633,"museum":120,"description":25144,"tags":25145,"thumbUrl":25147,"material":6136,"size":25148,"collection":166,"collections":25149,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},233739,"xue-zhong-song-tan-tu-zhou-ren-yi-233739","雪中送炭图轴","任颐（1840—1895，或1896），原名润，字小楼；更名颐，字伯年，生于山阴（今浙江绍兴），卒于上海。其父鹤声（字淞云），是民间肖像画工。任颐天资聪颖，幼时随父学画肖像，在人物的传神写照和默写方面打下了扎实的基础；后又受任熊的影响，学宋人的双勾花鸟画和陈洪绶一路的人物画。他还到宁波随任薰学过画，后来，又离开宁波到苏州、上海，并寓居上海近30年，成为“海上画派”的代表。\n任颐的绘画题材全面，人物、花鸟、走兽、山水无所不精。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品。他善于写实，能够捕捉人物瞬间的神情动态进行描绘，被誉为“曾波臣后第一手”。",[24,95,27,7,123,193,831,25146,5715,13874],"炭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a8064378a94b762d15e9c365d0daf9.jpg","80.8cm×36.8cm",[],{"id":25151,"slug":25152,"title":2764,"dynasty":18,"author":119,"museum":120,"description":2765,"tags":25153,"thumbUrl":25154,"material":1877,"size":2769,"collection":166,"collections":25155,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},233475,"ren-wu-hua-hui-ce-xu-wei-233475",[24,25,74,7,193,162,180,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9a3afdd86f7423d4b7c78bbcbdc370.jpg",[],{"id":25157,"slug":25158,"title":2764,"dynasty":18,"author":119,"museum":120,"description":2765,"tags":25159,"thumbUrl":25161,"material":1877,"size":2769,"collection":166,"collections":25162,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},233469,"ren-wu-hua-hui-ce-xu-wei-233469",[281,24,25,74,7,123,4379,25160,80],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7da0a86ef5dffe025cc71e769143d1.jpg",[],{"id":25164,"slug":25165,"title":25166,"dynasty":174,"author":24403,"museum":120,"description":25167,"tags":25168,"thumbUrl":25169,"material":166,"size":166,"collection":42,"collections":25170,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},233222,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-wang-gai-233222","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,25,74,7,36,28,610,147,29,30,193,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[42],{"id":25172,"slug":25173,"title":25174,"dynasty":52,"author":2172,"museum":92,"description":25175,"tags":25176,"thumbUrl":25177,"material":298,"size":25178,"collection":166,"collections":25179,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},231337,"guan-dao-sheng-yan-yu-cong-zhu-yuan-dai-ji-jin-zhi-er-guan-dao-sheng-231337","管道昇烟雨丛竹－元代集锦之二","管道升善画竹，就存世画件，则有北京故宫藏《赵氏一门三竹图卷》中的第二件《墨竹》。此卷本安歧旧藏。安氏评以：“密叶劲节，不似闺秀之辈。”安歧旧藏又有赵孟頫、管道升《蕙竹合作卷》，安氏记以：“墨竹一枝，竹叶萧疏，枝节秀劲。”从这些描述来看《烟雨丛竹》，都不贴切。\n这幅《烟雨丛竹》不是习说的“墨竹”，而是当作于山水画的竹林图。从古老的诗经“瞻彼淇奥，绿竹猗猗”到“渭川千亩”，再到杜甫移种万竿于浣花草堂：“我有阴江竹，能令朱夏寒，阴通积水内，高映浮云端。”这种意念，移之于画作。明张丑记东坡居士《断山丛筱真迹》：“又见东坡《万竿烟雨》小帧。绢本精细，歇云眉山苏轼。下有飞白坡石，兼远景烟霭，极精。上方文征仲诗跋，称许娓娓可诵也。”“飞白坡石，兼远景烟霭。”移之于这幅《烟雨丛竹》，也是合宜的。又画史上倪瓒创出的《十万图》《万竿烟雨》即为第一题目。安歧记此画：“作淡墨细竹，沙渚遥浦，其间烟雾横迷，万玉幽深，茫茫有渭川千亩之势，坡陀皴法大类松雪，布景一派平远天真，秀妙绝伦，实为佳品。”也从此立意。\n《烟雨丛竹》画竹不分节，一笔不断由下方到顶端完成。竹叶形状细劲，结组繁而不乱。墨色用前浓后淡来区分出远近；画山坡是一般的山水皴法，沙渚丛竹，掩映于烟云中。新篁成丛与赵孟頫《自写小像》（1299作）的竹林画法是接近的。两件画竹叶，都是向上仰，做“燕尾”式的交合，且是前浓后淡的竹叶丛。竹竿《自写小像》并不一直顺畅到顶，略有些小转变。《自写小像》是青绿重彩，竹注重“墨骨”来衬托出色彩。《烟雨丛竹》是水墨层层迭迭渲染，烟云变灭，做得极为细致。技法上容有相通，情怀却不一。画平坡石块，《自写小像》画得古拙，而《烟雨丛竹》反而是老练成熟。",[24,25,26,7,547,126,10879,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdc9f3061b89318e38a118057564b00.jpg","縱23.1厘米，橫113.7厘",[],{"id":25181,"slug":25182,"title":25183,"dynasty":174,"author":7693,"museum":450,"description":7694,"tags":25184,"thumbUrl":25185,"material":314,"size":1061,"collection":166,"collections":25186,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},230974,"zi-wei-shuang-ya-tu-zhu-cheng-230974","紫薇双鸭图",[23,24,95,27,75,1478,3711,481,7,14952,2283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3621326badfd0abb6238460d188f3b31.jpg",[],{"id":25188,"slug":25189,"title":25190,"dynasty":18,"author":581,"museum":450,"description":25191,"tags":25192,"thumbUrl":25193,"material":166,"size":166,"collection":166,"collections":25194,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[23,24,25,26,7,28,717,180,32,36,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":25196,"slug":25197,"title":25198,"dynasty":18,"author":14875,"museum":450,"description":25199,"tags":25200,"thumbUrl":25201,"material":166,"size":166,"collection":166,"collections":25202,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},228309,"xi-hu-xue-jing-tu-ye-xiang-sheng-mo-228309","西湖雪景图页","此作用平远视角铺展冬湖雪景，以留白衬出天地间皑皑素色，淡墨晕染远山，如笼薄纱，隐于空濛水雾之中。湖面浩渺空寂，偶有汀岸错落，几株枯木虬枝遒劲，疏朗挺立，暗合冬日萧寒之气，岸边渔村屋舍星点，愈显荒寒清寂。\n\n笔墨简澹克制，以淡墨轻皴轻染，将雪意融于留白与浅墨之间，意境幽远孤清。四周题跋环绕，诗画相生，文人雅趣盎然，将冬雪西湖的静穆萧疏尽数铺陈，尽显幽澹雅致的画中深意，寄寓着画者清雅出尘的襟怀。",[24,7,28,74,36,335,350,717,831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd439ec8a7babbccd8ad0d1aaed0089f3.jpg",[],{"id":25204,"slug":25205,"title":25206,"dynasty":52,"author":10972,"museum":450,"description":25207,"tags":25208,"thumbUrl":25209,"material":166,"size":166,"collection":166,"collections":25210,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},228166,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228166","清泉乔木图立轴","此作笔意苍浑老辣，绘就冬日山林清寂之境。古松主干虬曲斑驳，疤结累累尽显沧桑，枯槎劲枝凝着寒雪，垂挂的薜萝如缕，幽幽晕开森寂古意。旁侧次干同样瘦硬嶙峋，无叶枝桠斜曳，尽展岁寒不屈之姿。\n\n下方寒泉漱石，水波清浅澹澹，淡墨晕染出空濛水岸，山石以简括皴擦带过，野趣自生。留白铺陈开空寂冷逸，将简淡疏朗融于笔墨间，寄寓着超脱尘俗的林下雅怀，清寒中见出沉静高旷的风骨。",[23,24,25,281,95,7,36,28,12555,10238,34,30,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6e577b57078bcf149c3b060edbb579.jpg",[],{"id":25212,"slug":25213,"title":25214,"dynasty":205,"author":581,"museum":450,"description":25215,"tags":25216,"thumbUrl":25217,"material":166,"size":166,"collection":166,"collections":25218,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},227936,"feng-yu-gui-zhou-tu-ye-yi-ming-227936","风雨归舟图页","这幅扇面以淡墨晕染出烟笼远岫，山影在濛濛水雾里晕开，似有风雨欲来的湿冷之意漫过江天。近岸老树虬曲偃仰，枝桠带风，坡石苍润间杂生的丛草随势披拂，暗合风动之姿。\n\n江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[23,24,25,1462,7,27,28,36,31,468,34,33,30,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],{"id":25220,"slug":25221,"title":25222,"dynasty":205,"author":592,"museum":450,"description":25223,"tags":25224,"thumbUrl":25225,"material":166,"size":166,"collection":166,"collections":25226,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,7,27,36,2446,28,210,34,33,32,58,164,773,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],{"id":25228,"slug":25229,"title":25230,"dynasty":205,"author":6572,"museum":450,"description":25231,"tags":25232,"thumbUrl":25233,"material":166,"size":166,"collection":166,"collections":25234,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},227594,"xing-song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227594","行送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。\n著录于《装余偶记》卷五、《石渠宝笈初编》卷一。",[23,281,24,25,26,7,38,37,80],"htt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，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,7,36,95,28,193,31,624,210,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396b38187718c407d8aa9bcd3330f957.jpg","纵151CM 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cm",[245],{"id":25291,"slug":25292,"title":25293,"dynasty":18,"author":19,"museum":92,"description":1078,"tags":25294,"thumbUrl":25295,"material":298,"size":1994,"collection":166,"collections":25296,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},222105,"xie-mi-jia-shan-shen-zhou-222105","写米家山",[23,24,25,7,28,10780,74,335,162,350,211,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82c8db68a8b575954749b6f85eccdfc.jpg",[],{"id":25298,"slug":25299,"title":25300,"dynasty":52,"author":20417,"museum":593,"description":25301,"tags":25302,"thumbUrl":25303,"material":61,"size":25304,"collection":42,"collections":25305,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,25,7,36,95,335,210,215,213,33,30,34,212,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[42,222],{"id":25307,"slug":25308,"title":25309,"dynasty":205,"author":3062,"museum":120,"description":25310,"tags":25311,"thumbUrl":25312,"material":2001,"size":25313,"collection":166,"collections":25314,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},221607,"liu-xi-wo-di-tu-liang-kai-221607","柳溪卧笛图","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[23,24,281,25,7,4489,28,193,1035,215,21689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a56bcc78c55ff8ae9cf7480874e52a.jpg","26.1×26.1cm",[],{"id":25316,"slug":25317,"title":25318,"dynasty":205,"author":278,"museum":120,"description":25319,"tags":25320,"thumbUrl":25323,"material":1735,"size":25324,"collection":166,"collections":25325,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,281,24,25,2446,1714,7,36,28,597,25321,96,324,34,30,25322,33,268,2203],"梧树","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","纵23厘米，横26厘米",[],{"id":25327,"slug":25328,"title":25329,"dynasty":205,"author":307,"museum":92,"description":25330,"tags":25331,"thumbUrl":25332,"material":3463,"size":25333,"collection":166,"collections":25334,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},221384,"ming-hua-lin-lang-ce-qun-feng-xue-ji-fan-kuan-221384","名画琳瑯册－群峰雪霁","此作写崇山积雪，山脚并点缀密林、楼观、舟楫等。倦色黯黑，但不失古雅苍润。画中的主峰已偏一侧，且皴笔少滃染多，地质较近于土山，与记载中的范宽风格并不尽似。对幅由尹继善、刘纶、王际华、钱维城、彭元瑞、曹文埴、陈孝泳等清代臣工题咏，虽然语中对范宽多所赞誉，但无法证明本幅与范宽有关，据画风推测成作时间应在南宋以后。\n另有旧题为范宽的《山水》、《秋景山水》、《海山图》、《霍童仙界图》等数幅，虽然作品中或题“范中立”、“范宽笔”、“华原范宽”，但均与范宽的风格相去甚远，时代也无法到宋，推定是明、清时期的托名伪作。本节遂不一一叙述。",[23,281,24,25,74,28,36,7,3842,993,7312,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7a037a9fc0181e3f16807504492c7c.jpg","纵40.7公分，横27.3公分",[],{"id":25336,"slug":25337,"title":25338,"dynasty":205,"author":264,"museum":92,"description":25339,"tags":25340,"thumbUrl":25342,"material":16679,"size":25343,"collection":220,"collections":25344,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},221356,"shan-yin-hui-zhan-tu-juan-li-gong-lin-221356","山阴会战图卷","李公麟（1049～1106），北宋廬州府舒城縣人（今安徽舒城人），宋代傑出畫家。字伯時,號龍眠居士，(1049-1106)享年五十七歲。熙寧三年(公元1070年)進士。李龍眠即李公麟，字伯時，安徽舒城人，因桐城郊外有一龍眠山，李公麟曾長居於山下，所以又自號龍眠居士或龍眠山人。\n出身名門大族，家藏古器名畫法書甚多，自幼知識淵博，好古善鑑，多識奇字，自夏商以來鐘鼎尊彝皆能考訂世次，辨別款識。長於詩文，行楷書有晉人風。與王安石、蘇軾、米芾、黃庭堅為至交，系駙馬王詵之座上客。熙寧三年（1070）中進士，為中書門下省刪定官，後官至朝奉郎。元符三年（1100）病痹告老，居家鄉桐城龍眠山，號龍眠居士。一生勤奮，作畫無數，人物、史實、釋道、士女、山水、鞍馬、走獸、花鳥無所不能，無所不精。人物、道釋深得吳道子旨趣，運筆如行雲流水，造型正確，神態飛動；山水氣韻清秀，得王維正傳；着色山水追李思訓心法；畫馬過韓幹。能集諸家之長，得其大成，師法自然，大膽創新，自成一家，被後代敬為第一大手筆、百代宗師。",[23,281,24,25,26,547,7,193,312,25341,212,1005],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","26.6x764",[220],{"id":25346,"slug":25347,"title":16839,"dynasty":205,"author":14655,"museum":770,"description":16840,"tags":25348,"thumbUrl":25350,"material":61,"size":25351,"collection":166,"collections":25352,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":140},221318,"sha-ting-yan-shu-tu-hui-chong-221318",[23,24,7,28,38,80,25349,33,282,14658,37],"沙岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f44e1b10f5849bbce3c7e94e0ad3cb.jpg","纵24cm，横25cm",[],{"id":25354,"slug":25355,"title":25356,"dynasty":359,"author":1872,"museum":1873,"description":25357,"tags":25358,"thumbUrl":25359,"material":811,"size":166,"collection":166,"collections":25360,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},220517,"xing-shu-suo-nan-weng-shi-xu-bei-hong-220517","行书（所南翁诗）","此作用笔爽利劲挺，起收果断，融北碑雄健与行书灵动于一体，线条粗细变化自然，带着舒展刚劲的力道。\n安贫乐道的诗句意趣，与笔墨相得益彰。布局错落疏朗，行气连贯，字势顾盼有情，既有文人书法的温雅隽秀，又藏着沉厚雄强的筋骨。笔底带着冲淡平和的悠然意境，将诗意与书韵相融，尽显从容自在的文人品格，是兼具才情与风骨的书作精品。",[37,38,7,95,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b1e891b4a330ed8bde106d82682e4f.jpg",[],{"id":25362,"slug":25363,"title":25364,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":25365,"thumbUrl":25366,"material":298,"size":19575,"collection":166,"collections":25367,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},220320,"huang-shan-tu-ce-9-hong-ren-220320","黄山图册-9",[23,24,7,28,74,36,30,34,33,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3f24836a98c1dbd40e046df6418e26.jpg",[],{"id":25369,"slug":25370,"title":25371,"dynasty":174,"author":25372,"museum":692,"description":25373,"tags":25374,"thumbUrl":25376,"material":40,"size":25377,"collection":42,"collections":25378,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},219915,"xia-shan-lin-guan-tu-wang-yu-219915","夏山林馆图","王昱","王昱（1714——1748），清代文人画家，字日初，号东庄老人，又号云槎山人、丹林，江苏太仓人。与清代画家王玖、王宸、王愫合称“小四王”。东庄老人师承娄东“四王”一脉，喜山水，其画淡而不薄，疏而有致，笔意在倪瓒、方从义之间。",[281,24,25,95,7,28,36,34,33,30,25375,496,21813],"馆舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c382ccf195e33d1e5689e31fa5aaf5.jpg","105.1x49.8",[42],{"id":25380,"slug":25381,"title":25382,"dynasty":174,"author":2029,"museum":20,"description":4203,"tags":25383,"thumbUrl":25384,"material":298,"size":4206,"collection":166,"collections":25385,"showCount":24865,"zanCount":1084,"manualWeight":46,"mainColor":47},219850,"ba-jing-shan-shui-tu-6-gong-xian-219850","八景山水图-6",[24,7,36,28,147,12385,31,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba7ab842fa8f38fb3b06152c82a4781.jpg",[],{"id":25387,"slug":25388,"title":25389,"dynasty":174,"author":25390,"museum":120,"description":25391,"tags":25392,"thumbUrl":25393,"material":40,"size":25394,"collection":600,"collections":25395,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},219635,"song-zhi-jing-ting-song-feng-tu-liu-yu-219635","宋致静听松风图","柳遇","图中宋致头戴纱帽，身着长衫，临溪倚石侧坐，神情端凝。身后古松参天，枝繁叶茂，与怪石嶙峋、小草幽篁、溪水潺潺的景致形成高矮、动静的对比，有极强的视觉效果，强化了人物的宁静祥和，烘托了听松的主题。\n据《商邱县志》记载：宋致，字穉佳，商邱人。举乡贡，游太学，官至四川总藩、湖南布政使。性情慷慨轻财，有政事，录《可竹居诗集》。\n图中人物用勾填法表现，面部稍加晕染，衣纹飘逸，线条简洁，形象传神，突出了主人公朴实无华的个性与平和自然的心态。",[23,24,25,95,27,193,127,706,37,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8818a7ad2c54fb07fbd6b17a7bcbd712.jpg","纵102厘米，横44.6厘米",[600],{"id":25397,"slug":25398,"title":25399,"dynasty":174,"author":16739,"museum":92,"description":25400,"tags":25401,"thumbUrl":25402,"material":98,"size":25403,"collection":42,"collections":25404,"showCount":24865,"zanCount":46,"manualWeight":46,"mainColor":47},219482,"xi-qiao-lin-ying-tu-zhou-huang-ding-219482","溪桥林影图轴","这幅画描绘了一座横跨小溪的险桥，杂树相互依偎，远处山峰突出。 在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 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，福建侯官縣人，清代中期政治家、文學家、思想家，民族英雄。\n林則徐是嘉慶十六年（1811年）進士，歷官翰林編修、江蘇按察使、東河總督、江蘇巡撫、湖廣總督等職。道光十九年（1839年），以欽差大臣赴廣東禁煙時，派人明察暗訪，強迫外國鴉片商人交出鴉片，並將沒收鴉片於虎門銷燬。該事件被認為是第一次鴉片戰爭的導火線。戰爭爆發不久，林則徐被構陷革職，發往新疆戍邊。道光二十五年（1845年）重獲起用，歷任陝甘總督、陝西巡撫、雲貴總督等職，加太子太保。道光三十年（1850年），林則徐在奉命鎮壓拜上帝會起事途中，病逝於潮州普寧。獲贈太子太傅，諡號“文忠”。有《林文忠公政書》等作品傳世。\n林則徐一生遍歷地方，治績卓著。雖在兩廣抗擊西方入侵，但對於西方的文化、科技和貿易則持開放態度，主張學其優而用之。他至少略通英、葡兩種外語，且着力翻譯西方報刊和書籍。他主持編譯的《四洲志》及魏源編撰的《海國圖志》，對晚清的洋務運動乃至日本的明治維新都具有啓發作用。",[174,37,38,254,7,298,3292,80,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[245],{"id":25617,"slug":25618,"title":25619,"dynasty":18,"author":9227,"museum":450,"description":25620,"tags":25621,"thumbUrl":25622,"material":166,"size":166,"collection":83,"collections":25623,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":47},239420,"hua-zhu-zhou-chen-qin-239420","画竹轴","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，",[24,25,95,7,126,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf9f100d12ff5ef9f1a592126067433.jpg",[83],{"id":25625,"slug":25626,"title":25627,"dynasty":174,"author":19434,"museum":450,"description":25628,"tags":25629,"thumbUrl":25630,"material":166,"size":166,"collection":166,"collections":25631,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":47},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[24,25,26,28,7,27,335,454,624,213,37,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],{"id":25633,"slug":25634,"title":25635,"dynasty":174,"author":25636,"museum":92,"description":25637,"tags":25638,"thumbUrl":25639,"material":166,"size":166,"collection":42,"collections":25640,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},238256,"wu-da-fu-song-tu-juan-zhang-ruo-ai-238256","五大夫松图卷","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,26,7,36,127,147,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b2767d1893093d6fd6a0d715c493fd.jpg",[42],{"id":25642,"slug":25643,"title":2940,"dynasty":174,"author":2605,"museum":450,"description":2941,"tags":25644,"thumbUrl":25645,"material":166,"size":2944,"collection":166,"collections":25646,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},238031,"hong-ren-shan-shui-tu-ce-hong-ren-238031",[24,7,36,74,28,33,35,164,180,2925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9144a0928789c773384316cc6493a3d6.jpg",[],{"id":25648,"slug":25649,"title":25650,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":25651,"thumbUrl":25652,"material":166,"size":166,"collection":42,"collections":25653,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[24,7,36,95,28,34,33,30,29,35,210,25,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[42],{"id":25655,"slug":25656,"title":4038,"dynasty":18,"author":15516,"museum":450,"description":25657,"tags":25658,"thumbUrl":25659,"material":166,"size":166,"collection":245,"collections":25660,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},237692,"lan-hua-zhou-chen-yuan-su-237692","此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。明谓王榖祥、周天球所不及。",[24,25,95,7,133,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b3d1371231d23485ff81501fc628a7.jpg",[245],{"id":25662,"slug":25663,"title":25664,"dynasty":18,"author":7182,"museum":120,"description":25665,"tags":25666,"thumbUrl":25668,"material":298,"size":25669,"collection":42,"collections":25670,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[24,25,95,7,36,1153,28,33,32,14952,34,717,164,785,25667,624,215],"平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 宽32.5 cm",[42],{"id":25672,"slug":25673,"title":25674,"dynasty":174,"author":25675,"museum":450,"description":25676,"tags":25677,"thumbUrl":25678,"material":166,"size":166,"collection":83,"collections":25679,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},236714,"hua-niao-guo-ce-li-qi-236714","花鸟果册","李圻","此作以大写意绘荷塘小景，阔笔泼墨晕染荷叶，墨色苍润交融，浓淡层次尽显夏日池面的氤氲水汽，落笔尽显酣畅率意。两朵白莲以淡墨勾形，留白作瓣，素净雅致，与浓墨荷叶形成强烈的虚实对照，清雅之气扑面而来。荷茎以劲爽线条勾勒，挺拔柔韧，寥寥数笔便将莲茎风姿尽显。画面两侧题上行草，笔墨意趣与画境呼应，诗书画浑然一体。构图疏密相宜，简逸空灵，以极简笔墨传递出荷塘清寂淡远的幽谧意境，尽显写意功底与文人雅致襟怀。",[24,25,281,74,7,128,395,396,75,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[83,222,245],{"id":25681,"slug":25682,"title":10316,"dynasty":174,"author":749,"museum":450,"description":25683,"tags":25684,"thumbUrl":25685,"material":166,"size":166,"collection":42,"collections":25686,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","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》。",[24,25,95,7,36,254,80,28,34,33,35,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[42,222],{"id":25688,"slug":25689,"title":25690,"dynasty":174,"author":14526,"museum":120,"description":25691,"tags":25692,"thumbUrl":25693,"material":1038,"size":25694,"collection":42,"collections":25695,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},236384,"huang-shan-tu-zhou-mei-qing-236384","黄山图轴","此图绘黄山的莲花峰。作者以超绝的想象力，运用夸张的手法将莲花峰描绘成秀出天半的青莲，它巍峨不失俏丽，高贵而典雅。山岩的石面以浓淡墨交织的线条混皴，纹理繁密，气象峥嵘，与石上灵动的苔点相交融，显示了作者对黄山景物善于摹写、精于刻画的深厚功力。",[281,24,25,95,7,36,28,335,706,162,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d0b5065c8022b488432001bfb86239.jpg","纵186.8厘米，横57厘米",[42],{"id":25697,"slug":25698,"title":5598,"dynasty":174,"author":703,"museum":120,"description":25699,"tags":25700,"thumbUrl":25701,"material":564,"size":25702,"collection":83,"collections":25703,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},236311,"hua-hui-ce-wang-shi-shen-236311","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[24,25,74,7,75,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c7ea965ffa8a1b378d01899052fef.jpg","纵24厘米 横27.5厘米",[83,64],{"id":25705,"slug":25706,"title":25707,"dynasty":18,"author":581,"museum":450,"description":25708,"tags":25709,"thumbUrl":25710,"material":166,"size":166,"collection":166,"collections":25711,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},235874,"tang-yin-guan-shan-xing-lv-zhou-yi-ming-235874","唐寅关山行旅轴","此作画境荒寒清寂，以淡墨晕染远山，烟岚朦胧间隐出路踪。虬曲古木撑起重峦一隅，枯枝苍劲老辣，皴擦间尽显风霜雕琢之态。石拱桥下寒水浅流，策杖旅人独行桥边，衣袂似随山风微动，静穆中暗含羁旅孤愁。\n整幅以水墨写意，淡远空疏的笔墨烘托出关山行旅的苍茫意境，将天涯行客的寂寥心绪融于冷寂山水间，尽显借景抒怀的雅致意趣，笔墨简淡却意蕴悠长。",[24,95,7,28,36,147,34,193,194,1385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c7f861c1e723f95dfa0c68d42794f8.jpg",[],{"id":25713,"slug":25714,"title":9141,"dynasty":174,"author":21853,"museum":450,"description":25715,"tags":25716,"thumbUrl":25717,"material":314,"size":1061,"collection":166,"collections":25718,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":921},235559,"mo-he-tu-zhou-fu-shan-235559","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[24,7,95,128,395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24528e736483b0247d66e35f68b3b981.jpg",[],{"id":25720,"slug":25721,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":25722,"thumbUrl":25723,"material":314,"size":1061,"collection":166,"collections":25724,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},235506,"za-hua-ce-zhu-da-235506",[24,25,74,7,132,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35aa4bd3e30e431fdcc63c5911fed21.jpg",[],{"id":25726,"slug":25727,"title":11984,"dynasty":174,"author":749,"museum":120,"description":25728,"tags":25729,"thumbUrl":25730,"material":537,"size":166,"collection":166,"collections":25731,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,24,26,7,36,28,212,10976,58,33,3246,787,194,29,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg",[],{"id":25733,"slug":25734,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":25735,"thumbUrl":25736,"material":298,"size":2515,"collection":166,"collections":25737,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},234088,"wu-zhong-shan-shui-ce-shen-zhou-234088",[24,7,74,38,28,147,29,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcfb606921be0b9986e3b5388576f24.jpg",[],{"id":25739,"slug":25740,"title":21479,"dynasty":205,"author":278,"museum":120,"description":25741,"tags":25742,"thumbUrl":25743,"material":3471,"size":25744,"collection":166,"collections":25745,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[24,281,25,2446,7,27,36,28,624,30,31,940,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de98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。该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[24,25,95,7,126,180,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2a0b28fc7cfc65ebf4a460dda8477a.jpg","170.7x99.7cm",[],{"id":25770,"slug":25771,"title":25772,"dynasty":52,"author":581,"museum":120,"description":25773,"tags":25774,"thumbUrl":25775,"material":1735,"size":25776,"collection":166,"collections":25777,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":140},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[24,25,95,28,254,36,7,27,212,33,610,147,213,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],{"id":25779,"slug":25780,"title":25781,"dynasty":18,"author":1788,"museum":120,"description":25782,"tags":25783,"thumbUrl":25784,"material":11042,"size":25785,"collection":42,"collections":25786,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},233133,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,74,7,28,34,33,31,8371,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纵22.8cm，横33.2cm",[42,64],{"id":25788,"slug":25789,"title":25790,"dynasty":5382,"author":10170,"museum":450,"description":10171,"tags":25791,"thumbUrl":25792,"material":314,"size":1061,"collection":166,"collections":25793,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":921},231666,"shi-ting-shi-dai-fang-liang-kai-huang-chu-ping-tu-xue-zhou-231666","室町时代 仿梁楷黄初平图",[24,25,7,547,254,193,1839,127,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cbaeb5a70ff2eeb09b8af16b85dbbcc.jpg",[],{"id":25795,"slug":25796,"title":25797,"dynasty":18,"author":2851,"museum":450,"description":25798,"tags":25799,"thumbUrl":25800,"material":166,"size":166,"collection":166,"collections":25801,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[281,24,25,26,7,27,36,38,37,80,193,28,624,147,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":25803,"slug":25804,"title":25805,"dynasty":174,"author":418,"museum":450,"description":25806,"tags":25807,"thumbUrl":25808,"material":166,"size":166,"collection":166,"collections":25809,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},230277,"gu-guo-xing-bei-shi-hua-ce-su-qin-wang-juan-shou-zhu-da-230277","故国兴悲诗画册(肃亲王卷首)","此幅书法以行书书就四字，笔力苍劲沉凝，线条如枯藤老树，藏锋裹住满腔郁愤，露锋破开沉重心绪，字形宽博朴拙，尽显沉郁厚重的气度。左侧题款小字清隽端雅，与大字的雄健悲凉形成强烈视觉反差。疏朗留白间朱印点缀，将山河破碎的怆怀融于笔墨，于尺幅间铺陈出悠悠无尽的家国哀思，笔墨起落间皆是乱世流离的沉恸。",[23,24,25,74,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89e9df92d4a66217f7060c595690bf2.jpg",[],{"id":25811,"slug":25812,"title":25813,"dynasty":174,"author":633,"museum":450,"description":25814,"tags":25815,"thumbUrl":25816,"material":166,"size":166,"collection":166,"collections":25817,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},230122,"chun-qin-si-ping-ren-yi-230122","春禽四屏","这幅团扇小品兼工带写，以鸲鹆为题。浓墨晕染禽鸟黑羽，兼用淡墨扫出绒羽蓬松层次，朱红爪足紧扣枯枝，圆目尖喙自带警觉之态，笔意放逸却形神毕现。衬景藤蔓枝叶以花青淡赭轻勾慢染，叶片俯仰错落，柔润淡彩与浓黑禽鸟形成冷暖映衬，疏密之间晕出春日清寂生机。右侧题字笔力劲挺，与画面浑然相融，尽显写意花鸟的灵动雅趣，尺幅之内将日常小景化为意韵悠长的雅致佳作。",[24,27,7,75,77,3443,18707,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56f8d8e8fbbb64afde5123e88597a17.jpg",[],{"id":25819,"slug":25820,"title":4859,"dynasty":18,"author":407,"museum":450,"description":25821,"tags":25822,"thumbUrl":25823,"material":314,"size":1061,"collection":166,"collections":25824,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,281,24,25,26,37,7,27,36,494,28,4348,212,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":25826,"slug":25827,"title":25828,"dynasty":18,"author":19,"museum":450,"description":25829,"tags":25830,"thumbUrl":25831,"material":166,"size":166,"collection":166,"collections":25832,"showCount":25488,"zanCount":5,"manualWeight":46,"mainColor":140},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[23,24,25,95,7,28,717,29,35,34,36,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":25834,"slug":25835,"title":14902,"dynasty":18,"author":6468,"museum":450,"description":25836,"tags":25837,"thumbUrl":25840,"material":166,"size":166,"collection":166,"collections":25841,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},228486,"shuang-ying-tu-lin-liang-228486","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,24,25,95,9254,7,123,75,25838,2148,25839,96,3443,551,213],"院体","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":25843,"slug":25844,"title":25845,"dynasty":18,"author":7799,"museum":450,"description":25846,"tags":25847,"thumbUrl":25848,"material":166,"size":166,"collection":166,"collections":25849,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":921},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[23,24,25,95,7,36,28,34,33,215,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":25851,"slug":25852,"title":25853,"dynasty":52,"author":2127,"museum":450,"description":25854,"tags":25855,"thumbUrl":25856,"material":166,"size":166,"collection":166,"collections":25857,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":140},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,25,27,7,28,31,30,193,624,34,481,7105,21135,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":25859,"slug":25860,"title":25861,"dynasty":52,"author":3508,"museum":450,"description":25862,"tags":25863,"thumbUrl":25864,"material":166,"size":166,"collection":166,"collections":25865,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":140},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","以淡墨晕染峰峦，烟岚轻笼岫影，虚实相生间铺展秋日山野的空寂萧疏。近岸苍林错落，村居隐于枝桠间，秋水如镜，映带平远野色，将暮霭沉沉的静谧秋意晕开。\n画作以干湿互用的墨色写就，山峦以淡墨披麻皴辅以晕染，弱化嶙峋棱角，尽显温润秀雅。留白处化作流岚晓雾，将远峰近林织就朦胧诗境。右上角题诗与朱印错落，书画印相映成趣，添就文雅书卷气，将秋山暮时的澹远空寂，融在水墨氤氲里，尽显文人寄情丘壑的写意幽远之致。",[23,281,24,25,26,7,36,28,335,33,211,1974,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":25867,"slug":25868,"title":25869,"dynasty":205,"author":581,"museum":450,"description":25870,"tags":25871,"thumbUrl":25872,"material":166,"size":166,"collection":166,"collections":25873,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":921},227934,"qing-shan-bai-yun-tu-yi-ming-227934","青山白云图","近岸苍松虬曲古雅，枝桠探向水面，滩石错落，静水无波晕染出空濛雾气。远山隐现于烟岚之中，以淡墨轻擦出朦胧山形，留白托出云气舒卷的清旷。\n\n画侧题诗与山水呼应，行书隽秀飘逸，以诗点题，将青山朝暮、白云青松的幽寂山居铺陈在尺幅团扇间。墨色温雅清润，寥寥数笔便勾勒出世外林泉的闲逸意趣，尽显以小见大、诗画合璧的雅致审美，把文人心中的栖居理想藏在淡墨烟霞里。",[23,24,25,1462,28,7,36,23124,1777,624,33,34,211,940,282,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":25875,"slug":25876,"title":25877,"dynasty":205,"author":607,"museum":450,"description":25878,"tags":25879,"thumbUrl":25881,"material":166,"size":166,"collection":166,"collections":25882,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[23,281,24,25,75,7,36,5254,1349,126,30,25880,4817,7314,3394,8249],"溪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],{"id":25884,"slug":25885,"title":1161,"dynasty":205,"author":1162,"museum":450,"description":25886,"tags":25887,"thumbUrl":25888,"material":166,"size":166,"collection":166,"collections":25889,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},227698,"sui-han-san-you-tu-zhao-meng-jian-227698","洁净的扇面上，作者绘松、竹、梅折枝，以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹着如星芒般的松针与墨影般的竹叶，将它们横斜置于画面中央，以松针的灰和墨竹的黑来衬托出梅花的白。松叶如钢针，竹叶如刀剑，更表现出梅花的傲骨冰心。整个画面笔墨秀丽，清绝幽雅，意趣横生。这幅《岁寒三友图》通过对画面的安排，明确表达出作者刚正、坚贞的气节。画扇的右上方钤“子固”白文印。\n\n用笔上，画中的梅花以淡墨衬染着用细笔，浓墨所圈钩的花瓣、松针用笔尖挺劲拔，墨竹以中锋运使，挺劲有力。松、竹、梅画法各异，充满韵致，是幅极具精神的南宋小品。赵孟坚的作品一笔一画都注意书法与画法的结合，可以代表宋末文人画的艺术特色。",[23,24,25,1462,547,7,127,126,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999c0b646b9a079331a43aabd414c35c.jpg",[],{"id":25891,"slug":25892,"title":25893,"dynasty":174,"author":25894,"museum":450,"description":25895,"tags":25896,"thumbUrl":25897,"material":612,"size":25898,"collection":64,"collections":25899,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,24,25,281,95,28,36,7,34,624,210,35,32,33,29,193,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 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，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,24,25,74,7,481,126,162,77,12455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580b1d5613a0bce82743a005bf875250.jpg","37x46.6厘米",[],{"id":25955,"slug":25956,"title":25957,"dynasty":18,"author":19,"museum":20,"description":25958,"tags":25959,"thumbUrl":25960,"material":3471,"size":25961,"collection":166,"collections":25962,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":47},222131,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222131","雨江名胜图册","此图是描绘长江淮河两岸名胜风景的册页，共十幅，每幅对页有沈周自题七绝一首，并有友人文嘉、王穉登等人题和诗。画面皆剪裁简明，情景融合，却构成诗意盎然的境界。用笔质朴、凝重，山峦的 繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[23,24,25,74,27,28,194,33,32,37,80,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674619dee4ce4fad476bb3400d91654b.jpg","纵42.2厘米，横23.8厘米",[],{"id":25964,"slug":25965,"title":25966,"dynasty":18,"author":16199,"museum":92,"description":25967,"tags":25968,"thumbUrl":25969,"material":25970,"size":25971,"collection":42,"collections":25972,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},222086,"hui-shan-zhu-quan-tu-zhou-qian-gu-222086","惠山煮泉图轴","钱谷此图绘与友人四人品茶赏景谈天，三童一汲方池惠泉，另二于松下煽火备茶。图中树木多以乾笔皴擦、人物偶现几处浓墨点缀，浓淡表现恰到好处，笔法灵巧，呈现了晚明文人潇洒怡然的生活情景。",[23,24,25,95,7,27,36,193,33,34,80,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc265a3d40fc91feae57afc4851a3c8e.jpg","轴、纸本、浅设色","265x57.2",[42,64],{"id":25974,"slug":25975,"title":25976,"dynasty":52,"author":24611,"museum":20,"description":25977,"tags":25978,"thumbUrl":25979,"material":298,"size":25980,"collection":245,"collections":25981,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":921},221843,"zhen-jing-an-mu-yuan-shu-juan-shu-yang-wei-zhen-221843","真镜庵募缘疏卷书","《真镜庵募缘疏卷》是杨维桢的行草书佳作。作者晚年与僧道交往频繁，经常出入于寺庙道院，此卷特地为真镜庵募缘所撰写。其书章局变化丰富，随意而奇崛，用笔力遒韵稚，笔法跳宕，竭尽一唱三叹、回肠荡气的能事。用墨浓淡互济，干湿对比强烈，表现出作者的强烈的艺术个性，怪癖性格的极度张扬。",[23,281,24,25,26,37,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[245],{"id":25983,"slug":25984,"title":25985,"dynasty":205,"author":3062,"museum":5692,"description":4487,"tags":25986,"thumbUrl":25987,"material":61,"size":25988,"collection":166,"collections":25989,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},221604,"gui-yu-tu-liang-kai-221604","归渔图",[23,281,24,7,27,28,717,282,729,31,468,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":25991,"slug":25992,"title":25993,"dynasty":205,"author":25994,"museum":1346,"description":25995,"tags":25996,"thumbUrl":25997,"material":25998,"size":25999,"collection":600,"collections":26000,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},221261,"zhao-yang-tu-hu-zhi-tian-221261","朝阳图","胡直天","此作以减笔写意写就，枯涩灵动的墨线勾勒僧人身形，顿挫转折间，衣物褶皱的厚重质感尽显。老僧垂眉敛目，持盏默坐，神态沉凝安然，似在静待晨光破暝，将禅家静定悠然的意态藏于笔底。\n\n画面简阔疏朗，以空寂绢面烘托出清远虚淡的禅意氛围，不着一笔而意蕴自生。笔意极简却形神兼备，寥寥数笔便将出尘襟怀铺展尽致，尽显禅画以形写神、以简驭繁的精妙意趣。",[23,281,24,25,74,547,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37005a5ef42275a168b4eeac761cadf2.jpg","絹本","22.3×23",[600],{"id":26002,"slug":26003,"title":26004,"dynasty":359,"author":1872,"museum":1873,"description":26005,"tags":26006,"thumbUrl":26007,"material":166,"size":166,"collection":166,"collections":26008,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},220561,"dou-ying-xu-bei-hong-220561","斗鹰","以酣畅泼墨写就猛禽雄姿，两只苍鹰振翅对峙于空，利爪森然张扬，怒目相向，将空中缠斗的紧绷张力拉至顶点。\n作者以干湿浓墨晕染出羽毛层次，大写意的笔触间不失细节精准，将猛禽的桀骜筋骨与凶悍神态尽数勾勒。画面留白疏朗，远景点缀掠空小鹰，衬出天地辽远，更显主体鹰隼的霸悍气魄。整体笔力雄健老辣，将猛禽相斗的野性之美凝于纸面，把转瞬即逝的空中角斗定格为永恒的视觉冲击，尽显豪迈苍劲的风骨。",[23,24,7,123,95,282,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b0f6352c708e330be8c080b5a1d523.jpg",[],{"id":26010,"slug":26011,"title":26012,"dynasty":359,"author":1872,"museum":1873,"description":26013,"tags":26014,"thumbUrl":26016,"material":166,"size":166,"collection":166,"collections":26017,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},220553,"ba-ren-ji-shui-xu-bei-hong-220553","巴人汲水","这幅长卷以竖幅铺展取水全程，自河畔到山梯，串联起众生剪影。下方赤膊老者躬身探入河水提桶，肌肉紧绷满是劳作的沧桑；妇人俯身舀水，壮年佝偻腰背负重登梯，青年挑着水桶稳步上行，山巅挑夫将艰辛藏入沉稳脚步。\n线条劲挺勾勒出劳动者贲张的筋肉与粗粝山石，淡墨晕染开朦胧水汽，侧畔竹花轻绽反衬生计之苦。题诗诉尽汲水人的血汗辛劳，将日常生计绘就为对底层坚韧的深情礼赞，写实笔墨里满溢共情与悲悯。",[23,24,7,27,17699,95,193,5912,96,30,26015],"水桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e184e8f377e2844f6c9d4d7879a5ec.jpg",[],{"id":26019,"slug":26020,"title":26021,"dynasty":359,"author":1872,"museum":1873,"description":26022,"tags":26023,"thumbUrl":26024,"material":166,"size":166,"collection":166,"collections":26025,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":47},220536,"chen-qu-xu-bei-hong-220536","晨曲","枯枝虬曲交错，浓淡墨色晕染出苍劲质感，萧索冬意铺满纸面。数十只麻雀错落栖于枝桠，姿态灵动各异：有的昂首翘望谛听晨风，有的两两依偎喁喁私语，也有敛羽静立，沉浸在晨间清寂之中。\n\n以水墨写意之法寥寥定格群雀憨态灵趣，淡墨留白的空阔背景，更衬出雀鸟的鲜活生机，静中藏动，将冬晨的清寒和小生命的蓬勃揉作一处。于枯淡笔墨间晕开暖意，把日常晨间的鲜活意趣尽显，在留白与笔意里藏着温柔生机，让萧瑟冬景晕染出盎然生气。",[24,7,27,123,75,717,282,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0320e8ab6ec6712d5beadf2f7573390c.jpg",[],{"id":26027,"slug":26028,"title":26029,"dynasty":359,"author":26030,"museum":5712,"description":26031,"tags":26032,"thumbUrl":26034,"material":166,"size":166,"collection":166,"collections":26035,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},220515,"he-hua-lu-si-pu-xin-she-220515","荷花鹭鸶","溥心畬","这幅水墨作品以浓淡干湿铺陈笔意，大块浓墨晕染荷叶，苍劲沉郁，与留白水色、素洁鹭鸶形成强烈视觉反差。两只鹭鸶刻画工细，羽毛纤毫毕现，姿态悠然顾盼，在写意荷塘间独显灵动生机。\n\n画面虚实相生，留白处漾出水波空寂之感，垂坠花枝点缀其间，衬出荷塘幽谧之境。左上角题字清雅隽秀，与水墨意趣相融，整体意境疏淡空灵，尽显脱俗澹泊的文人风骨，将夏日荷塘的清寂意韵烘托得淋漓尽致。",[24,25,7,75,95,395,26033,396,350],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0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》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[23,24,25,95,7,27,28,31,729,18967,6134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[600],{"id":26046,"slug":26047,"title":26048,"dynasty":18,"author":19,"museum":159,"description":26049,"tags":26050,"thumbUrl":26051,"material":98,"size":26052,"collection":42,"collections":26053,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},220083,"yi-zhu-tu-shen-zhou-220083","移竹图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,7,36,38,80,1153,126,34,33,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[42],{"id":26055,"slug":26056,"title":26057,"dynasty":174,"author":2029,"museum":20,"description":4203,"tags":26058,"thumbUrl":26059,"material":298,"size":4206,"collection":166,"collections":26060,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":47},219848,"ba-jing-shan-shui-tu-8-gong-xian-219848","八景山水图-8",[24,7,36,28,34,33,324,1974,164,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe75e6802b3a7a668616a8dfc5d77189f.jpg",[],{"id":26062,"slug":26063,"title":26064,"dynasty":52,"author":12596,"museum":92,"description":26065,"tags":26066,"thumbUrl":26067,"material":98,"size":26068,"collection":83,"collections":26069,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","图绘折枝桃花，枝上栖一禽鸟。画家用墨直接点写出枝叶，桃花或勾或点，禽鸟略加勾染。构图、用笔都很疏简，较王渊的墨笔花鸟更为简逸，近于写意的画法，亦属墨戏之作。画幅上有杨维桢、范公亮等十余人题咏。",[24,25,7,75,131,77,79,37,38,394,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[83],{"id":26071,"slug":26072,"title":26073,"dynasty":174,"author":26074,"museum":92,"description":26075,"tags":26076,"thumbUrl":26077,"material":298,"size":26078,"collection":42,"collections":26079,"showCount":25488,"zanCount":445,"manualWeight":46,"mainColor":140},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[281,24,25,95,7,36,28,3842,993,215,213,717,211,7585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[42],{"id":26081,"slug":26082,"title":26083,"dynasty":18,"author":14875,"museum":92,"description":26084,"tags":26085,"thumbUrl":26086,"material":110,"size":26087,"collection":42,"collections":26088,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[24,25,95,7,36,28,32,519,162,35,80,37,38,282,24126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[42],{"id":26090,"slug":26091,"title":26092,"dynasty":174,"author":26093,"museum":92,"description":26094,"tags":26095,"thumbUrl":26096,"material":98,"size":26097,"collection":600,"collections":26098,"showCount":25488,"zanCount":5,"manualWeight":46,"mainColor":47},219442,"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[24,25,281,95,7,481,624,96,7908,76,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[600],{"id":26100,"slug":26101,"title":26102,"dynasty":18,"author":6468,"museum":378,"description":26103,"tags":26104,"thumbUrl":26105,"material":457,"size":26106,"collection":83,"collections":26107,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},219329,"liu-que-tu-lin-liang-219329","柳鹊图","画中的柳叶随风起舞，四只喜鹊在中间嬉戏。 这幅画飞扬而不失形，或画的下部被切掉，造成画不完整。",[23,24,281,7,123,75,95,1035,12455,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1a6f8f3388ac631614527f9aa6831.jpg","139.4x76cm",[83],{"id":26109,"slug":26110,"title":26111,"dynasty":205,"author":581,"museum":20,"description":26112,"tags":26113,"thumbUrl":26114,"material":110,"size":26115,"collection":42,"collections":26116,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":140},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[23,24,25,518,7,28,194,30,33,312,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[42],{"id":26118,"slug":26119,"title":26120,"dynasty":18,"author":581,"museum":378,"description":26121,"tags":26122,"thumbUrl":26123,"material":110,"size":26124,"collection":600,"collections":26125,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":461},218323,"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[23,24,281,25,27,7,547,193,3557,180,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[600],{"id":26127,"slug":26128,"title":645,"dynasty":174,"author":26129,"museum":26130,"description":26131,"tags":26132,"thumbUrl":26133,"material":98,"size":26134,"collection":42,"collections":26135,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},217992,"shan-shui-tu-zha-shi-biao-217992","査士标","斯德哥尔摩东方博物馆","査士标的山水画以其自然的风格、细腻的笔触和精确的构图著称。他的画作常常描绘山林、溪流、岸边和村庄，画面中有时会出现人物，但他更喜欢以自然元素为主。他的画作充满了对大自然的热爱和敬畏，表现了他对生活的真挚感受。\n\n査士标的山水画也因其独特的技巧而闻名。他喜欢使用轻轻松松的笔触，表现出自然界的和谐与平静。他的画作也常常充满了隐喻和寓言，使得作品具有深刻的哲理意义。\n\n总的来说，査士标的山水画是中国传统画风的杰出代表作，值得我们深入研究和鉴赏。",[24,25,95,7,28,29,30,147,193,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9dde10358f2db567a9adf307310184.jpg","109x57cm",[42],{"id":26137,"slug":26138,"title":26139,"dynasty":18,"author":581,"museum":450,"description":26140,"tags":26141,"thumbUrl":26143,"material":457,"size":26144,"collection":600,"collections":26145,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":140},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,281,24,25,95,547,7,27,36,193,610,147,28,533,30,26142],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[600],{"id":26147,"slug":26148,"title":26149,"dynasty":52,"author":726,"museum":92,"description":1362,"tags":26150,"thumbUrl":26151,"material":98,"size":166,"collection":166,"collections":26152,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},216377,"mo-zhu-pu-ce-12-wu-zhen-216377","墨竹谱册-12",[24,25,74,7,126,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b84d902bdcd0dfa7857eb27af954466.jpg",[],{"id":26154,"slug":26155,"title":26156,"dynasty":52,"author":726,"museum":92,"description":1362,"tags":26157,"thumbUrl":26158,"material":98,"size":166,"collection":166,"collections":26159,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},216370,"mo-zhu-pu-ce-18-wu-zhen-216370","墨竹谱册-18",[24,25,74,7,37,80,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffaa4c6b21b52e04071e7e763f1f29e9.jpg",[],{"id":26161,"slug":26162,"title":26163,"dynasty":174,"author":657,"museum":159,"description":4735,"tags":26164,"thumbUrl":26165,"material":21155,"size":26166,"collection":166,"collections":26167,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":47},216332,"jin-nong-ba-kai-hua-niao-tu-2-jin-nong-216332","金农八开花鸟图-2",[24,25,74,7,1114,397,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7016f993e9c69a865fbe99d0bf92ad.jpg","30.5x40.9cm",[],{"id":26169,"slug":26170,"title":26171,"dynasty":174,"author":657,"museum":159,"description":4735,"tags":26172,"thumbUrl":26173,"material":457,"size":26166,"collection":166,"collections":26174,"showCount":25488,"zanCount":1084,"manualWeight":46,"mainColor":47},216328,"jin-nong-ba-kai-hua-niao-tu-6-jin-nong-216328","金农八开花鸟图-6",[24,25,74,7,75,1252,551,367,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57170f603152106a2ea2e30cef7c2a80.jpg",[],{"id":26176,"slug":26177,"title":26178,"dynasty":18,"author":10524,"museum":430,"description":26179,"tags":26180,"thumbUrl":26181,"material":61,"size":26182,"collection":166,"collections":26183,"showCount":25488,"zanCount":46,"manualWeight":46,"mainColor":47},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,25,26,7,27,36,38,37,80,28,31,33,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 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字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[24,25,95,7,36,28,335,162,31,350,213,717,2316,163,507,5431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[42,222],{"id":26398,"slug":26399,"title":26400,"dynasty":174,"author":25030,"museum":120,"description":26401,"tags":26402,"thumbUrl":26403,"material":166,"size":166,"collection":42,"collections":26404,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},236184,"shan-shui-shan-mian-dong-gao-236184","山水扇面","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,1462,28,27,36,7,335,350,33,213,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[42],{"id":26406,"slug":26407,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":26408,"thumbUrl":26409,"material":314,"size":1061,"collection":166,"collections":26410,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},235505,"za-hua-ce-zhu-da-235505",[24,7,74,3452,2875,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cbc32cb105dc79b84d7242b1e6cb60a.jpg",[],{"id":26412,"slug":26413,"title":157,"dynasty":18,"author":26414,"museum":450,"description":26415,"tags":26416,"thumbUrl":26417,"material":314,"size":1061,"collection":42,"collections":26418,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},235347,"shan-shui-ce-zhang-fu-yang-235347","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[24,25,74,7,36,37,394,28,180,14952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93b9bfdb52ce42eb9ad887270ca2432.jpg",[42],{"id":26420,"slug":26421,"title":26422,"dynasty":174,"author":26423,"museum":450,"description":26424,"tags":26425,"thumbUrl":26426,"material":166,"size":166,"collection":166,"collections":26427,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[24,25,1462,7,27,36,28,335,162,213,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":26429,"slug":26430,"title":26431,"dynasty":174,"author":377,"museum":450,"description":16938,"tags":26432,"thumbUrl":26433,"material":166,"size":166,"collection":166,"collections":26434,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴",[24,25,95,7,27,75,4718,3443,367,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],{"id":26436,"slug":26437,"title":26438,"dynasty":174,"author":2605,"museum":120,"description":9369,"tags":26439,"thumbUrl":26440,"material":298,"size":166,"collection":166,"collections":26441,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},234128,"lin-yue-yi-qu-tu-juan-hong-ren-234128","林樾一区图卷",[23,24,26,7,36,37,28,32,33,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9712d4963f78f40a5206cef1b5c061ab.jpg",[],{"id":26443,"slug":26444,"title":26445,"dynasty":174,"author":2586,"museum":120,"description":26446,"tags":26447,"thumbUrl":26448,"material":298,"size":166,"collection":166,"collections":26449,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},233746,"hu-fu-tu-er-duan-juan-dai-xi-233746","虎阜图二段卷","戴熙(公元1801-1860年)，清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘(今杭州)人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》、《题画偶录》等。画作有《云岚烟翠图》、《忆松图》、《满门风华》等。\u2028 工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[24,25,26,7,36,28,34,33,32,30,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":26451,"slug":26452,"title":2764,"dynasty":18,"author":119,"museum":120,"description":2765,"tags":26453,"thumbUrl":26454,"material":1877,"size":2769,"collection":166,"collections":26455,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},233468,"ren-wu-hua-hui-ce-xu-wei-233468",[24,25,74,7,133,180,80,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab684c1f0d51b50b3c8334384a777334.jpg",[],{"id":26457,"slug":26458,"title":3784,"dynasty":52,"author":158,"museum":92,"description":26459,"tags":26460,"thumbUrl":26461,"material":61,"size":26462,"collection":166,"collections":26463,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":140},232265,"xi-shan-gao-yi-tu-wang-meng-232265","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[24,25,95,7,27,36,28,33,32,30,34,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":26465,"slug":26466,"title":26467,"dynasty":18,"author":14616,"museum":294,"description":26468,"tags":26469,"thumbUrl":26470,"material":196,"size":26471,"collection":166,"collections":26472,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":921},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,24,25,26,7,28,36,212,211,33,34,37,80,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":26474,"slug":26475,"title":26476,"dynasty":52,"author":26477,"museum":92,"description":26478,"tags":26479,"thumbUrl":26481,"material":26482,"size":26483,"collection":166,"collections":26484,"showCount":26197,"zanCount":5,"manualWeight":46,"mainColor":47},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[24,7,494,26,25,36,28,180,26480,33,730,164,773,211,80],"沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":26486,"slug":26487,"title":26488,"dynasty":205,"author":307,"museum":450,"description":26489,"tags":26490,"thumbUrl":26491,"material":166,"size":166,"collection":166,"collections":26492,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":140},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,24,281,25,95,7,27,28,36,212,34,33,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":26494,"slug":26495,"title":26496,"dynasty":174,"author":703,"museum":450,"description":26497,"tags":26498,"thumbUrl":26499,"material":166,"size":166,"collection":166,"collections":26500,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},230364,"hua-hui-shan-shui-tu-ce-ye-ba-kai-wang-shi-shen-230364","花卉山水图册页(八开)","此作以淡青绘竹，笔致清劲秀逸，竹叶层叠错落，尽显疏朗清瘦之姿，自带凌冽孤傲之态。旁侧柔枝轻斜，粉萼悄然绽放在枝桠间，柔婉清丽，与劲竹刚柔相衬，添了几分春日温软生机。\n左侧行书题诗与画面相融，文气漫溢纸面，将花木之态与文人风骨合二为一。整体笔墨简淡含蓄，意境清寂闲雅，尽显扬州画派典型的文人意趣，把清冷孤高的心境藏在淡色花枝劲竹之中，是一件雅致悠然的小品佳作。",[281,24,25,74,27,7,75,126,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3372f1edc95a4f394244d2aba19910a2.jpg",[],{"id":26502,"slug":26503,"title":26504,"dynasty":174,"author":5846,"museum":450,"description":26505,"tags":26506,"thumbUrl":26507,"material":166,"size":166,"collection":166,"collections":26508,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},228948,"lu-yan-tu-ce-ye-bian-shou-min-228948","芦雁图册页","作品简介 此是杂画册中的一幅，以没骨法写一尾鳜鱼，墨色浓淡自然，恰到好处表现鳜鱼的体质感，借用几笔淡墨勾出鳜鱼的头部。\n形象生动，似乎刚离水不久。\n口尚张穿一根柳条，几片柳叶，即使画面生又富于生活气息。\n【名称】清 边寿民 杂画图 【简介】册页，纸本，设色，纵25.1厘米，横2.1厘米。\n无锡市文物商店藏。\n边寿民（1684-1752），清代画家。\n原名维祺，字寿民，以字行，更宇颐公，号渐僧、苇间居士，江苏山阳（今淮安）人。\n能书擅画，花卉翎毛，均有别趣，尤以泼墨芦雁驰名于江、淮间。\n与华喦、郑燮等交往甚契，属扬州画派。\n所居苇间书屋，多名流造访。\n人称“淮上一高士”。\n传世作品有《芦雁图》册、《芦雁图》轴。",[24,7,74,123,15582,6504,282,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb2c9ea92efe0cc5c1dbef730058d1d.jpg",[],{"id":26510,"slug":26511,"title":26512,"dynasty":18,"author":25948,"museum":450,"description":26513,"tags":26514,"thumbUrl":26515,"material":166,"size":166,"collection":166,"collections":26516,"showCount":26197,"zanCount":1084,"manualWeight":46,"mainColor":47},228893,"you-yu-tu-juan-zhu-zhan-ji-228893","游鱼图卷","此卷以没骨淡墨绘就水族盛景，虾蟹轻螯微动，群鱼姿态各殊，或摆尾穿游于荇草间，或结群逐戏，动静相生、灵动鲜活。全图不施一笔画水，仅以飘摇的水藻、鳞鳍的动势，烘托出水流清浅柔润的空濛意境，仿佛可见池底幽谧生机。\n墨色轻晕淡染，将水泽的澄澈质感尽数烘托，简淡笔触里尽显自然生意，将水畔野趣鲜活定格绢素，尽显悠游自在的清致。",[23,24,26,7,481,1114,397,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6784ede5dbadd64dafc49ae0651dc3.jpg",[],{"id":26518,"slug":26519,"title":26520,"dynasty":18,"author":10565,"museum":450,"description":26521,"tags":26522,"thumbUrl":26523,"material":166,"size":166,"collection":166,"collections":26524,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":140},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,26,7,36,38,37,80,28,335,33,35,215,211,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":26526,"slug":26527,"title":1172,"dynasty":205,"author":1162,"museum":450,"description":26528,"tags":26529,"thumbUrl":26530,"material":166,"size":166,"collection":166,"collections":26531,"showCount":26197,"zanCount":1084,"manualWeight":46,"mainColor":47},227697,"mo-lan-tu-zhao-meng-jian-227697","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[23,24,26,7,547,75,133,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":26533,"slug":26534,"title":26535,"dynasty":174,"author":377,"museum":450,"description":26536,"tags":26537,"thumbUrl":26538,"material":166,"size":166,"collection":166,"collections":26539,"showCount":26197,"zanCount":1084,"manualWeight":46,"mainColor":47},224517,"shan-shui-tu-ce-8-kai-5-shi-tao-224517","山水图册8开-5","此作用笔松秀灵动，以淡墨勾勒皴擦近坡顽石，苍润朴厚，浅滩留白暗合流泉婉转之姿，石畔杂草萧疏，野意自生。湖面空阔明净，一扁舟轻泛其上，渔翁独钓，寥寥数笔写尽江湖散淡之趣。\n\n右上角题字朴拙率意，与画境浑然相融，尽显诗书画合一的文人雅趣。整幅简淡幽远，以简驭繁，将天地清寂与隐逸襟怀融为一体，淡墨轻岚间漾着萧散空寂之美，观之便觉湖风拂面，恍若身临幽旷水滨，静赏江湖闲逸之境。",[23,24,25,74,7,36,28,31,180,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1a75acc650de321142f50190900d8.jpg",[],{"id":26541,"slug":26542,"title":26543,"dynasty":174,"author":491,"museum":92,"description":26544,"tags":26545,"thumbUrl":26546,"material":284,"size":26547,"collection":166,"collections":26548,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[23,24,25,95,7,36,28,33,809,34,30,32,164,4569,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":26550,"slug":26551,"title":26552,"dynasty":174,"author":491,"museum":120,"description":17358,"tags":26553,"thumbUrl":26554,"material":964,"size":14243,"collection":42,"collections":26555,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1",[23,24,25,95,7,36,28,335,350,33,213,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg",[42],{"id":26557,"slug":26558,"title":26559,"dynasty":174,"author":11758,"museum":450,"description":26560,"tags":26561,"thumbUrl":26562,"material":314,"size":1061,"collection":166,"collections":26563,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},224166,"lin-yan-zhen-qing-gao-shen-juan-wang-you-dun-224166","临颜真卿告身卷","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。\n乾隆二十三年（1758年），汪由敦逝世。乾隆皇帝亲自前往吊唁，加赠其为太子太师，谥号为文端，入祀贤良祠。汪由敦学问渊深，文辞雅正，兼工书法。著有《松泉集》。",[23,25,26,37,254,242,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf59529c1ee02a3b772ccd63884c015.jpg",[],{"id":26565,"slug":26566,"title":26567,"dynasty":52,"author":581,"museum":120,"description":26568,"tags":26569,"thumbUrl":26570,"material":61,"size":26571,"collection":220,"collections":26572,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":140},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,24,95,7,36,27,28,4347,717,210,34,215,35,1385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[220],{"id":26574,"slug":26575,"title":26576,"dynasty":174,"author":5599,"museum":5692,"description":26577,"tags":26578,"thumbUrl":26579,"material":964,"size":26580,"collection":600,"collections":26581,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},222833,"suo-jian-tu-luo-pin-222833","锁谏图","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。",[23,24,25,26,547,7,193,453,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77aa4d64989e7747df80436c432cebaf.jpg","纵32厘米，横208厘米",[600],{"id":26583,"slug":26584,"title":26585,"dynasty":18,"author":11666,"museum":92,"description":26586,"tags":26587,"thumbUrl":26588,"material":98,"size":26589,"collection":83,"collections":26590,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[23,24,95,75,481,7,27,22331,993,717,96,34,80,1071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[83,64],{"id":26592,"slug":26593,"title":26594,"dynasty":18,"author":10565,"museum":294,"description":26595,"tags":26596,"thumbUrl":26597,"material":298,"size":26598,"collection":42,"collections":26599,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","秋窗读易图","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,26,7,36,28,335,350,33,35,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[42,222],{"id":26601,"slug":26602,"title":26603,"dynasty":18,"author":119,"museum":26604,"description":26605,"tags":26606,"thumbUrl":26607,"material":394,"size":26608,"collection":166,"collections":26609,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":140},222236,"bai-yan-shi-quan-juan-xu-wei-222236","白燕诗全卷","绍兴市文物考古研究所","释文：\n白燕诗卷\n西飞岁岁侯青阳。花发名园何处藏。天子郊禖呈瑞色。主人台榭有辉光。轻翰掠雨绡初剪。小尾流风练愈长。万里东归看 易没。海天元是白云乡。一时伴侣自应稀。海路空长遇亦非。汉 将玉门投老入。赵妃雪夜待人归。孤回夏日摇寒雪。渐下秋空见羽 衣。却说朱门无可托。玉楼天上任高飞。素壁红芳照苑墙。冲花 泛羽唼群芳。霜迷万瓦单栖渺。草绿千堤片影凉。云母屏深低缟袖。水晶帘动拂流黄。西园蝴蝶浑无赖。暗粉飘尘上海棠。 白燕四首。书似镇南朱内史一笑。天池徐渭。\n徐渭的书法和明代早期书坛沉闷的气氛对比显得格外突出，他最擅长气势磅礴的狂草，但一般人很难看懂，用笔狼藉，他对自己的书法极为喜欢，自认为“书法第一，诗第二，文第三，画第四”。\n他的书法也是从吴门书派主张唐法的反叛中出发，继而吸取北宋苏轼、黄庭坚、米芾追求艺术个性化的积极因素中走来。\n徐渭打破了以“台阁体”为主导的明代书坛的寂寞，开启和引领了晚明“尚态”书风，把明代书法引向了新的高峰。陶望龄认为其书法“称为奇绝，谓有明一人”。袁宏道则称：“予不能书，而谬谓文长书决在王雅宜、文征仲之上，不论书法而论书神，先生者诚八法之散圣，字林之侠客矣！”",[23,281,24,25,26,7,1437,394,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df2f85d03ab6130ec22e417c81f958c.jpg","纵30厘米，横420.5厘米",[],{"id":26611,"slug":26612,"title":26613,"dynasty":52,"author":3508,"museum":92,"description":26614,"tags":26615,"thumbUrl":26616,"material":26617,"size":26618,"collection":42,"collections":26619,"showCount":26197,"zanCount":1084,"manualWeight":46,"mainColor":140},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,281,24,25,95,7,36,28,23124,1777,33,29,30,164,785,211,34,3371,215,2283,20359,9102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[42,222],{"id":26621,"slug":26622,"title":26623,"dynasty":205,"author":26624,"museum":1346,"description":26625,"tags":26626,"thumbUrl":26627,"material":3471,"size":26628,"collection":166,"collections":26629,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":140},221502,"chu-que-tu-ye-song-ru-zhi-221502","雏雀图页","宋汝志","该图通过巧妙的笔法生动地表现了笼里及笼外幼雀的瞬间情态。所传作者宋汝志为南宋末期的画院画家。幕府末期狩野养川院惟信的鉴定中曾称为宋汝志所作，但并无确证，作者未明。然而，作品使用水墨和淡彩，表现手法细腻，这一点说明本图出自南宋时代名家之手。观其画风，属南宋画院待诏吴炳的传派，但笔法在工整中趋向轻松洒脱，鸟雀极为生动自然，筐篓的线条既合编织规矩，又不刻板。",[23,281,24,25,74,547,7,75,77,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bf5b764403f9d155fee7b4b0e303edd.jpg","21.3x21.9",[],{"id":26631,"slug":26632,"title":26633,"dynasty":359,"author":1872,"museum":1873,"description":26634,"tags":26635,"thumbUrl":26641,"material":166,"size":166,"collection":166,"collections":26642,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},220557,"cun-ge-xu-bei-hong-220557","村歌","这幅画作以写意笔墨勾勒乡野童趣，壮硕水牛低首拽绳，墨色浓淡晕出皮毛的厚重肌理，犄角弯劲尽显憨倔神态。顽童扑卧浅草，手脚舒展，粉衫素裙晕染出稚拙灵动，与水牛的沉浑形成生动反差。\n\n远景以淡墨轻扫烟霭朦胧的水泽汀洲，浅赭点染滩涂，将江南水乡的柔婉晕染开来。画面未作刻意雕琢，却把乡野间的松弛鲜活尽数铺陈，牧童嬉牛的日常瞬间，化作治愈悠然的田园牧歌，藏着最动人的乡土温情。",[24,7,27,123,1839,24028,26636,24029,596,26637,26638,26639,9187,26640],"乡野","童趣","治愈","浅草","水泽汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f712e167bdddfd3099adcb0285d20e3.jpg",[],{"id":26644,"slug":26645,"title":26646,"dynasty":359,"author":1872,"museum":1873,"description":26647,"tags":26648,"thumbUrl":26649,"material":166,"size":166,"collection":166,"collections":26650,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},220528,"shan-lin-yuan-tiao-xu-bei-hong-220528","山林远眺","画作以浓淡干湿的笔墨写就古松，嶙峋躯干虬曲苍劲，焦墨点染的松针苍郁勃发，将古树扎根危岩的峥嵘气势尽显。浅赭晕染山石，粗笔皴擦刻画出岩壁的坚硬质感。\n\n画面下方的孩童为沉静山林添入灵动生气，一静一动相映成趣。创作者以写实笔墨融合传统写意，打破陈规，让苍劲古林与稚拙孩童相融，雄浑山水间晕开淡淡烟火温情，勾勒出山林悠远安然的意韵。",[24,7,27,95,36,28,147,34,193,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3db224914df14f458316d0f58224d92.jpg",[],{"id":26652,"slug":26653,"title":12984,"dynasty":359,"author":3289,"museum":5712,"description":26654,"tags":26655,"thumbUrl":12988,"material":166,"size":166,"collection":166,"collections":26656,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},220507,"he-du-ye-qu-zhang-da-qian-220507","这幅画作以酣畅泼墨糅合淡彩，铺陈出塘间意趣。上方巨荷打破圆整定式，以淡绿糅合赭色晕染泼洒，状若流云舒卷，带着肆意豪放的笔墨张力。下方白荷则以细劲线条勾勒瓣叶，莹润雅致，与浓黑如墨的荷叶形成强烈的虚实冷暖对比。背景以淡粉色晕染如晓霞初绽，柔化了浓墨的厚重，晕开烟水迷离的清境。工写相融间，将荷塘的蓬勃生机尽数展现，既有自然野趣的灵动，又暗含疏朗浪漫的文人意韵。",[24,25,95,7,27,75,395,396,2767],[],{"id":26658,"slug":26659,"title":26660,"dynasty":52,"author":11732,"museum":265,"description":26661,"tags":26662,"thumbUrl":26663,"material":98,"size":26664,"collection":222,"collections":26665,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":47},220263,"tai-bai-long-jiao-tu-fang-cong-yi-220263","太白泷湫图","此幅作品画陕西秦岭主峰太白山上的瀑布，与隐居其间的道士。此幅画构图，大致运用远、中、近景的三段式。近景平地松木和杂树丛生，树林背面有数间茅屋、水榭．楼阁，隐约可见。中景为空旷的水面，左侧的岸边长着数株林木，右侧的山径曲折，在半山腰中有数株树木，枝叶下垂。山腰间瀑布直泻，宛如一条白龙腾空而下。远景为龙脉高耸的山势，十分奇峭。",[23,24,7,95,28,36,335,33,30,35,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178ff5a5c7e7663f1940e96e2b60d742.jpg","纵105.6厘米，横46.1厘米",[222],{"id":26667,"slug":26668,"title":26669,"dynasty":52,"author":581,"museum":593,"description":26670,"tags":26671,"thumbUrl":26672,"material":457,"size":26673,"collection":42,"collections":26674,"showCount":26197,"zanCount":46,"manualWeight":46,"mainColor":140},220108,"yue-xia-xing-lv-tu-yi-ming-220108","月下行旅图","以极简水墨写意铺展夜色行旅，冷月孤悬于淡墨晕染的空濛山巅，崖上古木萧疏，枝桠如铁，漫出深秋荒寒。陂陀小径之上，商旅结队徐行，简笔勾勒的人影意态宛然，将天涯羁旅的寂寥藏在冷寂夜色中。\n\n题诗与山水相映，诗画交融，把行客的孤愁寄寓在清寒月色间。以留白营造空茫虚境，淡墨轻皴晕开夜色，寥寥数笔便将羁旅况味铺陈尽致，尽显简淡悠远的写意之妙，把漂泊天涯的乡愁融在萧疏冷寂的水墨意境中，淡远里藏着绵长情致。",[23,24,25,95,7,27,28,193,940,311,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc25fc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。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,24,28,7,27,36,717,34,3256,31,1442,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b87c8d1b12e8229eb174baba1ea0893.jpg",[],{"id":26883,"slug":26884,"title":26885,"dynasty":18,"author":91,"museum":450,"description":15715,"tags":26886,"thumbUrl":26887,"material":314,"size":1061,"collection":166,"collections":26888,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},288044,"shan-shui-zhu-shi-tu-ye-wang-fu-288044","山水竹石图页",[23,24,25,7,126,147,180,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd653c41a55eeac3370945450740a77.jpg",[],{"id":26890,"slug":26891,"title":26892,"dynasty":205,"author":1682,"museum":450,"description":14005,"tags":26893,"thumbUrl":26894,"material":314,"size":1061,"collection":166,"collections":26895,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":140},287832,"hu-tu-tu-zhou-mu-xi-287832","虎图图轴",[23,24,95,7,3914,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e702bbd4f5112db67f61a9dcb4cd303.jpg",[],{"id":26897,"slug":26898,"title":4427,"dynasty":18,"author":2851,"museum":92,"description":8920,"tags":26899,"thumbUrl":26901,"material":98,"size":18633,"collection":42,"collections":26902,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":921},283644,"guan-pu-tu-tang-yin-283644",[24,7,95,494,17880,34,310,30,211,26900,6485,7919,36,37,80],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg",[42],{"id":26904,"slug":26905,"title":26906,"dynasty":174,"author":21853,"museum":26907,"description":26908,"tags":26909,"thumbUrl":26910,"material":17335,"size":26911,"collection":245,"collections":26912,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":140},241028,"wu-gu-zhou-fu-shan-241028","五古轴","山西晋祠博物馆","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 [2] ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[37,394,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0425945fb7925c47b1a21ae98ddb68c0.jpg","143x48cm",[245],{"id":26914,"slug":26915,"title":26916,"dynasty":18,"author":581,"museum":450,"description":26917,"tags":26918,"thumbUrl":26919,"material":314,"size":1061,"collection":166,"collections":26920,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":140},241010,"chen-chun-shi-zhou-yi-ming-241010","陈淳诗轴","此作用笔纵恣奔逸，以狂草写就，线条苍劲老辣，干湿浓淡相映成趣。字间牵丝映带，大开大合，行气连贯畅达。章法错落疏朗，跌宕之间尽显不羁意气，笔力雄健洒脱，墨色燥润相生，枯笔见筋骨，湿墨显厚重。\n\n文人疏狂意趣藏于笔墨流转，通篇元气淋漓，尽显放旷恣肆的浪漫书风，笔墨间裹挟蓬勃抒怀张力，将诗意与书韵融为一体，尽展洒脱自在的心境。",[37,394,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55f2b1f93dccb9d43ec488e6c4bd1cd.jpg",[],{"id":26922,"slug":26923,"title":26924,"dynasty":174,"author":418,"museum":120,"description":26925,"tags":26926,"thumbUrl":26927,"material":394,"size":166,"collection":245,"collections":26928,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},240552,"pi-pa-xing-juan-zhu-da-240552","琵琶行卷","朱耷（1626—1705），字雪个，又字个山、道朗、个山驴、朗月、 庵、传綮、破云樵者、人屋、驴屋和因是僧、八大山人等。江西南昌人。明朱元璋之子宁献王朱权的后裔。八大山人书法成就颇高，但被画名所掩，注目者不多。黄宾虹尝称“书一画二”，确为至言。八大的书体，以篆书的圆润等线体施于行草，自然起截，了无藏头护尾之态，以一种高超的手法把书法的落、起、走、住、叠、围、回，藏蕴其中而不着痕迹。藏巧于拙，笔涩生朴，此中真义必临习日久才能有所悟。简而言之，是用篆书的笔法去写行草书，与《天发神恰似□碑》以隶笔写篆书一样异曲同工。",[23,37,26,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dcc5e932fd20cc12ee7e8c9c692f64.jpg",[245],{"id":26930,"slug":26931,"title":26932,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":26933,"thumbUrl":26934,"material":166,"size":166,"collection":245,"collections":26935,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},239910,"yuan-ji-shi-juan-shi-tao-239910","原济诗卷",[23,24,25,26,7,38,394,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5781609d7b62ce41d0583ef62356b2.jpg",[245],{"id":26937,"slug":26938,"title":26939,"dynasty":52,"author":26940,"museum":120,"description":26941,"tags":26942,"thumbUrl":26943,"material":298,"size":26944,"collection":245,"collections":26945,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},239638,"zhou-bo-qi-zhuan-shu-gong-xue-guo-shi-er-zhen-zhou-bo-qi-239638","周伯琦篆书宫学国史二箴","周伯琦","释文：\n宫学箴。惟民生厚，迷复曷反。爰作之师，由近及远。夔兴虞庠，旦扬周典。有美国胄，执经宫馆。养正匪蒙，勿亟勿缓。庸之煣之，圣功斯显。经国子民，所赉岂浅。惟严惟尊，不在躬践。毁范裂模，皋毗有腼。敬谂从者，圅丈有勔。国史箴。乾象昭列，人文肇兴。结绳既邈，方册是徵。姚妃典谟，三代诰命。褒善斯勖，恶有惩。获麟聿削，是式是承。合辞比类，历世相仍。晋狐称良，奸憝齿冰。暴私蔑实，起薉售憎。史尚传信，匪信匪能。执简以告，下严或圣。蕃阳周伯琦述并书。\n本幅钤“周氏伯琦”、“玉雪坡真逸”、“致用斋”印记三方。鉴藏印有：“越琪私印”、“长白李慎勤伯氏鉴赏章”、“叶恭绰誉虎印”等多方。引首有李慎篆书“伯温墨妙”。本幅后有张雨、方鼎录题跋观款。\n“宫学”指为皇族子弟设立的学校，“国史”指一国之史或一朝之史。“箴”乃一种文体，用以规劝他人或戒律自己。由《元史》本传得知，伯琦于元至正元年（1341年）“为宣文阁授经郎，教戚里大臣子弟。每进讲，辄称旨。”上述二箴或是当时进讲用的教材。\n周伯琦之篆书在当时有“本朝之冠”的美誉。陶宗仪在《书史会要》一书中称“伯琦篆师徐铉、张有，行笔结构殊有隶体。”明代杨士奇认为“其作字结构，盖出泰山李斯旧碑。”伯琦虽师法前人，但不拘于古法，在结体和笔法上参以石鼓文，笔兼方圆，使转变化亦多，整体风格于规整圆熟中见生拙萧散之致，有别于稳妥匀称一类的平庸之作。此卷结字严谨端庄，笔势沉稳丰润，为周氏篆书的上佳之作。",[23,3074,37,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb068151c2e79aefcb7d9d92cdf0abc72.jpg","纵26厘米，横284.5厘米",[245],{"id":26947,"slug":26948,"title":26949,"dynasty":174,"author":26950,"museum":450,"description":26951,"tags":26952,"thumbUrl":26953,"material":166,"size":166,"collection":83,"collections":26954,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},239530,"fang-gu-ji-you-tu-ce-huang-yi-239530","访古纪游图册","黄易","此作以淡墨绘就水畔闲景，右侧疏木立异石，浅林掩映茅舍，远山含晕，留白铺就湖面，漾开空濛清寂。枯笔写木，皴擦刻画出湖石奇崛肌理，淡墨轻扫远山晕出水气。\n题跋与画作相映成趣，笔墨简淡秀润，将纪游幽怀寄于萧散景致里。整体意境澹泊静穆，尽显文人林下之风，把江南水畔的闲雅清居，揉进悠悠文心，淡而愈远，简中含情。",[24,25,74,7,547,28,126,180,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfee47df568b62a35375d8d73831df5.jpg",[83,222],{"id":26956,"slug":26957,"title":18629,"dynasty":18,"author":26958,"museum":2465,"description":26959,"tags":26960,"thumbUrl":26961,"material":26962,"size":26963,"collection":42,"collections":26964,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":140},239169,"guan-pu-tu-zhou-wang-zhao-239169","汪肇","《观瀑图轴》阔笔斧劈，成跌宕巨石；劲毫顿挫，作屈铁古木。树石黝暗，以淡墨渝润；白云飞瀑，以留白而成。黑白相映，尽显山谷清幽之气。树旁二高士，抡扇举首，遥观飞瀑，神情悠然。衣纹以折芦描出之，与景物峭硬感觉相谐合，属典型浙派风格。",[24,25,95,7,27,36,28,193,210,127,126,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedf300b863068cb436244bbdb027fc.jpg","立轴，绢本，水墨，淡设色","纵长110厘米，横长81．5厘米",[42,64],{"id":26966,"slug":26967,"title":11767,"dynasty":18,"author":26968,"museum":450,"description":26969,"tags":26970,"thumbUrl":26971,"material":166,"size":166,"collection":42,"collections":26972,"showCount":26785,"zanCount":1084,"manualWeight":46,"mainColor":140},238275,"yu-le-tu-zhou-zhang-ling-238275","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,25,95,7,36,193,31,30,1035,34,729,28,33,3246,941],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[42,222],{"id":26974,"slug":26975,"title":26976,"dynasty":174,"author":9335,"museum":450,"description":19356,"tags":26977,"thumbUrl":26978,"material":314,"size":1061,"collection":600,"collections":26979,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},238048,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238048","指画洛神赋图册",[281,24,25,74,18333,7,193,636,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc193fb3353f5ff44c34401634128615d.jpg",[600,222],{"id":26981,"slug":26982,"title":26983,"dynasty":174,"author":26950,"museum":450,"description":26984,"tags":26985,"thumbUrl":26986,"material":166,"size":166,"collection":42,"collections":26987,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},237734,"wu-sheng-shi-yi-tu-ce-huang-yi-237734","无声诗意图册","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,25,74,7,27,36,35,33,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83da3788d7a2cc1ffec29df6911883a8.jpg",[42,64],{"id":26989,"slug":26990,"title":26991,"dynasty":18,"author":14875,"museum":120,"description":26992,"tags":26993,"thumbUrl":26994,"material":964,"size":26995,"collection":42,"collections":26996,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[24,25,95,7,36,28,335,162,147,210,30,29,34,32,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[42],{"id":26998,"slug":26999,"title":27000,"dynasty":18,"author":2851,"museum":120,"description":27001,"tags":27002,"thumbUrl":27003,"material":916,"size":27004,"collection":83,"collections":27005,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},237676,"hua-zhu-tu-zhou-tang-yin-237676","画竹图轴","此图画竹枝两枝自左斜出，临风飒飒，构图新颖，俯仰有致。用笔铦利洒落，墨色秀润。\n画上自题：“满窗萧洒五更风，怪是无端搅梦中。梦见故人忙起望，白烟寒竹路西东。南塘邹蠡溪过余学圃堂，因言及南沙知己，故写此为寄。唐寅。”钤：“唐伯虎”朱文印。\n鉴藏印：“陆润之藏”朱文印、“天泉阁”朱文印等。",[24,25,95,7,126,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a12578cd86679d31ca70dbe5bae2925.jpg","纵83.4厘米 横44.5厘米",[83],{"id":27007,"slug":27008,"title":27009,"dynasty":174,"author":5090,"museum":20,"description":27010,"tags":27011,"thumbUrl":27012,"material":27013,"size":27014,"collection":42,"collections":27015,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":140},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[24,95,7,36,28,29,30,32,210,33,57,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[42,222],{"id":27017,"slug":27018,"title":27019,"dynasty":174,"author":22571,"museum":120,"description":27020,"tags":27021,"thumbUrl":27022,"material":166,"size":166,"collection":42,"collections":27023,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},236883,"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[24,25,74,7,36,28,624,34,211,194,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[42,222],{"id":27025,"slug":27026,"title":27027,"dynasty":174,"author":633,"museum":120,"description":27028,"tags":27029,"thumbUrl":27030,"material":612,"size":27031,"collection":83,"collections":27032,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},236466,"liu-tang-lu-que-tu-zhou-ren-yi-236466","柳塘鹭雀图轴","此图是幅表现春风中群燕嬉戏的小品画，也是任颐运用以实托虚的手法成功地表现“风”的代表作。虚缈、抽象的风通过小燕振翅翻飞的动态和柳叶飘舞张扬的形状被表现得既具象又生动，不仅令“风”有了可视的形象，而且突出了作者“轻柳爱风斜”的创作主题。从构思到笔墨都反映了作者在绘画创作成熟期的精湛艺术水准。",[24,27,7,123,75,1853,6780,8572,1004,22143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4784f688b1766e12ccf68e7508976a4c.jpg","纵152.5厘米，横40厘米",[83,222],{"id":27034,"slug":27035,"title":6113,"dynasty":174,"author":377,"museum":450,"description":27036,"tags":27037,"thumbUrl":27038,"material":166,"size":166,"collection":166,"collections":27039,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},235882,"yuan-ji-shan-shui-tu-ce-shi-tao-235882","此作书画合璧，尽显文人雅趣。绘卷以淡墨轻皴山石，信笔挥写篁竹木卉，萧疏纵逸，随性自然。坡岸茅庐掩映于繁叶之间，远山淡染留白，晕染出江南水乡的澹泊野逸，仿若幽居江湖的避世之境。\n题诗行书笔意苍劲纵恣，与画中清寂意境相得益彰。诗画相映，将文人寄情山水、栖身林下的襟怀尽显无余，简淡笔墨间风神自现，寥寥数笔勾勒出悠远林下意趣，以写意抒怀，尽显随性疏朗的文人画风貌。",[24,25,74,7,38,80,28,126,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3639aa9933df3fcdbab944c903548fff.jpg",[],{"id":27041,"slug":27042,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":27043,"thumbUrl":27044,"material":314,"size":1061,"collection":166,"collections":27045,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},235503,"za-hua-ce-zhu-da-235503",[24,7,123,75,128,395,74,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90727016f355f8a136bac506bf6ea3cf.jpg",[],{"id":27047,"slug":27048,"title":27049,"dynasty":18,"author":5177,"museum":450,"description":27050,"tags":27051,"thumbUrl":27052,"material":166,"size":166,"collection":166,"collections":27053,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[24,95,494,27,7,893,481,123,31,10249,669,33,1004,34,5836,164,6485,6606,24726,14738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":27055,"slug":27056,"title":9141,"dynasty":18,"author":22999,"museum":450,"description":27057,"tags":27058,"thumbUrl":27059,"material":314,"size":1061,"collection":166,"collections":27060,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},235245,"mo-he-tu-zhou-xiang-yuan-bian-235245","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[24,95,7,395,80,37,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29e44d2355a6bedb9232bd77ee1969b.jpg",[],{"id":27062,"slug":27063,"title":27064,"dynasty":18,"author":11203,"museum":450,"description":27065,"tags":27066,"thumbUrl":27067,"material":166,"size":166,"collection":166,"collections":27068,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},235220,"xue-cun-fang-you-zhou-zhou-chen-235220","雪村访友轴","此作用斧劈皴写山石，棱角方硬冷峻，刻画出隆冬雪山的苍莽寒气。枯木虬曲伸展，枝桠尽脱，尽显萧寒之态。画面下方茅舍暖光隐现，柴扉外访客策杖过桥，童子相从，踏雪而来，为冷寂山野晕开一缕访友的融融温情。画作以浓淡墨色区分雪色留白与山石肌理，笔力老辣雄劲，将冬日山林的荒寒静谧，与文人雅聚的闲逸温情相融，于萧索冷寂中暗藏脉脉人情，铺陈出悠远沉静的山居意境。",[24,25,95,7,36,28,831,335,162,193,1442,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a0cc2f32f7248830263c39900a75c6.jpg",[],{"id":27070,"slug":27071,"title":18341,"dynasty":18,"author":10524,"museum":450,"description":27072,"tags":27073,"thumbUrl":27074,"material":166,"size":166,"collection":166,"collections":27075,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":140},234679,"shan-shui-ce-ye-xie-shi-chen-234679","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[281,24,25,74,7,36,28,32,29,30,147,34,33,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":27077,"slug":27078,"title":27079,"dynasty":18,"author":18021,"museum":120,"description":27080,"tags":27081,"thumbUrl":27082,"material":564,"size":166,"collection":166,"collections":27083,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。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。歙县（今属安徽）人，侨居嘉定（今属上海市）。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。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,26,7,27,28,36,38,37,1523,34,33,30,29,32,282,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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横28cm.",[],{"id":27110,"slug":27111,"title":27112,"dynasty":18,"author":7182,"museum":450,"description":27113,"tags":27114,"thumbUrl":27116,"material":166,"size":166,"collection":166,"collections":27117,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},231014,"lian-ou-jing-yin-tu-wen-jia-231014","莲藕净因图","此作画风清逸疏朗，以淡墨勾绘莲茎清瘦挺拔，粉荷半绽，淡赭轻染花尖，晕染出柔婉清雅的姿态。莲蓬与莲藕刻画精微朴拙，线条简淡却将水生风物的温润质感尽显无遗。\n\n宽绰留白铺就幽寂禅意，搭配题咏禅诗，诗画相映，将莲的清净本心寄寓其间，尽显幽淡出尘的文人意趣。全作用笔以简驭繁，淡而弥厚，融禅思入绘事，观之如临幽塘，心下自会澄明安宁，尽显文人尚简崇雅的审美意韵。",[24,25,95,547,7,27,395,398,396,27115,76,123],"莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],{"id":27119,"slug":27120,"title":27121,"dynasty":52,"author":12821,"museum":92,"description":27122,"tags":27123,"thumbUrl":27124,"material":98,"size":27125,"collection":83,"collections":27126,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,24,25,7,27,75,3711,30,2203,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[83],{"id":27128,"slug":27129,"title":27130,"dynasty":205,"author":278,"museum":450,"description":7573,"tags":27131,"thumbUrl":27132,"material":166,"size":166,"collection":166,"collections":27133,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":461},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图",[24,281,25,28,7,36,95,34,33,7489,30,2477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],{"id":27135,"slug":27136,"title":27137,"dynasty":205,"author":1162,"museum":450,"description":27138,"tags":27139,"thumbUrl":27140,"material":166,"size":166,"collection":166,"collections":27141,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},227699,"shui-xian-juan-zhao-meng-jian-227699","水仙卷","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[281,24,25,26,547,7,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c28b3132251b00b97bb0370e0a7c06.jpg",[],{"id":27143,"slug":27144,"title":27145,"dynasty":205,"author":2727,"museum":450,"description":8640,"tags":27146,"thumbUrl":27147,"material":166,"size":166,"collection":166,"collections":27148,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},227294,"yun-shan-de-yi-tu-juan-mi-you-ren-227294","云山得意图卷",[24,25,26,7,36,454,335,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6696c7db63fd91413ad5ba48a8e1e.jpg",[],{"id":27150,"slug":27151,"title":27152,"dynasty":174,"author":27153,"museum":450,"description":27154,"tags":27155,"thumbUrl":27157,"material":166,"size":166,"collection":166,"collections":27158,"showCount":26785,"zanCount":1084,"manualWeight":46,"mainColor":47},224602,"xiao-pin-1-peng-qiao-224602","小品1","蓬樵","此作用平远之法绘就水岸林泉，近渚古木清森，枝桠舒展含姿，林梢掩映间透出村居一角，野意自生。留白作水，虚处见烟波澹荡之意。远山以干笔淡墨皴写，石棱隐现、苔点错落，丘壑简而有味。\n\n画风师法倪瓒，笔墨松秀苍润，简逸空灵。整幅以淡墨铺陈，萧散简远，将江南水岸清寂淡远的幽谧意境尽显。题印朱白相映，衬出画面的古雅淡远，尽显文人画疏旷清逸的意趣，暗合幽栖林泉的雅逸襟怀。",[23,24,25,27156,7,36,28,33,34,80],"小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02bc93dccf30a6d0e7dc6cfbefdf48d.jpg",[],{"id":27160,"slug":27161,"title":27162,"dynasty":174,"author":377,"museum":450,"description":27163,"tags":27164,"thumbUrl":27165,"material":166,"size":166,"collection":166,"collections":27166,"showCount":26785,"zanCount":1084,"manualWeight":46,"mainColor":47},224523,"shan-shui-tu-ce-8-kai-8-shi-tao-224523","山水图册8开-8","此作用边角布局造景，右侧崖壁以浓墨皴擦，朴拙苍劲，留白铺就浩渺湖面，虚实相映尽显烟波空濛。水面渔舟错落，渔人或撑舟放网，或围坐闲谈，野趣盎然，崖头行人凭栏远眺，一动一静间，将湖畔日常的闲散诗意铺陈开来。\n\n墨色干湿浓淡层次分明，远山以淡墨晕染，朦胧悠远，近岸苔点灵动鲜活，晕染出江南水泽的温润生机。题诗朱印与画作浑然一体，书画印相映成趣，把偶然得见的湖光野景寄于笔墨，将文人雅趣与世俗烟火相融，尽是师法自然的恬淡悠然。",[23,24,7,27,36,74,80,38,28,31,193,282,180,30,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c782c5e41a5ccb190b00e358db8a2c.jpg",[],{"id":27168,"slug":27169,"title":27170,"dynasty":174,"author":491,"museum":450,"description":27171,"tags":27172,"thumbUrl":27173,"material":166,"size":166,"collection":166,"collections":27174,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":140},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[23,24,25,95,7,36,28,29,30,147,34,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":27176,"slug":27177,"title":12217,"dynasty":174,"author":18665,"museum":450,"description":27178,"tags":27179,"thumbUrl":27180,"material":166,"size":166,"collection":166,"collections":27181,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[23,24,25,95,7,36,28,210,30,147,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbwe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法描绘，线条洗练流畅，背景画竹林一片，笔墨潇洒，显示出相当高的绘画技巧。",[23,24,25,26,7,547,126,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F819d2965a332e5986283ad45900d2c5f.jpg","纵27.7厘米，横40.5厘米",[600,222],{"id":27201,"slug":27202,"title":27203,"dynasty":18,"author":10282,"museum":20,"description":27204,"tags":27205,"thumbUrl":27206,"material":1437,"size":27207,"collection":166,"collections":27208,"showCount":26785,"zanCount":1084,"manualWeight":46,"mainColor":140},222313,"you-bao-shan-ji-juan-wang-chong-222313","游包山集卷","1520年，王宠游昆陵包山，曾任游诗数首，结为《包山集》。1526年冬，王宠过鸿溪宿友人补菴居士处，居士几他索书。第二年（1527年），他便将八年前游包山所作的游诗用小楷抄录了二十二首寄给了补菴居士。他的朋友文嘉在居士处见到这卷小楷后，称之为“天才妙绝”。后人普遍认为《游包山集》是王宠的小楷代表作。宋苏轼曾说：“大字难于结密而无间，小字难于宽绰而有余。”王氏这卷《游包山集》，其结体“宽绰而有余”，其书风旷适疏宕，遒媚飘逸，谓王氏上乘之作言而不虚。",[23,37,26,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d485a391896b76017a1fa0081d0aa1.jpg","纵21.6cm，横323.5cm",[],{"id":27210,"slug":27211,"title":27212,"dynasty":18,"author":17321,"museum":120,"description":27213,"tags":27214,"thumbUrl":27215,"material":811,"size":27216,"collection":42,"collections":27217,"showCount":26785,"zanCount":1084,"manualWeight":46,"mainColor":47},222055,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","晴雪长松图轴","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[23,24,25,95,7,28,127,34,36,831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[42,222],{"id":27219,"slug":27220,"title":27221,"dynasty":52,"author":27222,"museum":92,"description":27223,"tags":27224,"thumbUrl":27225,"material":98,"size":27226,"collection":166,"collections":27227,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},221794,"luo-shen-tu-zhou-wei-jiu-ding-221794","洛神图轴","卫九鼎","该画以单一人物为主，意在突出洛神的灵韵。 画家以简率的淡墨刻划远景的山丘，使得江面益发显得空旷清新。幅中主要是用纤细绵长而柔韧的白描线条绘就，墨色轻淡，更衬托出主角人物的娴静幽雅，绝尘出世。辽阔江面上水纹波汤，蒸腾云气中冉冉升起一位白衣佳人在水一方，手持绘有山水图案的扇子，身形纤细窈窕，仪容端庄，繁复的衣纹圆柔婉转，衣带飞升飘扬。看她凌波微步，驾云御风而行，显然并非平凡的女子。从倪瓒的题字，知道画中人是因曹植所写的《洛神赋》而永垂不朽的理想女性美典型——洛神。传世诸多以《洛神赋》为题的画中，有的强调云龙随行、神奇壮观的叙事性场景",[24,25,95,547,7,193,636,28,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360421bac69de8e240dd3bb2ce9169ff.jpg","90.8x31.8公分",[],{"id":27229,"slug":27230,"title":15423,"dynasty":52,"author":11732,"museum":92,"description":27231,"tags":27232,"thumbUrl":27233,"material":284,"size":27234,"collection":42,"collections":27235,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},221729,"gao-ting-tu-fang-cong-yi-221729","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[23,24,281,25,95,7,36,28,32,33,80,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[42,222],{"id":27237,"slug":27238,"title":27239,"dynasty":52,"author":8102,"museum":92,"description":27240,"tags":27241,"thumbUrl":27242,"material":74,"size":27243,"collection":166,"collections":27244,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":140},221696,"fang-ni-zan-hua-mo-zhu-zhou-gu-an-221696","仿倪瓒画墨竹轴","墨竹三竿，葉片在勁風吹拂下，飛揚搖曳，彷佛可以聽到呼嘯的風聲和葉片摩擦的聲音。前後兩竹，一濃一淡，好像隔了一層淡淡的霧氣，剛直秀勁中又有婀娜温婉之意。",[23,281,24,25,95,7,254,126,180,1305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47784ae4659f6b95e770f86d3397a48.jpg","该幅93.5x52.3公分；全幅105.3公分",[],{"id":27246,"slug":27247,"title":645,"dynasty":205,"author":26813,"museum":593,"description":27248,"tags":27249,"thumbUrl":27251,"material":2001,"size":27252,"collection":220,"collections":27253,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},221584,"shan-shui-tu-li-an-zhong-221584","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,24,281,25,28,7,36,147,610,33,27250,1974],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","33x34",[220,42,222],{"id":27255,"slug":27256,"title":27257,"dynasty":4342,"author":27258,"museum":92,"description":27259,"tags":27260,"thumbUrl":27261,"material":27262,"size":27263,"collection":166,"collections":27264,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},221148,"lin-wang-xian-zhi-fei-niao-tie-juan-chu-sui-liang-221148","临王献之飞鸟帖卷","褚遂良","褚遂良临王献之《飞鸟帖》正书二十一行，麻纸本，纵二二公分，横四七.四公分。后有元柯九思、王守诚二跋，《石渠宝笈初编》有著录，原迹今藏台北故宫博物院。卷内钤有“绍兴”（宋内府）、“子固”（赵子固）、“欧阳玄”、“应召”（张应召），又项墨林及诸内府等收传印记。帖后有项墨林手书小字一行曰“唐褚遂良临晋王大令献之《飞鸟帖》项元汴真赏，其值……（下模糊不清）”。元人柯九思跋称其：“具有元常遗意，绝无宋人气，是唐无疑耳”。然献之之文既属荒诞，褚遂良临亦非真笔，唯运笔精敛，气韵高古。则此卷虽非褚氏真笔，亦不失为唐人妙迹。",[281,24,25,26,254,38,37,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167a534360a4f83c33c8b431e70cafa6.jpg","手卷 纸本 水墨","22x47.4厘米",[],{"id":27266,"slug":27267,"title":27268,"dynasty":52,"author":239,"museum":770,"description":27269,"tags":27270,"thumbUrl":27271,"material":27272,"size":27273,"collection":83,"collections":27274,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,24,25,26,7,481,312,193,80,37,38,3074,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[83,64],{"id":27276,"slug":27277,"title":27278,"dynasty":359,"author":1872,"museum":1873,"description":27279,"tags":27280,"thumbUrl":27282,"material":166,"size":166,"collection":166,"collections":27283,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},220550,"ling-jiu-xu-bei-hong-220550","灵鹫","两只鹫鸟傲然立于枯木之上，昂首远眺，目光锐利沉静，尽显悍勇孤傲之姿。\n画家以兼工带写之法，以浓淡墨色区分鹫鸟羽毛层次，蓬松绒羽以淡墨晕染出柔软质感，硬翅翎毛则以焦墨勾勒，笔力苍劲，将猛禽的健硕体态刻画入微。古木以阔笔重墨挥写，尽显苍浑朴拙的山野意趣，枝桠间点缀嫩黄小花，柔色打破沉郁色调，动静相映。\n画作融西画写实观察与东方写意笔墨，既还原猛禽生理细节，又以写意笔墨烘托出桀骜沉凝的气度，于沉静画面中蕴藏着雄健生命力。",[24,7,27,123,75,282,809,27281,164],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf44f3188b1be369b8514aa6b92a3f4.jpg",[],{"id":27285,"slug":27286,"title":27287,"dynasty":359,"author":1872,"museum":5712,"description":27288,"tags":27289,"thumbUrl":27291,"material":166,"size":166,"collection":166,"collections":27292,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},220532,"e-mei-gu-si-xu-bei-hong-220532","峨眉古寺","以浓墨绘就古松，笔力沉厚雄健，虬干舒展撑立画面，松枝层叠苍劲，尽显山林古木的莽然生机。粉墙黛瓦的古寺悄然隐于林间，浅赭淡彩晕染院墙，门洞幽邃，自带沉静禅意。墙侧暖黄枝叶轻缀，暖调破了水墨的冷寂，晕出融融秋意。远景以淡墨轻染山影，留白铺就空濛悠远的意境，将古寺藏于深翠的清幽禅意尽数铺展。画作融写实工稳与写意空灵于一体，利落笔墨勾勒物象形神，晕染烘托山野静穆之气，揉合林泉古寺的灵秀空寂与山野生机，清雅旷远，尽显蜀中林麓的悠然意趣。",[24,25,7,27,18697,127,33,268,27290],"红墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6592e9399c044a5524ca479a7e15116d.jpg",[],{"id":27294,"slug":27295,"title":27296,"dynasty":359,"author":1872,"museum":1873,"description":27297,"tags":27298,"thumbUrl":27299,"material":166,"size":166,"collection":166,"collections":27300,"showCount":26785,"zanCount":46,"manualWeight":46,"mainColor":47},220525,"huang-zhen-zhi-xiang-xu-bei-hong-220525","黄震之像","此作将写实精微与写意意趣熔于一炉，笔情墨趣间尽显文人风骨。\n画家以细腻笔触勾勒传主容貌，鬓边霜色、面部纹路皆细致晕染，把文人温雅沉静的神态精准定格。宽袍长衫以写意笔墨铺就，苍劲松枝顶天立地，暗合传主刚直品格；篱畔秋菊与幽竹错落点缀，晕开悠然清寂的意境。\n中西技法相融，打破传统肖像的陈规，传神写真与寄情抒怀合二为一，在写实的真切质感之外，晕染出传统笔墨的诗意余韵，将文人冲淡自持的精神风骨凝于画间。",[23,24,25,95,27,7,193,147,1476,180,7389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b6bf1a5072c1e72fed543fb949df29.jpg",[],{"id":27302,"slug":27303,"title":27304,"dynasty":52,"author":20417,"museum":92,"description":27305,"tags":27306,"thumbUrl":27307,"material":40,"size":27308,"collection":42,"collections":27309,"showCount":26785,"zanCount":1084,"manualWeight":46,"mainColor":140},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[24,25,26,7,36,28,335,211,33,35,80,1525,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 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咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[24,25,74,481,27,7,193,636,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868d343a424f933ec64dc07b7c9db6e4.jpg",[],{"id":27558,"slug":27559,"title":27560,"dynasty":174,"author":27561,"museum":120,"description":27562,"tags":27563,"thumbUrl":27564,"material":166,"size":166,"collection":42,"collections":27565,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},239054,"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[24,7,95,28,29,30,32,282,33,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[42],{"id":27567,"slug":27568,"title":2736,"dynasty":174,"author":2737,"museum":450,"description":27569,"tags":27570,"thumbUrl":27571,"material":166,"size":166,"collection":166,"collections":27572,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},239053,"shan-shui-hua-niao-ce-yang-jin-239053","杨晋 ，字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[24,25,74,7,28,126,162,180,14321,164,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e340cdb6f9a982c4336e6e154f1d51a.jpg",[],{"id":27574,"slug":27575,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":27576,"thumbUrl":27577,"material":314,"size":1061,"collection":166,"collections":27578,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},237939,"za-hua-ce-zhu-da-237939",[24,25,74,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4b1ad720901e7cba07e192eb1d6e38.jpg",[],{"id":27580,"slug":27581,"title":1567,"dynasty":174,"author":27582,"museum":450,"description":27583,"tags":27584,"thumbUrl":27585,"material":166,"size":166,"collection":42,"collections":27586,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},237466,"shan-shui-zhou-jiang-yun-237466","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[24,95,28,7,36,32,210,34,33,3687,25,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[42,222],{"id":27588,"slug":27589,"title":27590,"dynasty":174,"author":5090,"museum":120,"description":19190,"tags":27591,"thumbUrl":27592,"material":298,"size":166,"collection":42,"collections":27593,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":140},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴",[24,25,95,7,36,28,324,717,282,34,7585,164,785,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[42,222],{"id":27595,"slug":27596,"title":27597,"dynasty":18,"author":27598,"museum":120,"description":27599,"tags":27600,"thumbUrl":27602,"material":612,"size":27603,"collection":42,"collections":27604,"showCount":102,"zanCount":1084,"manualWeight":46,"mainColor":140},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[24,25,95,27,7,28,193,624,210,34,147,27601],"聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 横一〇四·五厘米",[42,64],{"id":27606,"slug":27607,"title":27608,"dynasty":18,"author":15744,"museum":450,"description":27609,"tags":27610,"thumbUrl":27611,"material":314,"size":1061,"collection":166,"collections":27612,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},236799,"lan-hua-shan-mian-wu-bin-236799","兰花扇面","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[24,25,1462,7,133,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe661cadb5ccc3e8a7b6a5b5100ce18ea.jpg",[],{"id":27614,"slug":27615,"title":27616,"dynasty":18,"author":646,"museum":120,"description":27617,"tags":27618,"thumbUrl":27623,"material":537,"size":27624,"collection":42,"collections":27625,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":140},236617,"yu-qing-ji-shi-tu-wen-zheng-ming-236617","雨晴纪事图","《明文征明幽谷清泉图》描绘了水边丛树，图中较好地表现出江南初雨后空气清新、草木富于生机的景物特征。\n图中绘水边丛树，本幅自识：“入春连月雨霖霪，一日雨晴春亦深。碧涧平添三尺水，绿榆新涨一庭阴。征明雨晴纪事。庚寅三月八日。”“文征明印”白文方印、“停云”朱文圆印。庚寅为明嘉靖九年，即公元1530年，作者时年六十一岁。\n“入春连月雨淋漓，一日雨晴春亦深。碧沼平添三尺水，绿榆新涨一池荫。”这件山水小景是画家在阴雨初晴之时所作，以纪事且记情。画中描绘了一雾气弥漫的平沼近岸，碎石散置，绿苔满布，细草丛生。数棵杂树相簇，绿叶枯枝，相互扶助。此作笔法宽厚，墨色浑润，浓淡变化，层次丰富。虽为小景，但亦显得境界开阔，气势厚重，有翠湿欲滴之意。",[24,7,28,1386,27619,27620,27621,3660,27622,80,37],"平沼","碎石","绿草","雨后初晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76002b37ca01ffa2c511c43609a5dafe.jpg","纵：130厘米，横：60.8厘米",[42,222],{"id":27627,"slug":27628,"title":27629,"dynasty":174,"author":3195,"museum":120,"description":27630,"tags":27631,"thumbUrl":27632,"material":166,"size":166,"collection":42,"collections":27633,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},236460,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-jian-236460","仿黄公望山水图轴","王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,25,95,7,36,254,28,162,213,210,57,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf2a8130da7b657943ce3313f4b98b7.jpg",[42,222],{"id":27635,"slug":27636,"title":157,"dynasty":174,"author":749,"museum":450,"description":27637,"tags":27638,"thumbUrl":27639,"material":166,"size":166,"collection":42,"collections":27640,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},236044,"shan-shui-ce-wang-yuan-qi-236044","笔底云峰浮于烟岚，以干笔积墨皴擦山峦，苍浑厚重间带着元人披麻皴的秀润遗意。近景溪湾宛转，村居隐于茂林错落间，屋舍疏朗恬淡，林木俯仰有姿。留白晕染出云气流荡，将远峰、中林、近岸自然衔连，疏密松紧相映。层层积墨却清雅松秀，不露堆砌之态，既得山川浑厚之致，又藏静穆萧散的文心。丘壑间浸着江南山水温润的灵韵，把幽居林下的闲澹意趣融于笔墨法度，尽显沉静悠然的文人山水意境。",[24,7,28,36,335,350,33,35,533,211,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ace5a04ef1b790993d87a46972baec6.jpg",[42],{"id":27642,"slug":27643,"title":27644,"dynasty":18,"author":796,"museum":450,"description":8275,"tags":27645,"thumbUrl":27646,"material":314,"size":1061,"collection":166,"collections":27647,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},235798,"zhu-ju-shan-chen-chun-235798","竹菊扇",[24,25,1462,7,75,126,134,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff13ad5e4256b3c5c649deb37133f7c7.jpg",[],{"id":27649,"slug":27650,"title":10038,"dynasty":174,"author":10707,"museum":450,"description":27651,"tags":27652,"thumbUrl":27653,"material":166,"size":166,"collection":166,"collections":27654,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},235634,"mo-mei-tu-zhou-li-fang-ying-235634","此作用笔老辣朴拙，枯苍梅干以顿挫浓墨写就，虬曲倔强，斜逸枝桠舒展灵动，尽显古梅饱经风霜却傲然不屈之态。淡墨圈点梅花，清气盈盈，简淡脱俗，宛若清寒之中悄然绽露芳华。\n\n画面留白疏朗空灵，配上行书题诗，诗画相融，将自身狷介风骨寄寓于梅中，以梅明志，尽显文人画借物抒怀的意趣，寥寥数笔便把梅花的清逸高格勾勒尽致，于极简中见精神风骨，是写意花鸟中借物言志的佳作。",[24,95,7,125,37,38,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb1f39a221903b5fa8c775b8d3f18ac.jpg",[],{"id":27656,"slug":27657,"title":14561,"dynasty":174,"author":27658,"museum":120,"description":27659,"tags":27660,"thumbUrl":27661,"material":564,"size":166,"collection":42,"collections":27662,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},234719,"huang-shan-tu-ce-jiang-zhu-234719","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,7,36,37,38,74,28,34,30,211,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac352676967682ac8c718cbf1f9170a.jpg",[42],{"id":27664,"slug":27665,"title":5006,"dynasty":174,"author":5090,"museum":450,"description":27666,"tags":27667,"thumbUrl":27668,"material":537,"size":27669,"collection":42,"collections":27670,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},234713,"fang-gu-shan-shui-ce-wang-hui-234713","《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。",[24,25,281,74,7,36,28,127,29,30,148,193,34,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","25.6厘米，横：20.5厘米",[42],{"id":27672,"slug":27673,"title":6382,"dynasty":18,"author":27674,"museum":27675,"description":27676,"tags":27677,"thumbUrl":27678,"material":564,"size":27679,"collection":166,"collections":27680,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},234181,"shan-shui-tu-juan-zhang-fu-234181","张復","烟台市博物馆","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[23,24,25,26,7,36,28,57,58,30,33,35,29,282,180,311,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],{"id":27682,"slug":27683,"title":27684,"dynasty":174,"author":2605,"museum":120,"description":27685,"tags":27686,"thumbUrl":27687,"material":537,"size":27688,"collection":166,"collections":27689,"showCount":102,"zanCount":1084,"manualWeight":46,"mainColor":47},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[24,25,281,95,7,36,32,162,28,180,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":27691,"slug":27692,"title":3136,"dynasty":174,"author":377,"museum":120,"description":9377,"tags":27693,"thumbUrl":27694,"material":23968,"size":23969,"collection":166,"collections":27695,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},233423,"yuan-ji-shan-shui-ce-shi-tao-233423",[24,25,74,7,36,28,180,147,624,35,213,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg",[],{"id":27697,"slug":27698,"title":27699,"dynasty":174,"author":1639,"museum":450,"description":27700,"tags":27701,"thumbUrl":27702,"material":166,"size":166,"collection":166,"collections":27703,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},233376,"mei-he-tu-zhou-xu-gu-233376","梅鹤图轴","《梅鹤图》是清代虚谷创作的纸本设色画。\n自题：“辛卯春二月。\n虚谷。\n” 钤“虚谷书画”朱文印、“耿耿其心”白文印。\n“辛卯”为清光绪十七年（1891年），虚谷时年69岁。\n图绘梅鹤双清之景。\n茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。\n作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。\n虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。\n能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。\n喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。\n与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[24,25,95,7,27,75,123,125,3596,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fa1dda8c69bfb89af210776a782370.jpg",[],{"id":27705,"slug":27706,"title":2189,"dynasty":174,"author":657,"museum":450,"description":27707,"tags":27708,"thumbUrl":27709,"material":166,"size":166,"collection":166,"collections":27710,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},230243,"hua-hui-tu-ce-jin-nong-230243","此作以墨笔绘桃花，虬曲老枝苍劲朴拙，淡墨晕染花瓣，浓墨点簇花蕊、勾描枝叶，虚实间将桃花柔媚之态，融于水墨清逸之中。\n\n左侧题诗与画幅相映成趣，诗书合璧尽显文人雅韵。并未刻意摹写春日桃林的秾艳繁丽，以生拙古雅的笔墨，勾勒出花枝疏朗清寂之姿，跳出传统花鸟的妍丽范式，以简淡水墨营造出幽淡空寂的春日氛围，寄寓着寄情花木的闲散心境，尽显文人画独有的萧散风神，于浅淡笔墨里藏着隽永诗思。",[24,25,74,7,75,131,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42f7eab48e499ad7c30d130f7f4c555.jpg",[],{"id":27712,"slug":27713,"title":27714,"dynasty":174,"author":15533,"museum":450,"description":27715,"tags":27716,"thumbUrl":27717,"material":166,"size":166,"collection":166,"collections":27718,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},229040,"liu-an-chun-feng-tu-pu-ru-229040","柳岸春风图","此作以淡墨写意铺陈春岸景致，近坡枯荣交织的岸柳虬枝柔条相映，苍朴坡石野趣自生。烟波空濛间渔舟错落，渔人或撑篙行舟，或泊船闲坐，自在悠然。远山以淡墨轻晕，帆影杳渺隐于烟岚之中，留白尽显江天寥廓的清远空寂。\n\n简淡秀雅的笔墨，未作繁复皴染，却将春岸风柔波暖的温煦，渔家乐的恬然意趣融于尺幅。把江南春日的闲逸野趣铺陈开来，寄寓了归心丘壑的雅逸襟怀，淡远萧疏间漫溢融融春意，悠悠古意扑面而来，尽显文人山水画寄情山水的悠然意境。",[23,24,7,547,27,28,1035,31,30,193,34,729,33,2043,7781,5781],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9995c8d550395c6272b742eac90d75b7.jpg",[],{"id":27720,"slug":27721,"title":27722,"dynasty":18,"author":1788,"museum":450,"description":27723,"tags":27724,"thumbUrl":27725,"material":166,"size":166,"collection":166,"collections":27726,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},228881,"cui-zhu-tu-wen-zheng-ming-228881","翠竹图","此作为诗画合璧的文人佳构，下方墨竹以淡墨写竿，笔致劲挺通脱，浓墨挥写竹叶，俯仰向背错落有致，疏密间尽显萧散清逸，将翠竹挺拔君子之姿淋漓尽显，满幅皆含清和雅正之气。\n上方题诗行书秀雅舒展，笔意温润隽秀，诗与画两相呼应，寄寓着幽居伴竹、静赏林泉的文人雅趣。书画一体，尽显吴门画派的雅致风神，暗合作者淡远冲和的品格心性，整体意境清润隽永，是文人画诗书画交融的精妙之作。",[24,25,95,7,37,38,80,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937c38e3fa101fbcb4b94656e5b43285.jpg",[],{"id":27728,"slug":27729,"title":27730,"dynasty":18,"author":18371,"museum":450,"description":27731,"tags":27732,"thumbUrl":27733,"material":166,"size":166,"collection":166,"collections":27734,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[23,281,24,25,26,7,27,1852,38,394,80,2335,2336,2875,134,126,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],{"id":27736,"slug":27737,"title":27738,"dynasty":52,"author":1424,"museum":450,"description":27739,"tags":27740,"thumbUrl":27741,"material":166,"size":166,"collection":166,"collections":27742,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":140},228266,"zhu-que-tu-li-zhou-li-kan-228266","竹雀图立轴","此作用双勾法写竹，笔致工稳匀净，竹挺拔劲秀，叶片俯仰向背层次分明，尽显君子清刚之姿。淡施赭色晕染竹节，衬于古旧绢底，愈见沉雅古拙。\n几只山雀或栖于梢头理羽，或穿林跃动，翎毛晕染细腻灵动，为幽寂竹林添了鲜活生气。动静相映之间，将写实工细与文人意趣相融，既有院体花鸟的精工写实，又饱含萧散淡远的林下之风，把劲竹的清操与野雀的生趣合为一卷，尽显雅致隽永的笔墨意韵。",[23,2175,24,25,95,481,7,75,126,77,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],{"id":27744,"slug":27745,"title":27746,"dynasty":52,"author":581,"museum":450,"description":27747,"tags":27748,"thumbUrl":27749,"material":166,"size":166,"collection":166,"collections":27750,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":140},228209,"shan-shui-tu-tuan-shan-yi-ming-228209","山水图团扇","此作以远近相生的构图铺陈意境，浮空峰峦如蓬瀛仙山，浓墨点苔晕出山姿苍郁，留白云气晕染成朦胧幻境，割裂又勾连起世外幽境与人间烟火。\n\n山腰间楼阁隐现，似藏寻仙之幽；山脚处板桥行人策杖徐行，村舍林麓、陂塘田亩错落排布，枯木添就萧疏秋意。工写兼济的笔法，勾勒山石硬朗轮廓，皴擦晕染揉出温润质感，设色淡雅古拙。将出世清寂与入世恬美收于尺幅，尽显山水重意趣、尚萧散的特质，意境清和淡远，恍若隔绝尘嚣，只留一片悠然天地。",[23,24,25,1462,27,36,7,28,29,30,32,193,147,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517e2ea2760446e7c47c7392862034d2.jpg",[],{"id":27752,"slug":27753,"title":6121,"dynasty":52,"author":2396,"museum":450,"description":27754,"tags":27755,"thumbUrl":27756,"material":314,"size":1061,"collection":166,"collections":27757,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":140},228070,"feng-zhu-tu-xue-chuang-228070","僧普明，字雪窗。元代著名画家，在苏州为僧。1338年在虎丘云岩寺当住持，1344年改承天能仁寺住持，其后一度因老病引退，1348年复出，为能仁寺住持。\n雪窗以画兰花著称，与他同时的画家柏子庭写苏州风俗说：家家恕斋字，户户雪窗兰。春来行乐处，只说虎丘山。今传世作品十余件，多藏于日本，美国。",[23,24,25,95,7,126,706,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb8ad77edfd7868a2b0caa6e47ad30f.jpg",[],{"id":27759,"slug":27760,"title":27761,"dynasty":205,"author":581,"museum":450,"description":27762,"tags":27763,"thumbUrl":27765,"mater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”成为中国绘画的传统题材。\n“ ”又谐“余”之音，有祝颂丰穰之吉祥寓意。\n本幅无款。\n鉴藏印钤“季彤平生真赏”、“庞莱臣珍藏宋元真迹”。\n裱边钤“虚斋审定名迹”。\n图中绘小鱼5尾，欢快地游戏于荇藻之间。\n鱼身用没骨法墨染而成，其光滑、细腻而富于弹性的质感表现得非常充分，线条圆浑流畅；黑脊与白肚之间过渡自然；口、眼、鳍、尾之刻画逼真而具立体感。\n鱼的游向各异，远近分明，荇藻轻灵而富于动感，构图生动活泼，是宋人画鱼的名作。\n存《名笔集胜》册中。\n《虚斋名画续录》著录。",[23,281,24,25,1462,481,7,27,1114,27764],"藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg",[],{"id":27768,"slug":27769,"title":27770,"dynasty":205,"author":581,"museum":450,"description":27771,"tags":27772,"thumbUrl":27773,"material":166,"size":166,"collection":166,"collections":27774,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":140},227854,"shan-shui-tuan-shan-yi-ming-227854","山水团扇","危崖嶙峋踞于近岸，枯木萧疏间细泉漱石，凛凛秋意漫溢而出。视线随水色铺展，远峰晕染在烟岚薄雾里，和空濛秋水融作一片淡墨云烟。滩头扁舟静泊，渔翁偃卧，将山野幽寂与林下闲逸揉作一处。\n\n此作用笔苍润相济，硬皴勾勒崖石肌理，枯笔点染寒木枝桠，淡墨晕开江天烟霭，以边角取景铺展出辽远山水格局，将秋日江野的清寂闲静截取在咫尺扇面，尽显以小见大的山水雅趣，藏着寄情林泉的幽远心境。",[281,24,25,1462,27,7,28,717,34,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450874808150a62736ffbb1713c6d774.jpg",[],{"id":27776,"slug":27777,"title":27778,"dynasty":205,"author":592,"museum":450,"description":25223,"tags":27779,"thumbUrl":27780,"material":166,"size":166,"collection":166,"collections":27781,"showCount":102,"zanCount":1084,"manualWeight":46,"mainColor":140},227768,"shan-shui-ye-li-tang-227768","山水页",[23,24,25,281,7,36,2446,28,194,31,33,34,1974,3246,268,164,6133,17572,717,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":27783,"slug":27784,"title":26892,"dynasty":205,"author":1682,"museum":450,"description":27785,"tags":27786,"thumbUrl":27787,"material":166,"size":166,"collection":166,"collections":27788,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":140},227715,"hu-tu-tu-zhou-mu-xi-227715","牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。\n\n牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。",[24,95,7,3914,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce9881e58fd85ecc62bf9a234ad398d.jpg",[],{"id":27790,"slug":27791,"title":27792,"dynasty":205,"author":27793,"museum":450,"description":27794,"tags":27795,"thumbUrl":27796,"material":166,"size":166,"collection":166,"collections":27797,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},227708,"mei-hua-shi-yi-tu-chang-juan-wang-yan-sou-227708","梅花诗意图（长卷）","王岩叟","《梅花诗意图》是南宋朝时期画家岩叟所作，现藏于弗利尔美术馆。\n\n图中画盛开的梅花，树干上墨书有岩叟”二字，应是作者的名或号。从画风上看，不似北宋，或为南末后期至元初之作。\n\n以北宋王岩叟为作者，不足为信。此图运笔道劲有力，构图疏密有致，枝条穿插，富有韵味，具扬补之遗法，为补之传派中上乘之作。\n\n岩叟，生卒年不详，即北宋王岩叟。字彦霖，《宋史》有传，未称其擅画，或为画家之号。南宋宋伯仁，号雪岩，擅画梅叟或即宋伯仁自号，待考。",[23,281,24,25,26,7,125,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9933a60aeb10151b1d452b59e5b1ccc4.jpg",[],{"id":27799,"slug":27800,"title":12443,"dynasty":205,"author":1162,"museum":450,"description":27138,"tags":27801,"thumbUrl":27802,"material":166,"size":166,"collection":166,"collections":27803,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},227700,"shui-xian-tu-zhao-meng-jian-227700",[23,24,25,26,547,7,27,37,38,80,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":27805,"slug":27806,"title":27807,"dynasty":174,"author":15533,"museum":450,"description":24545,"tags":27808,"thumbUrl":27809,"material":166,"size":166,"collection":166,"collections":27810,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},226631,"si-shi-shan-shui-04-pu-ru-226631","四时山水04",[23,24,7,36,28,34,350,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e67a5159c09f40a77dc77e0824644f.jpg",[],{"id":27812,"slug":27813,"title":27814,"dynasty":174,"author":377,"museum":27815,"description":807,"tags":27816,"thumbUrl":27817,"material":6136,"size":27818,"collection":166,"collections":27819,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},224522,"shan-shui-tu-ce-8-kai-7-zhang-da-qian-jiu-cang-shi-tao-224522","山水图册8开-7-张大千旧藏","张大千先生的旧藏",[23,24,7,36,74,28,180,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38185d388bd2aef7f301241ae98f8694.jpg","14.9x27.3cm",[],{"id":27821,"slug":27822,"title":27823,"dynasty":174,"author":377,"museum":450,"description":27824,"tags":27825,"thumbUrl":27826,"material":166,"size":166,"collection":166,"collections":27827,"showCount":102,"zanCount":5,"manualWeight":46,"mainColor":47},224515,"shan-shui-tu-ce-8-kai-4-shi-tao-224515","山水图册8开-4","淡墨晕染出山峦肌理，远山隐在烟岚之中，如笼轻绡。左崖飞瀑垂落，为静寂山林注入灵动生机。坡上苍松错落虬劲，撑起山野清寂风骨，茅舍静立平坡，素朴安然，似藏幽人栖居之趣。\n\n此作用干淡笔墨皴擦山体，湿墨点染松针，简淡见苍润。留白烘衬出空濛云烟，寥寥数笔铺陈开林泉幽寂，笔意松秀清脱，尽显萧散淡远的林下意趣，观之便如踏入幽僻山居，尘俗烟火尽涤。",[23,24,7,27,74,36,28,335,210,624,324,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ad686bc962b57eed356778454ad1df.jpg",[],{"id":27829,"slug":27830,"title":27831,"dynasty":174,"author":377,"museum":450,"description":27832,"tags":27833,"thumbUrl":27834,"material":166,"size":166,"collection":166,"collections":27835,"showCount":102,"zanCount":1084,"manualWeight":46,"mainColor":47},224511,"shan-shui-tu-ce-8-kai-2-shi-tao-224511","山水图册8开-2","此作用淡墨轻岚晕染远山，虚实相生间漾开空濛雾气，将山峦融在朦胧烟霭里，褪去峻拔锋芒只剩柔润余韵。近景村居错落，茅舍柴篱隐在林木苇草间，朴拙野趣扑面而来。枯笔焦墨点染丛树苔痕，淡赭轻敷屋舍坡岸，设色浅淡柔和，笔致松秀灵动。留白恰到好处，水汽氤氲的溪面与烟岚呼应，营造出静谧清寂的乡野氛围，似能将观者带入幽远山居闲境。笔墨藏着随性自在的画中真意，淡而有味，简中生趣，尽显文人山水的雅逸禅意。",[23,24,25,74,7,27,36,28,35,33,34,6616,164,4569,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f2a9746cd204e4d9f37a292700b3b8.jpg",[],{"id":27837,"slug":27838,"title":27839,"dynasty":174,"author":739,"museum":450,"description":27840,"tags":27841,"thumbUrl":27843,"material":166,"size":166,"collection":166,"collections":27844,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},224176,"liu-qin-tu-hua-yan-224176","柳禽图","此作用笔兼工带写，以空灵留白衬出清寂意韵。柳枝以淡墨晕染出柔条垂曳之姿，浓墨点苔醒出老枝苍劲，墨色浓淡铺陈出枝叶的虚实层次。\n两只八哥一攀附柳丝，一振翅穿飞，焦墨写羽凝练厚重，喙爪轻勾灵动有神，二鸟顾盼呼应，将春日柳梢嬉闹的野趣生动定格。淡赭素纸托着清润笔墨，寥寥笔意便晕开江南春日的柔婉闲逸，于简雅间暗藏蓬勃生机，尽显幽澹秀美的文人意趣。",[23,24,25,281,95,7,27,123,75,1035,282,8372,27842,80],"柳叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc17306c49b0de13f4dc3c68321e5f.jpg",[],{"id":27846,"slug":27847,"title":27848,"dynasty":174,"author":581,"museum":450,"description":27849,"tags":27850,"thumbUrl":27858,"material":298,"size":27859,"collection":245,"collections":27860,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},223385,"gu-dai-shen-xian-shi-ba-dong-yi-ming-223385","古代神仙十八洞","此作为书画合璧手卷，山水以全景铺陈，披麻皴绘峰峦浑厚苍润，茂林修竹遍布丘壑，村居田庐错落溪谷之间，烟波澹澹漾于浅滩，将洞天幽寂出尘的隐逸之境尽皆铺展，尽显林泉高致。\n\n满卷狂草题跋与山水相映，笔势奔放纵逸，枯湿浓淡间墨色富于变化，跌宕的笔意打破山水的静穆，书画相生相融。整体既带着道家洞天的清寂闲雅，又饱含文人以笔遣怀的酣畅意气，把出世雅趣与笔墨风神糅合一处，尽显传统文人的精神意趣。",[23,281,24,25,26,7,28,893,216,8165,27851,1384,27852,1269,27853,394,27854,18105,11639,14739,27855,27856,27857],"修竹","田庐","浅滩","狂草","清寂闲雅","文人意趣","出世雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8597d140b6ab4f6c62fb17633e69fe0.jpg","26x717",[245],{"id":27862,"slug":27863,"title":27864,"dynasty":18,"author":5683,"museum":92,"description":27865,"tags":27866,"thumbUrl":27867,"material":218,"size":27868,"collection":42,"collections":27869,"showCount":102,"zanCount":1084,"manualWeight":46,"mainColor":140},222502,"shan-yu-yu-lai-tu-zhou-zhang-lu-222502","山雨欲来图轴","此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[23,24,7,95,36,28,34,33,211,533,193,30,180,8796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dda3aeabd6bd882d906bf05d7ad4cc6.jpg","纵147厘米，横105厘米",[42,222],{"id":27871,"slug":27872,"title":27873,"dynasty":18,"author":9621,"museum":27874,"description":27875,"tags":27876,"thumbUrl":27877,"material":298,"size":27878,"collection":245,"collections":27879,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":140},222470,"ji-yang-deng-tai-bai-jiu-lou-que-ji-shi-hu-zhou-zhu-yun-ming-222470","济阳登太白酒楼却寄施湖州","贵州省博物馆","本书内容包括：《居延误死马驹册》、《永元兵器册》、《出师颂》、 、《 》、《孔侍中帖》、 、《适得书帖》、《疖肿帖》、《 》、《中秋帖》等。\n所著《中国行草名帖一百讲》对 的《适得书帖》，张旭的《古诗四帖》等名家名作都有扎实透彻的解读。\n全书遴选古帖名作1篇，对蕴含在作品中的意象，韵律，节奏，情绪展开了深入的美学探讨；并对作品的结构，章法，线条甚至留白都有独到的分析并全面阐释作品的精神内涵与作品特色。\n朱以撒，195年出生，福建泉州人。\n现为 教授、博士生导师， 副主席，中国书法家协会学术委员会委员， 会员。\n长期从事书法教学、创作及理论研究工作，出版书法论著及散文集多部，29年被评为“中国书坛十大年度人物”。\n汉 《居延误死马驹册》 汉 《永元兵器册》 索靖 《出师颂》 陆机 《平复帖》 王羲之 《兰亭序》 王羲之 《孔侍中帖》 王羲之 《丧乱帖》 王羲之 《适得书帖》 王荟 《疖肿帖》 王徽之 《新月帖》 王献之 《廿九日帖》 王献之 《中秋帖》 王献之 《鸭头丸帖》 王献之 《东山I阽》 王殉 《伯远帖》 王慈 《翁尊体安帖》 王志 《一日无申帖》 智永 《草书千字文》 隋人 《出师颂》 欧阳询 《仲尼梦奠帖》 欧阳询 《张翰思鲈帖》 虞世南 《汝南公主墓志铭》 陆柬之 《文赋》 李世民 《温泉铭》 唐 《赵丑胡贷练契》 武则天 《升仙太子碑》 高正臣 《明征君碑》 孙过庭 《书谱》 怀仁 《集王羲之书三藏圣教序》 唐 《康才艺牒》 唐 《杨大智租田契》 唐 《功德文簿》 李邕 《李思训碑》 李隆基 《鹊钨颂》 张旭 《古诗四帖》 李白 《上阳台帖》 李怀琳 《绝交书》 贺知章 《孝经》 颜真卿 《祭侄文稿》 颜真卿 《瀛州帖》 颜真卿 《裴将军诗》 徐浩 《朱巨川告身》 林藻 《马斋帖》 怀素 《自叙帖》 怀素 《论书帖》 柳公权 《蒙诏帖》 高闲 《千字文残卷》 杜牧 《张好好诗并序》 李煜 《入其国帖》 杨凝式 《神仙起居法》 杨凝式 《韭花帖》 杨凝式 《 》 李建中 《土母帖》 蔡襄 《去德帖》 苏轼 《黄州寒食诗》 苏轼 《一夜帖》 黄庭坚 《刘梦得竹枝九篇》 黄庭坚 《赠张大同卷跋尾》 米芾 《蜀素帖》 米芾 《真庥帖》 赵佶 《草书千字文》 薛绍彭 《上清连年帖》 吴琚 《观唐李氏谱牒》 赵构 《行草千字文》 陆游 《致原伯知府判院》 赵眘 《法书赞》 朱熹 《述庐陵秋谷残卷》 范成大 《 》 赵孟叛 《洛神赋》 赵孟頫 《致季宗源二札卷》 赵孟頫 《行书三段卷》 鲜于枢 《苏轼海棠诗》 吴镇 《题松泉图诗》 张雨 《自书诗册》 康里恫巎巎 《述笔法》 杨维桢 《张氏通波阡表》 宋克 《急就章》 祝允明 《济阳登太白酒楼却寄施湖州》 文徵明 《乐志论》 唐寅 《七律四首卷》 蔡羽 《书说》 王宠 《瞻眺诗》 王宠 《访王元肃虞不值诗卷》 徐渭 《青天歌卷》 邢慈静 《自书诗册》 董其昌 《宋词册》 张瑞图 《邓公聪马行》 黄道周 《山中杂咏》 王铎 《诗翰四首》 倪元璐 《草书信札》 陈洪绶 《两日帖》 傅山 《丹枫阁记》 查士标 《诗文册》 金农 《行书尺牍》 黄慎 《五言诗卷》 郑燮 《七言诗卷》 刘墉 《米芾诗轴》 王文治 《剪水山房诗序》 何绍基 《临王羲之兰亭序》 赵之谦 《忆昔从军诗》 附录：《行草书欣赏论》 后记",[23,37,394,26,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68492318509a690999cf7fc20f2abb.jpg","高24.5公分，长84公分",[245],{"id":27881,"slug":27882,"title":27883,"dynasty":18,"author":2851,"museum":770,"description":27884,"tags":27885,"thumbUrl":27886,"material":166,"size":27887,"collection":166,"collections":27888,"showCount":102,"zanCount":1084,"manualWeight":46,"mainColor":140},222358,"luo-hua-shi-ce-tang-yin-222358","落花诗册","《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n《落花诗》是由沈周首唱，和者有文征明、徐帧卿、吕常、唐寅等人。唐寅落花诗率真蕴藉，经多次书写多次修改，总共形成47首之谱。人们通常认为唐寅落花诗反映了士大夫的感物伤怀的颓废情绪，其实曲解了作者本意。唐寅作落花诗时年仅35岁，离科场被黜不过5年，胸中块垒郁勃无由化解，乃借风云月露以排遣之。看似伤春，实乃抒写痛苦遭遇。\n《唐寅落花诗册》收入的三十首诗，是唐寅的和作。诗的内容反映了封建士大夫感物伤怀的颓废情绪，但是书法严谨，是唐寅的代表作品之一。 [1] [1]唐寅画落花图，并在图上题落花诗并非一次。每次所录诗作的数量不同，内容不同，书法风格也不尽相同，目前所知的分别藏于普林斯顿大学附属美术馆、辽宁省博物馆、中国美术馆。\n从艺术成就看，唐寅的画胜诗，诗胜字，诗书之名久为画掩。\n落花诗墨迹的各个版本唐寅一生曾多次书写落花诗，每次所录诗作的数量不同，内容不同，书法风格也不尽相同。目前所知的有以下几个版本：\n就目前所见的唐寅落花诗真迹有四本：即苏州市博物馆藏本、普林斯顿大学附属美术馆藏本、辽宁省博物馆藏本和中国美术馆藏本。见于著录的唐寅书落花诗则有《蔬香馆法帖》、《海山仙馆藏真三刻》、《珊瑚网》等多种。",[23,281,37,38,858,25,74,7,18574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa11f9f927e26e7749c62c6b71ab76d0.jpg","纵二十三点五厘米，横四百四十五厘米",[],{"id":27890,"slug":27891,"title":27892,"dynasty":18,"author":19,"museum":92,"description":27893,"tags":27894,"thumbUrl":27895,"material":27896,"size":27897,"collection":83,"collections":27898,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},222124,"zhi-shi-tu-shen-zhou-222124","芝石图","此作未署年款，画芝石笔墨肥润，其书法及款印，与画秋葵相近，似为同年作品。题识：“烨烨神芝，钤冈之。九英挺秀，五色纷披。兆厥祥，杰阁宏基。宸翰辉赫，日丽星义。表以延恩，汪无涯。奕叶朱房，灵光永绥。”钤印：“石田”“日夕堂”。",[23,24,25,281,1462,7,27,7908,706,2875,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14977f5430a499d1e4b5206e785058b3.jpg","泥金，纸本，设色","纵18.1厘米，横52.4 厘米",[83,64],{"id":27900,"slug":27901,"title":27902,"dynasty":18,"author":1788,"museum":92,"description":27903,"tags":27904,"thumbUrl":27905,"material":284,"size":27906,"collection":166,"collections":27907,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},222008,"cha-shi-tu-zhou-wen-zheng-ming-222008","茶事图轴","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏·茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。\n本幅上方自题“茶具十咏”五言律诗十首，分别为茶坞、茶人、茶笋、茶籝、茶舍、茶灶、茶焙、茶鼎、茶瓯、煮茶。后款署：“嘉靖十三年岁在甲午，谷雨前三日，天池、虎丘茶事最盛，余方抱疾偃息一室，弗能往与好事者同为品试之会。佳友念我走惠二三种，乃汲泉吹火烹啜之，辄自第其高下，以适其幽闲之趣。偶忆唐贤皮陆辈‘茶具十咏’，因追次焉，非敢窃附于二贤后，聊以寄一时之兴耳。漫为小图，遂录其上。衡山文徵明识。”钤“徵”“明”朱方联珠印。嘉靖十三年即1534年，文徵明时年65岁。右下钤“徵仲父印”白文方印、“衡山”朱文方印。",[23,24,27,37,28,335,350,162,1791,7,123,95,298,1792],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","纵136.1cm，横26.8cm",[],{"id":27909,"slug":27910,"title":27911,"dynasty":18,"author":1836,"museum":120,"description":8036,"tags":27912,"thumbUrl":27913,"material":1843,"size":2973,"collection":166,"collections":27914,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},220913,"shan-shui-ce-7-dong-qi-chang-220913","山水册7",[23,24,25,74,7,28,36,147,34,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56878ebec529936616522b38f900f90f.jpg",[],{"id":27916,"slug":27917,"title":27918,"dynasty":52,"author":239,"museum":92,"description":27919,"tags":27920,"thumbUrl":27921,"material":298,"size":27922,"collection":245,"collections":27923,"showCount":102,"zanCount":1084,"manualWeight":46,"mainColor":47},220876,"zhi-chuan-dao-chi-du-zhao-meng-fu-220876","致传道尺牍","释文：孟頫顿首传道足下。公素人来得书累幅。既闻起居之详。又获新诗一篇。及公素寄示双石记。居违久矣。不意复闻韶濩之音。喜慰之极。无以云喻。久废笔研。不敢继和。必识此意。会合无期。临书惘惘。秋暑。万万以时自厚。不宣。孟頫顿首再拜。",[25,37,38,7,18742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a608728cb498f1fe076bfe431b2656.jpg","纵39.4厘米,横70.5厘",[245],{"id":27925,"slug":27926,"title":27927,"dynasty":18,"author":1836,"museum":4012,"description":27928,"tags":27929,"thumbUrl":27930,"material":74,"size":4016,"collection":166,"collections":27931,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":166},220753,"fang-ge-jia-shan-shui-3-dong-qi-chang-220753","仿各家山水-3","此作用淡墨干笔写就远近山水，远景山峦皴擦松灵，坡岸随水势蜿蜒铺展，留白作水，晕染出空蒙悠远的湖山烟意，林石隐现其间，简淡空灵。近景古木虬曲苍劲，以浓淡墨色区分枝桠枯荣，层叠错落间掩映着临水村居，板桥卧波连起汀岸，野趣盎然。\n全画笔墨秀润松脱，以留白营造出幽寂空茫的意境，将山水淡远之致与林下幽居的雅静相融，尽显平淡天真的文人意趣，于简率笔墨中蕴含静穆悠长的诗意，淡而不薄，简而不空，尽显山水悠远淡寂的林下雅境。",[23,24,25,7,36,254,28,34,33,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3f7e74473aa4b84bb40d391a020b7.jpg",[],{"id":27933,"slug":27934,"title":27935,"dynasty":359,"author":1872,"museum":1873,"description":27936,"tags":27937,"thumbUrl":27938,"material":166,"size":166,"collection":166,"collections":27939,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},220572,"jiu-fang-gao-xu-bei-hong-220572","九方皋","山野风色裹着粗粝的生机，老者静立崖边，目光越过皮毛叩问龙马的骨血，沉静神态藏着识珠的笃定。牵马汉子筋肉虬结、野性勃发，与老者的沉稳形成强烈反差。\n\n画面以笔墨塑风骨，线条凝练遒劲，糅合西画体积感与东方白描意趣。马匹神形各异，或昂首长嘶、或垂首闲食，野趣盎然。画作将伯乐识贤的典故融于田间小景，借相马喻识人，朴素场景里藏着对英才不问出身的深切期许，笔墨间满溢沉厚真挚的人文温度。",[23,24,25,27,7,547,6628,193,312,7389,33,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03f353d2c8b3af414b1b65a034610f6.jpg",[],{"id":27941,"slug":27942,"title":27943,"dynasty":174,"author":27944,"museum":1913,"description":27945,"tags":27946,"thumbUrl":27947,"material":166,"size":166,"collection":166,"collections":27948,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":47},220463,"lan-shi-chen-shi-ceng-220463","兰石","陈师曾","此作用极简水墨写绘兰石，运笔纵逸老辣，兰叶如屈铁游丝，中锋走笔，刚柔并济，寥寥数笔便将兰叶舒展之姿写尽。兰花以写意点染，花瓣含露轻绽，神韵自现。\n\n留白通透，以虚衬实，尽显尚简重意的文人画旨趣，将芝兰君子寄情林泉、不与俗伍的幽贞品格晕染纸上。左侧题字朴拙苍劲，笔墨意趣与画面融为一体，互为生发。整幅画于简淡中见风神，墨色干湿浓淡间，氤氲出清逸出尘的林下风流，藏着传统文人淡泊清远的精神内核。",[23,24,25,281,95,7,123,133,706,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8271038a5f32366ba9121a2549da8d79.jpg",[],{"id":27950,"slug":27951,"title":19189,"dynasty":18,"author":12323,"museum":430,"description":27952,"tags":27953,"thumbUrl":27954,"material":40,"size":27955,"collection":42,"collections":27956,"showCount":102,"zanCount":1084,"manualWeight":46,"mainColor":47},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,26,7,27,28,717,282,324,164,533,180,481,36,33,1975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[42],{"id":27958,"slug":27959,"title":27960,"dynasty":18,"author":1836,"museum":92,"description":27961,"tags":27962,"thumbUrl":27963,"material":457,"size":27964,"collection":42,"collections":27965,"showCount":102,"zanCount":46,"manualWeight":46,"mainColor":140},220371,"fang-mi-xiao-xiang-bai-yun-tu-dong-qi-chang-220371","仿米潇湘白云图","本图仿米芾笔意，以墨韵幽雅，意境深邃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清高宗以此作与《富春山居图》（子明卷）相比，认为两作“纸色墨气，古穆无二”。细察两作石法、树法，乃至题款书风近似，或出于一人之手，为明末清初的作品。",[24,95,28,7,36,3941,28136,29,30,194,80,37],"曲涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb06ecbde0e10adb8891902cce34b3f.jpg",[],{"id":28140,"slug":28141,"title":28142,"dynasty":205,"author":28143,"museum":450,"description":28144,"tags":28145,"thumbUrl":28146,"material":314,"size":1061,"collection":166,"collections":28147,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":140},290614,"ku-mu-zhu-shi-zhou-song-ren-290614","枯木竹石轴","宋人","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石块后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的展现，属元代枯木竹石画风。画中枯木与院藏赵孟俯《竹石古木》表现类似，此画上虽无款印，但可推测为此一画风的元代例证，学者推测或许正与赵孟俯关系密切。",[24,281,25,95,7,75,809,126,180,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc68e00661dc7552efca8be1f446a08a.jpg",[],{"id":28149,"slug":28150,"title":28151,"dynasty":174,"author":175,"museum":450,"description":7322,"tags":28152,"thumbUrl":28153,"material":314,"size":1061,"collection":166,"collections":28154,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},290535,"lu-xie-yun-shou-ping-290535","芦蟹",[24,74,7,27,4379,21822,80,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6713dbec3223e093d3cfa431c11abbef.jpg",[],{"id":28156,"slug":28157,"title":28158,"dynasty":174,"author":175,"museum":92,"description":7322,"tags":28159,"thumbUrl":28160,"material":40,"size":28161,"collection":166,"collections":28162,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},290528,"zhu-shi-ku-cha-tu-zhou-yun-shou-ping-290528","竹石枯槎图轴",[24,95,7,126,717,34,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b53a062749880b1168b4136a30d6c4.jpg","95.1x46.8",[],{"id":28164,"slug":28165,"title":28166,"dynasty":52,"author":12821,"museum":450,"description":28167,"tags":28168,"thumbUrl":28169,"material":314,"size":1061,"collection":166,"collections":28170,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":140},290502,"han-lin-zhong-kui-zhou-chen-lin-290502","寒林钟馗轴","绘严寒冬季，树木枝叶疏落，在萧旷之野，身材魁伟的钟馗伫立于林下的坡地上!胸怀中抱有笏板，头戴幞巾，穿宽身袍服，腰系玉带，脚穿皂靴，厂‘袖因风而飘，缩着颈脖，显出寒风凛凛冷意。但形象威严，目睛圆瞪，须髯如戟，炯炯有神，背景为枯树荆柯，宽阔坡陀为枯草所覆盖，斜坡上长有几棵大树，树干挺拔直上，顶天立地：树干上有不少疤结，枝叶疏落，大树下的丛丛荆柯枝干交错，树叶脱落，显示是严寒的冬天季节。作者所描绘一片寒林，枯梢老槎，显得苍劲高古，枝丫相互穿插，虚实、浓淡的处理，都是为了表现寒林的深度，画家利用虚实关系拉大了空间，作者不但在寒林的后面用淡墨画了类似的树木，还以云雾来加强树林的纵深，使人感到寒气逼人、全图笔法简括刚韧，以线描为主，辅以皴染，明显带有南宋画院体风貌。人物造型准确，刻画得生动传神，钟馗的衣纹十分简洁，和周围景物的描绘上又十分准确精到，因而能达到情景交融的境界。这是此画最为成功之处。它在于将钟馗缩脖无颈，一副缩着脖子畏寒的样子跃然纸上，瑟缩着的钟馗和寒林一样都突出一个寒字，相互衬托，加强了作品荒寒气氛。故此画在人物形态神情的刻画及其立意上颇有独到之处。",[24,95,193,7,717,19358,80,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9242d4dde31567d9c1e594d9288317.jpg",[],{"id":28172,"slug":28173,"title":6424,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":28174,"thumbUrl":28175,"material":314,"size":1061,"collection":166,"collections":28176,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},290182,"zhu-tu-li-zhou-wu-chang-shuo-290182",[23,24,95,7,126,37,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d7eb58b8faf622716972b5c27606cf.jpg",[],{"id":28178,"slug":28179,"title":23394,"dynasty":174,"author":2605,"museum":450,"description":28180,"tags":28181,"thumbUrl":28182,"material":314,"size":1061,"collection":166,"collections":28183,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},290180,"tao-an-tu-zhou-hong-ren-290180","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[23,24,95,7,28,717,212,35,29,80,36,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],{"id":28185,"slug":28186,"title":28187,"dynasty":52,"author":1131,"museum":450,"description":28188,"tags":28189,"thumbUrl":28190,"material":314,"size":1061,"collection":166,"collections":28191,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},290159,"shi-an-gu-song-tu-cao-zhi-bai-290159","石岸古松图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 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魁梧，鼻梁高耸，眼珠圆凸，虬须怒张，两手置于胸前，侧身南望，戴头巾，身穿僧衣，赤足立于苇竿上，一第竿迎着风涛挺进，苇花在江风中摇曳，达摩脚下为滚滚的江水，奔腾而流。背景为一望无际的江水，弥雾茫茫无边无际。此图作于明成化庚子（1480）时年33岁，为他的中年佳作。钤“广运之宝”朱文印。\n明宪宗朱见深，英宗长子，天顺八年（1464）继位，年号成化（1465-1487）。先宗是一位有所作为的皇帝，嗜好艺术，也工书善画，尤擅人物和山水小景，并以御翰墨，赐予大臣们。此《达摩图》是他人物画中的佳作。\n达摩是菩提达摩的简称，是中国佛教禅宗的创始人。相传南朝梁武帝时，印度僧人天竺禅宗第二十八祖达摩，从海道前来我国传布佛教，梁武帝迎至金陵。他是乘坐船只从海道而来，但历来不少画家为神化达摩的道行，便画他脚踏芦苇，飘海而至。此画面所画正是这样。\n此画虽为宪宗即兴之作，即随意画成，但人物形象的刻画极其精练，神情表现细致入微。画法新颖别致，真切自然。人物的特征，用不多笔墨便勾画出来，头中和僧衣更为简练，袍下露出一双赤脚，亦真实地表现出来。衣褶用苇叶描，用笔如作书，转折之间，见其方整。江水波涛的烘染也很自然。总体来说，此画构图简括，笔墨简练，笔势放纵，将达摩的形象刻画入微，神采奕奕，精致地描绘出达摩超然尘表的形象特点，给人留下深刻的印象。",[23,24,25,547,7,3557,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f2b8d36724bb198e8256b183c8f56f.jpg","纵76.8厘米,横47.4厘米",[],{"id":28505,"slug":28506,"title":28507,"dynasty":174,"author":739,"museum":450,"description":28508,"tags":28509,"thumbUrl":28510,"material":166,"size":166,"collection":166,"collections":28511,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},230168,"lan-zhu-ming-qin-tu-hua-yan-230168","兰竹鸣禽图","此作工写相融，意趣悠然。上端禽鸟俯身垂首，似将啄饮，羽色以淡赭晕染，蓬松柔润，神态灵动鲜活。旁侧枯枝缀浅叶，墨色清透疏朗，衬得禽鸟愈发温婉生趣。\n\n下方坡石以泼墨写意，淡绿晕染衬出苍润苔痕，兰草、新竹生于石畔，笔致秀逸舒展，墨色虚实相生，尽显草木清姿。整卷以清浅淡远的色调，将生灵意趣与林下幽寂融为一体，笔墨兼具雅致与野趣，尽显文人写意画的空灵韵味。",[23,24,25,95,75,7,27,126,133,282,180,481,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb95074029fc5bb85e91a524cb89d6a.jpg",[],{"id":28513,"slug":28514,"title":28515,"dynasty":174,"author":739,"museum":450,"description":28516,"tags":28517,"thumbUrl":28519,"material":166,"size":166,"collection":166,"collections":28520,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},230167,"ba-ge-song-shu-tu-hua-yan-230167","八哥松鼠图","此作用笔兼工带写，冬日枯枝横斜，两只八哥相偎私语，墨色翎毛纤毫毕现，亲昵柔婉之态呼之欲出。下方松鼠曳着蓬松长尾，圆目灵动憨态可掬，驻足枝上似正侧目探看。\n\n淡墨晕染危石枯藤，飘零残叶点染出清寂冬意，留白空灵疏朗，将荒寒萧索的氛围铺陈开来。却以小生灵的鲜活暖意破了冷寂，静中藏动，虚实相生。软毛的蓬松温软、翎羽的油亮劲挺、枯木的苍劲淡远相映成趣，把冬日荒林间的盎然生趣刻画得精妙入微，尽显灵秀雅致的笔墨意趣。",[23,24,25,95,27,75,453,180,282,4468,28518,7,481],"落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c918a99a17b3d55a87fe514827c97c0.jpg",[],{"id":28522,"slug":28523,"title":19069,"dynasty":174,"author":18665,"museum":450,"description":28524,"tags":28525,"thumbUrl":28526,"material":166,"size":166,"collection":166,"collections":28527,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":2104},230116,"shan-shui-ce-12-kai-jian-jiang-230116","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。",[24,25,74,7,36,28,31,717,34,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b9046f9518a01dd6d6ff08f98e4f8d.jpg",[],{"id":28529,"slug":28530,"title":28531,"dynasty":18,"author":19,"museum":450,"description":28532,"tags":28533,"thumbUrl":28534,"material":166,"size":166,"collection":166,"collections":28535,"showCount":234,"zanCount":1084,"manualWeight":46,"mainColor":47},228831,"zhe-zhi-hua-zhi-shen-zhou-228831","折枝花枝","以水墨晕染出海棠花枝，老干苍劲朴拙，用笔凝练老辣，皴擦间尽显饱经风霜的沉厚质感。新发嫩梢轻盈舒展，墨色清浅柔润，与老干形成鲜明虚实对照。枝头繁花淡墨点染，留白为瓣，晕透出通透娇柔的春日情态，叶片浓淡错落，层次分明，鲜活尽现海棠盛放之姿。\n题跋与画作相映成趣，诗书画意交融，尽显文人画雅致意趣。整幅简淡天真，不事雕琢，以极简笔墨抓住花木神韵，将春日雅兴寄于毫端，平朴间自有冲淡空灵的意境，寥寥数笔便铺陈出海棠疏淡清雅之态，藏着江南文人闲居的悠然意致。",[23,24,25,95,7,76,79,367,552,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bbf1cdcefb49755ec2f8724f6aeda7.jpg",[],{"id":28537,"slug":28538,"title":5682,"dynasty":18,"author":5683,"museum":450,"description":28539,"tags":28540,"thumbUrl":28541,"material":166,"size":166,"collection":166,"collections":28542,"showCount":234,"zanCount":1084,"manualWeight":46,"mainColor":47},228757,"shen-xian-tu-ce-zhang-lu-228757","长髯老者席地安坐，面容清癯淡然，似正神游物外。衣纹以写意线条勾勒，笔势灵动舒展如流云拂过，寥寥数笔便将道袍宽博随性之态尽显，衬出老者超然世外的气质。身旁古朴药罐静置于方盒之上，暗合修真颐养的隐世意趣。\n\n纸面洒金晕开古雅沉静的氛围，淡墨轻擦出身下阴影，将人物妥帖融于留白之中，虚实相生间尽显空灵淡远的道家意境。笔简意赅，以少胜多，将超脱闲适的禅意藏于笔墨细节，尽显写意人物画传神精妙的功力。",[24,25,74,7,27,193,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca7c49e1d31a81eb4aea6b8462b1fc43.jpg",[],{"id":28544,"slug":28545,"title":28546,"dynasty":18,"author":28547,"museum":450,"description":28548,"tags":28549,"thumbUrl":28551,"material":314,"size":1061,"collection":166,"collections":28552,"showCount":234,"zanCount":5,"manualWeight":46,"mainColor":47},228740,"tong-ling-guan-tie-chuan-ge-juan-wang-shou-ren-228740","铜陵观铁船歌卷","王守仁","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[23,37,38,26,7,298,28550,335,706,454],"铁船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1411d7dfebd52277f93e0eef00d69aa.jpg",[],{"id":28554,"slug":28555,"title":28556,"dynasty":18,"author":4131,"museum":450,"description":27524,"tags":28557,"thumbUrl":28558,"material":314,"size":1061,"collection":166,"collections":28559,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},228284,"shan-shui-wu-jian-hua-hui-ce-13-kai-chen-hong-shou-228284","山水物件花卉册13开",[24,25,74,547,7,193,19341,3557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e605160230b222da495bd1f286071cc.jpg",[],{"id":28561,"slug":28562,"title":28563,"dynasty":205,"author":28564,"museum":450,"description":28565,"tags":28566,"thumbUrl":28567,"material":166,"size":166,"collection":166,"collections":28568,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","赵伯驹","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,281,24,25,26,7,27,28,147,1755,180,33,80,37,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":28570,"slug":28571,"title":28572,"dynasty":52,"author":9806,"museum":450,"description":28573,"tags":28574,"thumbUrl":28575,"material":166,"size":166,"collection":166,"collections":28576,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},228072,"teng-wang-ge-tu-ye-xia-yong-228072","滕王阁图页","此作以铁线白描界画楼宇，依山临江的名楼层叠错落，飞檐翘角、榫卯结构皆毫厘毕现，廊庑间人物往来顾盼，鲜活灵动，将楼阁巍峨工致描摹入微。\n\n江面上扁舟随波浮沉，远山澹澹晕开，简淡山水与精工楼宇相映，在尺幅之中铺展出宏阔雅致的胜景。整幅工细却不板滞，白描线条劲挺匀净，既复刻出名楼的壮伟形制，又晕染出江南水畔的清灵意韵，将登临名楼的雅致意趣凝于方寸之间，尽显界画的极致工巧，藏着对江南胜景的隽永追慕。",[23,24,281,518,74,547,7,194,28,31,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a4378908f12da247e608b1311e041d.jpg",[],{"id":28578,"slug":28579,"title":28580,"dynasty":205,"author":3062,"museum":450,"description":28581,"tags":28582,"thumbUrl":28583,"material":166,"size":166,"collection":166,"collections":28584,"showCount":234,"zanCount":1084,"manualWeight":46,"mainColor":140},227981,"qiu-lu-fei-wu-tu-liang-kai-227981","秋芦飞鹜图","此作以简逸水墨绘就秋江野景。坡岸以浓淡墨晕染而出，苍朴浑拙，几丛芦草只以数笔挥写，便将秋风中欹侧摇曳之态尽现，萧瑟秋意扑面而来。\n\n四只飞鹜分作两组，淡墨轻勾身形，羽翼翩然灵动，破空掠飞于空茫江面。画面大片留白化作寒烟秋水，虚远空寂，与极简的物象相映成趣，以少胜多，将秋江荒寒澄澈的意境渲染到极致。笔意纵逸简淡，于萧索之中暗蕴灵动生机，寥寥数笔勾勒出秋日江天的澹泊野趣，尽显写意花鸟画的空灵悠远。",[23,281,24,25,3335,7,123,1004,282,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c37f9fecfb7b19133333a2cd8c3399.jpg",[],{"id":28586,"slug":28587,"title":28588,"dynasty":205,"author":15165,"museum":450,"description":28589,"tags":28590,"thumbUrl":28591,"material":166,"size":166,"collection":166,"collections":28592,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":140},227758,"qiu-ye-mu-niu-tu-yan-ci-ping-227758","秋野牧牛图","《秋野牧牛图》是画家阎次平所创作的一幅画，现藏于泉屋博古馆藏。\n\n《秋野牧牛图》描绘了真实生动的乡间生活情景。图中画二牧童和三牛。二牧童并坐于树下，安闲自若，一位似在给另一位捉虱子；一头大牛卧于树下，一小牛依卧母牛身旁，母牛伸过头来给小牛捉蝨子，另一牛向外奔去，自得其乐。树叶染红，杂以黄色，岸坡和远山则以淡墨轻抹勾勒。充满诗意，牛和牧童的刻画更体现出画家的细微观察力。\n\n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、人物，尤工画牛，颇为生动。画法近李唐。存世作品有《牧牛图》等。弟次于，亦善画。",[23,24,7,27,481,36,28,162,1839,5331,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0571f2ca0a021ab1e67ffbdcbdde86ef.jpg",[],{"id":28594,"slug":28595,"title":28596,"dynasty":174,"author":15533,"museum":450,"description":24545,"tags":28597,"thumbUrl":28598,"material":166,"size":166,"collection":166,"collections":28599,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},226630,"si-shi-shan-shui-03-pu-ru-226630","四时山水03",[23,24,25,7,36,74,28,193,34,33,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a54730262b673b5e2e522748b6b7275.jpg",[],{"id":28601,"slug":28602,"title":28603,"dynasty":174,"author":377,"museum":450,"description":28604,"tags":28605,"thumbUrl":28606,"material":166,"size":166,"collection":166,"collections":28607,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[23,24,25,26,7,133,126,180,37,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":28609,"slug":28610,"title":28611,"dynasty":174,"author":377,"museum":450,"description":28612,"tags":28613,"thumbUrl":28614,"material":166,"size":166,"collection":166,"collections":28615,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[23,24,25,74,7,27,28,31,30,212,33,6801,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":28617,"slug":28618,"title":28619,"dynasty":174,"author":18665,"museum":450,"description":28620,"tags":28621,"thumbUrl":28622,"material":166,"size":166,"collection":166,"collections":28623,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,25,26,7,27,36,254,80,37,28,194,33,624,717,30,31,32,59,519,164,4569,268,29,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":28625,"slug":28626,"title":28627,"dynasty":174,"author":7295,"museum":294,"description":28628,"tags":28629,"thumbUrl":28630,"material":1877,"size":166,"collection":42,"collections":28631,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},222721,"huang-shan-ba-jing-tu-ce-zheng-min-222721","黄山八景图册","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,24,25,74,7,28,180,36,37,80,33,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[42,245],{"id":28633,"slug":28634,"title":28635,"dynasty":18,"author":2851,"museum":120,"description":28636,"tags":28637,"thumbUrl":28643,"material":20319,"size":28644,"collection":245,"collections":28645,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,9254,37,38,26,7,80,940,2925,28,31,29,30,32,282,610,147,125,133,126,134,128,129,131,132,1114,5489,1438,831,454,28638,1440,28639,28640,28641,28642],"日","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纵23.3厘米，横551.3厘米",[245],{"id":28647,"slug":28648,"title":28649,"dynasty":18,"author":2755,"museum":92,"description":28650,"tags":28651,"thumbUrl":28652,"material":98,"size":28653,"collection":42,"collections":28654,"showCount":234,"zanCount":1084,"manualWeight":46,"mainColor":47},222182,"qing-bai-xuan-tu-zhou-liu-jue-222182","清白轩图轴","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。\n刘珏[jué]为官清正，浙江甫田县丞督赋侵吞渔税，被告以“黄金二百两”委托亲戚向他行贿，他正愁缺少证据，便以此为突破口，查明了赋税被侵吞的真相。无锡有个贪官因受贿事发，托人送来500两银子，求他去向办案人说情。刘珏严拒，并对来人说：“不亟去，当讯之于官！”\n刘廷美为刑部主事居京师，与徐武功、刘原博诸公为诗友，每相过，必谈论达旦。尝岁除，原博邀之守岁，廷美因挟所藏钟馗画像求题，原博遂援笔大书一诗于上。明旦持归，县之中堂。京师每正旦，主人皆出贺，惟置白纸簿并笔研于几，贺客至，书其名，无迎送也。是日朝罢，刘定之、黄廷臣两学士首至，见此诗，各摘簿一叶录之去。朝士继至者，皆摘录之。顷间，簿已尽矣。廷美晚回，索簿阅贺客以图往报，家人告其故。明日，复置一簿，亦如之。中书舍人金本清戏谓廷美曰：“此钟馗乃耗纸鬼也。”一时京师传为奇事。原博诗曰：“长空糊云夜风起，不忿成群跳狂鬼。倒提三尺黄河水，血洒莲花舞秋水。飞萤负火明月羞，栎窠影黑啼鸺枭。绿袍乌帽逞行事，磔脑刳肠天亦愁。中有巨妖诛未得，盍驾飙轮驱霹雳。如何袖手便忘机，回首东方又生白。”\n刘完庵薄于仕宦，年五十遂解组，时有宪臣索题《牧牛图》，为赋诗曰：“牧子驱牛去若飞，免教风雨湿蓑衣。回头笑指桃林外，多少牧牛人未归。”宪臣亦感泣挂冠去。\n成化初，琼台邢公宥为苏守，以梅华求题，廷美赋绝句云：“岁寒相见在天涯，玉色珠光带露华。笑杀玄都狂道士，种桃何不种梅华？”邢公得诗甚喜。后邢公以郡中久荒，陂荡起税，民心颇怨，有投诗刺之者曰：“量尽山田与水田，只留沧海与青天。渔舟若过间洲渚，为报沙鸥莫浪眠。”邢公闻之，以为廷美所作，衔之。或劝往白，廷美曰：“彼奈我何？”后廷美卒，邢公吊祭皆不往，人多非之。",[23,24,95,7,36,28,32,29,30,33,34,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931c328fef461048547689cfaea32c14.jpg","纵92.7厘米横35.4厘米",[42],{"id":28656,"slug":28657,"title":28658,"dynasty":18,"author":19,"museum":92,"description":1078,"tags":28659,"thumbUrl":28661,"material":196,"size":28662,"collection":166,"collections":28663,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓",[23,24,25,7,27,38,1153,28,1035,29,32,6711,28660,193,1352],"浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ebf57ec710cf7b3feb2eb738b90919.jpg","28x43.5厘米",[],{"id":28665,"slug":28666,"title":28667,"dynasty":18,"author":15744,"museum":120,"description":28668,"tags":28669,"thumbUrl":28670,"material":196,"size":28671,"collection":42,"collections":28672,"showCount":234,"zanCount":1084,"manualWeight":46,"mainColor":921},222074,"da-mo-tu-zhou-wu-bin-222074","达摩图轴","图绘中国禅宗初祖达摩面壁参禅的故事。图中达摩须发茂密，头顶有肉髻，耳垂较长，具梵僧的面相特征，但眉目、鼻梁又非西域人的深目高鼻，而是融合了汉人的特点。达摩身着红衣袈裟，袒右胸，结跏趺坐于蒲团上。达摩的面目刻画细致，袈裟衣纹用笔朴拙粗重，融入了战笔和钉头鼠尾描的笔意。布景简洁，达摩身后斜立一巨石，山石轮廓用淡墨轻勾，注重以水墨晕染表现山石的质感，墨色深重沉寂，与达摩面壁参禅的意境相融。\n本幅右下画家自题：“枝隐头陀吴彬斋心拜写。”下钤“吴彬之印”朱文、“吴文中氏”白文二印。左下角有“谢”朱文、“阿閦鞞室供养”朱文收藏印。\n唐代禅宗兴盛以来，禅宗六祖成为文人、职业画家中流行的题材，其中尤以表现达摩面壁、渡江的题材最为流行。从该图右下“枝隐头陀吴彬斋心拜写”的款识和左下角“阿閦鞞室供养”的收藏印来看，这应该是一幅有着实际宗教功能的作品。辽宁省博物馆所藏戴进《达摩六祖图》后有清初曹溶题跋，他从禅宗重视心传出发劝程君吉修禅不要受图画的影响，认为“于无画处参，乃高人一等”，曹溶的跋亦从反面说明了当时存在的“以画参禅”的事实。",[23,24,95,3557,27,193,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8aa2bc689c8b52664da36963765e99.jpg","62.3x35.3",[42,222],{"id":28674,"slug":28675,"title":28676,"dynasty":52,"author":28677,"museum":92,"description":28678,"tags":28679,"thumbUrl":28680,"material":27,"size":28681,"collection":42,"collections":28682,"showCount":234,"zanCount":1084,"manualWeight":46,"mainColor":140},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。",[23,24,494,95,7,36,7312,34,717,194,57,35,14996,31,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 97公分",[42,222],{"id":28684,"slug":28685,"title":28686,"dynasty":52,"author":581,"museum":92,"description":28687,"tags":28688,"thumbUrl":28689,"material":98,"size":28690,"collection":42,"collections":28691,"showCount":234,"zanCount":1084,"manualWeight":46,"mainColor":47},221700,"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[23,24,25,95,7,36,28,454,162,706,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[42,222],{"id":28693,"slug":28694,"title":28695,"dynasty":205,"author":307,"museum":92,"description":28696,"tags":28697,"thumbUrl":28698,"material":28699,"size":28700,"collection":166,"collections":28701,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[23,24,281,25,74,28,36,7,193,31,468,147,30,831,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":28703,"slug":28704,"title":28705,"dynasty":205,"author":12964,"museum":770,"description":28706,"tags":28707,"thumbUrl":28708,"material":20319,"size":28709,"collection":166,"collections":28710,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},221198,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221198","自作诗卷（全卷）第一段","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[23,37,38,26,7,80,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd86e4e28de5c93a83e0f57568a97a.jpg","31*7017cm",[],{"id":28712,"slug":28713,"title":28714,"dynasty":18,"author":1836,"museum":120,"description":8036,"tags":28715,"thumbUrl":28716,"material":1843,"size":2973,"collection":166,"collections":28717,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},220911,"shan-shui-ce-5-dong-qi-chang-220911","山水册5",[23,281,24,7,36,74,28,29,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a4d51b4537b87d26db812e65f4def5.jpg",[],{"id":28719,"slug":28720,"title":28721,"dynasty":359,"author":1872,"museum":1873,"description":28722,"tags":28723,"thumbUrl":28724,"material":166,"size":166,"collection":166,"collections":28725,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},220552,"ce-mu-xu-bei-hong-220552","侧目","浓墨横扫铺就雄狮鬃毛，野性肌理顺着笔势翻涌，紧绷的躯体如蓄势待发的弓弦，它侧目紧盯岩下蜿蜒长蛇，目光冷冽，将猛兽的警惕与威严尽数释出。画家以中西合璧之法，淡赭晕染狮身塑造体积感，焦墨点睛攫住神态，写实的狮爪紧扣危岩，力量感喷薄欲出。\n岩下长蛇灵动蜿蜒，恰好反衬出雄狮的沉凝沉稳，枯笔皴擦险石，烘托出肃杀的对峙氛围。整作跳脱传统走兽画的柔媚格调，以雄健笔力寄寓不屈气魄，将写意意境与写实造型相融，定格荒野中的张力瞬间，让猛兽的生命野性跃然纸面，尽显笔底的精神重量。",[24,7,27,453,15615,10275,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902d4a31d795805bfb02f892f1df2b1a.jpg",[],{"id":28727,"slug":28728,"title":28729,"dynasty":18,"author":2851,"museum":294,"description":28730,"tags":28731,"thumbUrl":28732,"material":98,"size":28733,"collection":42,"collections":28734,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":47},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,25,26,7,38,37,80,36,28,33,30,31,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[42],{"id":28736,"slug":28737,"title":28738,"dynasty":18,"author":11120,"museum":176,"description":28739,"tags":28740,"thumbUrl":28741,"material":98,"size":28742,"collection":42,"collections":28743,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":921},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[23,24,494,254,7,36,34,33,787,35,211,31,30,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[42],{"id":28745,"slug":28746,"title":28747,"dynasty":18,"author":24666,"museum":176,"description":28748,"tags":28749,"thumbUrl":28751,"material":98,"size":28752,"collection":42,"collections":28753,"showCount":234,"zanCount":1084,"manualWeight":46,"mainColor":140},220026,"ce-zhang-kan-shan-tu-wei-zhi-ke-220026","策杖看山图","此作用淡墨晕染山峦，以虚实相生之法铺展烟岚幽谷，栈道隐没在空濛雾气间，恍若通连世外秘境。近景枯木虬曲苍劲，皴笔勾勒出嶙峋老干，尽显岁月沉凝。幽篁小径蜿蜒，策杖老者缓步山隅，简淡衣纹间漾出林下悠然。\n画作以清瘦秀逸的线条、浅淡设色营造萧散简远的意境，将文人寄情林泉的隐逸襟怀融在山野景致中，观之如随画中人静听松风山岚，暂忘尘嚣，尽显文人画尚意抒情的特质。",[23,24,7,95,28,36,147,29,34,96,28750],"策杖人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe08037b225d61dec338ea640adbb3e0.jpg","132x32厘米",[42],{"id":28755,"slug":28756,"title":28757,"dynasty":18,"author":581,"museum":430,"description":28758,"tags":28759,"thumbUrl":28760,"material":457,"size":166,"collection":42,"collections":28761,"showCount":234,"zanCount":46,"manualWeight":46,"mainColor":140},219713,"song-yin-guan-quan-tu-yi-ming-219713","松阴观泉图","此作用虚实相生的水墨铺陈幽境，左上危岩虬松如铁，浓墨晕出山石峭拔之势，留白晕开水色山岚，将清远秋意漫开。\n\n崖畔高士凭石凝睇，白衣飘然似与林泉相融，童子垂立水滨，一静一动衬出空山寂廖。笔墨简淡苍劲，寥寥数笔勾出人物悠然神态，淡墨扫就远岫烟波，将文人林下幽居的雅趣藏进山水褶皱里。似可耳闻松涛漱石，静览间涤净尘俗，尽显尚简重意的文人画风骨。",[24,494,95,7,27,127,34,2987,30,193,36,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105a2d6cc74d001858f9036141b65313.jpg",[42],{"id":28763,"slug":28764,"title":28765,"dynasty":889,"author":1266,"museum":92,"description":28766,"tags":28767,"thumbUrl":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黄道周善楷、行、草诸体书，又工隶书。他的楷书，如《孝经卷》、《张溥墓志铭》，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。他的行草书，如《五言古诗轴》，大略类其楷书的体势，行笔转折方健，结字欹侧多姿，朴拙的风格同样接近钟繇。他的隶书正具有“清截遒媚”的特点，不如楷书那样古拙清刚。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。",[37,25,26,38,7,80,28955],"榕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36769674ee7c84e872e15c893bbd6a2.jpg","绫本楷书","12．5X 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，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。\n此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[24,281,95,7,36,193,28,147,34,23702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa15f5abc30d1fdeadcb813b27c6ca6.jpg",[42],{"id":28986,"slug":28987,"title":2736,"dynasty":174,"author":2737,"museum":450,"description":27569,"tags":28988,"thumbUrl":28989,"material":166,"size":166,"collection":166,"collections":28990,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},239052,"shan-shui-hua-niao-ce-yang-jin-239052",[24,25,74,27,7,75,125,126,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd43799d0004778e938618486c94ebe75.jpg",[],{"id":28992,"slug":28993,"title":28994,"dynasty":174,"author":9002,"museum":450,"description":25914,"tags":28995,"thumbUrl":28996,"material":166,"size":166,"collection":42,"collections":28997,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":921},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷",[24,26,7,28,36,31,80,33,34,211,58,194,5329,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[42,222],{"id":28999,"slug":29000,"title":29001,"dynasty":18,"author":7182,"museum":450,"description":29002,"tags":29003,"thumbUrl":29004,"material":298,"size":166,"collection":245,"collections":29005,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[24,25,95,7,28,36,37,80,38,162,34,31,30,164,24537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[245],{"id":29007,"slug":29008,"title":29009,"dynasty":174,"author":28853,"museum":120,"description":29010,"tags":29011,"thumbUrl":29012,"material":564,"size":29013,"collection":42,"collections":29014,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},236126,"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[24,25,95,7,36,28,127,4764,162,34,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 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40cm",[],{"id":29126,"slug":29127,"title":29128,"dynasty":18,"author":1788,"museum":120,"description":29129,"tags":29130,"thumbUrl":29131,"material":298,"size":29132,"collection":166,"collections":29133,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},232956,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232956","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,25,74,7,38,80,36,28,30,33,34,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ed62dc5cfe09f6bce91b30b580bae4.jpg","28.5×15.8厘米",[],{"id":29135,"slug":29136,"title":8127,"dynasty":18,"author":10698,"museum":450,"description":29137,"tags":29138,"thumbUrl":29139,"material":166,"size":166,"collection":166,"collections":29140,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},231013,"xi-shan-xian-guan-tu-wen-bo-ren-231013","此作用笔秀雅苍润，以淡墨皴擦山峦，晕染出烟岚轻笼的朦胧质感，峰峦层叠错落，将高远、深远之境相融。山坳间的仙馆屋舍隐在丹黄点染的林木之中，流泉叠瀑穿谷而下，为静谧山林添注灵动生机。\n整体兼具元人山水的淡逸简远，又带着吴门画派的清丽雅致，把文人心中的林泉幽隐之思铺陈在尺幅之间，恍若将清虚灵秀的桃源仙境收卷其中，观之如踏入世外仙居，静穆里藏着鲜活意趣，尽显江南山水温婉灵秀的气韵，诠释出寻仙问道的缥缈意境。",[24,25,95,7,36,28,194,33,210,34,80,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f29fa640b26633fd9da557e8a86eaf6.jpg",[],{"id":29142,"slug":29143,"title":29144,"dynasty":174,"author":657,"museum":450,"description":29145,"tags":29146,"thumbUrl":29147,"material":166,"size":166,"collection":166,"collections":29148,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":140},230236,"za-hua-12-kai-jin-nong-230236","杂画12开","此作以枯淡老辣的笔墨绘古松，虬曲主干皴擦苍劲，松针攒簇如钉，尽显古松傲岸挺拔的沧桑身姿。缠绕的附枝柔中带刚，与苍松相映，野意盎然。\n\n下方题字以标志性漆书书就，朴茂雄健，笔墨厚重浑朴，书画相映，将文人的清逸高古融入画中。整幅作品以水墨写尽古松浑朴神韵，生拙奇崛的画风里，寄寓着画者清介不俗的襟怀，尽显文人画以意驭笔的雅致意趣。",[23,24,25,74,7,127,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd0c684d21e794d38033a43582b604c.jpg",[],{"id":29150,"slug":29151,"title":29152,"dynasty":174,"author":6172,"museum":450,"description":29153,"tags":29154,"thumbUrl":29155,"material":314,"size":1061,"collection":166,"collections":29156,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":140},230137,"qiu-song-qiao-bi-tu-wu-li-230137","虬松峭壁图","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,95,7,36,80,28,624,532,34,194,30,33,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2360df74dde1940bb17a7183928f6ea7.jpg",[],{"id":29158,"slug":29159,"title":29160,"dynasty":18,"author":29161,"museum":450,"description":29162,"tags":29163,"thumbUrl":29164,"material":314,"size":1061,"collection":166,"collections":29165,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},228335,"qiu-ye-jing-wu-tu-shan-mian-lu-shi-ren-228335","秋夜景物图扇面","陆士仁","字文近，号澄湖，一作承湖，长洲（今江苏苏州）人。",[23,24,1462,7,36,28,33,35,480,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c162e5283af955c7a9d2567091f6929.jpg",[],{"id":29167,"slug":29168,"title":1381,"dynasty":52,"author":2127,"museum":450,"description":29169,"tags":29170,"thumbUrl":29171,"material":166,"size":166,"collection":166,"collections":29172,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},228045,"qiu-shan-xing-lv-tu-sheng-mao-228045","此作用淡墨皴染山峦，层层铺展出秋日山林的萧疏苍润，飞泉自崖间垂落，点活了幽寂山境。坡岸松林苍劲错落，细笔勾勒枝叶，兼具挺秀与萧散之致。山径行旅人影点缀其间，衬出林山空阔辽远。\n\n画作以淡赭轻敷，晕染出秋高气清的氛围感，笔法兼得院体精工与文人雅致，将秋日山野的静谧悠远与行旅意趣相融，尺幅间铺展出声色俱寂却暗蕴生趣的山水诗境，尽显元代山水尚简淡、重意境的风神。",[23,24,25,281,28,7,36,27,335,162,30,210,1385,34,80,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957c8bac516a56247b6613d7daeb6e4e.jpg",[],{"id":29174,"slug":29175,"title":16491,"dynasty":205,"author":29176,"museum":450,"description":29177,"tags":29178,"thumbUrl":29179,"material":166,"size":166,"collection":166,"collections":29180,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},227807,"yu-le-tu-zhou-dong-qing-227807","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,281,24,25,26,481,7,27,1114,397,80,20409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":29182,"slug":29183,"title":29184,"dynasty":174,"author":377,"museum":27815,"description":807,"tags":29185,"thumbUrl":29186,"material":6136,"size":27818,"collection":166,"collections":29187,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},224524,"shan-shui-tu-ce-8-kai-8-zhang-da-qian-jiu-cang-shi-tao-224524","山水图册8开-8-张大千旧藏",[23,24,7,36,74,25,80,38,28,31,1004,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e46120bfc311a87046dd8a2c51cf479.jpg",[],{"id":29189,"slug":29190,"title":29191,"dynasty":174,"author":377,"museum":450,"description":29192,"tags":29193,"thumbUrl":29194,"material":166,"size":166,"collection":166,"collections":29195,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},224507,"shan-shui-ce-kai-shi-er-shi-tao-224507","山水冊开(十二)","此作用笔灵动苍润，以高远、平远之法铺展丘壑。远处群峰以淡赭浅墨晕染，峰峦层叠间氤氲着空濛清气，似含朝烟暮霭。近景顽石以浓墨勾皴，朴拙厚重，与远山的虚淡相映成趣。留白作水，扁舟渔父悄然行于烟波，林间墨点为木，寥寥数笔便点染出幽寂野趣。\n\n题画诗与山水浑然相融，将山河野旷间的放逸襟怀娓娓道来，寄寓着纵浪天地、栖心林泉的隐逸之思。笔墨干湿浓淡相生，以简驭繁，萧散淡远中尽显清逸灵秀的意韵，将天地山水间的自在之境铺陈开来，余韵悠长。",[23,24,25,74,7,27,36,80,28,31,34,33,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921716ec4a10b4154f9394b12795127a.jpg",[],{"id":29197,"slug":29198,"title":29199,"dynasty":174,"author":749,"museum":450,"description":29200,"tags":29201,"thumbUrl":29202,"material":166,"size":166,"collection":166,"collections":29203,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},224402,"wang-chuan-tu-juan-wang-yuan-qi-224402","辋川图卷","此作用全景式铺展林壑烟波，干笔焦墨反复皴擦，层层晕染出苍润浑厚的山峦丘石。水泽横陈，将错落山居、葱郁林木串联，渔舟泛于空蒙水面，村落藏于深林岩岫之间，尽显幽寂萧散的山居雅意。\n\n画作恪守元人山水的淡远意趣，又以娄东画派绵密繁复的笔法铺陈，虚实相生间复刻出辋川栖居的林泉之胜，把文人理想中的幽隐之境凝于尺幅，笔墨苍秀兼具，静穆雅致中尽显传统山水的隽永意趣。",[23,24,26,27,7,28,36,29,30,31,32,194,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55542ac04f40c6195375482a7fc7f2.jpg",[],{"id":29205,"slug":29206,"title":29207,"dynasty":5382,"author":581,"museum":450,"description":29208,"tags":29209,"thumbUrl":29210,"material":166,"size":166,"collection":166,"collections":29211,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":140},223686,"qi-shi-wen-shu-tu-yi-ming-223686","骑狮文殊图","此作用笔清劲雅致，以淡墨晕染铺陈。文殊端坐狮背，身伴圆光，面容沉静悲悯，手持如意，衣袂舒展飘逸，尽显出尘慧雅的气度。青狮昂首踏浪而行，兽目圆睁威严尽显，层叠海浪以淡墨晕染，古拙灵动，烘托出踏浪而行的悠然之势。\n\n上方题诗与画像呼应，将菩萨的般若智慧和空灵禅意融于尺幅间，兼蓄宗教肃穆与文人笔墨意趣。",[23,24,25,95,3557,193,453,547,7,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1e4a5bcd97d0b2b84bdd429e2890f5.jpg",[],{"id":29213,"slug":29214,"title":29215,"dynasty":205,"author":581,"museum":120,"description":29216,"tags":29217,"thumbUrl":29219,"material":10405,"size":29220,"collection":83,"collections":29221,"showCount":28866,"zanCount":1084,"manualWeight":46,"mainColor":140},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。",[23,24,95,7,27,717,29218,27853,832,163,28,7585,282],"鸿雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","125.9＊92.6cm",[83,222],{"id":29223,"slug":29224,"title":29225,"dynasty":174,"author":15930,"museum":92,"description":18695,"tags":29226,"thumbUrl":29227,"material":27,"size":29228,"collection":42,"collections":29229,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴",[23,24,25,95,7,36,28,335,706,454,32,33,215,37,80,216,1776,211,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[42,222],{"id":29231,"slug":29232,"title":29233,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":29234,"thumbUrl":29235,"material":166,"size":166,"collection":166,"collections":29236,"showCount":28866,"zanCount":1084,"manualWeight":46,"mainColor":47},222519,"shen-xian-tu-ce-8-zhang-lu-222519","神仙图册8",[23,24,25,74,7,193,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d838b96476bec3bf815183f8a60b82.jpg",[],{"id":29238,"slug":29239,"title":29240,"dynasty":18,"author":18021,"museum":450,"description":29241,"tags":29242,"thumbUrl":29243,"material":7,"size":29244,"collection":42,"collections":29245,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":921},222140,"yu-zhong-shan-se-tu-li-liu-fang-222140","雨中山色图","李流芳的《雨中山色图》手卷，可见画面全貌近似宋人笔意与董华亭画法而稍露方折，整体图画层次明晰又显出笔墨清润，构图完满又富有变化。顺形追踪，开卷就顿见留有“米家云山”之痕迹，持续读去又感山石含有董源披麻皴遗法，全图结尾处似乎蕴有沈周秀润散淹墨法。若拈笔墨技法论，画家大胆以泼墨、积墨、渗墨、破墨为主，间以少许勾勒皴染。名士奚冈曾跋李流芳山水册时赞云：“流芳以笔墨诗酒自娱，……擅长山水，尤好吴仲圭，布白奇古，笔笔有意，墨痕浑化，神味盎然，亦善写生，出入宋元，逸气飞动，水墨浅深，韵味深永。”此手卷从一定层面反映出李流芳的笔墨修炼已达纯青火候，心胸境界已臻上乘。\n李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[23,24,26,7,36,28,335,162,35,211,59,2316,5331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[42,222],{"id":29247,"slug":29248,"title":29249,"dynasty":18,"author":1788,"museum":92,"description":29250,"tags":29251,"thumbUrl":29252,"material":284,"size":29253,"collection":83,"collections":29254,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},222004,"qiu-kui-zhe-zhi-tu-wen-zheng-ming-222004","秋葵折枝图","图绘折枝秋葵一枝，取其正面之势。花开粲然，叶呈多貌，浓墨淡墨穿插其间，神韵清俊舒朗。",[23,24,75,76,7,123,95,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa792f16172d45ac3e5b4b10cf32a318e.jpg","纵65.4厘米，横30.3厘米",[83,222],{"id":29256,"slug":29257,"title":29258,"dynasty":52,"author":621,"museum":120,"description":29259,"tags":29260,"thumbUrl":29261,"material":537,"size":29262,"collection":166,"collections":29263,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},221818,"yang-zhu-xi-xiao-xiang-quan-juan-ni-zan-221818","杨竹西小像全卷","这是一幅元代人物肖像画的经典作品，由王绎与著名山水画家倪瓒共同绘制。图绘一老者策杖立坡间，旁点缀松石等简单衬景。本幅左侧倪瓒题款：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年（1363年）。据款识可知此卷为王绎、倪瓒合作而成。此图所绘应为杨氏归老林泉后的晚年肖像。图中杨谦头戴乌巾，右手执杖，衣袍宽松，面相清癯、磊落而有神。描绘精细，人物面部均以淡墨为之，以线为主，略事烘染，着墨不多而神情毕肖，表现出很高的艺术水平。倪瓒所补松石，笔墨枯淡、松秀，与人物相得益彰，共同构成了一幅精美的肖像画作品。\n此图由王绎画杨谦（号竹西）小像，倪瓒补画松石平坡。图中杨谦留着长发，头戴小帽，身着长袍，持杖独立。人物面部用细笔勾描，略用淡墨烘染，形象生动逼真。笔墨不多，却较好地表现了杨竹西“清谦谨慎”的性格。画像后亲以小石的弧松，更加烘托了杨竹亡在宋亡后不仕朝迁的气节。画中倪瓒题云：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年，即公元1363年。卷后有元人邓元祜、杨维祯等十一家题记。",[23,24,25,26,547,7,193,180,147,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2134019448775058ad4a63eadde0d16a.jpg","纵27.7厘米，横86.8厘米",[],{"id":29265,"slug":29266,"title":12610,"dynasty":359,"author":1872,"museum":5712,"description":29267,"tags":29268,"thumbUrl":29270,"material":166,"size":166,"collection":166,"collections":29271,"showCount":28866,"zanCount":1084,"manualWeight":46,"mainColor":47},220534,"ye-qu-xu-bei-hong-220534","浓墨挥写古柳老干，苍劲朴拙尽显岁月沉凝，细枝柔条以淡墨轻曳，疏密间漾开清寂野趣。两只喜鹊俊挺灵动，兼工带写勾勒翎羽，黑白分明，于枯寂枝桠间栖息顾盼，鲜活之气跃然纸上。右下角赭色杂草与附生的青绿藤蔓相映，为萧索冬景晕染几分暖意生机。\n\n画作融写意的苍浑与工笔的精细于一体，将郊野冬日的清寂与生命的灵动相融，萧索底色晕染盎然生趣，寥寥笔墨勾勒出疏淡雅致的野间意韵。",[24,7,27,147,282,75,1035,29269,7389],"柳条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab67d6ee5f9c13333af53cc3a7868c6c.jpg",[],{"id":29273,"slug":29274,"title":29275,"dynasty":18,"author":1836,"museum":294,"description":8497,"tags":29276,"thumbUrl":29277,"material":298,"size":6317,"collection":166,"collections":29278,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},220346,"fang-mi-fei-shan-shui-tu-juan-wen-2-dong-qi-chang-220346","仿米芾山水图卷-文2",[37,38,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610adfcabe39b18044034a9cf98a821c.jpg",[],{"id":29280,"slug":29281,"title":29282,"dynasty":174,"author":5090,"museum":450,"description":5989,"tags":29283,"thumbUrl":29284,"material":40,"size":5993,"collection":166,"collections":29285,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4",[23,24,25,20370,27,7,36,28,29,30,31,33,34,1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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[24,25,7,28,36,162,211,34,6082,29310,12020,6743,212,1776,3660],"传统山水画技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62056f5499481d2ef5d82d187387f38.jpg","48.8x33.5cm",[42],{"id":29315,"slug":29316,"title":29317,"dynasty":174,"author":2029,"museum":20,"description":4203,"tags":29318,"thumbUrl":29319,"material":298,"size":4206,"collection":166,"collections":29320,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},219854,"ba-jing-shan-shui-tu-3-gong-xian-219854","八景山水图-3",[24,7,28,717,1442,9613,211,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19de21601c89225b55803f981dddc27.jpg",[],{"id":29322,"slug":29323,"title":29324,"dynasty":174,"author":2029,"museum":20,"description":4203,"tags":29325,"thumbUrl":29326,"material":298,"size":4206,"collection":166,"collections":29327,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},219853,"ba-jing-shan-shui-tu-4-gong-xian-219853","八景山水图-4",[24,7,36,74,28,33,324,31,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd597d6542b9862b226d5d90a4607334.jpg",[],{"id":29329,"slug":29330,"title":29331,"dynasty":174,"author":633,"museum":120,"description":29332,"tags":29333,"thumbUrl":29337,"material":40,"size":29338,"collection":600,"collections":29339,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},219629,"ren-yi-hua-shen-lu-ting-du-hua-tu-xiang-zhou-ren-yi-219629","任颐画沈芦汀读画图像轴","画面分为上下两段，文墨相融。下方写意绘就雅集读画的场景，对坐的主客神态专注，侍者垂手捧卷静立一旁，人物形神兼备，衣纹线条简括灵动，水墨晕染出树影苍润，浅淡设色衬出雅致清和的氛围，将文人赏画的闲散意趣尽显。上方题诗笔意舒展，与画作呼应，把寄情书画、耽于林泉的林下风流铺陈开来。整作以写意之笔，摹写文人雅事，尽显清淡隽秀的文人审美意韵。",[23,24,25,95,27,7,38,29334,193,29335,29336,33,80],"工笔写意","书桌","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e54df0d3458667c8290256debccb71.jpg","纵33cm，横40cm",[600],{"id":29341,"slug":29342,"title":29343,"dynasty":18,"author":29344,"museum":120,"description":29345,"tags":29346,"thumbUrl":29348,"material":298,"size":29349,"collection":245,"collections":29350,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},219164,"shi-han-ce-peng-nian-219164","诗翰册","彭年","此册书法欹峭微侧，有苏轼书法意韵。王世贞《吴中往哲像赞》云：彭年 “书初法晋人，己为楷，其小者信本（欧阳询），大者清臣（颜真卿），行、草则子瞻（苏轼）。”但彭年舍苏轼丰腴、偏肥、卧笔，而以清劲爽健的笔锋使其笔法更为开放活泼，故王世贞又云：“行、草眉山若远耳。”",[23,24,25,37,38,74,7,80,29347],"诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa41ab93392936e7e9e6c6d457c78455c.jpg","每开纵26厘米，横33.5厘米",[245],{"id":29352,"slug":29353,"title":29354,"dynasty":52,"author":15631,"museum":92,"description":29355,"tags":29356,"thumbUrl":29357,"material":110,"size":166,"collection":166,"collections":29358,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},218829,"jiang-cun-huan-du-tu-zhu-de-run-218829","江村唤渡图","纨扇间铺展的江村小景，似是元人袖中藏起的一段清寂时光。枯树以苍劲笔线勾勒，枝桠如蟹爪般遒劲，与岸边柔婉的垂柳相映成趣，刚柔之间晕开季节的况味。远山以淡墨轻染，隐于云雾之后，与近岸的村落、渡头形成虚实层次，水面留白似泛着轻烟，将天地空濛感拉得悠长。渡头人影虽小，却似携着一声唤渡轻响，打破山林静谧又让静意更显深沉。墨色浓淡相宜，绢本古雅质感衬得景致愈发悠远，笔意间藏着林泉之志的向往，将寻常渡头的片刻，凝成耐人寻味的水墨诗行。",[23,24,25,74,7,36,28,717,147,30,59,7883,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754738568dfb446c4439248b95ec0a4d.jpg",[],{"id":29360,"slug":29361,"title":29362,"dynasty":18,"author":71,"museum":92,"description":29363,"tags":29364,"thumbUrl":29366,"material":457,"size":29367,"collection":42,"collections":29368,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":140},218141,"gu-yu-fei-tao-tu-sun-ke-hong-218141","孤屿飞涛图","孤屿飞涛图是明朝画家孙克弘的一幅著名的写意山水画作品。这幅画描绘了一个孤岛上的悬崖峭壁和奔腾的海浪。画中的孤岛位于茫茫大海之中，周围没有其他的岛屿或陆地。这使得孤岛显得格外的孤独，令人想象。\n\n孤屿飞涛图画风精细，笔画流畅，色彩鲜明。画中的海浪十分壮观，充满了生命力和动感。孤岛上的山峰高耸，悬崖峭壁俯瞰着海面，使得整幅画充满了险峻的气氛。\n\n孙克弘是明朝时期的一位著名画家，他的作品中经常出现山水、花鸟、人物等题材。孙克弘善于运用自然的色彩和线条来描绘自然美景，使他的作品充满了生机和活力。孤屿飞涛图就是他的一幅杰作，充分展现了他的画风和技巧。\n\n总的来说，孤屿飞涛图是一幅优秀的写意山水画作品，值得一看。",[23,24,25,74,7,27,28,180,29365,350],"波涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f979371de8839632bf5dcdf028a48c6.jpg","22.7x26.6cm",[42],{"id":29370,"slug":29371,"title":29372,"dynasty":174,"author":377,"museum":430,"description":431,"tags":29373,"thumbUrl":29374,"material":40,"size":166,"collection":600,"collections":29375,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},218127,"zhong-song-tu-shi-tao-218127","种松图",[23,24,27,7,37,80,38,193,127,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c08b724a41ded1b9e47ee7bd779b63.jpg",[600],{"id":29377,"slug":29378,"title":29379,"dynasty":18,"author":581,"museum":3640,"description":29380,"tags":29381,"thumbUrl":29382,"material":110,"size":29383,"collection":42,"collections":29384,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":140},217918,"liu-an-xue-yu-tu-yi-ming-217918","柳岸雪渔图","柳岸雪渔图是明朝时期的一幅绘画作品，作者不详。这幅画描绘了一个冬天的景象，一位渔夫正在雪地里钓鱼。画面中的柳树上积了厚厚的一层雪，而渔夫则穿着厚厚的衣服，站在寒冷的柳岸边。他手里拿着鱼竿，似乎正在等待鱼儿上钩。\n\n这幅画被认为是明朝时期绘画艺术的代表作之一，因为它体现了当时绘画艺术的特点：细致、精细、写实。画面中的每一个细节都被精心描绘，比如渔夫的衣服、柳树的枝叶、雪地的花纹。\n同时，这幅画还体现了明朝时期艺术家对自然界的热爱。画中的冬天景象并不寒冷而残酷，相反，它给人以温馨、宁静的感觉。渔夫手边的鱼缸里放着一条活鱼，这也许意味着他已经成功地钓到了鱼，并且生活充满希望。\n\n总的来说，柳岸雪渔图是一幅描绘冬天景象的优秀绘画作品，它展现了明朝时期艺术家的精湛画技和对自然界的热爱。",[24,7,27,1462,28,1035,507,831,729,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f30799baed7df89bbb654c278069a2.jpg","26.5x30.5cm",[42],{"id":29386,"slug":29387,"title":29388,"dynasty":174,"author":581,"museum":159,"description":29389,"tags":29390,"thumbUrl":29391,"material":457,"size":29392,"collection":42,"collections":29393,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":140},217868,"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[24,27,95,481,282,147,34,30,4468,28,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[42],{"id":29395,"slug":29396,"title":29397,"dynasty":174,"author":11212,"museum":92,"description":29398,"tags":29399,"thumbUrl":29400,"material":98,"size":29401,"collection":600,"collections":29402,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},216953,"ying-zhen-tu-xu-yang-216953","应真图","这是一幅罗汉在树下看神兽的画作，整幅画没有颜料，用淡墨和细色，露出没有灰尘的清晰镜面。该画法来自明末的丁云鹏，比较规整。",[24,25,547,7,3557,193,453,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915a8ecf7dac326cda5abdac6afe273e.jpg","94.1x67",[600],{"id":29404,"slug":29405,"title":29406,"dynasty":174,"author":418,"museum":159,"description":2521,"tags":29407,"thumbUrl":29408,"material":98,"size":166,"collection":166,"collections":29409,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},216354,"hua-niao-ce-4-zhu-da-216354","花鸟册-4",[23,24,7,74,395,398,75,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315df4d9d41560bbaf78619963a740b8.jpg",[],{"id":29411,"slug":29412,"title":29413,"dynasty":174,"author":418,"museum":159,"description":2521,"tags":29414,"thumbUrl":29415,"material":98,"size":166,"collection":166,"collections":29416,"showCount":28866,"zanCount":46,"manualWeight":46,"mainColor":47},216352,"hua-niao-ce-6-zhu-da-216352","花鸟册-6",[23,24,7,75,123,74],"https:\u002F\u002Foss.chuangqi.st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隋僧智果心成颂，旌德姚仲虞始标出，以为书学真传，确不可易。甘伯属录其文，置之坐右。欣然下笔，几忘炎暑。同治乙丑五月赵之谦记。\n钤“赵之谦印”、“汉后隋前有此人”印二方。左下角钤“师氏珍藏”收藏印一。裱边有师守玉题一行，钤“师守玉印”。\n作品书隋僧智果所作《心成颂》。智果，会稽人，出家为僧，居永兴寺。擅书，得王羲之法，张怀瓘《书断》将其隶、行、草书列入能品。《淳化阁帖》卷五刻有智果所书《梁武帝评书帖》。他将书写心得著成《心成颂》，以示执笔作字之法。此文后经清人姚配中（1792—1844年，字仲虞,安徽旌德人）作注，遂大行于时，成为一篇重要的书法论文。\n此轴是赵之谦应友人“甘伯”之请而书。甘伯即胡澍（1825—1872年），字荄甫，一字甘伯，号石生，安徽绩溪人。精篆刻，工篆书，得秦汉人遗意。赵之谦对他十分推崇，交往多年，与之文章道谊相切磋，考古订今，搜奇选胜，“非君不在不乐也”。\n赵之谦书法初宗颜真卿，后专意于北朝碑版，融而自化，自成一家。书兼各体，以楷书最富特色。据此作年款“同治乙丑”可知，作品创作于清同治四年（1865年），赵氏时年37岁。笔法劲直舒展，结体沉雄方正，墨气浑厚丰润，风格端妍遒丽，是赵之谦早期师法魏碑的精整之作。",[242,37,95,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ea3adda373a0101884e3594a6156a9.jpg","纸本，楷书","纵128.5厘米，横36厘米",[245],{"id":29623,"slug":29624,"title":29625,"dynasty":18,"author":119,"museum":450,"description":4842,"tags":29626,"thumbUrl":29627,"material":314,"size":1061,"collection":166,"collections":29628,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},240852,"qian-zi-wen-juan-xu-wei-240852","千字文卷",[23,25,37,26,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6408452e577c55dc92323b19a5b6fc.jpg",[],{"id":29630,"slug":29631,"title":29632,"dynasty":18,"author":5177,"museum":120,"description":29633,"tags":29634,"thumbUrl":29635,"material":564,"size":29636,"collection":42,"collections":29637,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},239088,"shan-shui-tu-zhou-qiu-lin-tu-zhao-zuo-239088","山水图轴（秋林图）","此图表现晚秋湖山景色，故又名《秋林图》。画远岫如带，平湖无波，曲水孤舟，瑟瑟丛林映照在落日余晖中，茅舍和渔舟中高士静坐。构图以平远为主，山石多用披麻皴，笔力劲秀，设色浅淡。是赵左晚年山水画佳作。\n撰稿人：杨丹霞",[24,25,95,7,27,36,28,147,31,30,180,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4485f30120b1bf0257ea35e273536.jpg","纵67.5厘米，横32.2厘米",[42],{"id":29639,"slug":29640,"title":29641,"dynasty":18,"author":5683,"museum":450,"description":29642,"tags":29643,"thumbUrl":29644,"material":166,"size":166,"collection":600,"collections":29645,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":140},239072,"fu-lu-xian-ren-tu-zhou-zhang-lu-239072","蝠鹿仙人图轴","明代著名画家，擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名，是明代追随戴进、吴伟的重要浙派画家，在人物上师法吴伟，但秀逸不足，狂放过之，山水上有戴进的风致。张路的绘画艺术很受世人赞誉，明朝詹景风就盛赞他“足当名家”。在当时，缙绅们咸加推重，得其真迹，如若拱壁。",[24,25,95,27,7,193,2388,453,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66513b154ce8bc8446bfcf5794e6680b.jpg",[600,64],{"id":29647,"slug":29648,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":29649,"thumbUrl":29650,"material":166,"size":166,"collection":166,"collections":29651,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[24,25,281,7,3217,28,36,74,212,33,30,29,35,211,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":29653,"slug":29654,"title":11366,"dynasty":18,"author":29655,"museum":450,"description":29656,"tags":29657,"thumbUrl":29658,"material":314,"size":1061,"collection":83,"collections":29659,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},237499,"shan-shui-hua-hui-ce-jiang-shou-cheng-237499","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。",[24,25,74,38,27,7,180,2192,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2c3b2d058865e91051a0184ddf0335.jpg",[83,42],{"id":29661,"slug":29662,"title":29663,"dynasty":174,"author":5090,"museum":770,"description":29664,"tags":29665,"thumbUrl":29666,"material":1877,"size":29667,"collection":42,"collections":29668,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,7,36,254,95,80,28,6155,34,33,29,30,31,32,211,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[42],{"id":29670,"slug":29671,"title":29672,"dynasty":174,"author":24403,"museum":120,"description":22424,"tags":29673,"thumbUrl":29674,"material":564,"size":22427,"collection":42,"collections":29675,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":921},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴",[24,25,95,7,27,28,624,717,32,30,34,211,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg",[42],{"id":29677,"slug":29678,"title":9272,"dynasty":18,"author":20396,"museum":120,"description":29679,"tags":29680,"thumbUrl":29681,"material":166,"size":166,"collection":42,"collections":29682,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":140},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[24,25,95,7,481,36,28,125,193,147,610,34,33,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[42,222],{"id":29684,"slug":29685,"title":4806,"dynasty":174,"author":377,"museum":450,"description":29686,"tags":29687,"thumbUrl":29688,"material":166,"size":166,"collection":166,"collections":29689,"showCount":200,"zanCount":1084,"manualWeight":46,"mainColor":47},235893,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235893","以灵动皴擦勾勒山石奇崛肌理，干湿墨色晕染出山林的湿润清寂。山居隐于繁木之间，溪谷蜿蜒穿林而过，野意盎然。诗题与画境浑然相融，笔意纵恣却暗含秀逸，将丘壑灵秀内化于纸面，苍郁朴拙中见平淡天真。画者以眼观山、以心绘境，将林泉雅意寄于尺幅，幽居之景衬出林烟空濛，尽显寄情山水的文人意趣，师法自然又自出机杼，藏着对林烟丘壑的眷恋。",[24,7,28,36,180,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fcbef86eeaaaf2bf9948b9025ca3666.jpg",[],{"id":29691,"slug":29692,"title":29693,"dynasty":174,"author":5090,"museum":450,"description":29694,"tags":29695,"thumbUrl":29696,"material":166,"size":166,"collection":166,"collections":29697,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[24,25,95,7,28,36,32,126,162,29,80,1524,34,215,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":29699,"slug":29700,"title":29701,"dynasty":18,"author":15388,"museum":450,"description":29702,"tags":29703,"thumbUrl":29704,"material":314,"size":1061,"collection":83,"collections":29705,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},235752,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235752","梅花文从简诗合璧册","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[24,25,74,7,125,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff0207095efee64f9320a1ddf2f251c.jpg",[83],{"id":29707,"slug":29708,"title":29709,"dynasty":18,"author":13138,"museum":450,"description":29710,"tags":29711,"thumbUrl":29712,"material":166,"size":166,"collection":166,"collections":29713,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},235481,"fang-guo-xi-shan-shui-zhou-yuan-shang-tong-235481","仿郭熙山水轴","整幅画作以雪景铺陈萧索冬意，巨峰以淡墨晕衬留白，尽显积雪覆山的清寒巍峨。枯木虬枝劲挺错落，深谷间栈道蜿蜒回转，行旅车马次第缓行，将隆冬深山的冷寂，和人间行路的烟火暖意相融。\n\n笔墨追摹北宗山水意趣，简劲皴法勾勒山石肌理，细笔描摹林木栈道，既复刻出萧寒雄奇的山水之态，又自带着苍朴的笔底情致，把冬日深山的荒寒古雅，行路迢迢的沉郁氛围尽显纸上，于冷寂雪景中晕开古雅悠远的山水意境。",[24,95,7,36,254,28,4347,33,210,1524,193,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeabec41ab82bfb0de0af94b8bf5c215.jpg",[],{"id":29715,"slug":29716,"title":29717,"dynasty":174,"author":633,"museum":450,"description":634,"tags":29718,"thumbUrl":29719,"material":314,"size":1061,"collection":166,"collections":29720,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},235410,"gui-mu-tu-zhou-ren-yi-235410","归牧图轴",[24,25,95,7,27,123,36,1839,193,717,282,5253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a255d8a5587e721f7641ff82ff02e1.jpg",[],{"id":29722,"slug":29723,"title":29724,"dynasty":18,"author":581,"museum":20,"description":29725,"tags":29726,"thumbUrl":29727,"material":166,"size":166,"collection":166,"collections":29728,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":140},234930,"xie-shi-chen-xia-shan-fei-pu-tu-zhou-yi-ming-234930","谢时臣夏山飞瀑图轴","谢时臣（1487-1567），明代画家。字思忠，号樗仙。吴（今江苏苏州）人。工书法，长于隶书。擅山水，师法吴镇、沈周，稍作变化，作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作山峦重叠，高耸险峻，笔墨或细密苍劲，或劲健沉郁，或纵横纷披，富有变化。有《杜陵诗意图》、《溪山揽胜图》、《策杖寻幽图》、《武当霁雪图》、《谪仙玩月图》等传世。\n谢时臣(公元1488-1567年尚在)，字思忠，号樗仙，吴人，专长画山水，画史称他师法梅道人，学沈石田稍变其意。多作屏障大幅，构图雄伟严密，气势纵横，从作品看，画风近于戴进与吴派的沈周之间。传世作品有《虎阜春晴图》(辽宁省博物馆藏)、《江山胜览图》卷、《夏山飞瀑图》(上海博物馆藏)、《杜陵诗意图册》(现藏故宫博物院)、《武当霁雪图》大轴(现藏山东省博物馆)等。上海博物馆藏有谢氏水墨花卉册，作于嘉靖廿三年(1544)，颇有风致，惟传世不多。",[24,7,36,95,28,210,34,33,211,193,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5022b1e88d93f3e65c907903f6e5ddfc.jpg",[],{"id":29730,"slug":29731,"title":29732,"dynasty":174,"author":10707,"museum":450,"description":21316,"tags":29733,"thumbUrl":29734,"material":314,"size":1061,"collection":166,"collections":29735,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},234844,"mu-dan-ling-zhi-tu-ye-li-fang-ying-234844","牡丹灵芝图页",[281,24,7,27,74,123,129,7908,1104,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada2f010f959e38a108f686d852e440a.jpg",[],{"id":29737,"slug":29738,"title":29739,"dynasty":174,"author":29740,"museum":450,"description":27072,"tags":29741,"thumbUrl":29742,"material":166,"size":166,"collection":166,"collections":29743,"showCount":200,"zanCount":1084,"manualWeight":46,"mainColor":47},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾",[24,25,1462,7,27,481,75,128,395,396,282,14631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg",[],{"id":29745,"slug":29746,"title":29747,"dynasty":18,"author":29748,"museum":450,"description":29749,"tags":29750,"thumbUrl":29751,"material":811,"size":811,"collection":166,"collections":29752,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},234205,"zhu-lan-shi-juan-yang-ming-shi-234205","竹兰石卷","杨明时","杨明时，字存吾，号不弃。今属安徽省黄山市歙县。诗书画俱擅，又精鉴别，《余清斋帖》双钩上石出其手。画宗董源，工山水、兰竹。",[23,24,25,26,7,123,133,126,706,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b8f72a8ff9518fa2e5b87befb33598.jpg",[],{"id":29754,"slug":29755,"title":2511,"dynasty":18,"author":19,"museum":120,"description":2512,"tags":29756,"thumbUrl":29757,"material":298,"size":2515,"collection":166,"collections":29758,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},234092,"wu-zhong-shan-shui-ce-shen-zhou-234092",[24,25,74,7,28,31,1004,163,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd1d74f643d26df0c5226efe37fd95.jpg",[],{"id":29760,"slug":29761,"title":29762,"dynasty":174,"author":377,"museum":120,"description":29763,"tags":29764,"thumbUrl":29765,"material":29766,"size":29767,"collection":166,"collections":29768,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},234053,"yuan-ji-shan-shui-shan-shi-tao-234053","原济山水扇","石涛（1642年－1708年），清初画家。本姓朱，名若极，小字阿长，削发为僧后，更名元济、超济、原济，自称苦瓜和尚。游南京时，得长竿一枝，因号枝下叟，别署阿长，钝根，山乘客、济山僧、石道人、一枝阁。他的别号很多，还有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人、晚号瞎尊者、零丁老人等。与弘仁、髡残、朱耷合称“清初四僧”。\n其擅花果兰竹，兼工人物，尤善山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨恣肆，意境苍莽新奇，一反当时仿古之风。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、折扇扇面；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。",[24,1462,7,36,28,34,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219facf2cfab380a36a40003b932061.jpg","金笺 ，设色","纵17.6cm，横50.7cm",[],{"id":29770,"slug":29771,"title":4743,"dynasty":18,"author":19,"museum":120,"description":29772,"tags":29773,"thumbUrl":29774,"material":196,"size":29775,"collection":166,"collections":29776,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},233831,"xing-hua-tu-zhou-shen-zhou-233831","画上瘦杏一株，花开烂漫，仍是折枝简笔，却多添了颜色。树干以赭色填充，花片则淡粉轻红，温润又悦目，几乎可以想象他挥毫时愉快的心情。也有题跋，也有诗：\n布甥简静好学，为完庵先生曾孙，人以科甲期之，壬戌科，果登第。尝有桂枝贺其秋闱，兹复写杏一本以寄，俾知完庵遗泽所致也。\n与尔近居亲亦近，今年喜尔掇科名。杏花旧是完庵种，又见春风属后生。\n意思是说，你考得这样好，我画杏花表示祝贺。刘家世代书卷气不绝，大家都期待你的成绩。如今成功了，莫要忘记祖爷爷的遗泽。这些话里全无架子，只透出一片温暖平实。",[24,25,95,7,27,123,37,80,4745,3443,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ece9a78838b66a815a3309957c7e09.jpg","纵80cm横33.5cm",[],{"id":29778,"slug":29779,"title":29780,"dynasty":18,"author":14875,"museum":120,"description":29781,"tags":29782,"thumbUrl":29783,"material":964,"size":29784,"collection":166,"collections":29785,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},233709,"pu-die-tu-zhou-xiang-sheng-mo-233709","蒲蝶图轴","此图画池塘浅水中，一丛菖蒲挺立如剑，蒲叶上停落着一只蝴蝶。造型单纯朴拙，笔墨粗简凝重，构图新颖大胆。菖蒲放在画面中间，用粗笔淡墨挥写，苍健而有变化，很好地表现了其挺拔、厚韧的质感。画蝴蝶使用细笔浓墨，勾染相合，比较工致。菖蒲与蝴蝶，一粗一细，一淡一浓，对比之下别有情趣。其他作为陪衬的花草坡石，亦剪裁大胆，处理得当。",[24,7,95,75,481,13414,3996,180,672,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d8c94e425d4fb29639f5fc94f36998.jpg","纵111.8厘米，横57.8厘米",[],{"id":29787,"slug":29788,"title":29789,"dynasty":174,"author":2605,"museum":120,"description":29790,"tags":29791,"thumbUrl":29793,"material":6280,"size":29794,"collection":166,"collections":29795,"showCount":200,"zanCount":1084,"manualWeight":46,"mainColor":47},233703,"gu-cha-duan-di-tu-zhou-hong-ren-233703","古槎短荻图轴","此图纸本，墨笔。绘香士陈应颀居所，具有写实意味，简陋的书舍与陈设衬托出主人品性的孤高，书屋内寂静无人，内设几案龛灯，屋前两株古树相对而立，叶落待尽、寒枝舒展，所以给人以萧条纯净之感。拾级而下一弯小溪蜿蜒流淌汇集成塘，周围环绕着高低错落的岩石，溪水宁静无澜犹如主人不逐名利的平淡心境。右边短荻丛生，清润可爱，为幽居的高士生活增添了几许生气。前景潭环石抱，潭边的岩石用方折的线条空勾，几无皴染，为弘仁典型的几何形体画法，潭水用大片的留白来表达，不擦一笔。整幅画墨色枯淡，用笔简疏，意境淡远，虚静、空灵之境油然而生。",[24,7,547,36,95,28,717,29792,35,34,96],"短荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f27cfcac2aa374ca7abeb7343608a1.jpg","纵61.9cm，横35.3cm",[],{"id":29797,"slug":29798,"title":29799,"dynasty":174,"author":377,"museum":450,"description":8750,"tags":29800,"thumbUrl":29801,"material":964,"size":8753,"collection":166,"collections":29802,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},233696,"yuan-ji-lan-zhu-ce-lan-hua-shi-tao-233696","原济兰竹册－兰花",[24,25,74,7,4041,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc0814175ef770f4c9b367ac117eec8.jpg",[],{"id":29804,"slug":29805,"title":2764,"dynasty":18,"author":119,"museum":120,"description":2765,"tags":29806,"thumbUrl":29807,"material":1877,"size":2769,"collection":166,"collections":29808,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},233472,"ren-wu-hua-hui-ce-xu-wei-233472",[24,7,123,74,193,162,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c7e30513fa4f6a77701b9e32ce02e35.jpg",[],{"id":29810,"slug":29811,"title":29812,"dynasty":52,"author":158,"museum":450,"description":29813,"tags":29814,"thumbUrl":29815,"material":166,"size":166,"collection":166,"collections":29816,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[24,25,95,7,36,28,34,33,30,213,1525,148,717,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],{"id":29818,"slug":29819,"title":29820,"dynasty":205,"author":9864,"museum":450,"description":29821,"tags":29822,"thumbUrl":29823,"material":166,"size":166,"collection":166,"collections":29824,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":140},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[281,24,25,481,27,7,75,610,147,96,282,180,831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":29826,"slug":29827,"title":29828,"dynasty":174,"author":418,"museum":450,"description":29829,"tags":29830,"thumbUrl":29831,"material":166,"size":166,"collection":166,"collections":29832,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[23,24,7,254,36,80,37,38,74,28,717,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a04e65a06c5e5dd23ad39258130058b.jpg",[],{"id":29834,"slug":29835,"title":29836,"dynasty":174,"author":5599,"museum":450,"description":29837,"tags":29838,"thumbUrl":29839,"material":166,"size":166,"collection":166,"collections":29840,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},230144,"hua-guo-tu-ce-12-kai-luo-pin-230144","花果图册12开","此作以淡墨枯笔勾勒柏干，蜿蜒虬曲，苍劲老辣尽现古柏历经风霜的拙朴筋骨。枝桠间以焦墨攒点成叶，浓淡交错间虚实相生，将蓊郁繁茂之态暗藏疏密错落里，笔墨洗练却意境饱满。\n\n侧旁题字率意朴拙，笔锋苍劲与画中古柏意趣相融，诗书画印合为一体。全幅不求精细描摹形貌，只以极简笔墨抓取老树虬劲生机，将幽寂古雅的文人意韵藏于方寸间，淡而有味，拙中见灵。",[24,25,74,7,147,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba5f4b087d39a09468e880350835f7f.jpg",[],{"id":29842,"slug":29843,"title":29844,"dynasty":174,"author":633,"museum":450,"description":29845,"tags":29846,"thumbUrl":29847,"material":166,"size":166,"collection":166,"collections":29848,"showCount":200,"zanCount":1084,"manualWeight":46,"mainColor":47},230123,"hua-hui-ce-ye-01-ren-yi-230123","花卉册页01","此作用笔写意松弛，以湖石为景之骨，淡赭水墨晕染出嶙峋体态，略去繁复皴擦，虚实间尽显清隽雅逸。石畔丹红果簇饱满鲜活，浓墨枝叶枯润相宜，艳色与冷调湖石形成鲜明对照，艳而不俗，顽石愈发清灵，花果愈见生动。\n\n右上角题字笔力开张，与花木湖石相得益彰，融书画为一体，将花木蓬勃生机与文人闲淡意趣揉合于纸面，简淡之中自有鲜活情致。",[24,25,2446,123,7,27,75,180,22271,78,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71348d468b7d7e6ca8621b0226ef65d9.jpg",[],{"id":29850,"slug":29851,"title":5598,"dynasty":174,"author":7015,"museum":450,"description":29852,"tags":29853,"thumbUrl":29854,"material":166,"size":166,"collection":83,"collections":29855,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},229026,"hua-hui-ce-wang-wu-229026","此作以淡墨晕染牡丹瓣层，借留白衬出素白花容，焦墨点簇花蕊，将白花柔润蓬松之态尽显。叶片以浓淡墨分梳阴阳向背，笔致苍秀，兼得写生之真与文人雅韵。下方蛱蝶用工细笔触勾勒翅脉，淡墨晕染出薄翼通透质感，与写意牡丹相映成趣，一动一静鲜活灵动。\n\n通篇笔墨秀逸工丽，简淡不失厚重，题字钤印排布妥帖，将花木雍容与草虫灵动相融，尽显清丽脱俗的文人花鸟意趣，把写实写生与书卷气完美结合，雅致隽永。",[24,7,74,75,129,3996,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8ab86cb0de430d95e4c3fd5e56001e.jpg",[83],{"id":29857,"slug":29858,"title":29859,"dynasty":18,"author":4131,"museum":450,"description":29860,"tags":29861,"thumbUrl":29862,"material":166,"size":166,"collection":166,"collections":29863,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},228285,"shan-shui-shi-hua-ce-chen-hong-shou-228285","山水诗画册","此作对页诗画合一，右侧绘虬曲古松下，高士席地安坐，衣袂舒展悠然，静享林泉幽寂。古松苍劲奇崛，松针层叠清润，石畔苔点幽微，笔致高古静穆，尽显林下幽居的散淡意趣。\n左侧书法清隽挺秀，诗文与画境呼应，禅意悠然。整体以极简笔墨，勾勒出世外风雅，将林下幽栖的禅寂通透相融，传递出超脱世情的澹泊襟怀，是诗画相映的雅致佳构，尽显文人的林下襟怀与静穆审美。",[23,24,25,74,38,7,27,193,624,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886cc4e13292bed024a0da93b5746e38.jpg",[],{"id":29865,"slug":29866,"title":29867,"dynasty":52,"author":9315,"museum":450,"description":29868,"tags":29869,"thumbUrl":29870,"material":166,"size":166,"collection":166,"collections":29871,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","此作用淡墨白描写就，分绘三种花卉，以清隽挺秀的笔线勾勒花叶轮廓，淡墨晕染出阴阳向背，不施丹青却尽现花卉娇柔雅致之态。芍药秾而不俗，水仙清逸出尘，玉簪幽淡含露，墨色清润柔和，将草木风姿描摹入微。\n\n三段皆配题诗，诗画相映，书卷气浓厚，以墨代色，以意写形，把文人幽淡的情思寄寓在一花一叶间，尽显简淡雅致的审美意趣，是水墨花鸟小品中的佳构。",[23,281,24,25,26,547,7,481,75,129,132,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],{"id":29873,"slug":29874,"title":7143,"dynasty":52,"author":239,"museum":450,"description":29875,"tags":29876,"thumbUrl":29877,"material":166,"size":166,"collection":166,"collections":29878,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[23,24,25,1462,7,27,28,729,30,31,33,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":29880,"slug":29881,"title":16721,"dynasty":52,"author":18841,"museum":450,"description":29882,"tags":29883,"thumbUrl":29884,"material":166,"size":166,"collection":166,"collections":29885,"showCount":200,"zanCount":1084,"manualWeight":46,"mainColor":140},228033,"xie-qin-fang-you-tu-luo-zhi-chuan-228033","此作用平远之景铺陈开卷，近岸古木虬结遒劲，枯枝如铁爪横斜，以劲健笔法勾勒出老树历经风霜的沧桑古拙，苔点错落晕染，更添斑驳质感。寒溪萦回浅滩，碎石错落，淡墨轻皴坡岸，尽显清寂荒寒。远景浅墨晕出山峦平沙，层层推远，寥寥数笔便将郊野冬日的空阔淡宕铺展开来。\n\n全作用笔简劲老辣，干笔皴擦尽显枯木苍劲，墨色浓淡相生，于简淡萧疏间营造出幽远孤清的意境，尽显尚简重意的审美意趣，寄寓着林下幽人超尘出俗的襟怀。",[24,7,36,95,717,34,28,147,4468,381,3371,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0822ab22276624f46ebb1f67121fe5.jpg",[],{"id":29887,"slug":29888,"title":29889,"dynasty":205,"author":26813,"museum":450,"description":29890,"tags":29891,"thumbUrl":29894,"material":166,"size":166,"collection":166,"collections":29895,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":140},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","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。",[23,281,24,25,95,7,28,36,31,717,164,34,163,33,1925,6939,832,1974,785,29892,2028,29893],"山石皴染","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":29897,"slug":29898,"title":29899,"dynasty":205,"author":6572,"museum":92,"description":29900,"tags":29901,"thumbUrl":29903,"material":166,"size":166,"collection":166,"collections":29904,"showCount":200,"zanCount":1084,"manualWeight":46,"mainColor":47},227590,"ku-sun-fu-tie-huang-ting-jian-227590","苦笋赋帖","此帖凡11行，181字，书于元符二年(1099年)。曾经吴桢、安岐、陈定等人收藏.《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《故宫书画录》等著录。《御刻三希堂石渠宝笈法帖》、《仁聚堂法帖》、《墨缘堂藏真帖》、《宋四家墨宝》等收录。现藏台北故宫博物院。\n\n宋徽宗曾说：“黄书如抱道足学之士，坐高车駟马之上，横钳上下，无不自如。”山谷书法对当时及后世影响很大，受到极高的评价，為北宋四大家之一。此帖笔势遒劲，中宫敛结，长笔外拓，英俊洒脱，显示出山谷纵逸豪放的雅韵，并充分发挥倾侧的动向美感。选自《宋四家墨宝》册。",[281,25,37,38,7,298,29902,17630,80,26],"手卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7eb941959901f32fb43c8955cbc0a87.jpg",[],{"id":29906,"slug":29907,"title":29908,"dynasty":205,"author":206,"museum":450,"description":29909,"tags":29910,"thumbUrl":29912,"material":166,"size":166,"collection":166,"collections":29913,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":140},227543,"guan-chao-tu-ye-guo-xi-227543","观潮图页","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,24,25,28,7,36,74,3177,162,29911],"潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd2704c889b3485019347aec338e950.jpg",[],{"id":29915,"slug":29916,"title":21331,"dynasty":205,"author":1089,"museum":450,"description":29917,"tags":29918,"thumbUrl":29919,"material":166,"size":166,"collection":166,"collections":29920,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},226545,"yu-le-tu-juan-jing-hao-226545","荆浩（约850-？），五代后梁最具影响的山水画家，博通经史，并长于文章。字浩然，沁水（一说为山西，一说为河南济源）。士大夫出身，后梁时期因避战乱，曾隐居于太行山洪谷，故自号“洪谷子”。擅画山水，常携笔摹写山中古松。所作云中山顶，能画出四面峰峦的雄伟气势。自称兼得吴道子用笔及项容用墨之长，创造水晕墨章的表现技法。亦工佛像，曾在汴京（今河南开封）双林院作有壁画。是中国山水画发展过程中具有重要影响的画家之一。\n\n存世《匡庐图》。其他均已失传。至于目前传为荆浩所作的五幅画——美国纳尔逊美术馆收藏的《雪景山水图》、日本大阪市立美术馆收藏的《江山瑞霭图》、台湾故宫博物院收藏的《渔乐图》等，其真伪都存有争议。\n\n荆浩不仅创造了笔墨并重的北派山水画，被后世尊为北方山水画派之祖，还为后人留下著名的山水画理论《笔法记》，以假 托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[23,24,25,26,7,36,28,33,213,58,1925,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg",[],{"id":29922,"slug":29923,"title":29924,"dynasty":5382,"author":29925,"museum":450,"description":29926,"tags":29927,"thumbUrl":29928,"material":166,"size":166,"collection":166,"collections":29929,"showCount":200,"zanCount":1084,"manualWeight":46,"mainColor":140},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。",[23,24,25,7,123,36,28,717,31,468,6801,163,21135,672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],{"id":29931,"slug":29932,"title":29933,"dynasty":174,"author":377,"museum":450,"description":29934,"tags":29935,"thumbUrl":29936,"material":166,"size":166,"collection":166,"collections":29937,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[23,24,7,27,36,74,28,29,30,31,147,34,35,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":29939,"slug":29940,"title":29941,"dynasty":174,"author":3195,"museum":450,"description":29942,"tags":29943,"thumbUrl":29944,"material":166,"size":166,"collection":166,"collections":29945,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},224477,"fang-mei-dao-ren-shan-shui-tu-wang-jian-224477","仿梅道人山水图","此作用笔苍浑沉厚，取法梅道人山水意趣，层峦叠嶂铺陈高远之境，主峰巍峨雄峙，矾头苔点繁密，晕染出江南山峦郁茂华滋的温润质感。\n\n山坳村居错落，板桥卧波、溪流蜿蜒穿梭林麓间，林木疏密交织，将林泉幽居的隐逸意趣缓缓铺展。以披麻皴写山体肌理，湿墨点苔晕染空濛氛围，恪守古法的同时融入自身秀逸笔性，于苍劲间不失温润，既复刻出荒寒清寂的古雅意境，又暗含自家风骨，是师古能化的仿古佳作。",[23,24,7,36,254,95,28,34,35,33,30,29,80,147,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":29947,"slug":29948,"title":29949,"dynasty":174,"author":491,"museum":450,"description":29950,"tags":29951,"thumbUrl":29952,"material":166,"size":166,"collection":166,"collections":29953,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},224428,"shan-lou-ke-hua-tu-wang-shi-min-224428","山楼客话图","《山楼客话图》是王时敏八十岁之后作品，创作于清代，现藏于天津市艺术博物。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n山峦层叠，深壑溪流，茂林密布，水阁立于其间，名士在此高谈阔论。\n此画以赭墨为主，单纯而深厚，滋润而清脱。\n从笔墨技法来看，复古意味十分明显，皴笔细密，用多层次的皴染表现山体，墨色厚重，流露出作者“熟不甜，生不涩，淡而厚，实而清”的成熟面貌。\n王时敏 ， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,24,25,95,7,36,28,194,33,34,210,35,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":29955,"slug":29956,"title":29957,"dynasty":174,"author":926,"museum":450,"description":29958,"tags":29959,"thumbUrl":29960,"material":166,"size":166,"collection":166,"collections":29961,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},224296,"zhu-shi-li-shan-224296","竹石","此作用笔纵逸老辣，右上苍松虬曲古拙，枝干皴擦间尽显风霜古意，松针以焦墨攒点，苍劲沉凝，垂藤萦纡添灵动生机。下方牡丹以浓淡水墨晕染花瓣，将雍妍之态藏于墨色层次间，旁生兰草舒挺柔韧，伴湖石错落排布。\n左侧题笔与绘事浑然一体，以水墨写意尽脱匠气，融苍松之坚、牡丹之妍、幽兰之清于一轴，笔情墨趣间暗合文人寄寓，纵恣野逸间尽显花木风神。",[23,24,25,7,123,36,706,126,129,127,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a30ebfd3df6df1c8f56596df0822fa1.jpg",[],{"id":29963,"slug":29964,"title":27087,"dynasty":174,"author":13237,"museum":92,"description":29965,"tags":29966,"thumbUrl":29967,"material":298,"size":29968,"collection":42,"collections":29969,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[24,25,95,7,36,37,80,28,34,33,215,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[42],{"id":29971,"slug":29972,"title":29973,"dynasty":174,"author":633,"museum":544,"description":29974,"tags":29975,"thumbUrl":29976,"material":196,"size":29977,"collection":166,"collections":29978,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},223236,"qun-ji-zi-shou-tu-ren-yi-223236","群鸡紫绶图","绘篱笆外一棵紫薇风劲叶摆，篱笆墙内二只老鸡带着一群小鸡觅食玩耍，公鸡大红色的鸡冠，伸长了脖子，圆瞪着眼，警惕的盯着四周动静，母鸡紧盯着一群小鸡仔，母爱洋溢，一幅乡村农家的温馨景象映入眼帘。",[23,24,25,281,95,27,7,75,1071,10069,162,9613,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef31e39a6fb133ccbf71818592553fc3.jpg","134cmx65cm",[],{"id":29980,"slug":29981,"title":20037,"dynasty":174,"author":15930,"museum":92,"description":29982,"tags":29983,"thumbUrl":29984,"material":284,"size":29985,"collection":42,"collections":29986,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},223110,"ceng-luan-song-cui-zhou-dong-bang-da-223110","绘层峦叠嶂，延绵不绝，山涧中云雾缭绕，微风吹过，松涛阵阵；山脚下流水潺潺，两间小屋依山傍水，清雅安静",[23,24,25,95,7,36,28,212,624,210,32,35,215,213,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e367094ca3e4f79f2de8319b6088256.jpg","88.1x30.9厘米",[42,222],{"id":29988,"slug":29989,"title":17519,"dynasty":174,"author":15930,"museum":92,"description":18695,"tags":29990,"thumbUrl":29993,"material":284,"size":29994,"collection":42,"collections":29995,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},223106,"yun-shan-tu-zhou-dong-bang-da-223106",[23,24,28,7,27,36,95,212,33,210,32,215,211,35,213,10537,29991,533,214,164,6133,1349,123,29992],"谷地","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[42,222],{"id":29997,"slug":29998,"title":29999,"dynasty":18,"author":11473,"museum":120,"description":30000,"tags":30001,"thumbUrl":30003,"material":298,"size":30004,"collection":83,"collections":30005,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},222603,"qiu-se-wu-tong-tu-lan-ying-222603","秋色梧桐图","此画面一片秋高气爽的气氛，上杂红树一枝。一只美丽的小鸟，悠闲地栖立于梧桐枝上，形象生动自然，神气逼肖。在构图上采用传统折枝的方法，截取梧桐与丹枫的枝头横斜下垂之势。在枝叶参差错落之中，求得疏密有致。花木点染随意，桐叶饱含水墨，抒情性很强。墨笔写成枝干，糅合了山水画的用笔，显得枝干劲健有力。山鸟基本以墨画成，略施淡赭色彩，令人感到素雅可亲。双勾的丹枫叶，显得挺俏遒劲；在画法上，勾染兼施，笔法活脱，墨色浓淡适度，看来随意写出，反映了作者娴熟的笔墨技巧。",[23,24,25,7,27,123,1475,77,3443,367,80,37,38,75,30002],"秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e93218349e6d8e418d86b3be8a8b4.jpg","65X32",[83,64],{"id":30007,"slug":30008,"title":30009,"dynasty":18,"author":11885,"museum":450,"description":30010,"tags":30011,"thumbUrl":30012,"material":298,"size":30013,"collection":166,"collections":30014,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},222164,"huai-su-shang-ren-cao-shu-ge-zhang-bi-222164","怀素上人草书歌","张弼(1425～1487年)字汝弼，晚号东海翁，松江华亭人。此卷书《任华〈怀素上人草书歌〉》，应是张弼传世最好的作品，它包含了张弼对僧怀素的钦敬，而且随着诗意的伸展，隐然把自己代入其中，成了诗中的主角。正如《自叙帖》是怀素草书一次淋漓尽致的表演，张弼亦借任华赞美怀素的诗句，把自己在狂草书上的成就尽情发挥。怀素耶，张弼耶，写到后来，明显有照花前后镜的狂喜了。\n任华，公元8世纪时人，活跃于唐玄宗时期，有《杂言寄李白》、《杂言寄杜拾遗》诗，与李白杜甫同时或稍晚。《怀素上人草书歌》通篇音韵铿锵，句法多变，三言、四言、五七言，缓急错落，随意所之，而且描写生动，使人如目睹怀素的狂草作品，跌荡纵横，动人心弦。此处介绍的手卷，乃明代张弼以狂草书录写，水墨纸本，淋漓酣畅，精彩动人，把任华诗中的境界、怀素草书的风貌及作书者本身对草书的狂热，结合在书法中，实为张氏传世作品中的颠峰之作。",[23,37,394,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6dc27fb39e26b9da591ae48237e94e.jpg","31.5×526cm",[],{"id":30016,"slug":30017,"title":18470,"dynasty":205,"author":4437,"museum":294,"description":30018,"tags":30019,"thumbUrl":30020,"material":61,"size":30021,"collection":220,"collections":30022,"showCount":200,"zanCount":1084,"manualWe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传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,281,24,25,26,7,27,36,28,8439,5799,33,34,211,212,610,147,533,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[220,42,222],{"id":30024,"slug":30025,"title":30026,"dynasty":18,"author":1836,"museum":120,"description":30027,"tags":30028,"thumbUrl":30029,"material":30030,"size":30031,"collection":245,"collections":30032,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":921},220957,"bai-yu-shan-fu-dong-qi-chang-220957","白羽扇赋","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。董其昌这件作品写于七十八岁（1632）高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[23,281,24,25,26,38,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2567439e23f4a801151c3d6db729acb.jpg","绫本，轴","纵长：136.5厘米，横长：60.2厘米",[245],{"id":30034,"slug":30035,"title":30036,"dynasty":18,"author":10698,"museum":4012,"description":30037,"tags":30038,"thumbUrl":30039,"material":5992,"size":30040,"collection":166,"collections":30041,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":166},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[23,24,25,26,7,28,36,57,3256,5581,31,282,33,34,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","25.6 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Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[23,25,24,28,95,7,27,36,335,706,162,7489,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg",[],{"id":30052,"slug":30053,"title":30054,"dynasty":359,"author":14913,"museum":5712,"description":14914,"tags":30055,"thumbUrl":30056,"material":166,"size":166,"collection":166,"collections":30057,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},220482,"song-tao-lin-feng-mian-220482","松涛",[24,27,7,123,28,624,31,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ecbc10766dc69df7ee10b85fc7ffb66.jpg",[],{"id":30059,"slug":30060,"title":30061,"dynasty":18,"author":30062,"museum":176,"description":30063,"tags":30064,"thumbUrl":30065,"material":110,"size":30066,"collection":42,"collections":30067,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":140},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,281,24,25,26,7,28,36,335,210,2315,33,268,211,213,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[42],{"id":30069,"slug":30070,"title":30071,"dynasty":174,"author":2029,"museum":20,"description":4203,"tags":30072,"thumbUrl":30073,"material":298,"size":4206,"collection":166,"collections":30074,"showCount":200,"zanCount":1084,"manualWeight":46,"mainColor":47},219856,"ba-jing-shan-shui-tu-2-gong-xian-219856","八景山水图-2",[24,7,36,28,31,29,30,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc456411e76e601da956e5ada940eb00f.jpg",[],{"id":30076,"slug":30077,"title":30078,"dynasty":18,"author":30079,"museum":92,"description":30080,"tags":30081,"thumbUrl":30082,"material":98,"size":166,"collection":222,"collections":30083,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},219521,"chang-pu-tu-shen-zhen-ji-219521","菖蒲图","沈贞吉","沈贞吉（1400-1482年仍在）名沈贞，号陶庵、陶然老人（道人），江苏长洲（今苏州人），其弟沈恒，字恒吉，为“吴门画派”代表畫家沈周（1427-1509）之父。沈贞吉工诗，兼擅绘画，以山水见长。但因其“不肯轻为人作，故少存者”，现在所见传世之作极少书画鉴定家张珩在其《木雁斋书画鉴赏笔记》中著录沈贞吉的《溪山一览图》时说：“南斋为石田伯父，画迹传世，平生惟见此一小幅为真迹……已至为难得矣。”（“南斋”为沈贞吉别号）连寓目书画无数的张珩所见沈贞吉画迹仅一件，可见其流传于今的作品，确实不多见。",[24,7,95,37,80,2204,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda667cbc2a17f96eecd268417b52830.jpg",[222],{"id":30085,"slug":30086,"title":645,"dynasty":18,"author":30087,"museum":92,"description":30088,"tags":30089,"thumbUrl":30090,"material":40,"size":30091,"collection":42,"collections":30092,"showCount":200,"zanCount":1084,"manualWeight":46,"mainColor":47},219470,"shan-shui-tu-gu-ning-yuan-219470","顾凝远","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[24,25,95,7,27,36,80,38,28,164,211,33,717,35,8975,1840,7389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[42],{"id":30094,"slug":30095,"title":30096,"dynasty":5382,"author":581,"museum":92,"description":30097,"tags":30098,"thumbUrl":30099,"material":61,"size":30100,"collection":42,"collections":30101,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":140},219368,"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[24,25,281,95,28,7,36,162,34,30,148,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[42],{"id":30103,"slug":30104,"title":4427,"dynasty":205,"author":581,"museum":265,"description":30105,"tags":30106,"thumbUrl":30107,"material":110,"size":30108,"collection":42,"collections":30109,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},219030,"guan-pu-tu-yi-ming-219030","一条瀑布从山涧中流下，远处的山峰在云雾中清晰可见；在岩石高原的左侧，一个有学问的人拿着杖，仰望着眼前的雄伟山峰。他听着瀑布撞击岩石的声音，看到水蔓延上升，后面跟着一个抱着琵琶的孩子。这幅画是马夏的风格，用大斧头砍的石头，笔力强劲，笔触宽阔，盖子坚硬，使石头的质地很牢固。",[24,25,1462,7,27,28,36,210,193,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c9cc6d2677a6abf31cfae2e0748f4c.jpg","23.2x23.4",[42],{"id":30111,"slug":30112,"title":30113,"dynasty":52,"author":581,"museum":92,"description":30114,"tags":30115,"thumbUrl":30116,"material":110,"size":166,"collection":42,"collections":30117,"showCount":200,"zanCount":46,"manualWeight":46,"mainColor":47},218656,"xi-shan-ji-yu-yi-ming-218656","溪山积玉","雪覆层峦如积玉，淡墨晕染出远山的温软轮廓，却藏着冬日清寂。坡岸老柳垂丝，枝条似淡烟轻笼，笔意疏朗间见自然生趣。林间茅舍隐现，仿佛有暖意暗涌，与天地素净相映成趣。\n\n画面无喧嚣，只余山水静穆与生机暗涌——雪的冷、树的疏、屋的暖，在对比里藏着文人对山水的眷恋、对闲居的向往。笔墨不刻意求工，简淡中见深致，恰是元人山水意韵：以心观物，以笔写情，每一寸雪色都浸着悠然禅意，让观者于静谧中触到自然与人心的共鸣。",[23,24,25,74,7,27,28,162,32,30,36,147,809,164,148,6213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[清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,25,74,254,28,36,7,162,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[42,222],{"id":30493,"slug":30494,"title":30495,"dynasty":18,"author":22999,"museum":120,"description":30496,"tags":30497,"thumbUrl":30498,"material":1877,"size":30499,"collection":83,"collections":30500,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},236129,"bai-zi-tu-zhou-xiang-yuan-bian-236129","柏子图轴","图绘湖石及柏树、翠竹、荆棘等。柏树昂扬郁茂，有藤萝缠绕，翠竹挺拔玉立，荆棘屈曲虬劲，三者结合，高低自然，疏密得当，相互映衬，意味悠长。用笔粗细随类，墨色浓淡相宜，风格疏爽，清新静逸。",[24,25,95,7,36,18280,96,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40827a5b89dd11e84e82d1b56e6a6ed.jpg","纵84.6厘米，横26.5厘米",[83,222],{"id":30502,"slug":30503,"title":30504,"dynasty":174,"author":28853,"museum":120,"description":29010,"tags":30505,"thumbUrl":30506,"material":564,"size":29013,"collection":42,"collections":30507,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},236127,"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴",[24,25,95,7,28,36,127,30,2748,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg",[42,222],{"id":30509,"slug":30510,"title":30511,"dynasty":174,"author":13237,"museum":120,"description":30512,"tags":30513,"thumbUrl":30514,"material":564,"size":30515,"collection":42,"collections":30516,"showCount":30274,"zanCount":1084,"manualWeight":46,"mainColor":47},236110,"zhang-zong-cang-shan-shui-zhou-zhang-zong-cang-236110","张宗苍山水轴","此图是张宗苍担任宫廷画师期间精心创作的山水画。图中山石反复以线条皴染，再以焦墨点苔，多遍始成，令繁复的林壑不失明爽之致，笔情墨韵间不失苍郁秀雅之气，反映了画家成熟期的典型风格。乾隆皇帝对此图赞赏有加，将它收贮于塞外最重要的行宫避暑山庄，并且在画上题诗三首，以示恩宠。",[24,7,36,28,30,147,180,164,211,33,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946aacb8352879e4db037849980e60c1.jpg","纵143厘米，横75.6厘米",[42,222],{"id":30518,"slug":30519,"title":157,"dynasty":174,"author":30520,"museum":450,"description":30521,"tags":30522,"thumbUrl":30523,"material":166,"size":166,"collection":83,"collections":30524,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},235323,"shan-shui-ce-wen-dian-235323","文点","此作用笔清劲简淡，近景双松虬枝舒展，扎根嶙峋石畔，旁生细草杂木，野趣悠然。白衣高士静踞溪岸，凭虚远眺，将幽居林泉的澹泊心境寄于山水间。\n画面以留白代秋水，远山以浅墨轻晕，烟岚弥漫，虚实相生间，萧疏淡远的氛围油然而生。题识小诗与景致相融，愈发衬出画面简净空灵的意趣，尽显文人画澄怀观道的雅逸格调，将观者带入这无尘烟嚣的静穆天地，共赴林泉高致之约。",[24,25,74,7,36,28,162,34,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b31c251154b62abd3e860a5dabf4c58.jpg",[83,42],{"id":30526,"slug":30527,"title":9368,"dynasty":174,"author":581,"museum":450,"description":30528,"tags":30529,"thumbUrl":30530,"material":166,"size":166,"collection":166,"collections":30531,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},235161,"hong-ren-shan-shui-ce-yi-ming-235161","此作以极简笔墨铺陈清寂意境，枯硬淡墨勾勒石壁，冷峻苍朴，壁上古梅虬枝斜出，寥寥数笔便将孤寒疏朗之态写尽。坡前修竹亭亭玉立，清润秀雅，与古梅萧疏柔刚互衬。\n\n搭配行书题诗，笔意清逸，文心与画意相融。整体空灵冷峭，尽显新安画派简淡孤高的特质，遗世独立的禅意浸透纸面，于尺幅间勾勒出淡远宁静的天地，暗藏孤高沉郁的心境，将文人画清雅出尘的格调诠释尽致。",[24,25,74,7,28,717,96,34,38,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5030c2cb2f07a2905e8001cd39c8c377.jpg",[],{"id":30533,"slug":30534,"title":30535,"dynasty":18,"author":16100,"museum":450,"description":30536,"tags":30537,"thumbUrl":30538,"material":166,"size":166,"collection":166,"collections":30539,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},235088,"ren-wu-tu-zhou-you-qiu-235088","人物图轴","此作用白描绘就林泉雅集，古木流云之下，蕉石映带，流淙婉转。居中高士端坐抚琴，眉宇端凝，指尖落处似有清籁漫溢；左右二人或支颐沉听、或侧身倾神，尽皆沉醉在泠泠弦歌之中。下方童子躬身临流，正掬取清涧活水，一派安然恬和。\n线条挺秀匀净，衣袂宛转灵动，将人物情态刻画入微，草木泉石晕染清浅淡远，尽得吴门雅韵，把文人林下忘机的风流襟怀铺陈开来，笔墨简淡却意蕴悠长，尽显雅致出尘的林下意趣。",[24,95,7,547,481,193,421,34,30,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a50788ae659eef5e08be9d901d33ca7.jpg",[],{"id":30541,"slug":30542,"title":7442,"dynasty":18,"author":1836,"museum":450,"description":7951,"tags":30543,"thumbUrl":30544,"material":166,"size":166,"collection":166,"collections":30545,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},234978,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234978",[24,25,74,7,36,28,32,162,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d6512d006560515fe7d39ca6ee3f5c.jpg",[],{"id":30547,"slug":30548,"title":30549,"dynasty":18,"author":407,"museum":120,"description":30550,"tags":30551,"thumbUrl":30552,"material":564,"size":10370,"collection":166,"collections":30553,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},233967,"guan-shan-xing-lv-tu-zhou-dai-jin-233967","关山行旅图轴","本幅署款“静庵”，无年款，从趋于成熟的集大成面貌判断，当作于戴进晚年的天顺年间（1457—1464年）。\n作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[24,281,95,7,36,28,624,213,58,35,212,33,1385,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac0a0c15fc8e857f3e1f36e5c19ea41.jpg",[],{"id":30555,"slug":30556,"title":30557,"dynasty":18,"author":20396,"museum":120,"description":30558,"tags":30559,"thumbUrl":30560,"material":19402,"size":30561,"collection":166,"collections":30562,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},233478,"zhu-shi-yun-quan-tu-shan-ye-ding-yun-peng-233478","竹石云泉图扇页","此图最醒目的是绘有大面积的竹林，竹竿挺拔峭立，竹叶苍翠欲滴，它们整齐地沿河岸分列，构筑出一个典雅清幽的自然环境。图中的竹以工细的笔法，一丝不苟地精心刻画，竹节笔笔分明，竹叶施墨有近浓远淡之分，它们于虚实间扩展了画面的空间层次，也显现出作者工而不板的竹画功底。此幅是作者送给友人环海先生的画作，在此巧妙地使用有着“四君子”之一美誉的竹子为题材，以此赞赏友人具有象竹一样高风亮节、虚怀若谷的品格。",[24,25,1462,7,481,28,126,706,454,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc375ba89dd11d8dbb2bf587c62911622.jpg","纵17.8厘米，横55.9厘米",[],{"id":30564,"slug":30565,"title":2764,"dynasty":18,"author":119,"museum":120,"description":2765,"tags":30566,"thumbUrl":30567,"material":1877,"size":2769,"collection":166,"collections":30568,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},233466,"ren-wu-hua-hui-ce-xu-wei-233466",[24,25,9254,74,7,123,80,548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0caafb8f371fd7dcde8e8540b74d402.jpg",[],{"id":30570,"slug":30571,"title":3136,"dynasty":174,"author":377,"museum":120,"description":9377,"tags":30572,"thumbUrl":30573,"material":23968,"size":23969,"collection":166,"collections":30574,"showCount":30274,"zanCount":1084,"manualWeight":46,"mainColor":47},233422,"yuan-ji-shan-shui-ce-shi-tao-233422",[24,25,74,7,28,36,335,162,533,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e990046d184cb379e8605e984086c1.jpg",[],{"id":30576,"slug":30577,"title":30578,"dynasty":174,"author":9682,"museum":120,"description":30579,"tags":30580,"thumbUrl":30581,"material":6473,"size":30582,"collection":166,"collections":30583,"showCount":30274,"zanCount":1084,"manualWeight":46,"mainColor":47},233217,"kong-shan-jie-wu-tu-zhou-cha-shi-biao-233217","空山结屋图轴","查士标作为明代的遗民画家，持消极遁世的人生观。他在怡情于山水间结交了许多隐士。此图是他68岁时画赠好友玉峰道长的精心之作。构图注重远、中、近三景间物象聚、散的呼应统一关系。近、中景因表现杂木、小桥、独舟、孤亭等细碎物象而为“散状”。远景厚实的山体聚成石壁，它的整体性凝聚了散落的近、中景；而散落的近、中景又打破了远景的平整、呆板，活跃了画面。山石的形体，先以直线勾出轮廓，再以侧锋作疏朗而清晰的竖式皴擦，然后以清淡古朴的赭石等色晕染。树叶的表现方法丰富，或以长短线条表现，或以笔尖戳点，其灵活多变的形态，令本为点景的树木成为全画中不可或缺的一部分。",[24,281,95,7,27,28,36,335,35,33,480,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4469afa6f7c931f51956a8040ea8a7.jpg","纵98.7厘米，横53.3厘米",[],{"id":30585,"slug":30586,"title":3136,"dynasty":174,"author":377,"museum":120,"description":3137,"tags":30587,"thumbUrl":30588,"material":298,"size":3140,"collection":166,"collections":30589,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},233130,"yuan-ji-shan-shui-ce-shi-tao-233130",[24,25,74,7,27,36,28,34,33,35,533,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c90f5b10c8750c2a37695ac1a3187d5.jpg",[],{"id":30591,"slug":30592,"title":29128,"dynasty":18,"author":1788,"museum":120,"description":29129,"tags":30593,"thumbUrl":30594,"material":298,"size":29132,"collection":166,"collections":30595,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},232955,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232955",[24,25,74,7,28,194,30,33,180,38,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8693310f9c6f226c8fad57d3764ba076.jpg",[],{"id":30597,"slug":30598,"title":30599,"dynasty":174,"author":3928,"museum":120,"description":30600,"tags":30601,"thumbUrl":30602,"material":964,"size":30603,"collection":166,"collections":30604,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":140},232688,"mo-song-tu-zhou-zhao-zhi-qian-232688","墨松图轴","据画家自题，此图参用了篆、隶、草三体的书写技法来描绘松树，落笔圆浑滋厚，与作者的书法风格同一格调。树干、枝条、松针以草书笔法表现，秉承了文人画豪放洒脱的传统。画上行书落款笔力雄健遒劲，其金石韵味与松木的画法相映衬，意趣横生。此幅不愧为赵之谦以金石、书法入画的代表作。",[23,24,7,123,36,127,37,80,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fd887689ee93323c8e3eacf3173751.jpg","纵176.5厘米，横96.5厘米",[],{"id":30606,"slug":30607,"title":30608,"dynasty":5382,"author":24002,"museum":450,"description":24003,"tags":30609,"thumbUrl":30610,"material":314,"size":1061,"collection":166,"collections":30611,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},231747,"an-tu-tao-shan-shi-dai-song-lin-tu-ping-feng-di-yi-ping-zhang-gu-chuan-231747","安土桃山时代 松林图屏风-第一屏",[23,5385,670,624,33,7,27,36,10173,494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e031bd61161a28d9a520f501cd87ba.jpg",[],{"id":30613,"slug":30614,"title":30615,"dynasty":52,"author":30616,"museum":92,"description":30617,"tags":30618,"thumbUrl":30619,"material":98,"size":30620,"collection":166,"collections":30621,"showCount":30274,"zanCount":1084,"manualWeight":46,"mainColor":47},231412,"yan-ling-diao-tai-tu-sa-dou-ci-231412","严陵钓台图","萨都刺","诗塘款题云：\n山川牵惹心我旌。迢递驱驰万里程。蹻步薜分声柝柝。瀑流涧汇响砰砰。钓竿台上无形迹。丘壑亭中有隐名。富贵可遗志不易。鼎彝犹似羽毛轻。予自都门历南。跋涉驱驰。奔走几半万里。闻严台钓矶。山秀寰拱。碧水澄渊。余强冷启敬共登。既而游归。启敬强余绘图。漫为作此。至元己卯（1339年）八月燕山天锡薩都剌写。并题於武林。",[23,24,7,38,37,36,80,25,28,31,624,7489,35,164,3157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375ad6aa0e419933d8c53ef10dae7dd4.jpg","58.7 x 31.9cm",[],{"id":30623,"slug":30624,"title":30625,"dynasty":174,"author":14526,"museum":450,"description":30626,"tags":30627,"thumbUrl":30628,"material":166,"size":166,"collection":166,"collections":30629,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},231015,"long-tan-ting-pu-tu-mei-qing-231015","龙潭听瀑图","此作用高远式构图，以龙潭飞瀑为绝对视觉中心。危崖峭壁以灵动写意的笔墨写就，干湿皴擦并用，苍劲松活。古木虬枝斜出、繁叶层叠，朴拙的点叶技法晕染出山林深秀。\n右下角茅庐内幽人对坐，静聆瀑声喧豗，以幽居之静衬飞泉之动，动静相生尽显林泉雅意。左上题诗与画境呼应，将山川灵秀与文人隐逸襟怀相融，尽显新安画派以画为诗的清雅逸韵，把皖南山水的奇绝藏进笔墨丘壑里。",[23,24,25,95,7,36,28,210,34,33,32,30,80,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be7c7ad00a8eb1f86f60fec81e552e6.jpg",[],{"id":30631,"slug":30632,"title":30633,"dynasty":18,"author":1836,"museum":450,"description":30634,"tags":30635,"thumbUrl":30636,"material":166,"size":166,"collection":166,"collections":30637,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},230936,"yan-shu-mao-tang-tu-dong-qi-chang-230936","烟树茅堂图","此作用高远、平远之法铺展，主峰巍然耸峙，以干淡笔墨皴擦山石，尽显浑厚苍朴质感。近景坡岸间杂树错落，或虬曲苍劲，或清疏秀雅，干湿墨色互用，晕染出空濛烟岚，将山林间的氤氲之气娓娓铺陈。\n\n山谷茅堂隐现于林泉间，幽寂清宁，与题诗相映，尽显幽居不踏尘嚣的隐逸意趣。全画笔法松秀灵逸，意境萧散淡远，将文人寄情林泉的雅怀融于笔墨间，尽显南宗山水的静穆雅致。",[24,25,7,36,95,38,80,37,28,10154,23656,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c40f19d70eb1e0f772b02e18b758c7.jpg",[],{"id":30639,"slug":30640,"title":30641,"dynasty":18,"author":1836,"museum":450,"description":30642,"tags":30643,"thumbUrl":30644,"material":166,"size":166,"collection":166,"collections":30645,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},230905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-dong-qi-chang-230905","仿黄子久 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"mainColor":140},227941,"yun-shan-tu-juan-mi-you-ren-227941","云山图卷","以水墨晕染写就烟峦百态，峰岫浮沉在流岚雾霭之中，汀渚林木隐现于云水之间。不施勾勒皴擦，纯以墨色浓淡晕出山之体态，尽显江南山水氤氲空濛的烟雨气象。\n运笔简率萧散，信笔挥洒间便将润泽秀雅的江天景致铺展卷上。一叶孤舟泛于江上，更衬江天寥廓悠远，尽显“墨戏”的写意特质，于虚灵中藏沉厚，平淡里见悠远，将江南烟岚朝暮的朦胧诗意定格卷间，尽显寄兴笔墨的文人雅趣。",[23,24,25,26,7,36,28,454,31,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0dedd99ab89fbc71fe9e1671080a2e.jpg",[],{"id":30712,"slug":30713,"title":30714,"dynasty":205,"author":278,"museum":450,"description":30715,"tags":30716,"thumbUrl":30717,"material":166,"size":166,"collection":166,"collections":30718,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":140},227731,"yao-cen-yan-ai-tu-ye-xia-gui-227731","遥岑烟霭图页","暮色四围，烟岚沉沉，远方数峰缥缈，近处水石萦回，在空茫的背景中衬出树木的剪影一般的身姿。画家夏圭着意渲染出黄昏时分那微茫昏沉的感觉和诗意，犹如醉酒的微醺，令人着迷。",[23,24,7,36,74,28,164,6082,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7af6ddb62a8cb81e7c3c1551de268c7.jpg",[],{"id":30720,"slug":30721,"title":30722,"dynasty":205,"author":307,"museum":450,"description":30723,"tags":30724,"thumbUrl":30725,"material":166,"size":166,"collection":166,"collections":30726,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},227496,"xue-shan-tu-ye-fan-kuan-227496","雪山图页","《雪山萧寺图》是北宋画家范宽创作的一幅中国画。该幅画表现雪中山水的代表作品，构图不同于其他作品。画中山石树木直现于幅前，不留空间，让观赏者觉得有一股寒气袭来的身临其境感。群山簇拥，直指天空，深深的沟壑中，密林隐藏着萧寺，丛岩叠嶂中，“溪出深虚，水若有声”。由近而远堆叠的山峦，“折落有势”，山下寒树苍劲坚挺，势如铁帚，显示出范宽“写山真骨”，“与山传神”的精湛技艺。",[23,281,24,25,74,7,27,36,28,4347,180,147,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323a384e10f929ca675c2d84c6b715b5.jpg",[],{"id":30728,"slug":30729,"title":30730,"dynasty":174,"author":15533,"museum":450,"description":24545,"tags":30731,"thumbUrl":30732,"material":166,"size":166,"collection":166,"collections":30733,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},226632,"si-shi-shan-shui-05-pu-ru-226632","四时山水05",[23,24,7,36,28,624,34,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1a4e3f15c64dc930ae6a157ad9e18.jpg",[],{"id":30735,"slug":30736,"title":30737,"dynasty":174,"author":377,"museum":450,"description":30738,"tags":30739,"thumbUrl":30740,"material":166,"size":166,"collection":166,"collections":30741,"showCount":30274,"zanCount":1084,"manualWeight":46,"mainColor":47},224518,"shan-shui-tu-ce-8-kai-5-zhang-da-qian-jiu-cang-shi-tao-224518","山水图册8开-5-张大千旧藏","这幅画以板桥通幽开篇，苍虬古木引向临渊茅舍，二人松下晤谈，岸柳轻拂添了灵动生机。远景群峰用枯涩皴笔写就，墨色干湿浓淡交织，于简淡勾勒间见出层峦雄浑之态。\n整幅以笔意载山乡幽怀，将林下隐逸的桃源意趣藏于尺幅。题字纵逸朴拙，与山水笔墨浑然相合，不见雕琢之痕。观之如踏入烟岚溪山，俗虑尽消，尽显笔底丘壑的林下清趣。",[23,281,24,25,74,7,36,28,162,193,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db64bd599b59aa160742e31ee3c7ca.jpg",[],{"id":30743,"slug":30744,"title":30745,"dynasty":174,"author":377,"museum":450,"description":30746,"tags":30747,"thumbUrl":30748,"material":166,"size":166,"collection":166,"collections":30749,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},224506,"shan-shui-ce-kai-shi-yi-shi-tao-224506","山水冊开(十一)","淡墨晕染江天，烟霭轻笼远山，将春日春江晕染得愈发空濛柔婉。岸侧垂柳疏条袅袅，几只禽鸟栖止枝头，清寂中又添几分灵动生机。江心孤帆半展，随波缓行，似载着晚春归人，悠悠划入淡远烟波之中。\n整幅画作笔墨简淡空灵，不着浓艳色彩，以写意之笔勾勒出江乡暮春的闲散幽寂。题诗与画境浑然相融，把春昼悠长的慵懒恬然藏在浅淡笔墨间，寥寥数笔便将悠远空寂的江天胜境铺展开来，尽显雅致文心。",[23,24,25,74,7,36,28,31,30,282,610,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a05b280c06a6313490c10405c040edb.jpg",[],{"id":30751,"slug":30752,"title":30753,"dynasty":174,"author":377,"museum":450,"description":30754,"tags":30755,"thumbUrl":30756,"material":166,"size":166,"collection":166,"collections":30757,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},224498,"shan-shui-ce-kai-qi-shi-tao-224498","山水冊开(七)","此作用淡青晕染远山，朦胧如含烟笼雾，留白湖面恰似空濛烟波，汀渚苇草轻曳，将江渚清寂铺陈开来。近坡以浓墨点苔，苍润朴拙，村居隐于繁荫之下，檐下仿佛有幽人对坐，暗合题诗里的江村闲意。\n行书题跋错落排布，与水墨山水相融相生，笔墨随性却章法自洽。将江南野居的清寂诗意晕染纸上，淡而不薄，简而不空，把文人幽居寄情山水的意趣藏在每一处皴擦点染里，观之如临无人烟渚，坐忘林泉，尽得山野闲逸之味。",[23,24,7,74,36,27,28,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61e210656cf02ca4c403e9a8efe90f9.jpg",[],{"id":30759,"slug":30760,"title":30761,"dynasty":174,"author":491,"museum":450,"description":30762,"tags":30763,"thumbUrl":30764,"material":166,"size":166,"collection":166,"collections":30765,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":140},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,24,25,95,494,36,7,27,28,624,210,211,34,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":30767,"slug":30768,"title":30769,"dynasty":174,"author":9682,"museum":450,"description":30770,"tags":30771,"thumbUrl":30772,"material":166,"size":166,"collection":166,"collections":30773,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},224255,"tao-yuan-tu-cha-shi-biao-224255","桃园图","此作用笔松秀简淡，以浅绛设色晕染出桃源幽境。左侧村舍错落隐于林樾间，田陇横斜延展，数位乡贤执礼晤谈，稚童随行、家犬嬉游，晕开融融烟火意趣。右侧崖壁清峭苍古，松枝偃仰遒劲，江流宛转萦回，扁舟静泊汀岸，淡施花青赭石点染枝梢，晕开春日柔润清和。\n全画以留白衬出空寂幽远的氛围，将林泉静穆与村居恬和相融，把文人心中避世归乡的桃源理想，化作可感的山水村居图景，尽显萧散简远的审美意趣。",[23,24,25,26,7,36,28,193,35,33,624,131,31,14024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ee26c49185665d7885d138604cf597.jpg",[],{"id":30775,"slug":30776,"title":30777,"dynasty":174,"author":4221,"museum":92,"description":30778,"tags":30779,"thumbUrl":30780,"material":284,"size":30781,"collection":83,"collections":30782,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},224117,"kai-tai-shuo-bing-san-yang-kai-tai-tu-juan-qian-long-224117","开泰说并三阳开泰图卷","是清代乾隆弘历的亲笔图，该幅是摹仿收藏于台北故宫博物院明宣宗（1399－1435）与郎世宁（1688－1766）同名之作。该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作",[23,281,24,25,26,7,38,80,37,453,3796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0619277c0f73ea795b19279dee6e8c7f.jpg","27.7×63厘米",[83,222],{"id":30784,"slug":30785,"title":30786,"dynasty":205,"author":581,"museum":770,"description":30787,"tags":30788,"thumbUrl":30789,"material":61,"size":30790,"collection":83,"collections":30791,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":140},223449,"han-ya-tu-juan-yi-ming-223449","寒鸦图卷","此图淡彩画雪霁严林、群鸭、寒塘衰草。",[23,24,25,26,7,27,481,36,37,80,717,147,282,993,30,3371,672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ba2c5fb104dfc8ae7bd32e5b801ac1.jpg","27.1×113.2cm",[83,64],{"id":30793,"slug":30794,"title":30795,"dynasty":205,"author":581,"museum":92,"description":30796,"tags":30797,"thumbUrl":30798,"material":284,"size":30799,"collection":166,"collections":30800,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":140},223426,"song-ren-song-yan-xian-guan-zhou-yi-ming-223426","宋人松岩仙馆轴","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[23,24,25,95,7,36,28,127,1664,194,162,34,164,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29c46de45092ebaff5ce785caa37a19.jpg","171x115.7公分",[],{"id":30802,"slug":30803,"title":30804,"dynasty":174,"author":819,"museum":450,"description":1239,"tags":30805,"thumbUrl":30806,"material":298,"size":166,"collection":245,"collections":30807,"showCount":30274,"zanCount":5,"manualWeight":46,"mainColor":47},223292,"wu-yan-shi-zheng-ban-qiao-223292","五言诗",[23,24,25,95,38,80,7,10153,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c5a5bdcf2543aa3e72177efe971d9.jpg",[245],{"id":30809,"slug":30810,"title":30811,"dynasty":174,"author":2823,"museum":159,"description":30812,"tags":30813,"thumbUrl":30814,"material":7,"size":30815,"collection":42,"collections":30816,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},223250,"ku-mu-han-ya-pu-hua-223250","枯木寒鸦","款识：枯木寒鸦。曾见李莹邱有此本，偶一效之，大略如是，作英蒲华。",[23,24,7,123,36,809,282,28,180,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac8fd8af8dbebd94497968fae5fd6bb.jpg","33×127cm",[42,222],{"id":30818,"slug":30819,"title":7871,"dynasty":18,"author":14875,"museum":92,"description":30820,"tags":30821,"thumbUrl":30822,"material":537,"size":30823,"collection":42,"collections":30824,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},222675,"lin-quan-gao-yi-tu-xiang-sheng-mo-222675","水墨绘山水一隅，山石围水而立，山坡平缓起伏，水面宽阔平静，一派安详静谧之气氛。项圣谟，初字逸，号易庵，明末清初画家，善画山水、人物、花卉，擅绘松树，有“项松之名满东南”之誉",[23,24,7,26,28,34,33,10976,164,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f17316dac0c91e0c3ee608508eb723.jpg","33x126cm",[42,222],{"id":30826,"slug":30827,"title":1567,"dynasty":18,"author":18116,"museum":294,"description":30828,"tags":30829,"thumbUrl":30830,"material":284,"size":30831,"collection":42,"collections":30832,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":47},222533,"shan-shui-zhou-wang-duo-222533","王铎认为“创奇景先行”，又回到北宋的山水题材，表达对董其昌（1555-1636）信条的不满：“考虑笔墨之妙，风景无法与绘画竞争。” 这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[23,24,25,95,7,28,147,35,34,33,58,123,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 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武夷放棹图》比较接近，不属于兴之所、至率性而为的作品，是画家澄心静虑的经意之作。卷首是程南云篆书题写的“方壶真迹”引首，卷尾有高谷、周凯、雪坡道人、王谦、沈成章、钱博、詹景凤和吴湖帆的题跋，并有著名收藏家王季迁的鉴藏印。",[23,24,25,26,7,28,36,335,454,162,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e14e9fbcbc029dd475988a0493766d.jpg","纵27厘米，横144.5厘米",[],{"id":30875,"slug":30876,"title":30877,"dynasty":18,"author":14616,"museum":4012,"description":30878,"tags":30879,"thumbUrl":30880,"material":30881,"size":30882,"collection":166,"collections":30883,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":166},220726,"chong-shan-shui-xie-tu-li-zai-220726","崇山水榭图","李在，字以政，福建莆田人。明宣德时被征召入宫，与谢环、倪端、石锐、戴进等绘画名手同为仁智殿待诏。东京国立博物馆现藏《破墨山水图》上有日本室町时代画圣画僧雪舟的自赞，谓曾入明朝向当时极具声望的李在学习设色与破墨之法，可见李在画名曾远播东洋。\n\n此幅山水为李在将南、北宋绘画传统融会于一体的成果。近景右侧的蟹爪树向左方斜出，下有一策杖行人与童子步上木桥，似引导观者进入画中的理想世界。后方主山向上蜿蜒攀升，深具北宋巨障山水的体量感，但位置稍偏于画面右侧，将画幅左侧让给河流、远山，层层后退，表现山水的深远感。画中各种人物活动，清晰可见，中心山腰处有两名行人头戴斗笠，手持拐杖，由山后转出，随山径而下；中景处有两名文士造访山间凉亭，亭前则有童子洒扫；山脚处则有一人于水榭中读书。人物比例显得略大，但更拉近了观者与画面的距离，为画作带来亲密感与活泼生机。此外，此画的建构模式，例如充满动势的主山、中景处雾气蒸腾的松林、前景的蟹爪树、各式点景人物等，亦见于李在的其他作品，例如《山庄高逸图》与《山村图》。惟此《崇山水榭图》的皴染更为湿润，山石上骚动的卷云皴近乎隐没于墨染之中，并不明显，而中景右侧的两棵劲挺松树，则接近南宋的松树样式，于李在的传世立轴中较为少见。",[23,24,7,36,95,28,268,29,33,193,30,34,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3089547ba99e8fe6ce6a1d45917564c.jpg","水墨,设色,绢本,立轴","画心：124.3×59.4厘米 装裱：239.2×77.5厘米",[],{"id":30885,"slug":30886,"title":30887,"dynasty":18,"author":15313,"museum":4012,"description":30888,"tags":30889,"thumbUrl":30890,"material":30891,"size":30892,"collection":166,"collections":30893,"showCount":30274,"zanCount":46,"manualWeight":46,"mainColor":166},220725,"xie-an-xiang-guo-xu-220725","谢安像","郭诩（1456-约1529），明代画家。字仁弘，号清狂道士，泰和（今属江西）人。少年时为博士弟子，后弃绝功名，专志诗文书画。喜游历，曾遍游名山胜地，画艺大进。擅山水、人物，作品风格呈粗细两种面貌，前者所画多信手勾染，线条粗劲，水墨淋漓，造型简括秀逸，生动传神，画风简逸狂放。后者画法工整，线条圆劲流畅，画风细致俊雅。同时期画家沈周、吴伟、杜堇等，都推重其艺术造谐。有《杂画册》、《琵琶行图》、《东山携妓图》等传世。",[23,24,25,95,547,7,193,13874,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6865ffbaed9c1e5bb5f58517d72ed18c.jpg","水墨,纸本,立轴","画心：118.5×42厘米 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菜根长出一株杂草，细长的草茎上栖息着一只蚱蜢。 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将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,95,7,28,194,33,58,10879,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae96fa2834c3c09ba001a9aaec286bb.jpg",[222,245],{"id":31257,"slug":31258,"title":31259,"dynasty":174,"author":10759,"museum":450,"description":31260,"tags":31261,"thumbUrl":31262,"material":166,"size":166,"collection":83,"collections":31263,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},237960,"mo-song-si-ye-hu-yu-kun-237960","墨松寺页","山水有家法，用笔虚无缥缈，咫尺千里。兼长花卉、兰竹。为胡氏一门之杰，称逸品。康熙八年（一六六九）与会周亮工宴于南京，九年（一六七o）作碧梧依山图，十二年（一六七三）作金陵古迹册。有栗园集。《明画录、读画录、桐阴论画、墨香居画识、香祖笔记、赖古堂集、青溪遗稿、赖古堂书画跋、画传编韵、清画家诗史》",[24,7,27,28,624,34,164,533,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03a7c2f35cdcb613b2a1c9bba86f824d.jpg",[83,64],{"id":31265,"slug":31266,"title":31267,"dynasty":18,"author":5683,"museum":450,"description":31268,"tags":31269,"thumbUrl":31270,"material":166,"size":166,"collection":166,"collections":31271,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},237921,"qi-lv-lao-zhe-zhou-zhang-lu-237921","骑驴老者轴","以极简写意之笔绘就策驴老者，笔墨酣畅率意，脱尽繁缛。淡墨勾勒衣袍褶皱，寥寥数笔便将老者宽袍缓行、神态悠然的模样尽显，驴儿抬蹄疾走的野趣亦跃然纸上，形神兼备。画面留白雅致，搭配题诗相映成趣，将文人林下游赏归来，不沾尘俗的疏旷随性勾勒尽致，尽显山野逸趣，把超脱不羁的林下襟怀藏进简练笔墨之中。",[24,25,95,7,193,3902,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1de4e9ca22fe124f140d49132608d5.jpg",[],{"id":31273,"slug":31274,"title":31275,"dynasty":18,"author":3243,"museum":450,"description":31276,"tags":31277,"thumbUrl":31278,"material":166,"size":166,"collection":83,"collections":31279,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},237920,"shan-song-se-zhou-zhang-hong-237920","山松色轴","字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州)人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[281,24,95,7,36,28,624,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf66bb758d89c6cdfc0908d408a0d49c.jpg",[83,222],{"id":31281,"slug":31282,"title":31283,"dynasty":174,"author":14526,"museum":450,"description":31284,"tags":31285,"thumbUrl":31286,"material":166,"size":166,"collection":42,"collections":31287,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},237690,"mei-qing-qu-xing-shi-shi-tu-zhou-mei-qing-237690","梅清瞿硎石室图轴","梅清（1623-1697），清初画家、诗人。原名士羲，后改今名，字渊公，号瞿山、敬亭山农，宣城（今属安徽）人。世祖顺治十一年（1654）举人，四次 北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 梅清、梅庚、石涛，戴本孝等为黄山派。传世作品有《山村清景图》、《黄山图》、《黄山十九景图》、《黄山炼丹台图》等。",[24,95,7,28,193,624,180,36,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980073cdbde0a994569769bb864028f.jpg",[42],{"id":31289,"slug":31290,"title":70,"dynasty":18,"author":25054,"museum":450,"description":25055,"tags":31291,"thumbUrl":31292,"material":166,"size":166,"collection":166,"collections":31293,"showCount":31094,"zanCount":1084,"manualWeight":46,"mainColor":47},237674,"hua-niao-ce-ling-bi-zheng-237674",[281,24,25,74,481,7,75,78,552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9409048b6bc8ab56002702e7c8362a.jpg",[],{"id":31295,"slug":31296,"title":2806,"dynasty":174,"author":418,"museum":450,"description":4299,"tags":31297,"thumbUrl":31298,"material":298,"size":166,"collection":166,"collections":31299,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},237624,"za-hua-ce-zhu-da-237624",[24,7,123,75,3443,367,363,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c05936f6377c0e60f7f681d653d679.jpg",[],{"id":31301,"slug":31302,"title":2806,"dynasty":174,"author":418,"museum":450,"description":4299,"tags":31303,"thumbUrl":31304,"material":298,"size":166,"collection":166,"collections":31305,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},237623,"za-hua-ce-zhu-da-237623",[24,7,123,75,74,77,128,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2e7d89a315d4450c5939afbbf6e3ae3.jpg",[],{"id":31307,"slug":31308,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":31309,"thumbUrl":31310,"material":166,"size":166,"collection":83,"collections":31311,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},237594,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237594",[24,25,74,7,36,254,28,624,210,34,33,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae0c88738c7130fc52a28d7ea721399c.jpg",[83,64],{"id":31313,"slug":31314,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":31315,"thumbUrl":31316,"material":166,"size":166,"collection":166,"collections":31317,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582",[24,25,74,7,36,254,28,717,147,180,213,10414,33,2637,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],{"id":31319,"slug":31320,"title":31321,"dynasty":18,"author":31322,"museum":450,"description":31323,"tags":31324,"thumbUrl":31325,"material":314,"size":1061,"collection":83,"collections":31326,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},237274,"zhi-hua-ce-chen-dao-237274","指画册","陈道","陈道，字常经，生卒年不详。明代广东归善县铁炉湖人。正统八年（1443）贡监，授抚州府推官，代理全府之事务。有一年闹饥荒，陈提出发放仓库里的粮食赈灾。一些府官则说，必须按惯例向上级申请。陈说：“人们都快要饿死了，怎么还能等到申请获得批准？责任由我个人承担，决不连累你们。”仓库的粮食不够赈济，陈就将自己的薪金捐献出去。总共救济了几万灾民。不久上级认为陈专权，严厉责备他。陈不顾自己生活困难，毅然辞职归田。陈对子女管教得很严，规劝子女不要穿华丽的服饰。他的子孙后代，名声很好。",[24,25,74,18333,7,3452,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa92256e6d38e8d50e01978afc127fa.jpg",[83,222],{"id":31328,"slug":31329,"title":31330,"dynasty":174,"author":31331,"museum":92,"description":31332,"tags":31333,"thumbUrl":31334,"material":298,"size":31335,"collection":42,"collections":31336,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},237237,"bai-lu-quan-tu-zhou-fang-shi-shu-237237","白鹿泉图轴","方士庶","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。\n能诗善画，书法严密端秀，绘画笔墨敏洁灵秀，气势跌宕飞动，谓之为王原祁后山水第一。受学于黄鼎，山水用笔灵敏，气晕骀宕，早有出蓝之目，时称妙品。兼善花卉写生。其得意之作，皆钤“偶然拾得”小墨印。复以书法名芜城。行楷结构严密，纯学董其昌。惜中寿而殁。亦工诗，有《环山诗钞》。是“娄东派”卓有成就的名家。",[24,25,95,7,36,28,194,33,34,1524,597,164,6133,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd777ea183e5a3b1907c7c59e0962cf28.jpg","369x102",[42],{"id":31338,"slug":31339,"title":1567,"dynasty":174,"author":31340,"museum":120,"description":31341,"tags":31342,"thumbUrl":31343,"material":964,"size":31344,"collection":42,"collections":31345,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},237121,"shan-shui-zhou-cheng-sui-237121","程邃","全图以枯笔焦墨表现丘峦林壑，带有程邃典型的笔墨特征。其渴笔干墨的行笔线条刚劲有力，具有以书入画的金石味，将山石树木荒拙苍老的筋骨之美表现得别有情致，从而成功地勾画出作者理想中那种摆脱尘嚣缰锁、陶然世外的高人雅境。",[24,25,28,7,36,95,335,33,35,215,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aea53b6cd918a5d89fec19f2000ba36.jpg","纵64.6厘米，横29.4厘米",[42],{"id":31347,"slug":31348,"title":31349,"dynasty":174,"author":25248,"museum":450,"description":31350,"tags":31351,"thumbUrl":31352,"material":314,"size":1061,"collection":166,"collections":31353,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},236724,"gai-qi-mu-dan-shan-gai-qi-236724","改琦牡丹扇","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[24,25,1462,7,75,129,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e897ea7159d76effc5cfa8e1760a51b.jpg",[],{"id":31355,"slug":31356,"title":31357,"dynasty":174,"author":749,"museum":12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画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,95,7,36,254,28,34,33,35,30,211,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[42,64,245],{"id":31364,"slug":31365,"title":31366,"dynasty":18,"author":27598,"museum":450,"description":31367,"tags":31368,"thumbUrl":31370,"material":166,"size":166,"collection":600,"collections":31371,"showCount":31094,"zanCount":1084,"manualWeight":46,"mainColor":140},236411,"er-xian-zhou-peng-shun-xiang-236411","二仙轴","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[24,25,95,7,27,193,19341,31369,33,34,547],"古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[600,222],{"id":31373,"slug":31374,"title":31375,"dynasty":174,"author":5090,"museum":120,"description":31376,"tags":31377,"thumbUrl":31379,"material":811,"size":31380,"collection":42,"collections":31381,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},236391,"zhong-lin-die-zhang-zhou-wang-hui-236391","重林叠嶂轴","“虞山画派”大家王翚(1632－1717)一生的画腊极长，创作精力旺盛，各阶段绘画风格的变化亦较为明显。对此，近代鉴藏大家吴湖帆(1894－1968)题本展王石谷《仿巨然夏山烟雨图卷》中，曾有极为精辟的剖析：“王石谷子(王翚)年四十左右，在娄东王奉常(王时敏)家临摹宋元名迹，艺乃大成，间为太常代笔，亲受指点，益臻神化，故石谷画当以四十至五十为极诣，五十至六十自具面目，六十至七十渐落俗套、每失韵致，七十至八十有衰颓气，八十以外又复变化入神，用笔如万岁枯藤，苍辣兼具，有空前绝后之妙。后人之诋諆石谷者，盖多见其六十以后八十以前作也。”梅景书屋主人之评，的为灼见，其对石谷画风的如数家珍，实得益于其本人鉴藏之丰厚。\n众所周知，近现代的江南地区，无疑是“四王”书画流散与聚集的重镇。不仅吴氏如此，他如庞莱臣、顾文彬、钱镜塘等近现代大藏家亦然，购藏“四王”精品之机会甚多。而他们的旧藏，之后成为了上海博物馆馆藏“四王”的主要来源。以王翚为例，不仅数量逾百，且自成体系，如自王氏四十岁至八十六岁的四十七年中，除四十三、五十六、五十七、五十八、六十及七十六岁这六年无藏品外，其余则可按系年排列。而传世本就不多的王翚四十岁前早期作品，上海博物馆亦拥有重要画作若干。其二，上海博物馆所藏王翚各时期作品，皆有诸多精品与代表作，如四十岁前《早年山水图轴》、《十里溪塘图轴》，四十至五十岁间的《仿曹知白西林禅室图卷》、《元人高韵图轴》、《小中现大图册》、《黄鹤传灯图卷》、《仿关仝溪山晴霭图卷》、《仿黄公望富春山居图卷》，五十至六十岁间的《溪阁晤对图轴》、《重江叠嶂图卷》，六十至七十岁的《泰岳松风图轴》、《西斋图卷》、《寒林雅趣图卷》，七十至八十岁的《六境图卷》、《嵩山草堂图轴》，八十以后如《唐人诗意图轴》、《仿大痴山水图轴》等。其系统性与代表性，对全面把握与理解王翚一生的绘画风格演变，提供了良好的实物基础，这也是本展得以举办的主要缘由。\n另一方面，察考上博王翚作品中所涉及的相关人物，可以发现，这些或受赠者，或鉴题者，在王氏的艺术生涯以及人生轨迹的转变中扮演了重要的角色。同时，亦可注意到，伴随着王翚交游圈的不断拓展，其从艺心态随之产生了微妙的变化。而这种转变，与上述吴湖帆所析其各阶段画风特点，亦有某种程度上的关联，也折射出王翚与同时代如王原祁、八大山人、恽寿平等艺术家在个性、气质方面的些许差异。",[24,25,95,7,36,28,34,33,32,31378,3942],"重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纵129.7cm，横44.1cm",[42,222],{"id":31383,"slug":31384,"title":31385,"dynasty":174,"author":1639,"museum":450,"description":5476,"tags":31386,"thumbUrl":31388,"material":314,"size":1061,"collection":166,"collections":31389,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},236378,"xu-gu-guo-pin-shan-ye-xu-gu-236378","虚谷果品扇页",[24,25,1462,27,7,38,123,1252,6659,31387],"果品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79e595f08a8d4afc024bc05213ef75a.jpg",[],{"id":31391,"slug":31392,"title":31393,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":31394,"thumbUrl":31395,"material":314,"size":1061,"collection":166,"collections":31396,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},236343,"yuan-ji-lan-shi-shan-shi-tao-236343","原济兰石扇",[281,24,25,1462,7,133,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681a6f9bf2925a9eb7dfa44cdf8ba289.jpg",[],{"id":31398,"slug":31399,"title":6113,"dynasty":174,"author":377,"museum":450,"description":31400,"tags":31401,"thumbUrl":31402,"material":166,"size":166,"collection":166,"collections":31403,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},235883,"yuan-ji-shan-shui-tu-ce-shi-tao-235883","此开以淡墨晕染出夜江空濛之境，远山如笼轻烟，朦胧柔婉。坡岸古松虬曲苍劲，枝叶疏密交错，暗合晚风拂林之态。浅滩扁舟静泊，舱内灯影隐约，将羁旅夜泊的清寂诗意缓缓铺陈。\n\n行书题诗与画面相映成趣，笔意疏朗清逸，诗句将烟月横塘的缱绻旅思娓娓道来，诗画交融无间。整幅以简驭繁，淡设色烘托出静谧悠远的晚江氛围，寥寥数笔便写尽江湖寄兴的闲淡意绪，尽显文人画诗画合璧的雅致风神，把幽寂淡远的羁愁融于尺幅之间。",[24,25,74,7,27,28,624,1442,212,38,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d386381e3f4f6870eb0fa126626adb4.jpg",[],{"id":31405,"slug":31406,"title":70,"dynasty":18,"author":31407,"museum":450,"description":31408,"tags":31409,"thumbUrl":31410,"material":314,"size":1061,"collection":166,"collections":31411,"showCount":31094,"zanCount":5,"manualWeight":46,"mainColor":47},235723,"hua-niao-ce-tan-zhi-yi-235723","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[281,24,25,74,7,75,8840,367,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754d533672d348e12400db586ea98fde.jpg",[],{"id":31413,"slug":31414,"title":25690,"dynasty":174,"author":14526,"museum":450,"description":31415,"tags":31416,"thumbUrl":31417,"material":166,"size":166,"collection":166,"collections":31418,"showCount":31094,"zanCount":5,"manualWeight":46,"mainColor":47},235673,"huang-shan-tu-zhou-mei-qing-235673","《梅清黄山图轴》是清代画家梅清创作的一幅纸本设色画。\n图绘被世人称为“黄山绝胜处”的文殊台。\n群峰松林以平行的斜线构成，白云蒸腾而上，气势雄浑。\n作者用豪放、泼辣的笔法突出了黄山奇、峻、险、秀的意境，山石以皴勾画，繁而不乱，松树枝叶墨气浓郁，独树一帜，别开生面。\n本幅自题诗一首，款署：“瞿山梅清并题”，钤“瞿山清”白文印、“渊公”朱文印。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[24,25,95,7,36,28,624,211,57,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e76d80fe37e232fb28534fb90d10bcd.jpg",[],{"id":31420,"slug":31421,"title":31422,"dynasty":18,"author":14875,"museum":450,"description":22338,"tags":31423,"thumbUrl":31424,"material":314,"size":1061,"collection":166,"collections":31425,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},235480,"lan-shi-zhou-xiang-sheng-mo-235480","兰石轴",[24,95,7,27,38,37,80,123,133,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e1ec05a2947cf61302ad7de572a69.jpg",[],{"id":31427,"slug":31428,"title":31429,"dynasty":174,"author":9682,"museum":120,"description":31430,"tags":31431,"thumbUrl":31432,"material":166,"size":166,"collection":166,"collections":31433,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},234790,"bu-duo-hou-song-po-du-zuo-tu-xiang-zhou-cha-shi-biao-234790","补多侯松坡独坐图像轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水，为海阳四家之一。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,95,7,193,624,147,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47325813bace357ceaf9d97d5cd3f2f3.jpg",[],{"id":31435,"slug":31436,"title":31437,"dynasty":174,"author":31438,"museum":450,"description":31439,"tags":31440,"thumbUrl":31441,"material":166,"size":166,"collection":166,"collections":31442,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},234521,"zhu-lan-tu-shan-liao-yun-jin-234521","竹兰图扇","廖云锦","廖云锦，其句“伤心春雨香泥尽，羡尔先归到故乡”，广为吟咏。\n廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。早寡，遂以诗画消磨时光。名所居为“读画楼”。她工绘花鸟，宗法恽寿平，不以笔墨勾勒轮廓线，直接上色点染，所画物象自然生动。善诗，著有《织云楼诗稿》，中有《咏秋燕诗》，其句“伤心春雨香泥尽，羡尔先归到故乡”，广为吟咏。",[24,25,1462,7,126,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3b7e803b78b25f2b01ba20021d51ad.jpg",[],{"id":31444,"slug":31445,"title":157,"dynasty":174,"author":418,"museum":120,"description":9387,"tags":31446,"thumbUrl":31447,"material":537,"size":9390,"collection":166,"collections":31448,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},234302,"shan-shui-ce-zhu-da-234302",[24,7,36,74,80,28,31,33,34,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F407a0f23048f46ee0041bf52f26c96e4.jpg",[],{"id":31450,"slug":31451,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":31452,"thumbUrl":31453,"material":811,"size":4319,"collection":166,"collections":31454,"showCount":31094,"zanCount":1084,"manualWeight":46,"mainColor":47},233864,"mei-hua-ce-jin-nong-233864",[24,281,74,7,37,80,125,194,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e7776150e91fd80518976f353159d7.jpg",[],{"id":31456,"slug":31457,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":31458,"thumbUrl":31459,"material":811,"size":4319,"collection":166,"collections":31460,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},233857,"mei-hua-ce-jin-nong-233857",[24,25,74,7,125,37,6186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4778566cb3397349972119e2d926f2a8.jpg",[],{"id":31462,"slug":31463,"title":31464,"dynasty":174,"author":633,"museum":120,"description":31465,"tags":31466,"thumbUrl":31468,"material":298,"size":31469,"collection":166,"collections":31470,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},233722,"san-you-tu-xiang-zhou-ren-yi-233722","三友图像轴","任颐的人物画是典型中西结合的代表，人物面部刻画借鉴西洋素描画法，力求形似逼真，而人物服饰却又是中国画典型的“线条”的艺术，或作折芦描或作丁头鼠尾描淡色轻染，清新悦目。\n任颐作画，一般都有画稿，是从生活中观察、写生而成。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品，而且他善于捕捉人物一刹那之间的神情动态，使得造型准确，情态生动，衣纹用笔既能表现形体关系，又有衣褶线条变化的灵动之美，很注意突出衣纹的走势。他画肖像画以家学之法为主，脸部塑造以“没骨”法和以色渲染法打底，关键部位以线强调，衣袍服饰以所学众法为之，或写或工，或墨或线。任颐的肖像画形成了独自的风格，并开拓了全新的境界。\n任颐的花鸟画手法多样，远师北宋，近学徐渭、陈淳、石涛、恽寿平等，博采众长，独出一格，工笔、写意、勾勒、没骨、设色、水墨均能运用自如。他多用湿笔，运用淡墨尤有独到处，他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交融，风格明快、温馨、清新、活泼，极富创造性。任颐的绘画在当时及现代具有极大影响，被认为是“仇十洲（仇英）后中国画家第一人”。\n其实任颐作画是用写意画法去画工笔画，是以工笔画为里，写意画为面，在他的画中既有写意的痛快淋漓，又有工笔画的神形兼备，也就是说，他是将工笔画写意化，而不是将文人画写意化。任颐重新整合了工笔画，开创了写意工笔画风，对后世的影响是极其巨大的。\n这幅《三友图像》作于光绪甲申（1884）年，当时作者已经45 岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[281,24,25,95,7,27,193,8048,31467,80,37,38,481,123],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 厘米",[],{"id":31472,"slug":31473,"title":31474,"dynasty":52,"author":31475,"museum":120,"description":22533,"tags":31476,"thumbUrl":31478,"material":298,"size":31479,"collection":166,"collections":31480,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},233717,"yu-lan-guan-yin-tu-zhou-cui-gao-233717","渔篮观音图轴","崔皋",[24,95,3557,193,7,547,37,38,80,31477],"渔篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ea14bb4e2cf3950aa4d9d92fc4b7ba.jpg","82.1x32cm",[],{"id":31482,"slug":31483,"title":3136,"dynasty":174,"author":377,"museum":120,"description":9377,"tags":31484,"thumbUrl":31485,"material":23968,"size":23969,"collection":166,"collections":31486,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},233420,"yuan-ji-shan-shui-ce-shi-tao-233420",[24,7,36,28,147,1442,34,163,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13c86746ad2136d441ce39e6d598d2b7.jpg",[],{"id":31488,"slug":31489,"title":31490,"dynasty":52,"author":26217,"museum":120,"description":31491,"tags":31492,"thumbUrl":31493,"material":564,"size":31494,"collection":166,"collections":31495,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[281,24,25,26,27,28,7,36,37,38,3074,80,29,30,31,32,33,729,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg","纵26.5厘米，横111.6厘米",[],{"id":31497,"slug":31498,"title":31499,"dynasty":18,"author":31500,"museum":92,"description":31501,"tags":31502,"thumbUrl":31503,"material":298,"size":31504,"collection":166,"collections":31505,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},232694,"pin-cha-tu-ju-jie-232694","品茶图","居节","居节，明代吴门画家，文徵明弟子。在文门子弟、门生当中，居节的声名不若文彭、文嘉、王榖祥、周天球、陆治、钱榖等人显赫，但却能克绍恩师艺风，善画能诗，有着相当高的艺术水平。",[24,25,95,7,27,28,193,33,30,37,38,80,32,1153,14065,6213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb09016bd62c010c7b21fc206e650aa.jpg","本幅 107.1x28.9公分、詩塘 50.4×28.9公分、全幅 52.5公分",[],{"id":31507,"slug":31508,"title":10686,"dynasty":174,"author":9682,"museum":770,"description":31509,"tags":31510,"thumbUrl":31511,"material":298,"size":31512,"collection":166,"collections":31513,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},232607,"shan-shui-ren-wu-ce-cha-shi-biao-232607","《仿各家山水册》，纸本，共十开，仿十大家画法，每幅纵22厘米，横]7厘米。笔法纯熟，墨法精妙，其画风、画法的渊源，都是从宋元明人家的山水画汲取养料，追求他们的韵味和笔墨情趣，为自己所创造的艺术境界服务。\n第一开，仿王蒙，设色，图作群山、松林寺塔，云雾缭绕，老者曳杖，童子随后，书“黄鹤山樵”四字。王蒙，元代画家，字叔明，号黄鹤山樵等，浙江吴兴(今浙江湖州市)人。善诗文、书法，工人物，尤精山水。写景多稠密，径路迂回，烟霭微茫，曲尽山林幽致，用解索皴和渴墨点苔，表现林峦郁茂苍茫的气氛，尤为独到。\n第二开，仿倪瓒，以水墨写平远山水景色，笔墨精妙，韵味隽秀，书“倪离士笔意”。倪瓒，元代书画家、诗人，字元镇，号云林，人称“倪高士”，江苏无锡人。擅画水墨山水、竹石，用笔方折遒劲，刨“折带皴”写山石法。疏林坡岸，浅水远山，墨色简淡，意境清远萧疏。\n第三开，仿张僧繇，以没色没骨法作山树人物，色彩绚丽，书“张僧繇没骨法”。张僧繇，南朝梁画家，江苏苏州人。工写真、释道人物，尤精画龙。用红绿重色画山水，先图峰峦泉石，后染匠壑暖岩。不用墨线勾勒，直接用墨色或彩色描绘物象，开创了“没骨法”山水的画法。\n第四开，仿黄公望，以水墨作高山、林木、村舍、流泉，意境深远，书“一峰道人”四字。黄公望，元代画家，字子久，号一峰道人、大痴道人等，江苏常熟人。构图繁复丰满，皴笔不多，格调温润柔和，气势雄健，有“峰峦浑厚，草木华滋”之评。\n第五开，仿王绂，浅设色，绘群山连绵，溪水平静，林木亭屋，富于节奏韵律，书“九龙山入画意”。王绂，明代画家，字孟端，自号九龙山人，江苏无锡人。擅画巨幅山水，也作平远小景，风格苍郁清润，尤精墨竹，有“出姿媚于遒劲之中，见洒落于纵横之外”之评。其墨竹，在明代很有影响。\n第六开，仿米芾，以水墨作云山，云雾迷蒙，书“拟米襄阳”叫字。米芾，北宋书画家、鉴定家，字元章，号襄阳漫士，祖籍山西太原，迁居湖北襄阳，世称“米襄阳”。画山水天真发露，不求工细，多用水墨点染，即横点积叠画法，突破勾廓添皴之传统，开创了“米家云山”新风貌。自谓“信笔作之，多以烟云掩映树石，意似便巳”。\n第七开，仿方从义，近坡显寺，远山云塔，流泉如带，淡设色，书“方上清意”四字。方从义。，元代画家，字无隅，号方壶，江西贵溪人，擅画山水，“写得湖山事事嘉”。高山从林，笔致跌宕，意境幽藏。能诗文，并工古篆、隶书、章草。\n第八开。仿徐幼文，以水墨作幽舍桥亭，平湖远山，书“元人徐幼文法”。徐幼文，名徐贲，宁幼文，号北郭生，江苏苏州人。擅画山水，嘉树野泉，笔墨清润。层次井然，工诗文，也擅长墨竹，浓淡配合，尤为和谐优美。\n第九开，仿赵盂頫，平坡绿树，湖画广阔，建立小桥，彼岸流泉，浅设色，书“赵承旨” 三字。赵盂頫，，元代书画家、文学家，字子昂，号松雪道人，浙江吴兴(今浙江湖州)人。擅画山水、人物，工墨竹、花鸟，以飞白法画石，以书法用笔写竹，皆以笔墨圆润苍秀见长。\n第十开，仿郭熙，以水墨作雪景，曲堤长桥，枯草秃树，全景堆银砌玉，清静致远，题：“郭河阳法，拟古十册奉正于升先生，时丙午长至又二日，士标呵冻纪事”。郭熙，北宋画家，字淳夫，河南温县人。工画山水，画山石多“卷云”或“鬼脸”皴法；画树枝如蟹爪下垂，笔力劲健，水墨爽洁。对四季山水有“春山如笑，夏山如滴，秋山如妆，冬山如睡”之况。",[24,7,36,74,28,193,29,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d81252af5e22b8cb3c78773254a0281.jpg","纵22厘米，横]7厘米",[],{"id":31515,"slug":31516,"title":31517,"dynasty":18,"author":581,"museum":5692,"description":31518,"tags":31519,"thumbUrl":31520,"material":166,"size":166,"collection":166,"collections":31521,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,24,7,27,28,36,940,624,34,193,312,324,30,211,33,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":31523,"slug":31524,"title":31525,"dynasty":52,"author":1424,"museum":92,"description":31526,"tags":31527,"thumbUrl":31528,"material":457,"size":21561,"collection":166,"collections":31529,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},231405,"si-ji-ping-an-tu-li-kan-231405","四季平安图","李衎性情温和淳厚，人不见其喜愠之色，潜心于画，其画风亦较为平淡恬静。他的绘画得到帝王的赏识，曾奉诏图写嘉熙殿壁，并以著色竹画殿堂御屏。\n李衎以画竹著名，他初学王庭筠，后上追文同，又深入南方竹乡进行观察，特别是借出使安南（今越南）之机，详细辨认各种竹子的生性姿态，从中获益甚多。他能画双勾著色竹，又善墨竹，笔法精谨，意态生动，所作竹好取整枝全景，且以风霜雨露等自然气候烘托竹子挺拔刚劲的个性。\n李衎毕生致力于画竹，并著有《竹谱》，分画竹谱、墨竹谱、竹态谱等节，对竹之结构品类、生长规律及画竹源流技法详加探讨，记录其心得，深感想要画艺精湛十分不易。\n李衎强调画竹需深入观察，初学必守法度，久之可达于规矩绳墨之外，切忌信笔涂抹。\n他还分析竹之品类及生长规律，深入浅出地论述画竹方法，如他在“画竹谱”中论及画竹位置上的五忌为“冲天撞地、偏重偏轻、对节排竿、鼓架胜眼、前枝后叶”，“冲天撞地者，谓梢至绢头，根至绢末，陋塞填满者。偏轻偏重者，谓左右枝叶，一边偏多，一边偏少，不停趁者，对节者，谓各竿节节相对。排竿者，谓各竿匀排如窗棂。鼓架者，谓中一竿直，左右两竿交叉如鼓架者。胜眼者，谓四竿左右相差匀停，中间如方胜眼者。前枝后叶者，谓枝在前、叶却在后，或枝叶俱生在前，俱生在后者”。",[281,24,25,95,7,1305,126,706,6770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487b54a498557293ce2008ea956aa1e.jpg",[],{"id":31531,"slug":31532,"title":18638,"dynasty":52,"author":726,"museum":92,"description":31533,"tags":31534,"thumbUrl":31535,"material":61,"size":31536,"collection":166,"collections":31537,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},231382,"shuang-song-tu-wu-zhen-231382","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[24,25,7,36,95,28,624,34,164,33,10414,3881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf0fcc10dffdd8cca23f577240f388d.jpg","纵180厘米横111.4厘米",[],{"id":31539,"slug":31540,"title":31541,"dynasty":205,"author":581,"museum":92,"description":31542,"tags":31543,"thumbUrl":31546,"material":298,"size":31547,"collection":166,"collections":31548,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[281,24,25,28,95,7,36,21904,59,31544,20957,15477,31545,3596,34,147,29,30,32],"茅亭","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":31550,"slug":31551,"title":31552,"dynasty":18,"author":11541,"museum":450,"description":31553,"tags":31554,"thumbUrl":31556,"material":166,"size":166,"collection":166,"collections":31557,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},231016,"ju-shi-ming-qin-tu-li-yin-231016","菊石鸣禽图","《菊石鸣禽图》写山坡之上的奇石旁，秋菊盛开，一枯枝高挑，其上小雀正回头顾盼，呜叫声声。\n画中充分体现了李因笔力雄健苍劲、水墨挥洒淋漓的特点。\n坡面及奇石以淡墨渲染，质感丰富。\n菊花写意生动，用笔酣畅。\n小鸟造型准确，兼工带写，笔法细致。\n《菊石鸣禽图》是中国清代画家 的国画作品。\n该画为立轴，绫本，墨笔，纵129．4厘米，横47．8厘米，旅顺博物馆藏。\n李因（1616—1685），清代女画家。\n字今是，又字今声，号是庵，又号龛山逸史，浙江钱塘（今杭州）人。\n留寓海宁。\n画家葛徵奇之妾。\n她能诗能画，善山水、花鸟，亦工芦雁。\n画得陈淳之法，多用水墨，苍劲无闰阁气。\n其夫每加以题跋，常云：“花鸟我不如姬，山水姬不如我。\n”可见其花鸟画在山水画之上。\n葛去世后，李因以卖画为生。\n有《竹笑轩吟草续稿》存世。\n传世作品有《菊石鸣禽图》、《芙蓉鸳鸯图》等。",[23,281,24,95,7,75,134,706,31555],"鸣禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3607d5341dc4c30287b5215604dfbf0d.jpg",[],{"id":31559,"slug":31560,"title":31561,"dynasty":174,"author":5090,"museum":450,"description":31562,"tags":31563,"thumbUrl":31564,"material":166,"size":166,"collection":166,"collections":31565,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[24,25,7,36,28,125,32,210,30,34,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":31567,"slug":31568,"title":31569,"dynasty":5382,"author":31570,"museum":450,"description":31571,"tags":31572,"thumbUrl":31576,"material":314,"size":1061,"collection":166,"collections":31577,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},230582,"an-tu-tao-shan-shi-dai-qin-qi-shu-hua-tu-ping-feng-di-1-ping-hai-bei-you-song-230582","安土桃山时代 琴棋书画图屏风第1屏","海北友松","海北 友松（かいほう ゆうしょう、天文2年（1533年） - 慶長20年6月2日（1615年6月27日））は、安土桃山時代から江戸時代初期にかけての絵師。海北派の始祖。",[23,5385,27,7,5420,31573,31467,31574,193,10173,31575],"棋","画","桃山风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300ac58f010c9d92aba1a89eee999744.jpg",[],{"id":31579,"slug":31580,"title":31581,"dynasty":174,"author":9682,"museum":450,"description":31582,"tags":31583,"thumbUrl":31584,"material":166,"size":166,"collection":166,"collections":31585,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},230299,"shan-shui-shi-kai-cha-shi-biao-230299","山水十开","此作用笔松秀空灵，以极简构景铺就幽寂冬境。几株寒木瘦劲出枝，淡笔勾勒嶙峋躯干，细笔写残叶萧疏，尽显清癯孤傲之态。留白为寒水浅滩，隐见板桥卧波，远山以枯淡泼墨轻扫，虚实间晕染出淡远空濛。\n\n整幅以少胜多，脱尽尘俗烟火气，将江南冬日清旷荒寒之景诉诸笔端，淡墨轻岚里晕开空寂诗意。观之如临荒寒水畔，浸得一身清宁，尽显静穆淡远的文人雅韵。",[24,25,7,28,147,29,34,36,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfc33c830462f885ce8379dce9b76aa.jpg",[],{"id":31587,"slug":31588,"title":31589,"dynasty":174,"author":12865,"museum":450,"description":31590,"tags":31591,"thumbUrl":31592,"material":314,"size":1061,"collection":166,"collections":31593,"showCount":31094,"zanCount":1084,"manualWeight":46,"mainColor":921},230290,"shu-fa-dui-lian-ceng-guo-fan-230290","书法对联","曾国藩（1811年11月26日－1872年3月12日），初名子城，字伯涵，号涤生 ，宗圣曾子七十世孙。中国晚清时期政治家、战略家、理学家、文学家、书法家 ，湘军的创立者和统帅。\n曾国藩出生普通耕读家庭，自幼勤奋好学，6岁入塾读书。8岁能读四书、诵五经，14岁能读《周礼》《史记》《文选》。道光十八年（1838年）中进士，入翰林院，为军机大臣穆彰阿门生。累迁内阁学士，礼部侍郎，署兵、工、刑、吏部侍郎。与大学士倭仁、徽宁道何桂珍等为密友，以“实学”相砥砺。太平天国运动时，曾国藩组建湘军，力挽狂澜，经过多年鏖战后攻灭太平天国。其一生奉行为政以耐烦为第一要义，主张凡事要勤俭廉劳，不可为官自傲。他修身律己，以德求官，礼治为先，以忠谋政，在官场上获得了巨大的成功。",[23,37,6187,38,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f9213c33205e6a0ffda83025ecfe4a.jpg",[],{"id":31595,"slug":31596,"title":31597,"dynasty":174,"author":24511,"museum":450,"description":24512,"tags":31598,"thumbUrl":31599,"material":314,"size":1061,"collection":166,"collections":31600,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},230136,"lin-mi-fei-pai-pin-yi-wei-ai-xin-jue-luo-xuan-ye-230136","临米芾（拍品疑伪）",[23,37,38,254,80,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08abe9b0d1b45a0e2b049510cb17c466.jpg",[],{"id":31602,"slug":31603,"title":15947,"dynasty":18,"author":1788,"museum":450,"description":31604,"tags":31605,"thumbUrl":31606,"material":166,"size":166,"collection":166,"collections":31607,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},228874,"gu-song-tu-wen-zheng-ming-228874","此作用笔苍秀老辣，古松盘虬屈曲，躯干以淡墨皴擦晕染，尽显嶙峋斑驳的百年肌理。留白勾出枯槎如银铁之骨，横斜扭转间尽露倔强姿态。松针以焦墨攒簇锋芒毕现，如寒戟森森，满溢凌然风骨。\n\n左侧题字笔意清劲挺拔，与画中奇松相得益彰，书画合璧。整幅以素净纸色衬出古松孤高，水墨洗练却真气弥满，将古松岁寒不凋的君子品格刻画得入木三分，尽抒孤傲清刚的文人意趣。",[23,24,25,26,7,36,127,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dec8a1811c9c694ad2963a886ad04d.jpg",[],{"id":31609,"slug":31610,"title":31611,"dynasty":18,"author":17723,"museum":450,"description":31612,"tags":31613,"thumbUrl":31614,"material":166,"size":166,"collection":166,"collections":31615,"showCount":31094,"zanCount":1084,"manualWeight":46,"mainColor":140},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","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。",[23,24,27,481,193,28,125,5420,180,147,164,163,33,6133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":31617,"slug":31618,"title":31619,"dynasty":52,"author":4714,"museum":450,"description":31620,"tags":31621,"thumbUrl":31622,"material":166,"size":166,"collection":166,"collections":31623,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[23,24,25,95,7,481,75,126,134,180,282,8572,80,2875,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":31625,"slug":31626,"title":31627,"dynasty":52,"author":8400,"museum":450,"description":31628,"tags":31629,"thumbUrl":31632,"material":166,"size":166,"collection":166,"collections":31633,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},228077,"zhong-kui-ye-you-tu-yan-hui-228077","钟馗夜游图","此作用铁线游丝般的白描铺陈夜游盛景，开篇主角被鬼卒前呼后拥，伞盖高张、锣声隐隐，群鬼或扛矛开道、或携琴捧酒，狞怪形貌下藏着憨拙灵动的神态。画师以刚柔相济的墨线，勾勒出鬼物各异的怪谲身形，将幽冥出行的诡谲，化作带市井烟火气的诙谐游行。没有浓墨重彩，仅以枯淡墨痕衬出清冷幽冥的氛围感，把搜神题材的森然消解为戏谑意趣，尽显笔底奇思与线描功力，让这场夜游跳出幽冥的可怖，鲜活如人间市集的巡行。",[23,281,24,25,26,547,7,193,15113,31630,31631],"武器","动作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c9e76964e6d5a4befe37e1f51e3f10.jpg",[],{"id":31635,"slug":31636,"title":31637,"dynasty":52,"author":18841,"museum":450,"description":31638,"tags":31639,"thumbUrl":31640,"material":166,"size":166,"collection":166,"collections":31641,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},228034,"xi-qiao-ce-zhang-tu-luo-zhi-chuan-228034","溪桥策杖图","画作以枯木为视觉重心，双木虬曲苍劲，枝条如倒挂蟹爪，皴笔老辣简练，尽显岁寒枯槁之态。近岸山石以淡墨晕染，勾勒寥寥便见嶙峋质感，远景山峦以淡墨轻扫，晕染出空濛悠远的秋山暮色。\n\n溪桥横卧寒波，策杖行人缓步桥上，三两相伴，为冷寂天地添上些许烟火暖意，动静之间，将荒寒萧索与悠然意趣相融。全作用笔简淡空灵，以水墨写尽隐逸幽怀，枯淡之中暗藏生机，尽显文人超脱尘俗的林下襟怀，是元人尚意山水的逸格之作。",[23,24,25,1462,7,28,36,147,29,30,193,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8663ca638f193764ba17f57c5396ca4c.jpg",[],{"id":31643,"slug":31644,"title":31645,"dynasty":205,"author":3839,"museum":450,"description":31646,"tags":31647,"thumbUrl":31648,"material":166,"size":166,"collection":166,"collections":31649,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,24,281,25,26,7,36,28,33,29,30,31,34,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":31651,"slug":31652,"title":31653,"dynasty":205,"author":607,"museum":450,"description":31654,"tags":31655,"thumbUrl":31656,"material":166,"size":166,"collection":166,"collections":31657,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},227829,"wen-dao-tu-ma-yuan-227829","问道图","《明戴进洞天问道图》是明朝画家戴进创作的绢本设色画。\n描绘了深山大川、弥散的云气、 的青松、激荡的水流等山中之景。\n作品现藏于 。\n此图描绘 黄帝至 向 问道的故事。\n画面左侧峰峦突起，直入云霄，右侧古松茂蔚，老干虬枝。\n山谷险道上，身着衮服的皇帝孤身赴洞天问道。\n山石用斧劈皴，人物作琴弦描。\n设色淡雅。\n画风学南宋[画体]而又有元人秀劲的特色，为戴氏前期比较精微优美的佳构。\n画中署有[同郡戴文进为德宣卿友制]。\n后钤[钱塘戴氏文进]、[文进]二。\n此画笔法劲秀，描写精工，皴染淹润，着色清淡，画面境界有一种神秘幽渺之感。\n整幅作品皴法繁密，有条不紊，理在其中，深远之处用墨稍重，皴擦紧密，传达出了空间深远之感。\n图中山谷险道通往洞天，左侧峰突兀，右边长松茂蔚。\n山石用斧劈皴，人物作琴弦描，结构严谨，笔法秀劲，系南宋院体画法，属于 前期比较精微、优秀的佳作。\n戴进（公元188—1462年），明代画家，《明商录》作名班，学文进，号静庵，父号玉泉山人。\n钱塘（今浙江杭州）人。\n少时作银工，所作钗朵精巧绝伦，以为得以传之久远，后见销银者所熔销之物即出已作，遂改学画。\n神像、人物、走善、花果，翎毛俱精绝。\n所作山水，师马远，夏理，并取法轮照、李唐，俱道劲苍洞，行管顿挫多变，设色敷积沉重出严。\n宜宗时与谢廷循等同为待识，因进绘朱农人垂钓而遭谗。\n放归穷死。\n世评戴进为“浙派”之祖，明朝画流第一。\n传世作品有《春山积翠图》轴、《南屏雅集图》卷等。",[23,281,24,25,7,547,27,193,1839,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe614a528d695d5f88bfee95f233c5e03.jpg",[],{"id":31659,"slug":31660,"title":31661,"dynasty":174,"author":377,"museum":450,"description":31662,"tags":31663,"thumbUrl":31664,"material":166,"size":166,"collection":166,"collections":31665,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},224512,"shan-shui-tu-ce-8-kai-2-zhang-da-qian-jiu-cang-shi-tao-224512","山水图册8开-2-张大千旧藏","这幅山水以留白铺就江天空寂，右侧危崖飞瀑直落，笔墨苍莽朴拙，尽显山石嶙峋质感。左侧崖巅孤松斜曳，茅舍孑立，归雁成阵掠过长空，远江帆影悠悠往来。\n\n简淡设色晕染山石松枝，寥寥数笔便勾勒出山野清寂之境。题款朱印错落于崖侧，与水墨相映成趣，以写意之笔铺陈出天人相融的幽远意趣，尽显简淡疏朗的林下之风，将江乡山居的空阔自在藏于尺幅之中。",[23,281,24,25,2446,7,36,123,28,31,624,7378,210,282,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcffdcba7a6958b40f93316c1d03b2b96.jpg",[],{"id":31667,"slug":31668,"title":31669,"dynasty":174,"author":14526,"museum":450,"description":31670,"tags":31671,"thumbUrl":31672,"material":166,"size":166,"collection":166,"collections":31673,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},224340,"shan-shui-jing-pin-mei-qing-224340","山水精品","此作用笔清劲老辣，山石以干笔枯皴勾勒轮廓，方折奇崛，尽显峭拔之态。虬松横斜苍劲，枝桠如铁，掩映处茅舍幽居，恍若世外灵台。\n\n画作以虚衬实，下半幅大片留白以代深谷云岚，将山谷幽邃辽远尽数托出，虚实相生间，把山林空寂超逸的禅意缓缓铺展。题诗与笔墨相映，文气郁郁，尽显画师胸中丘壑，淡远静穆里，藏着出世高蹈的雅逸襟怀。",[23,24,25,95,7,36,28,180,32,127,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a46e171cbd8812b39da98beb1afde6.jpg",[],{"id":31675,"slug":31676,"title":31677,"dynasty":174,"author":21180,"museum":450,"description":31678,"tags":31679,"thumbUrl":31680,"material":166,"size":166,"collection":166,"collections":31681,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},224197,"bai-he-ling-tu-ye-xin-224197","白鹤岭图","这幅画作以淡墨勾勒皴擦，绘就层叠陡峻的岭岳，山道逶迤盘桓，楼阁凭崖而立，将雄奇山势与雅致人文景致相融。远山以简笔淡染，衬出江天浩渺的空寂意境，整体笔致清疏秀雅，尽显静穆萧散的文人画气质。\n画面右上角题字与山水呼应，文气悠然晕开。以简淡笔墨写尽丘壑之幽，既有山峦的苍浑厚重，又不失江南山水的秀逸空灵，将登高览胜的开阔心境藏于层叠山石间，意韵悠长内敛，是小品山水画里的清逸佳构。",[23,24,25,28,7,27,36,37,80,34,194,311,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eec84ce1e5fd0e1223a28f0051174f.jpg",[],{"id":31683,"slug":31684,"title":31685,"dynasty":174,"author":4221,"museum":450,"description":31686,"tags":31687,"thumbUrl":31689,"material":166,"size":166,"collection":166,"collections":31690,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},224115,"xian-chun-ru-yi-tu-qian-long-224115","先春如意图","此作以淡墨写就岁朝清供之景，素净瓷瓶斜插早梅，虬曲瘦枝缀着冰蕊，冷意里暗透早春暗香。下方朱柿圆润饱满、灵芝卷叶层叠、水仙含苞待放，暗合事事如意、福寿延绵的新春祈愿。\n\n全画笔墨清润雅致，瓶身晕染出莹润瓷光，梅枝苍劲见疏朗之态，蔬果花木写实生动，既有宋院画的精工雅致，又具文人墨戏的淡远意趣。右侧题诗笔致秀逸，诗画相映，将文人雅怀与世俗祈盼相融，淡和清雅间，晕开新春的温婉期许，是意趣俱佳的清供小品。",[24,25,7,547,481,125,1104,80,7908,31688],"静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1356a5120fad8c5835ba6f0bc99ddd19.jpg",[],{"id":31692,"slug":31693,"title":31694,"dynasty":205,"author":581,"museum":120,"description":31695,"tags":31696,"thumbUrl":31697,"material":612,"size":31698,"collection":245,"collections":31699,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},223361,"hui-chang-jiu-lao-tu-juan-yi-ming-223361","会昌九老图卷","此卷描绘的是唐会昌五年（845年）白居易居洛阳香山时与友人的“尚齿”之会。虽以人物为题材，但建筑部分不论整体还是细部都描绘得准确精微，水榭、房舍、板桥、河堤、护栏、石凳乃至屋内的陈设交代得一清二楚，可谓“咸取砖木诸匠本法，略不相背”，几乎可以按图构建。画家不仅对建筑的构造和做法至详至悉，而且已经开始注意通过高超的写实技巧和一定程度的透视画法在二维平面上更为真实地表现建筑物三维空间的立体感和通透感，达到使观者“望之中虚，若可蹑足”的艺术效果。尤为重要的是，图中的建筑采用北宋的界画手法，匀细的线条有利于刻画建筑物复杂的结构和构件的细部，这种水墨白描的建筑画法延续至元代并发展到了极致。",[23,281,24,26,518,547,7,193,194,29,15557,5299,6628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ade434f61458b68f926c3828411c458.jpg","纵40cm，横69cm",[245],{"id":31701,"slug":31702,"title":31703,"dynasty":174,"author":31340,"museum":190,"description":31704,"tags":31705,"thumbUrl":31706,"material":298,"size":31707,"collection":166,"collections":31708,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[23,281,24,25,7,36,28,29,30,31,180,147,35,34,33,5253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","43.6x66.",[],{"id":31710,"slug":31711,"title":31712,"dynasty":18,"author":9621,"museum":92,"description":31713,"tags":31714,"thumbUrl":31715,"material":298,"size":31716,"collection":245,"collections":31717,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},222480,"shi-tie-mei-nv-pian-zhu-yun-ming-222480","诗帖《美女篇》","书曹植《乐府》四首，又称《手卷曹植诗四首》又名《箜篌引》。《手卷曹植诗四首》是祝允明草书成就的最杰出代表。作品狂而不乱，情浓势足，激跃奔发，气度不凡。其将字中妍媸和巧丽的笔画起收动作幅度缩短，增加行笔过程中的饱满度和厚实感。使人在视觉上既感到朴拙、沉劲而又不失流丽多姿。祝允明在这一卷后自识“冬日烈风下写此，神在千五百年前，不知知者谁也”，道出了他意在追摹汉人，以及对自己作品的自负。是祝允明的代表作品。",[23,9254,37,394,26,858,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47cd6be28ec531ffe99cbe4cf7f8f1aa.jpg","纵36.1厘米，横1147.5厘米",[245],{"id":31719,"slug":31720,"title":31721,"dynasty":18,"author":9621,"museum":20,"description":31722,"tags":31723,"thumbUrl":31724,"material":298,"size":31725,"collection":245,"collections":31726,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},222471,"mu-dan-fu-zhu-yun-ming-222471","牡丹赋","此卷笔法精熟,恣肆纵逸,夺人心魄，是为记园内牡丹盛开而书即兴之赋。祝氏中年行草居多，至晚年则喜作大草。由于涉猎广博才分自高，祝氏所书下手便直接晋唐宋元，融会贯通之下独立高标。尤其是他五十岁之后的草书之作，更是吞吐腾挪出神入化。他的此类创作显然得法于唐代张旭、怀素两家，同时也受“宋四家”中黄庭坚的影响，但相形之下愈加狂放烂漫",[23,37,394,26,7,80,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a84f256639e0c7480e9acd4a8875bf.jpg","纵30.8 厘米 横925.5 厘米",[245],{"id":31728,"slug":31729,"title":31730,"dynasty":18,"author":6468,"museum":92,"description":31731,"tags":31732,"thumbUrl":31733,"material":457,"size":31734,"collection":166,"collections":31735,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},222445,"qiu-ying-zhou-lin-liang-222445","秋鹰轴","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意"没骨"技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[23,24,25,95,75,7,123,282,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436250ff57a682c1ca1c0fb07cbd8b47.jpg","136.8×74.8cm",[],{"id":31737,"slug":31738,"title":31739,"dynasty":18,"author":20396,"museum":92,"description":31740,"tags":31741,"thumbUrl":31742,"material":298,"size":31743,"collection":166,"collections":31744,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},222380,"shi-ba-luo-han-tu-ding-yun-peng-222380","十八罗汉图","该幅白描画十八罗汉，手中分持柱杖、念珠、如意、麈尾、金刚铃等，或行或坐。人物形貌有别，姿势各殊，生动自然。衣纹细劲流畅，并略施墨染，表现立体感。面目轮廓、须眉发丝，用笔纤细如缕，柔韧有力。由此观之，丁氏之作诚如画史所言，“丝发之间，而眉睫意态毕具”。",[23,281,24,25,26,3557,547,7,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d1bfea05cbdf8b3e027a1ccd7d4949.jpg","该幅28.9x372.3公分",[],{"id":31746,"slug":31747,"title":31748,"dynasty":18,"author":31749,"museum":92,"description":31750,"tags":31751,"thumbUrl":31752,"material":284,"size":31753,"collection":42,"collections":31754,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},222065,"xue-ye-fang-dai-zhou-zhou-wen-jing-222065","雪夜访戴轴","周文靖","此图描写东晋名士王徽之夜里梦醒，见月色皎洁兴致突生，遂趋船造访好友戴逵。然抵达之后，又打消念头而折回，或曰：「乘兴而来，尽兴而返。」为明代历史人物故事画之佳例。此幅构图继承南宋马、夏特色，却较之概括简约，而其潇洒放逸之笔法，则近似元人风格。",[23,24,7,27,36,95,28,31,193,993,33,3466,717,5431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c217c7206bd4b15f36643d89ad02332.jpg","320X120.2",[42,222],{"id":31756,"slug":31757,"title":31758,"dynasty":52,"author":10972,"museum":92,"description":31759,"tags":31760,"thumbUrl":31763,"material":74,"size":31764,"collection":166,"collections":31765,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[23,24,281,26,494,7,28,31761,31762,29,3687,312,1925,11595,30,36,37,80,6001],"树石","矮屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","该幅31x117.4公分",[],{"id":31767,"slug":31768,"title":31769,"dynasty":18,"author":1836,"museum":92,"description":31770,"tags":31771,"thumbUrl":31772,"material":1877,"size":31773,"collection":42,"collections":31774,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},220958,"qiu-shan-lin-ting-dong-qi-chang-220958","秋山林亭","董其昌《秋山林亭》扇面",[23,24,25,1462,7,36,28,32,33,34,8796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9df9fd07e012519044242350341ba5b9.jpg","35x60.4",[42,222],{"id":31776,"slug":31777,"title":31778,"dynasty":18,"author":1836,"museum":4012,"description":31779,"tags":31780,"thumbUrl":31781,"material":74,"size":4016,"collection":166,"collections":31782,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":166},220749,"fang-ge-jia-shan-shui-7-dong-qi-chang-220749","仿各家山水-7","近景苍松虬曲古拙，针叶层叠如盖，旁侧杂木疏朗灵动。中景水面渔舟错落，渔人隐于舟间，似在休憩闲坐。层岩以干笔淡墨皴擦，山峦起伏间林木簇生，墨色浓淡晕染出山峦向背。远景峰峦以淡墨轻描，融于空蒙烟波，留白尽显湖山悠远空寂。\n\n全作用笔松秀空灵，简淡中饱含苍润意趣，脱略具象形态而独取山水神韵，将平淡天真的文人意境藏于虚实笔墨之间，尽显萧散简远的山水格调，寥寥笔墨铺展出清雅绝尘的林下幽居之境。",[23,281,24,25,28,7,36,254,80,33,34,282,30,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa816efc8ede313cf979ab484ec12fee.jpg",[],{"id":31784,"slug":31785,"title":31786,"dynasty":359,"author":1872,"museum":1873,"description":31787,"tags":31788,"thumbUrl":31789,"material":166,"size":166,"collection":166,"collections":31790,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},220542,"xi-yi-xu-bei-hong-220542","洗衣","此作用淡墨留白晕染出水乡柔波，岸滩以焦墨枯笔勾勒，尽显糙实质感。一坐一蹲的浣衣女子是画面焦点，线条兼具速写的爽利与国画的凝练，将日常劳作的松弛情态自然铺陈。白衣女子垂首静望，黑衣妇人俯身搓揉衣物，发髻妥帖、身姿鲜活，没有刻意修饰，尽是江南水乡寻常的烟火意趣。\n\n右上角题字与画面呼应，书画相融，带着质朴的人文温度。画作跳出古典仕女的范式，以写实笔触聚焦平凡世相，将日常劳作晕染成诗意的生活切片，晕开沉静温婉的东方韵味，把最朴素的日常，绘就成动人的生活图景。",[24,25,7,27,193,6628,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538ee49cf9ef15f0e4bcc69f5a8326d3.jpg",[],{"id":31792,"slug":31793,"title":31794,"dynasty":174,"author":633,"museum":294,"description":31795,"tags":31796,"thumbUrl":31798,"material":1877,"size":166,"collection":166,"collections":31799,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},220465,"tong-zi-shui-niu-ren-yi-220465","童子水牛","此作用笔简淡写意，芦汀浅水间，两童子踞石垂竿，神态松弛憨稚，不见垂钓的焦灼，只余嬉游闲趣。水牛浮于清波，随水悠悠。浅蓝晕染芦苇，清润朦胧，衬出水乡初夏的凉意。淡墨点苔写岸石，留白铺就水天，将郊野的清寂松弛晕满扇面。简笔勾勒人物形神兼具，以轻描淡写铺就江南野逸日常，把闲散田家意趣藏在水墨间，淡远清宁，尽显悠然诗意。",[24,25,1462,281,7,27,193,6484,31797,126,350,706,282],"水牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ad1853876e08b4ff2603682f045162.jpg",[],{"id":31801,"slug":31802,"title":31803,"dynasty":52,"author":2127,"museum":92,"description":31804,"tags":31805,"thumbUrl":31806,"material":7,"size":166,"collection":42,"collections":31807,"showCount":31094,"zanCount":1084,"manualWeight":46,"mainColor":47},219958,"ye-qiao-ce-jian-tu-sheng-mao-219958","野桥策蹇图","此作以水墨晕染出山林幽寂之境，圆形取景似截取一段秋日山隅暮色。远山以淡墨轻勾浅染，峰峦在烟霭中隐现，漾着空濛悠远的氛围感。近岸林木攒簇，细劲笔意勾勒枝干，介字、个字点叶错杂层叠，尽显苍茂生机，坡岸以干笔短皴写出，朴拙苍厚间带着山野的荒疏意趣。\n\n野桥匿于林麓，策蹇之人悄然隐于林下，身形虽简却暗合幽行雅吟之题。全作用墨浓淡铺陈远近层次，简淡中见苍茫萧散，将寄情林泉的野逸之思，融于尺幅小景之中，清寂雅致，尽显文人山水的闲淡意趣。",[23,24,7,27,36,74,28,193,29,33,34,3902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed64b4c78e7fd07febf0ed221608f.jpg",[42],{"id":31809,"slug":31810,"title":31811,"dynasty":18,"author":17741,"museum":378,"description":31812,"tags":31813,"thumbUrl":31814,"material":40,"size":31815,"collection":600,"collections":31816,"showCount":31094,"zanCount":1084,"manualWeight":46,"mainColor":140},219547,"he-he-er-xian-tu-wang-wen-219547","和合二仙图","寒山与拾得两位大师，是佛教史上著名的诗僧。唐代天台山国清寺隐僧寒山与拾得，行迹怪诞，言语非常，相传是文殊菩萨与普贤菩萨的化身。千百年来，以寒山与拾得为主题的绘画作品数不尽数，此画虽名不见经传，但构图却也别具一格。此画看点在于寒山与拾得所组成的“和合二仙”与民间的旺财神兽金蟾同时出现在一幅画面中，寓意着和谐兴旺吉祥，实为稀有。",[23,24,25,95,7,123,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e02e7e313cc92df18ce4c447322c93.jpg","156.4x86.8厘米",[600],{"id":31818,"slug":31819,"title":31820,"dynasty":52,"author":16372,"museum":92,"description":31821,"tags":31822,"thumbUrl":31824,"material":110,"size":31825,"collection":42,"collections":31826,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},219502,"qiao-xiu-you-ju-tu-ma-wan-219502","乔岫幽居图","整作取高远构图，崖峰巍峨雄峙，素雪覆于岩岫，以留白衬出冬日清寒。层岩叠壑间枯木寒林错落，溪谷回环浅流蜿蜒，栈道山居掩映山谷间，晕染出幽寂空濛的山居意趣。\n笔墨兼取宋画写实与元人尚意之长，以干笔皴擦勾勒山石肌理，淡墨晕染烘托雪霁朦胧，既见山石嶙峋厚重质感，又尽显山野荒寒萧疏的隐逸氛围，将冬日林泉的清旷雅逸藏于尺幅之间。",[24,25,95,28,36,7,34,33,215,7489,31823],"居所","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd093121f4de9a98bea7379f88dafe3.jpg","纵119.9厘米，横57.8厘米",[42],{"id":31828,"slug":31829,"title":31830,"dynasty":18,"author":17741,"museum":92,"description":31831,"tags":31832,"thumbUrl":31833,"material":7,"size":31834,"collection":600,"collections":31835,"showCount":31094,"zanCount":1084,"manualWeight":46,"mainColor":47},219371,"shi-de-xiang-zhou-wang-wen-219371","拾得像轴","拾得是唐朝时能作诗的和尚。他的老师丰干禅师走在赤城的道路上，听到被遗弃小婴儿的哭声，就捡拾教养他，因此名叫“拾得”。拾得与另一位高僧寒山齐名。\n这一幅画，以狂放的笔调，大肆挥洒画出，顷刻之间，就画完成，这是大写意的画法，对于表现拾得疯疯颠颠的形象，真有传神之妙。\n拾得与当世高僧寒山友善，俱以癫狂，好吟词偈。两人传记见於唐人写的《寒山拾得诗》序文：“寒山文殊，遁迹国清；拾得普贤，状如贫子，又似疯狂。”得知时人将二人喻为佛教中的文殊、普贤菩萨。又言：“或长廊徐行，叫嗓凌人。或望空独笑，时僧逐捉打骂，乃驻立抚掌，呵呵大笑，良久而去。”日后画家描绘二人图像，大抵以此为根据，存世作品多见对幅形式，此幅或为其一，唯寒山图去向未知。 画中拾得衣著褴褛，赤足而立，手执扫帚，口张眉扬，神情奇异。疯癫拓落的形象，以写意狂放的笔调，大肆挥洒，整体流畅有致，宛如神来之笔。",[24,25,95,7,193,37,80,38,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f956757995f65c01ff0229243eb84a.jpg","117.8x54.4",[600],{"id":31837,"slug":31838,"title":31839,"dynasty":174,"author":31840,"museum":159,"description":31841,"tags":31842,"thumbUrl":31843,"material":98,"size":166,"collection":42,"collections":31844,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},218096,"song-gang-li-ce-tu-li-shi-zhuo-218096","松岗篱筞图","李世倬","李世倬的松岗篱筞图是一幅古老的图画，它描述了李世倬在清朝时期的生活。李世倬是一位著名的政治家和文学家，在清朝时期担任过多项重要的官职。\n\n松岗篱筞图是画家绘制的，描述了李世倬在一个被松树环绕的小山丘上休息的场景。图中的李世倬坐在草地上，身旁有一棵松树，头戴蓝色的帽子，身穿蓝色的衣服。图中还有许多其他的元素，如山峰、水池、花和草，构成了一幅优美的图画。\n\n松岗篱筞图的意义在于描述了李世倬的生活，展示了他在清朝时期的形象。这幅图画被广泛收藏，并被认为是一件艺术珍品。",[24,25,95,7,28,127,34,193,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc95db06db85e19d2b7b7b3001002f0.jpg",[42],{"id":31846,"slug":31847,"title":31848,"dynasty":174,"author":5090,"museum":378,"description":6947,"tags":31849,"thumbUrl":31850,"material":40,"size":6950,"collection":166,"collections":31851,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},217211,"fang-gu-shan-shui-shi-er-kai-qi-wang-hui-217211","仿古山水十二开(七)",[24,7,27,36,74,624,34,164,1442,96,30,33,6616,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c32ce4200c41428eb08270af482d9f5.jpg",[],{"id":31853,"slug":31854,"title":9108,"dynasty":174,"author":5599,"museum":20,"description":5600,"tags":31855,"thumbUrl":31856,"material":98,"size":166,"collection":166,"collections":31857,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":921},214689,"hua-hui-ce-4-luo-pin-214689",[24,25,74,7,125,75,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894fb7c0ea0cb65124498b55262dc141.jpg",[],{"id":31859,"slug":31860,"title":31861,"dynasty":174,"author":377,"museum":159,"description":2529,"tags":31862,"thumbUrl":31863,"material":40,"size":2533,"collection":83,"collections":31864,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},214557,"mo-zui-za-hua-tu-ce-10-shi-tao-214557","墨醉杂画图册-10",[23,24,7,74,123,180,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff998fee36b8e50230bcb1d322886a862.jpg",[83],{"id":31866,"slug":31867,"title":31868,"dynasty":174,"author":377,"museum":430,"description":3042,"tags":31869,"thumbUrl":31870,"material":40,"size":3045,"collection":166,"collections":31871,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":47},214531,"yi-jin-ling-ce-3-shi-tao-214531","忆金陵册-3",[24,25,74,7,27,28,193,147,31,35,33,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aff57056092af138d63c25edfe525d.jpg",[],{"id":31873,"slug":31874,"title":31875,"dynasty":174,"author":739,"museum":430,"description":740,"tags":31876,"thumbUrl":31877,"material":298,"size":743,"collection":166,"collections":31878,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":140},214355,"san-jue-shan-shui-ce-2-hua-yan-214355","三绝山水册-2",[23,24,25,74,38,123,28,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff431ab3df6f1a38af36ac51e31a6bf51.jpg",[],{"id":31880,"slug":31881,"title":31882,"dynasty":22220,"author":31883,"museum":20,"description":31884,"tags":31885,"thumbUrl":31886,"material":166,"size":166,"collection":83,"collections":31887,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":31888},202966,"pi-pa-tu-zhou-zhao-yun-he-202966","枇杷图轴","赵云壑","画面以水墨设色绘枇杷，枝干遒劲如篆，墨叶浓淡相破，泼墨写意间见苍劲生机。金黄果实缀于枝间，色泽饱满透亮，与深墨叶片形成鲜明对比，尽显丰硕诱人之态。下方点缀红绿小花，添灵动气息；石体以淡墨晕染，朴拙自然。整体笔墨纵逸洒脱，兼具写实与写意之妙，传递出田园间的清新意趣与蓬勃生命活力。",[24,123,7,27,75,1642,180,78,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4635b70f2fe5cc3c60129d3f14ea46.jpg",[83],"bdb29d",{"id":31890,"slug":31891,"title":31892,"dynasty":22220,"author":5927,"museum":20,"description":31893,"tags":31894,"thumbUrl":31896,"material":166,"size":166,"collection":83,"collections":31897,"showCount":31094,"zanCount":1084,"manualWeight":46,"mainColor":31898},202797,"qiu-hua-san-ji-tu-zhou-cheng-zhang-202797","秋花三鸡图轴","画面中三只鸡雏情态生动，或俯首啄食，或侧颈谛听，羽毛以墨色浓淡晕染，兼施细笔勾勒，质感蓬松而层次分明。背景秋花竞放，黄花明艳，红叶似火，墨叶苍劲，笔墨写意中见工致，色彩明快却不失雅致。构图疏密有致，禽鸟与花草相映成趣，既得传统花鸟之生机，又融写实技法之精准，尽显秋日田园的恬淡意趣。",[24,95,75,10069,27,7,6628,481,31895,23],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90bc5d7d0a33799eeec73b51380fa026.jpg",[83],"c3b6a5",{"id":31900,"slug":31901,"title":31902,"dynasty":174,"author":491,"museum":20,"description":31903,"tags":31904,"thumbUrl":31905,"material":166,"size":166,"collection":42,"collections":31906,"showCount":31094,"zanCount":46,"manualWeight":46,"mainColor":31907},202156,"fang-bei-yuan-shan-shui-zhou-wang-shi-min-202156","仿北苑山水轴","这幅画笔墨苍润醇厚，意境清幽淡远。层峦叠嶂间林木蓊郁葱茏，披麻皴细腻勾勒山石肌理，墨色浓淡交错，显山川沉郁厚重之态。溪流蜿蜒穿谷而过，小桥卧波连岸，屋舍隐于林麓深处，似藏隐士栖居之趣。构图疏密有致，笔意浑朴，承北苑山水平淡天真之韵，兼具文人画雅致情致，于静谧间尽显自然野趣与悠远禅意。",[24,28,7,36,29,30,95,254,34,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F054851f5ae4bf0540991a722140e28a7.jpg",[42],"bbb6a1",{"id":31909,"slug":31910,"title":31911,"d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间作花卉，亦多逸致，康熙八年（1669）作山水图。",[24,25,7,36,28,335,350,162,35,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[42],{"id":32031,"slug":32032,"title":32033,"dynasty":18,"author":581,"museum":450,"description":32034,"tags":32035,"thumbUrl":32036,"material":166,"size":166,"collection":166,"collections":32037,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":140},239484,"ming-ren-song-hou-tu-zhou-yi-ming-239484","明人松猴图轴","古松虬曲苍劲，枝干盘错如游龙，松针晕染出苍莽古雅的山林底色。五只灵猴各得幽趣：枝头两猴或俯身探看，或垂首理毛，嬉闹间尽显灵动；涧边三猴或静坐沉思，或临水望影，将猿猴的通性灵态描摹尽致。\n此作用水墨晕染，淡墨铺陈空濛虚境，浓墨提点松干皴纹与猴身绒毛，虚实相生留白悠远。笔意兼顾工细与写意，灵猴造型写实鲜活，古松勾勒纵逸老辣，以松猴林下之姿，晕染出悠然出世的林泉雅韵，尽显幽寂澹远的文人意趣。",[24,25,95,281,7,36,481,127,5666,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4b47cdaf4cc40984d772c5d1dfb952.jpg",[],{"id":32039,"slug":32040,"title":2736,"dynasty":174,"author":2737,"museum":450,"description":27569,"tags":32041,"thumbUrl":32042,"material":166,"size":166,"collection":166,"collections":32043,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},239051,"shan-shui-hua-niao-ce-yang-jin-239051",[24,25,74,7,36,80,28,193,30,180,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6136e48c08d32b04c6c2777897512f54.jpg",[],{"id":32045,"slug":32046,"title":32047,"dynasty":174,"author":32048,"museum":450,"description":32049,"tags":32050,"thumbUrl":32051,"material":166,"size":166,"collection":42,"collections":32052,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},238243,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238243","塞山二十四景册","张若澄","以淡墨勾勒皴擦，写尽峰峦层叠之态，危岩高耸，林木依石而生，留白处似云气萦回山谷，将幽寂的山巅清景铺展开来。笔致苍秀细腻，山石纹理尽显嶙峋质感，枯松错落萧疏，带着塞地萧寒之气，仿佛可闻山风穿林而过。\n\n右侧大片留白与左侧繁密山景形成强烈虚实对照，朱红鉴藏印点缀素纸，墨色丹印相映成趣，既有荒寒山境的冷逸清寂，又添古雅金石意趣，将塞上山川的静穆荒寒凝于尺幅，悠悠古意扑面而来。",[24,25,7,481,36,74,28,335,624,34,532,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3004413fb4a3a4c945a56f3045298730.jpg",[42],{"id":32054,"slug":32055,"title":32056,"dynasty":174,"author":3195,"museum":450,"description":11102,"tags":32057,"thumbUrl":32058,"material":166,"size":166,"collection":42,"collections":32059,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":140},238120,"zi-jiu-shan-shui-zhou-wang-jian-238120","子久山水轴",[24,95,7,28,36,212,33,35,29,30,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec101e743627000ca6e774bee120ef.jpg",[42,222],{"id":32061,"slug":32062,"title":32063,"dynasty":174,"author":2605,"museum":450,"description":5286,"tags":32064,"thumbUrl":32065,"material":314,"size":1061,"collection":166,"collections":32066,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},237794,"hong-ren-song-zhu-you-ting-tu-shan-ye-hong-ren-237794","弘仁松竹幽亭图扇页",[24,25,1462,7,36,127,126,32,180,28,193,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10aaadad94df684872c4363df1411bc.jpg",[],{"id":32068,"slug":32069,"title":32070,"dynasty":174,"author":5090,"museum":450,"description":32071,"tags":32072,"thumbUrl":32073,"material":166,"size":166,"collection":245,"collections":32074,"showCount":31935,"zanCount":1084,"manualWeight":46,"mainColor":47},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[24,7,95,36,37,80,28,335,350,211,33,35,31,210,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[245],{"id":32076,"slug":32077,"title":32078,"dynasty":174,"author":9682,"museum":120,"description":32079,"tags":32080,"thumbUrl":32081,"material":298,"size":166,"collection":42,"collections":32082,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},237208,"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,25,74,7,28,38,36,33,35,213,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[42,64],{"id":32084,"slug":32085,"title":32086,"dynasty":18,"author":32087,"museum":450,"description":32088,"tags":32089,"thumbUrl":32090,"material":314,"size":1061,"collection":166,"collections":32091,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},236801,"chi-bi-tu-shan-mian-liu-yuan-qi-236801","赤壁图扇面","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",[24,25,1462,7,28,36,31,34,33,193,58,532,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85014b4daa5b192d99d625c5a10d25b.jpg",[],{"id":32093,"slug":32094,"title":32095,"dynasty":18,"author":1487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:32379,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":140},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,25,26,254,7,36,28,162,210,213,32,30,193,180,29,717,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[42,222],{"id":32381,"slug":32382,"title":24576,"dynasty":174,"author":12042,"museum":450,"description":12043,"tags":32383,"thumbUrl":32385,"material":298,"size":166,"collection":245,"collections":32386,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},223269,"shou-gao-hong-yi-fa-shi-223269",[23,10153,37,38,24576,7,32384],"纸质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b8bbd2a6b1133663e16d60ab14e235.jpg",[245],{"id":32388,"slug":32389,"title":27087,"dynasty":174,"author":32390,"museum":92,"description":32391,"tags":32392,"thumbUrl":32393,"material":166,"size":32394,"collection":42,"collections":32395,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,25,95,7,27,36,28,30,33,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 公分",[42,64],{"id":32397,"slug":32398,"title":32399,"dynasty":174,"author":2029,"museum":450,"description":3272,"tags":32400,"thumbUrl":32401,"material":964,"size":3275,"collection":42,"collections":32402,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2",[23,281,24,25,26,13664,36,7,28,33,34,211,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg",[42,222,245],{"id":32404,"slug":32405,"title":32406,"dynasty":18,"author":9621,"museum":32407,"description":32408,"tags":32409,"thumbUrl":32410,"material":166,"size":32411,"collection":166,"collections":32412,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},222474,"li-bai-shi-er-shou-zhu-yun-ming-222474","李白诗二首","上海朵云轩","明代中期的书坛以吴门祝允明（1460-1526）、文徵明（1470-1559）、陈淳（1483-1544）、王宠（1494-1533）最为著名，他们生活在同时代、同地域，在书法艺术方面都成就斐然，影响深远，为书史上一奇观。这四人中，祝允明、陈淳书风以劲健放纵见长，文徵明、王宠书风偏于劲健工稳。所同者在“劲健”，用笔讲求力度，结体尚端正，即使祝、陈的狂草亦难脱此风。其中祝、文二人虽学通魏晋、唐宋，但受黄山谷影响较重，祝之草、文之行皆脱胎于山谷，无山谷之温文尔雅，但大开大合处亦可称道。陈淳出于文徵明而颠逸放纵以成自家面目，端庄逊于文而姿态过之。王宠用心魏晋，宋后习气稍少，相比于前三人，个性不足却韵致为高。",[23,24,25,37,394,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26105ef6460b281c4ecbfaf6305aa842.jpg","25.3X310cm",[],{"id":32414,"slug":32415,"title":32416,"dynasty":18,"author":32417,"museum":92,"description":32418,"tags":32419,"thumbUrl":32421,"material":61,"size":32422,"collection":166,"collections":32423,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},222136,"liu-hai-xiang-liu-jun-222136","刘海像","刘俊","刘俊工画人物、山水、界画，用笔劲健，人物衣纹带方折，屋宇界画精细工整，构图平稳严谨，谓“入能品”。宪宗朱见深、孝宗朱祐樘两朝（1465-1505）供奉内廷，授锦衣都指挥。传世作品有《雪夜访普图》轴，绢本，设色，现藏故宫博物院；《刘海戏蟾图》轴，绢本，设色，藏河北省博物馆。另有《刘海戏蟾图》轴，绢本，设色，藏中国美术馆；《仙人像》轴，绢本，设色，现藏天津市历史博物馆。从艺活动约在成化、正德间。",[23,24,25,95,7,547,193,32420],"蟾蜍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb498bb77332db9347fb8c344e2966583.jpg","30X85厘米",[],{"id":32425,"slug":32426,"title":32427,"dynasty":18,"author":19,"museum":770,"description":32428,"tags":32429,"thumbUrl":32430,"material":564,"size":32431,"collection":166,"collections":32432,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,281,24,25,26,7,27,38,37,80,36,1153,32,162,29,30,193,1476,34,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":32434,"slug":32435,"title":32436,"dynasty":52,"author":2127,"museum":294,"description":32437,"tags":32438,"thumbUrl":32439,"material":13720,"size":32440,"collection":166,"collections":32441,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":140},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[23,24,1462,7,36,28,1523,31,282,729,162,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","26.7×33.7cm",[],{"id":32443,"slug":32444,"title":11572,"dynasty":205,"author":2688,"museum":770,"description":32445,"tags":32446,"thumbUrl":32447,"material":61,"size":32448,"collection":166,"collections":32449,"showCount":31935,"zanCount":1084,"manualWeight":46,"mainColor":140},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,281,26,547,7,25,80,28,193,32,33,34,194,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":32451,"slug":32452,"title":20054,"dynasty":205,"author":3062,"museum":1346,"description":12953,"tags":32453,"thumbUrl":32454,"material":10405,"size":32455,"collection":166,"collections":32456,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":140},221616,"xue-jing-shan-shui-ye-liang-kai-221616",[24,494,993,717,31,12955,7,36,193,3902,12956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85860d84d0ad711c939e5c6fb99e44de.jpg","纵111.3厘米、横49.7厘米",[],{"id":32458,"slug":32459,"title":32460,"dynasty":205,"author":607,"museum":1346,"description":32461,"tags":32462,"thumbUrl":32463,"material":612,"size":32464,"collection":166,"collections":32465,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":140},221535,"zhou-ren-xing-tu-ma-yuan-221535","舟人形图","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。 [1]\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。",[23,281,24,25,1462,481,7,27,193,31,717,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb8c933f34f669b59817096fc70265b.jpg","纵21厘米，横21厘米",[],{"id":32467,"slug":32468,"title":32469,"dynasty":18,"author":1836,"museum":4012,"description":32470,"tags":32471,"thumbUrl":32472,"material":74,"size":4016,"collection":166,"collections":32473,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":166},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,24,25,7,36,254,28,335,162,32,213,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg",[],{"id":32475,"slug":32476,"title":32477,"dynasty":18,"author":1836,"museum":4012,"description":32478,"tags":32479,"thumbUrl":32480,"material":74,"size":4016,"collection":166,"collections":32481,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":166},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[23,24,7,28,254,36,80,147,180,212,33,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg",[],{"id":32483,"slug":32484,"title":32485,"dynasty":359,"author":14913,"museum":1589,"description":14914,"tags":32486,"thumbUrl":32487,"material":166,"size":166,"collection":166,"collections":32488,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},220484,"feng-jing-lin-feng-mian-220484","风景",[24,27,7,28,212,33,211,1974,7389,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dba5fd9b465d1b9e96fe17dfd4d4d0f.jpg",[],{"id":32490,"slug":32491,"title":32492,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":32493,"thumbUrl":32494,"material":298,"size":19575,"collection":166,"collections":32495,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},220325,"huang-shan-tu-ce-5-hong-ren-220325","黄山图册-5",[23,24,25,74,7,36,28,180,624,193,532,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48c1a6440b9359b890d503ad1a69aae.jpg",[],{"id":32497,"slug":32498,"title":32499,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":32500,"thumbUrl":32501,"material":298,"size":19575,"collection":166,"collections":32502,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},220318,"huang-shan-tu-ce-11-hong-ren-220318","黄山图册-11",[23,24,25,74,7,36,28,335,29,30,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8da9dac501fd5659eee07e6c4e5d31.jpg",[],{"id":32504,"slug":32505,"title":32506,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":32507,"thumbUrl":32508,"material":298,"size":19575,"collection":166,"collections":32509,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},220301,"huang-shan-tu-ce-25-hong-ren-220301","黄山图册-25",[23,281,24,25,74,7,28,6893,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537b52c55ec90132c7d498af46f17294.jpg",[],{"id":32511,"slug":32512,"title":32513,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":32514,"thumbUrl":32515,"material":298,"size":19575,"collection":166,"collections":32516,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},220300,"huang-shan-tu-ce-26-hong-ren-220300","黄山图册-26",[23,24,25,74,7,28,34,33,30,210,3685,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33296ed6c8f1aa652e3297eebc981cad.jpg",[],{"id":32518,"slug":32519,"title":32520,"dynasty":18,"author":32521,"museum":692,"description":32522,"tags":32523,"thumbUrl":32524,"material":298,"size":166,"collection":42,"collections":32525,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},220149,"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[23,24,7,95,28,34,33,624,29,32,36,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[42],{"id":32527,"slug":32528,"title":32529,"dynasty":174,"author":581,"museum":430,"description":32530,"tags":32531,"thumbUrl":32532,"material":98,"size":32533,"collection":42,"collections":32534,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},219980,"luan-shan-za-wu-tu-yi-ming-219980","乱山杂雾图","以水墨晕染层叠峰峦，远山隐在淡墨烟岚间，朦胧空灵似被晨雾轻裹。近崖怪石虬松错落，山坳殿宇半藏，清溪蜿蜒漱石有声，水畔幽人凭石观流。\n\n笔墨干湿互用，勾勒皴擦兼具，写意间不失精微，将朝雾初散的林泉清寂铺陈开来。呼应题画诗意，空山晓境里，仿佛能听见啄木轻响混着梵音溪声，禅意漫溢，尽揽山林静穆之美。",[23,24,7,28,95,36,38,80,5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× 38.5 cm",[42],{"id":32536,"slug":32537,"title":32538,"dynasty":174,"author":581,"museum":92,"description":32539,"tags":32540,"thumbUrl":32541,"material":298,"size":166,"collection":42,"collections":32542,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},219366,"gao-zong-yu-ti-shan-si-chao-lan-tu-zhou-yi-ming-219366","高宗御题山寺朝岚图轴","层岩叠嶂拔地而起，皴笔勾勒出山峦苍劲肌理，峰顶与烟岚相融，似隐似现间透着空濛。山腰古木森然，松针攒簇如盖，林间云雾流转，切割出深浅层次，平添幽远之趣。山坳梵宇错落，飞檐翘角隐于林麓，似有晨钟梵音裹挟岚气漫溢。近景蹊径蜿蜒，二叟策杖徐行，衣袂飘飘，与静谧山林相映成趣，尽显文人寄情山水的闲适。淡墨晕染烟岚，浓墨点染树石，虚实相生间，朝曦初露、岚气未散的胜境呼之欲出。清幽藏生机，静谧含悠远，引人步入那尘外之境，沉醉于自然与人文交织的雅韵中。",[24,25,95,28,36,7,27,34,33,211,194,533,193,5799,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec09cda273d9e86e7d09e154e60eccb.jpg",[42],{"id":32544,"slug":32545,"title":32546,"dynasty":52,"author":1131,"museum":92,"description":32547,"tags":32548,"thumbUrl":32549,"material":98,"size":32550,"collection":42,"collections":32551,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},218769,"xu-ting-zhu-qu-tu-cao-zhi-bai-218769","虛亭竹趣图","这幅画描绘了秋天小河岸边的一个空亭子，旁边有一群竹子。篆书非真迹，画风更类似于清代的倪瓒。",[23,24,25,7,36,28,32,126,162,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ca6f843e4147fa9a2dc02717fed44.jpg","25.2x28.7",[42],{"id":32553,"slug":32554,"title":32555,"dynasty":205,"author":842,"museum":92,"description":32556,"tags":32557,"thumbUrl":32558,"material":457,"size":32559,"collection":83,"collections":32560,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},218698,"han-lin-ji-xue-tu-li-cheng-218698","寒林积雪图","这幅《雪山萧寺图》只取了李成画寒林雪的名字，但风格更接近于蓝瑛和刘度的风格。",[23,24,281,25,26,28,832,7312,717,34,27,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e6c410e1468f140d6db63b045c2caf.jpg","29.7x21cm",[83],{"id":32562,"slug":32563,"title":32564,"dynasty":205,"author":5833,"museum":92,"description":32565,"tags":32566,"thumbUrl":32567,"material":110,"size":32568,"collection":42,"collections":32569,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},218684,"yun-shan-chun-ai-tu-zhao-ling-rang-218684","云山春霭图","轻烟淡霭缠绕层峦，山峦在云气中时隐时现，虚实交织间藏着悠远韵致。山间疏林错落，新绿初萌，透着春的温润。溪流蜿蜒穿梭雾霭，似有若无，添几分灵动。笔墨细腻清雅，山石勾勒柔婉，云雾以淡墨晕染，层次朦胧却不失清逸。整体意境宁静悠远，如春日拂晓的郊野，湿润气息裹挟草木轻香，引人遐想。画面取小景却含蕴生机与诗意，尽显文人山水雅致情韵，仿佛能让人暂避尘扰，沉醉在云山春霭的静谧里，感受自然与心灵的契合。",[23,24,25,7,27,28,211,212,33,3660,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9f12b887b14d2f8022acc378c6591e.jpg","26x23cm",[42],{"id":32571,"slug":32572,"title":32573,"dynasty":18,"author":32574,"museum":294,"description":32575,"tags":32576,"thumbUrl":32578,"material":7,"size":166,"collection":600,"collections":32579,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":461},218500,"ri-ben-xia-zi-he-shang-tu-yun-gu-deng-yan-218500","日本· 虾子和尚图","云谷等颜","仰头的刹那，风似凝在枯枝的末梢。宽袍覆着盘腿的身影，指尖悬着的虾篓轻晃，隐约可闻篓内虾子弹动的细碎声息。墨色淡扫衣褶，浓墨点染须发与枯枝，线条不求工致，却勾出人物眼底的悠然——是对眼前小物的专注，还是对尘外之境的漫想？背景的空疏并非单调留白，而是将视线引向和尚与虾篓的静默对话，写尽修行者与世间微物的温柔照面。简淡笔墨里，藏着一份于日常中寻得的禅意，清寂却鲜活，仿佛能触到那份不沾尘俗的松弛，与对生命本真的温柔凝视。",[24,25,95,7,193,180,32577,123],"和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093ff39466f2e11ae6affc34a47a43ec.jpg",[600],{"id":32581,"slug":32582,"title":32583,"dynasty":52,"author":32584,"museum":294,"description":32585,"tags":32586,"thumbUrl":32587,"material":98,"size":32588,"collection":600,"collections":32589,"showCount":31935,"zanCount":1084,"manualWeight":46,"mainColor":140},218313,"da-mo-du-jiang-tu-li-yao-fu-218313","达摩渡江图","李尧夫","这幅画表现的是达摩赤脚站立，脚踩一根细芦苇棍，身穿一件长长的风夹斗篷，双手交叠在袖子里，眼睛直视前方，面容慈祥。这幅画上刻有僧人一山一宁的名字。",[24,25,95,547,7,3557,193,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a10fc45b7d44e87a1f225f8a3d28aa1.jpg","85.7x33.8",[600],{"id":32591,"slug":32592,"title":32593,"dynasty":18,"author":15744,"museum":92,"description":32594,"tags":32595,"thumbUrl":32596,"material":457,"size":166,"collection":600,"collections":32597,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":140},218214,"luo-han-zhou-wu-bin-218214","罗汉轴","佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[24,25,95,3557,193,547,7,80,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97586e62ce58f7792685bf295ee63f75.jpg",[600],{"id":32599,"slug":32600,"title":32601,"dynasty":205,"author":264,"museum":159,"description":3555,"tags":32602,"thumbUrl":32603,"material":61,"size":166,"collection":166,"collections":32604,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":140},218086,"luo-han-tu-ce-2-li-gong-lin-218086","罗汉图册-2",[23,24,25,74,547,7,3557,193,147,180,126,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef32533e0a8e2c73a9ac98b88eaed196.jpg",[],{"id":32606,"slug":32607,"title":32608,"dynasty":18,"author":581,"museum":32609,"description":32610,"tags":32611,"thumbUrl":32612,"material":110,"size":166,"collection":42,"collections":32613,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[24,7,27,28,30,32,717,180,282,36,6001,164,5781,123,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[42],{"id":32615,"slug":32616,"title":32617,"dynasty":18,"author":581,"museum":378,"description":1800,"tags":32618,"thumbUrl":32619,"material":40,"size":166,"collection":166,"collections":32620,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},217948,"ming-ren-shan-shui-hua-ce-qi-yi-ming-217948","明人山水画册(七)",[23,24,25,74,7,36,28,335,162,147,34,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265893252de5c9f63ff7626980bdf4ce.jpg",[],{"id":32622,"slug":32623,"title":32624,"dynasty":18,"author":581,"museum":378,"description":1800,"tags":32625,"thumbUrl":32626,"material":40,"size":166,"collection":166,"collections":32627,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":140},217937,"ming-ren-shan-shui-hua-ce-zhi-shi-er-yi-ming-217937","明人山水画册之(十二)",[23,24,25,7,36,74,28,193,162,14321,706,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c54ac9ee30e801bdac132949220f58a.jpg",[],{"id":32629,"slug":32630,"title":32631,"dynasty":18,"author":581,"museum":378,"description":1800,"tags":32632,"thumbUrl":32633,"material":40,"size":166,"collection":166,"collections":32634,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},217930,"ming-ren-shan-shui-hua-ce-zhi-shi-san-yi-ming-217930","明人山水画册之(十三)",[24,25,74,7,36,28,34,33,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780be1127cd53a2e7ddde869aa2a2399.jpg",[],{"id":32636,"slug":32637,"title":32638,"dynasty":174,"author":5090,"museum":378,"description":6947,"tags":32639,"thumbUrl":32640,"material":40,"size":6950,"collection":166,"collections":32641,"showCount":31935,"zanCount":46,"manualWeight":46,"mainColor":47},217212,"fang-gu-shan-shui-shi-er-kai-liu-wang-hui-217212","仿古山水十二开(六)",[24,74,7,28,624,210,35,34,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad3402979059ae1473273bbfba5698a.jpg",[],{"id":32643,"slug":32644,"title":32645,"dynasty":174,"author":418,"museum":159,"description":2521,"tags":32646,"thumbUrl":32647,"material":98,"size":166,"collection":166,"collections":32648,"showCount":31935,"zanCount":1084,"manualWeight":46,"mainColor":2104},216334,"hua-niao-ce-8-zhu-da-216334","花鸟册-8",[24,25,74,7,123,75,10069],"https:\u002F\u002Foss.chuangqi.store\u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将实景奇崛与胸中丘壑相融。\n\n搭配上行书题跋，笔墨舒展跌宕，书画相映成趣，尽显文人雅韵。整幅小品以简淡构图承载蓬勃生机，借山川形貌抒发襟怀，将搜尽奇峰的体悟凝于尺幅之间，萧散清寂中藏着通透灵秀，尽显清寂淡远的文人山水意境，是借笔写心的精妙之作。",[24,25,74,7,27,28,180,33,148,80,37,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da1cb3425542def690c3e5f73f06ab4.jpg",[],{"id":33052,"slug":33053,"title":1620,"dynasty":174,"author":33054,"museum":450,"description":33055,"tags":33056,"thumbUrl":33057,"material":166,"size":166,"collection":166,"collections":33058,"showCount":66,"zanCount":1084,"manualWeight":46,"mainColor":140},235832,"qiu-shan-cao-tang-tu-zhou-wu-hong-235832","吴宏","此作用淡墨皴擦写层叠秋山，崖峦渐远晕出空濛秋韵。近畔枯木虬曲苍劲，苍松卓然挺立于茅舍之侧，篱径萦回板桥通幽，溪岸渔舟横斜，静穆山居秋景宛然眼前。枯笔短皴勾勒山石质感，淡赭轻敷晕染秋意，简淡笔墨见出苍浑朴拙。右上角题诗衬景，诗画相融，将秋日山野萧疏安闲的意趣尽显，暗合文人幽居丘壑、寄情林泉的雅逸襟怀。",[24,25,95,7,27,36,28,33,717,624,29,30,34,268,669,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7717b800d6cee60d4bf59a3f525be6ec.jpg",[],{"id":33060,"slug":33061,"title":33062,"dynasty":18,"author":796,"museum":450,"description":8275,"tags":33063,"thumbUrl":33064,"material":314,"size":1061,"collection":42,"collections":33065,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},235764,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-dou-ya-tu-ye-chen-chun-235764","吴门诸家寿袁方斋三绝册-斗鸭图页",[24,25,74,7,28,31,30,32,180,147,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65850c37b4775f5d75358b0352c4b4.jpg",[42],{"id":33067,"slug":33068,"title":33069,"dynasty":18,"author":19133,"museum":450,"description":33070,"tags":33071,"thumbUrl":33072,"material":314,"size":1061,"collection":166,"collections":33073,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":140},235740,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-235740","雪岳读书图轴","萧云从(1596～1673) 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。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[1462,24,25,281,7,27,28,993,127,125,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":33161,"slug":33162,"title":33163,"dynasty":174,"author":33164,"museum":450,"description":33165,"tags":33166,"thumbUrl":33167,"material":166,"size":166,"collection":166,"collections":33168,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},234597,"wu-zhao-zhu-shi-wan-shan-wu-zhao-234597","吴照竹石纨扇","吴照","吴照（1755—1811），字照南，号白庵，江西南城人。乾隆五十四年（1789）拔贡，官至大庾教谕，后弃官卖画自给。通六书，画竹得金错刀法，兼善山水、人物，亦能画兰。意气豪宕，嗜饮，罗聘尝为绘石湖课耕图，并联吟、饭牛诸图。有说文字原考略、听雨楼集。卒年五十七。事具《墨香居画识》、《墨林今话》、《怀旧集》、《清画家诗史》。",[24,25,1462,7,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2485fda3f670a81bbcb0572bcc5842ff.jpg",[],{"id":33170,"slug":33171,"title":33172,"dynasty":174,"author":377,"museum":120,"description":16938,"tags":33173,"thumbUrl":33174,"material":564,"size":166,"collection":166,"collections":33175,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},234505,"yuan-ji-shui-zai-gan-shi-shi-yi-tu-dan-ye-shi-tao-234505","原济水灾感事诗意图单页",[24,25,7,27,38,36,74,28,164,33,1974,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad7ee64e8e7b98701b3672d4cb80d8f.jpg",[],{"id":33177,"slug":33178,"title":5438,"dynasty":18,"author":29079,"museum":450,"description":33179,"tags":33180,"thumbUrl":33181,"material":537,"size":166,"collection":166,"collections":33182,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},234246,"hua-hui-tu-juan-chen-gua-234246","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,24,25,26,7,547,75,125,133,126,134,129,132,130,131,180,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":33184,"slug":33185,"title":24053,"dynasty":174,"author":5090,"museum":294,"description":19190,"tags":33186,"thumbUrl":33187,"material":3471,"size":33188,"collection":166,"collections":33189,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202",[23,24,26,28,7,36,27,993,212,58,33,717,624,35,29,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":33191,"slug":33192,"title":33193,"dynasty":18,"author":7182,"museum":120,"description":28331,"tags":33194,"thumbUrl":33195,"material":537,"size":166,"collection":166,"collections":33196,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷",[23,24,25,26,7,38,80,37,126,28,180,33,193,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":33198,"slug":33199,"title":33200,"dynasty":174,"author":2586,"museum":120,"description":33201,"tags":33202,"thumbUrl":33203,"material":33204,"size":33205,"collection":166,"collections":33206,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,26,7,28,36,37,38,80,335,350,127,162,706,210,533,35,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":33208,"slug":33209,"title":157,"dynasty":18,"author":1836,"museum":120,"description":6359,"tags":33210,"thumbUrl":33211,"material":1843,"size":2973,"collection":166,"collections":33212,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},234059,"shan-shui-ce-dong-qi-chang-234059",[281,24,25,74,27,7,36,28,29,30,32,147,610,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":33214,"slug":33215,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":33216,"thumbUrl":33217,"material":811,"size":4319,"collection":166,"collections":33218,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},233861,"mei-hua-ce-jin-nong-233861",[24,25,74,7,547,125,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F934177b8030c4d46405a94c29707459e.jpg",[],{"id":33220,"slug":33221,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":33222,"thumbUrl":33223,"material":811,"size":4319,"collection":166,"collections":33224,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},233860,"mei-hua-ce-jin-nong-233860",[24,25,7,125,74,37,2616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178f4a4101475ce88b30fc2920bd42aa.jpg",[],{"id":33226,"slug":33227,"title":33228,"dynasty":18,"author":1788,"museum":120,"description":33229,"tags":33230,"thumbUrl":33232,"material":964,"size":33233,"collection":166,"collections":33234,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},233819,"wen-zheng-ming-qu-gang-gui-zhou-tu-zhou-wen-zheng-ming-233819","文徵明曲港归舟图轴","本幅自题五言诗并署：“雨绝树如沐，云空山欲浮。草分波动处，曲港有归舟。徵明。”钤“徵仲父印”（白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[24,25,95,7,36,80,28,33,210,34,215,7378,180,717,33231],"常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纵115厘米，横33.6厘米",[],{"id":33236,"slug":33237,"title":33238,"dynasty":18,"author":1788,"museum":450,"description":33239,"tags":33240,"thumbUrl":33241,"material":33242,"size":33243,"collection":166,"collections":33244,"showCount":66,"zanCount":5,"manualWeight":46,"mainColor":47},233675,"wen-zheng-ming-feng-zhu-shan-mian-wen-zheng-ming-233675","文徵明风竹扇面","释文：风揽青桐叶半摧，时飘一片点苍苔。山僮不识林亭趣，却併松枝尽扫开。",[24,25,1462,7,126,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25766ea4c8354139c698f5eeaf00d99d.jpg","泥金纸本","17×52cm",[],{"id":33246,"slug":33247,"title":33248,"dynasty":205,"author":592,"museum":120,"description":16676,"tags":33249,"thumbUrl":33250,"material":16679,"size":16680,"collection":166,"collections":33251,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},233132,"cai-wei-tu-juan-li-tang-233132","采薇图卷",[23,24,25,26,7,27,481,36,193,28,33,21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横67.7厘米",[],{"id":33263,"slug":33264,"title":7126,"dynasty":174,"author":33265,"museum":450,"description":33266,"tags":33267,"thumbUrl":33268,"material":298,"size":17290,"collection":166,"collections":33269,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},232893,"mei-hua-tu-zhou-wu-yan-ru-232893","吴彦儒","所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。",[23,24,25,95,7,125,147,38,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ee64b408a7fa0e64c57bda2c32bf75.jpg",[],{"id":33271,"slug":33272,"title":33273,"dynasty":174,"author":31840,"museum":450,"description":33274,"tags":33275,"thumbUrl":33276,"material":166,"size":166,"collection":166,"collections":33277,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},230889,"xiong-ji-ju-shi-tu-li-shi-zhuo-230889","雄鸡菊石图","这幅水墨写意之作，以雄鸡为主体，踞石而立。铁爪紧扣岩块，冠髯抖擞，尾羽如墨色长剑斜斜舒展，笔意纵逸苍劲，以浓淡墨色晕染出羽毛蓬松肌理，寥寥数笔便将雄鸡骄悍英武之态尽显，形神兼备。\n\n旁侧秋菊斜枝而出，墨花点染间浓淡错落，枯涩枝桠衬出晚秋清逸萧疏的意韵，与雄鸡的刚健相得益彰。右上角行书题诗，笔墨与画意相映，添就悠长文人意趣。\n\n整作笔力苍浑兼具秀润，以极简水墨写尽物象风神，将禽鸟野逸与花草清隽相融，借物抒怀，把秋日生机与雄鸡傲骨铺陈纸上，尽显写意花鸟以形写神的妙处。",[23,281,24,25,95,7,75,2369,134,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4355cfcff03a1ce87b1b057424bf8d.jpg",[],{"id":33279,"slug":33280,"title":33281,"dynasty":18,"author":1836,"museum":450,"description":33282,"tags":33283,"thumbUrl":33284,"material":166,"size":166,"collection":166,"collections":33285,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},230850,"gao-yi-tu-dong-qi-chang-230850","高逸图","此作用笔松秀灵动，以干笔枯墨绘就，兼施淡墨晕染。画面分远中近三境，远山以淡墨轻扫，虚灵空濛，似含烟霭；中平湖如镜，汀渚错落，漾出澹澹清寂；近景枯木虬曲苍古，姿态疏朗萧散，尽显荒寒雅逸之气。\n\n以书入画，笔墨间自带文人疏淡风骨，删繁就简，褪去实景冗杂，独留山水精神，将林下高贤寄情丘壑、坐忘林泉的隐逸意趣藏于尺幅之间，静穆清寂的氛围里，尽显文人画尚意重韵的极致品格。",[23,24,25,7,36,38,37,28,33,34,58,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df79a27a9101f03f274d4311d3360.jpg",[],{"id":33287,"slug":33288,"title":5855,"dynasty":174,"author":926,"museum":450,"description":33289,"tags":33290,"thumbUrl":33291,"material":166,"size":166,"collection":166,"collections":33292,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},230293,"hua-niao-ce-shi-kai-li-shan-230293","此作用笔放逸老辣，以泼墨晕染荷叶，浓淡干湿一气呵成，淋漓间尽显叶片舒展厚重的质感。荷花花苞则以焦墨勾边，淡墨晕染花瓣，妍雅秀润，与荷叶的苍劲朴拙形成鲜明反差，寥寥数笔便勾勒出夏荷出尘之姿。\n\n画面搭配题诗与朱印，书画印浑然一体。书法朴拙跌宕，与水墨荷花相映成趣，将文人意趣与花鸟神韵相融，以简驭繁，尽显写意酣畅情致，把荷花清逸风骨与自身疏朗襟怀尽数诉诸笔端，是笔墨性情与物象神韵完美契合的写意佳作。",[24,25,281,74,7,75,395,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2b5537a93897bce1aaae99efc57378.jpg",[],{"id":33294,"slug":33295,"title":33296,"dynasty":174,"author":491,"museum":450,"description":33297,"tags":33298,"thumbUrl":33299,"material":166,"size":166,"collection":166,"collections":33300,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,24,25,281,95,7,36,28,335,350,162,194,29,324,34,211,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":33302,"slug":33303,"title":33304,"dynasty":174,"author":491,"museum":450,"description":33305,"tags":33306,"thumbUrl":33307,"material":166,"size":166,"collection":166,"collections":33308,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},230177,"fang-gu-tu-ce-wang-shi-min-230177","仿古图册","《清王翚仿古山水册》是清代 作者创作的画册。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n此册由苏州过云楼后人捐赠。\n现收藏于常熟博物馆。\n王翚作。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n其中，仿董源、范宽各二开，仿王维，关仝、高克明、李成、郭熙、王诜、宋徽宗、阎次平、李唐、刘松年、赵伯驹、赵大年、夏圭、黄公望、赵孟頫、王蒙各一开。\n此册由苏州过云楼后人捐 赠。\n21年， 与 强强联手，共同打造了数字化、立体化的权威知识普及平台： 之 。\n该数字馆通过陶瓷器馆、铜器馆、金银器等分馆，全方位展示了 的众多珍贵展品。\n【简介】 纸本，水墨，纵：25.6厘米，横：2.5厘米。\n《 》共计十二页，其中设色二页，水墨十页。\n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。\n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。\n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。\n笔墨疏秀，意境苍莽迷蒙。\n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，4岁时即名闻海内。\n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。\n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。\n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。\n尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。\n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。\n”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。\n王翚（162—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。\n后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。\n在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。\n在王翚5岁到6岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。\n时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。",[24,7,74,254,36,28,162,30,35,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c633d3f56a943ca1180e458ba8904cf.jpg",[],{"id":33310,"slug":33311,"title":18341,"dynasty":18,"author":19133,"museum":450,"description":33312,"tags":33313,"thumbUrl":33314,"material":166,"size":166,"collection":166,"collections":33315,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[24,25,281,74,7,27,36,28,34,33,30,31,193,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":33317,"slug":33318,"title":33319,"dynasty":18,"author":407,"museum":450,"description":33320,"tags":33321,"thumbUrl":33323,"material":166,"size":166,"collection":166,"collections":33324,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":140},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,25,281,7,28,36,335,624,194,29,312,35,993,30,33322,6790,8472],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":33326,"slug":33327,"title":33328,"dynasty":18,"author":796,"museum":450,"description":33329,"tags":33330,"thumbUrl":33331,"material":166,"size":166,"collection":166,"collections":33332,"showCount":66,"zanCount":1084,"manualWeight":46,"mainColor":47},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[23,24,25,26,7,36,254,38,37,80,28,454,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":33334,"slug":33335,"title":157,"dynasty":18,"author":33336,"museum":450,"description":33337,"tags":33338,"thumbUrl":33339,"material":166,"size":166,"collection":166,"collections":33340,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},228490,"shan-shui-ce-yun-xiang-228490","恽向","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[281,24,25,74,7,28,32,29,30,38,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":33342,"slug":33343,"title":33344,"dynasty":18,"author":2851,"museum":430,"description":33345,"tags":33346,"thumbUrl":33347,"material":166,"size":166,"collection":166,"collections":33348,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,24,25,26,28,27,7,38,242,80,36,335,350,32,162,213,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":33350,"slug":33351,"title":7533,"dynasty":52,"author":2127,"museum":450,"description":33352,"tags":33353,"thumbUrl":33354,"material":166,"size":166,"collection":166,"collections":33355,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,24,25,74,7,36,27,28,33,31,29,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":33357,"slug":33358,"title":33359,"dynasty":52,"author":33360,"museum":450,"description":33361,"tags":33362,"thumbUrl":33363,"material":166,"size":166,"collection":166,"collections":33364,"showCount":66,"zanCount":1084,"manualWeight":46,"mainColor":140},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,25,281,26,7,36,28,624,34,30,29,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":33366,"slug":33367,"title":33368,"dynasty":205,"author":592,"museum":450,"description":33369,"tags":33370,"thumbUrl":33371,"material":166,"size":166,"collection":166,"collections":33372,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,281,24,25,26,254,36,7,27,37,80,28,31,468,30,34,33,180,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":33374,"slug":33375,"title":33376,"dynasty":205,"author":12068,"museum":450,"description":33377,"tags":33378,"thumbUrl":33380,"material":166,"size":166,"collection":166,"collections":33381,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,281,24,25,26,7,27,36,37,38,80,28,33379,21764,57,597,33,34],"松杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":33383,"slug":33384,"title":33385,"dynasty":205,"author":581,"museum":450,"description":33386,"tags":33387,"thumbUrl":33388,"material":166,"size":166,"collection":166,"collections":33389,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":140},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,24,281,25,1462,7,27,28,993,33,35,34,36,832,3685,30,212,7312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":33391,"slug":33392,"title":33393,"dynasty":205,"author":28143,"museum":450,"description":33394,"tags":33395,"thumbUrl":33397,"material":166,"size":166,"collection":166,"collections":33398,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},227334,"jiang-fan-shan-shi-juan-song-ren-227334","江帆山市卷","艺术赏析 江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[281,24,25,26,7,36,28,18863,33396,3246,59,164,4569,80],"山市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],{"id":33400,"slug":33401,"title":5815,"dynasty":4342,"author":5816,"museum":450,"description":33402,"tags":33403,"thumbUrl":33405,"material":166,"size":166,"collection":166,"collections":33406,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":140},227249,"dou-niu-tu-dai-song-227249","《斗牛图》传为唐代画家 所画的绢本水墨画，现藏于台北故宫博物院。\n此图绘两牛相斗的场面，风趣新颖。\n一牛前逃，似力怯，另一牛穷追不舍，低头用牛角猛抵前牛的后腿。\n双牛用水墨绘出，以浓墨绘蹄、角，点眼目、鬃毛，传神生动地画出斗牛的肌肉张力、逃者喘息逃避的憨态、击者蛮不可挡的气势。\n牛之野性和凶顽，尽显笔端。\n图中画两牛相斗，一头牛用角觝触，另一牛却旋转著身子，好像虽败而欲再迎战。\n此幅画牛，身驱颇为健壮，大有蛮劲足以力仆万人之慨。\n图中右上方有乾隆题诗：“角尖项强力相持，蹴踏腾轰各出奇。\n想是牧童指点后，股间激露尾垂垂。\n” 中国人对于牛的图腾崇拜，可以追溯到4年前的大禹治水时期。\n传说大禹每治好一处水患，就要铸铁牛投入水底，以示镇压，等到了唐代，就将镇水的铁牛改设岸上了。\n在中国老百姓的眼中，牛更多的美德是埋头苦干而从无怨言的品质，是勤劳的象征。\n然而，野牛的彪悍好斗却也是人所共知的。\n世界上不少民族都有“斗牛”的传统风俗，而我国的斗牛习俗，则要溯源至公元前2年春秋战国时期。\n据《水经注》记载：秦李冰治蜀，为根治水患造福蜀地百姓而修建“都江堰”，触怒了江神，两者化作两头公牛激烈搏斗，李冰在下属的帮助下刺杀了江神，从此蜀地再无水患。\n蜀人敬仰李冰的勇敢果决，遂将体格健壮的青年称作“冰儿”，而斗牛也就成为蜀人历史悠久的习俗：宋初编纂的《太平广记》就记载汉晋之后蜀地已流行斗牛之戏。\n出身书香门第的戴嵩从小热衷书画，水牛画得很好，年少即有名。\n《斗牛图》就是他创作的关于“牛”题材绘画之一。\n关于此图是否是戴嵩真迹还有争议，从其画风观之，此作或属明中期以前辗转流传的摹本。\n画面上一牛昂首腾空，前蹄离地，作躲闪状，看似已斗不过，也许在作迂回战，以逃状作避，伺机反扑；另一牛，鼓足力气，急速猛冲，低头侧目，四肢有力蹬地，将一只垮角猛击逃牛的后腿。\n呈现出一场激烈厮杀的惊险场面。\n画家用水墨淋漓、笔触刚健的艺术形式，画出一窜一追、一抵一昂、一冲一跃的两头牛，浑身绷紧的肌肉，显示牛的强壮有劲；前头那腾空的蹄，那踢蹴的腿，那昂首喘气的憨态；后头那低头猛击的蛮劲，很有将对方挑起猛摔之势；活灵活现地表现了斗牛的野性与凶顽，以及进攻与防御双方的伎俩；此画之所以颇见风趣和新意，是由于画家对牛的牛活和特性有朴殊感受，善于对于一定情势下的牛的特殊表现，作出别出心裁的处理；两牛相斗的动人情节，不止于外形的逼真，而是有情趣的牛的描写，体现了画家的笔墨熟练和细心观察。\n从构图看，画家选择了两牛相斗高潮似刚过去、但搏斗仍在继续这一瞬间的场面，加以刻画，颇见风趣和新意。\n作者以清淡朦胧的背景，在于使人有置于茫野的感受，其目的为了突出主题 。\n烟台大学教授、中国美术家协会会员 ：透过《斗牛图》精湛的表现力，我们还可以体验到作者在哲学上的良好修养。\n那主体、背景的浓、淡对比，那寓静于动的玄妙构图，那失去平衡的稳态造型，无不渗透着本民族古典哲学的精髓。\n这一点在唐以前的作品中是很少见到的。\n由图上题跋可知，该图曾经入清宫，经乾隆帝鉴赏。\n现藏于台北故宫博物院。\n该图收录于：盛京故宫书画录（卷一） ，第一册；故宫书画录（卷八），第四册；故宫书画图录，第十五册。\n戴嵩，唐代画家。\n最初学画时，以 为师，韩滉镇守浙西时，嵩为巡官。\n擅画田家、川原之景，写水牛尤为著名，后人谓得“野性筋骨之妙”。\n相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。\n明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。\n”与韩干之画马，并称“韩马戴牛”。\n传世作品有《斗牛图》。\n牛有青出于蓝的声誉，又擅长于农家风景。\n他的弟弟 也以画牛而闻名。",[23,24,7,281,16751,1839,453,193,162,706,33404],"斗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F585082e468b1730f72d9bc88f06964e5.jpg",[],{"id":33408,"slug":33409,"title":33410,"dynasty":174,"author":7927,"museum":450,"description":33411,"tags":33412,"thumbUrl":33413,"material":166,"size":166,"collection":166,"collections":33414,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[23,24,95,28,36,7,212,211,33,35,215,624,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":33416,"slug":33417,"title":33418,"dynasty":174,"author":7927,"museum":450,"description":33419,"tags":33420,"thumbUrl":33421,"material":166,"size":166,"collection":166,"collections":33422,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},224585,"si-jun-zi-tu-zou-yi-gui-224585","四君子图","此作用淡墨晕开空濛远景，留白铺就清寂天地。左侧古松虬枝盘曲，鳞皴苍劲，松针攒簇如团，枯荣交织尽显古拙生机。右侧长松挺立于石畔，与老松两两相望，野竹荒草偃仰生姿，添得山野意趣。\n\n全作以焦墨醒出松节针叶，淡墨晕染坡岸远景，笔法清隽秀雅，未施一色，全凭水墨勾勒晕染，将松柏坚凝君子风骨寄寓萧散小景之中，静穆简淡却暗含蓬勃生气，淡而不寡，简中见厚，尽显清寂雅致的文人意趣与不俗笔力。",[23,24,281,25,7,481,127,126,180,80,10153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7af38b1cc2ec84ef8742819cb96280.jpg",[],{"id":33424,"slug":33425,"title":33426,"dynasty":174,"author":377,"museum":450,"description":33427,"tags":33428,"thumbUrl":33429,"material":166,"size":166,"collection":166,"collections":33430,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},224520,"shan-shui-tu-ce-8-kai-6-zhang-da-qian-jiu-cang-shi-tao-224520","山水图册8开-6-张大千旧藏","近处村舍错落，农人悠然，烟火气晕开山林野趣。中峰以枯笔勒石骨，淡墨晕出山岚，焦墨点苔缀松，干湿浓淡铺展出苍莽层次。右侧题笔朴拙老辣，诗画相映，将秋山萧索寄于木叶疏凉。\n\n笔意纵恣灵秀，不拘成法，以简淡笔墨写尽丘壑生机，把山居隐逸的静穆与山川清旷融为一体，借景抒怀，尽显山野朴拙之态，亦藏画者洒落襟怀。",[23,24,7,27,74,36,28,35,33,212,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb60ef25126ad857219560ef580fe319.jpg",[],{"id":33432,"slug":33433,"title":32136,"dynasty":174,"author":749,"museum":450,"description":33434,"tags":33435,"thumbUrl":33436,"material":166,"size":166,"collection":166,"collections":33437,"showCount":66,"zanCount":1084,"manualWeight":46,"mainColor":47},224394,"fang-ni-zan-shan-shui-zhou-wang-yuan-qi-224394","近岸坡石错落，修篁杂木扶苏，林间草庐隐现，一人凭石静憩。远山以淡墨轻勾浅皴，留白代水，漾开萧疏淡远的空寂氛围。\n以干笔枯墨勾勒皴擦山石，笔意松秀古拙，墨色清润层次分明。题诗与画面相映成趣，将幽居林下的隐逸雅怀藏于尺幅间，尽显空疏冷隽的林下之风，尽显文人山水独有的简淡清和意趣。",[24,25,95,7,36,28,126,180,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfdd7175bc5126f78214c90c4a16c909.jpg",[],{"id":33439,"slug":33440,"title":33441,"dynasty":174,"author":14526,"museum":450,"description":33442,"tags":33443,"thumbUrl":33444,"material":166,"size":166,"collection":166,"collections":33445,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":140},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,24,25,28,7,36,95,57,624,211,32,193,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":33447,"slug":33448,"title":18341,"dynasty":18,"author":581,"museum":294,"description":33449,"tags":33450,"thumbUrl":33451,"material":61,"size":33452,"collection":42,"collections":33453,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":140},223457,"shan-shui-ce-ye-yi-ming-223457","魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。",[23,24,25,74,7,27,36,28,57,211,34,35,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa61be3e6ce1f76dc236feac0ec9224.jpg","38.1×40",[42,222],{"id":33455,"slug":33456,"title":33457,"dynasty":205,"author":581,"museum":92,"description":33458,"tags":33459,"thumbUrl":33460,"material":7978,"size":33461,"collection":166,"collections":33462,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},223422,"song-ren-qian-yan-wan-he-zhou-yi-ming-223422","宋人千岩万壑轴","此幅绘千山万水，长松巨壑，中有村落楼阁掩映，一老者倒骑毛驴刚过溪桥，更有渔樵者出没。此图全用郭熙笔意，然细察之宋画气息不足，当是元人学郭熙，而深得其髓者。",[23,24,95,7,36,28,212,213,33,211,215,533,787,8796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","126.3x49.7厘米",[],{"id":33464,"slug":33465,"title":33466,"dynasty":174,"author":15930,"museum":92,"description":18695,"tags":33467,"thumbUrl":33469,"material":298,"size":33470,"collection":42,"collections":33471,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},223119,"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴",[23,24,25,95,7,36,80,28,534,33468,29,30,31,32,193,34,33],"云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[42,222],{"id":33473,"slug":33474,"title":22581,"dynasty":174,"author":2029,"museum":450,"description":9611,"tags":33475,"thumbUrl":33476,"material":964,"size":22584,"collection":166,"collections":33477,"showCount":66,"zanCount":1084,"manualWeight":46,"mainColor":47},222623,"shan-shui-shan-mian-3-gong-xian-222623",[23,24,25,1462,7,36,28,162,34,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3bf5c009d2a486816b700ff2873d73.jpg",[],{"id":33479,"slug":33480,"title":16640,"dynasty":18,"author":33481,"museum":92,"description":33482,"tags":33483,"thumbUrl":33484,"material":284,"size":33485,"collection":166,"collections":33486,"showCount":66,"zanCount":1084,"manualWeight":46,"mainColor":47},222579,"fang-wang-meng-shan-shui-jiang-qian-222579","蒋乾","这幅画是浙派画家蒋嵩之子蒋乾，所留存下来的少数画作之一。画面中，山峦层层迭迭，几乎将画幅填塞地密不透风。画的右侧有一道瀑布高悬，在山谷间制造深入的空间感。而近景山石有长松挺立，山屋茅舍隐蔽山中，是十分适合文人读书休憩的地方。",[23,24,25,95,7,36,254,28,624,34,210,215,1442,33,212,7489,533,1525,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":33488,"slug":33489,"title":33490,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":33491,"thumbUrl":33493,"material":166,"size":166,"collection":166,"collections":33494,"showCount":66,"zanCount":1084,"manualWeight":46,"mainColor":47},222518,"shen-xian-tu-ce-7-zhang-lu-222518","神仙图册7",[281,24,25,74,7,547,193,8048,8050,33492],"卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365f96a79eba1447b5b9fefe6c2663ab.jpg",[],{"id":33496,"slug":33497,"title":33498,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":33499,"thumbUrl":33500,"material":166,"size":166,"collection":166,"collections":33501,"showCount":66,"zanCount":1084,"manualWeight":46,"mainColor":47},222514,"shen-xian-tu-ce-3-zhang-lu-222514","神仙图册3",[23,24,25,74,7,27,547,193,454,3557,13874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550e7d0b37b6943a07ff6d20c23d1aa2.jpg",[],{"id":33503,"slug":33504,"title":33505,"dynasty":18,"author":11425,"museum":770,"description":11426,"tags":33506,"thumbUrl":33508,"material":537,"size":33509,"collection":166,"collections":33510,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷",[23,24,281,25,26,547,7,481,80,37,193,4154,624,96,133,180,282,33507,19275,4705],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","30x336",[],{"id":33512,"slug":33513,"title":33514,"dynasty":18,"author":10698,"museum":1894,"description":16337,"tags":33515,"thumbUrl":33516,"material":811,"size":16342,"collection":166,"collections":33517,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},222226,"si-wan-shan-shui-tu-4-wan-shan-fei-xue-wen-bo-ren-222226","四万山水图4-万山飞雪",[23,24,494,281,25,95,7,36,481,335,831,33,58,213,32,717,993,7312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg",[],{"id":33519,"slug":33520,"title":33521,"dynasty":18,"author":7182,"museum":92,"description":28331,"tags":33522,"thumbUrl":33523,"material":166,"size":33524,"collection":42,"collections":33525,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},222022,"hua-hui-jing-tang-tu-juan-wen-jia-222022","画会景堂图卷",[23,281,24,25,26,27,7,481,36,193,35,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2f2a2830eb86fb423891948207a67.jpg","27.1x88.1",[42,64],{"id":33527,"slug":33528,"title":33529,"dynasty":18,"author":1788,"museum":450,"description":1789,"tags":33530,"thumbUrl":33531,"material":537,"size":33532,"collection":42,"collections":33533,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},221995,"shui-ting-shi-si-tu-wen-zheng-ming-221995","水亭诗思图",[23,24,28,335,350,162,1791,7,123,95,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4c5da43adfb3612de6ee83625cd7e2.jpg","73.3x28cm",[42,64],{"id":33535,"slug":33536,"title":33537,"dynasty":52,"author":26840,"museum":120,"description":33538,"tags":33539,"thumbUrl":33540,"material":10405,"size":33541,"collection":166,"collections":33542,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":140},221825,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-221825","秋林垂钓图页","画上一老翁坐于船头专心致志钓鱼，岸上二株松树耸立，画面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早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[23,24,25,7,547,193,180,127,37,80,3557,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 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，尽显萧散简远的韵致；梅枝枯笔写就，尽显古拙苍劲。淡墨铺陈底色，设色浅淡雅致，整体清寂高旷，将文人幽赏林泉、寄情花木的雅逸襟怀融于画中，尽显晚明文人画尚简崇雅的意趣。",[24,7,27,95,193,125,180,80,123,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbabed3bcd794a75118995956cdcf6959.jpg","118.1x56.6公分",[600],{"id":33692,"slug":33693,"title":6501,"dynasty":18,"author":33694,"museum":378,"description":33695,"tags":33696,"thumbUrl":33697,"material":110,"size":33698,"collection":83,"collections":33699,"showCount":66,"zanCount":1084,"manualWeight":46,"mainColor":140},219048,"lu-yan-tu-hui-hong-219048","惠洪","疏芦几枝，墨痕轻淡如远烟，自左畔斜逸而上，牵起秋意的清寂。双雁相偎于滩涂，羽翅覆叠间，绒羽的柔与翎羽的劲交织成细腻纹理，低头觅食的姿态憨然可亲，似在私语。笔墨简括却神完气足，芦苇的萧疏与雁的温煦相映，绢本古雅底色更衬出意境淡远。动静之间生机暗蕴，于简淡中见真趣，尽显文人画清逸风骨——无需浓妆艳抹，只凭水墨晕染的素朴，便将自然的静谧与生命的温情，凝在这一方绢素之上。",[23,24,25,95,7,1004,6504,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472d112058e32edcfc0b33b9b871c100.jpg","125.5x64cm",[83],{"id":33701,"slug":33702,"title":33703,"dynasty":205,"author":15641,"museum":120,"description":33704,"tags":33705,"thumbUrl":33706,"material":110,"size":33707,"collection":83,"collections":33708,"showCount":66,"zanCount":46,"manualWeight":46,"mainColor":47},218749,"qun-yuan-shi-guo-tu-yi-yuan-ji-218749","群猿拾果图","《群猿拾果图》为北宋画家易元吉所作。本幅无作者款识，右侧题签：“易元吉群猿拾果”。对开乾隆题诗：“好静工引气，能吟更善缘。栖枝坠岸穗，拾果倒空悬。岂必问其数，亦惟顺厥天。尧牵宝星，可以悟难前。 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作品有《西成民乐图卷》《岁丰图卷》等。",[24,281,494,7,36,31,32,29,212,163,33,37,80,7919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":33966,"slug":33967,"title":33968,"dynasty":205,"author":33969,"museum":450,"description":33970,"tags":33971,"thumbUrl":33972,"material":314,"size":1061,"collection":166,"collections":33973,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},288936,"chun-guang-xian-dao-tu-wang-you-288936","春光先到图","王友","米芾在画史中提到：“赵昌、王友、镡黉辈，得之可遮壁，无不为少。”",[24,281,1462,75,481,547,7,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb5ed83558fea61ce7df0f388fb6ba6.jpg",[],{"id":33975,"slug":33976,"title":18253,"dynasty":205,"author":4437,"museum":450,"description":4438,"tags":33977,"thumbUrl":33978,"material":314,"size":1061,"collection":166,"collections":33979,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},288505,"jiang-shan-lou-guan-tu-yan-wen-gui-288505",[23,281,24,26,7,28,36,194,34,1776,58,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55247d7d229304874dd28046e365247f.jpg",[],{"id":33981,"slug":33982,"title":33983,"dynasty":174,"author":749,"museum":450,"description":25077,"tags":33984,"thumbUrl":33985,"material":314,"size":1061,"collection":166,"collections":33986,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图",[24,281,25,95,28,7,36,254,212,33,194,30,29,3685,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":33988,"slug":33989,"title":33990,"dynasty":205,"author":264,"museum":450,"description":6756,"tags":33991,"thumbUrl":33995,"material":314,"size":1061,"collection":166,"collections":33996,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},287965,"mo-yan-li-ben-zhi-gong-tu-juan-li-gong-lin-287965","摹阎立本职贡图卷",[281,24,26,7,27,193,33992,254,37,33993,33994],"异兽","历史画","职贡场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b7a151b47854a48b5d73202a4e4082.jpg",[],{"id":33998,"slug":33999,"title":31184,"dynasty":205,"author":278,"museum":450,"description":34000,"tags":34001,"thumbUrl":34002,"material":314,"size":1061,"collection":166,"collections":34003,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},287718,"xi-hu-liu-ting-tu-xia-gui-287718","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润",[281,24,494,7,27,36,1035,29,30,31,32,194,12529,729,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88e6785745c02b8900bab6ee66c74eb.jpg",[],{"id":34005,"slug":34006,"title":34007,"dynasty":174,"author":5748,"museum":450,"description":11526,"tags":34008,"thumbUrl":34009,"material":314,"size":1061,"collection":166,"collections":34010,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},287690,"you-ju-tu-kun-can-287690","幽居图",[24,7,28,281,29,30,31,506,212,33,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75a6e8ddc61f4f930a7c121024ce85b.jpg",[],{"id":34012,"slug":34013,"title":34014,"dynasty":18,"author":11473,"museum":450,"description":34015,"tags":34016,"thumbUrl":34017,"material":314,"size":1061,"collection":166,"collections":34018,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":461},287606,"yun-he-gao-yi-tu-li-zhou-yuan-tu-lan-ying-287606","云壑高逸图立轴(原图)","高山之麓，丘岗片片，山泉淙淙；溪流清鸣，绕贯其中；丛花簇草，竞相吐艳；桃李明艳，繁枝雍雍，像是在奏响的晚春妙曲。林深之处，溪水岸旁，一白衫红裤的老者，在茅亭内候客。亭外木桥上，有一红衣老者，向茅亭走来。",[23,281,24,95,7,494,32,29,30,310,34,193,211,36,32846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96cd84ca765b062920e0b7469166d281.jpg",[],{"id":34020,"slug":34021,"title":34022,"dynasty":174,"author":20225,"museum":450,"description":34023,"tags":34024,"thumbUrl":34025,"material":298,"size":166,"collection":245,"collections":34026,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},241323,"ge-ti-shu-lin-tie-si-zhong-ping-weng-fang-gang-241323","各体书临帖四种屏","翁方綱（1733～1818年），字正三，一字忠敍，號覃溪，晚號蘇齋，順天大興（今北京大興區）人。清代書法家、文學家、金石學家。\n乾隆十七年進士，授編修。歷督廣東、江西、山東三省學政，官至內閣學士。嘉慶二十三年，卒。\n精通金石、譜錄、書畫、詞章之學，書法與同時的劉墉、梁同書、王文治齊名。論詩創“肌理説”，著有《粵東金石略》《蘇米齋蘭亭考》《復初齋詩文集》《小石帆亭著錄》等。",[25,37,254,38,242,3074,6186,394,7,298,80,3292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2f5361f3aeafb6e3eaaacb213bbc36.jpg",[245],{"id":34028,"slug":34029,"title":34030,"dynasty":174,"author":34031,"museum":27874,"description":34032,"tags":34033,"thumbUrl":34034,"material":298,"size":34035,"collection":245,"collections":34036,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},240644,"xun-zi-yu-si-tiao-ping-mo-you-zhi-240644","荀子语四条屏","莫友芝","莫友芝（1811～1871）字子偲，自号郘亭，又号紫泉、眲叟，晚清 家世传业，通文字训诂之学\n莫友芝著述甚多，他的《宋元旧本书经眼录》及附录、《知见传本书目》、《恃静斋藏纪要》，为目录版本学者所重视；《他的《郘亭遗诗》八卷，收集诗作546首，《郘亭诗抄》六卷，收401首，《影山词》二卷，外集一卷，收集词作百余阕，另有《素阴杂记》一卷，《樗茧谱注》一卷（按：《樗茧谱》一卷，郑珍著。），《资治通鉴索隐》等。此外，他还收集了贵州266家诗人的诗2290余首，编成《黔诗纪略》三十三卷。这些著作，有很高的文学价值和史料价值。",[37,3074,3292,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f10c81f241fbe5c57c1134e7425a58.jpg","128×32cm×4",[245],{"id":34038,"slug":34039,"title":34040,"dynasty":18,"author":28951,"museum":120,"description":34041,"tags":34042,"thumbUrl":34043,"material":34044,"size":34045,"collection":245,"collections":34046,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},240394,"shi-zhou-huang-dao-zhou-240394","诗轴","黄道周（1585年3月9日—1646年4月20日 ），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[37,95,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e7d9d45111b0594551cedc04ee5b5e.jpg","綾本行草","158.6×50.4cm",[245],{"id":34048,"slug":34049,"title":34050,"dynasty":174,"author":34051,"museum":450,"description":32391,"tags":34052,"thumbUrl":34053,"material":314,"size":1061,"collection":42,"collections":34054,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},239371,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239371","画载月十咏诗意册","永瑢",[24,25,74,7,27,28,717,31,282,940,34,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802a3fac4a620ea4ffc6e3e70fcfe962.jpg",[42,64],{"id":34056,"slug":34057,"title":157,"dynasty":174,"author":28403,"museum":450,"description":34058,"tags":34059,"thumbUrl":34060,"material":166,"size":166,"collection":42,"collections":34061,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},239361,"shan-shui-ce-wang-san-xi-239361","此作用淡墨晕染崖石，清润苍朴，古松横斜倚立，枯笔写出的松针苍劲蓬松，自带古拙生机。飞瀑自岩间垂落，以留白暗喻水势，撞石溅浪后顺着浅滩汇入清溪，浅纹细波将流水的清浅柔缓尽数写出。\n\n右下角溪岸双鹤幽立，姿态闲雅，衬出林涧的空寂安谧。左侧题诗与画境相融，将“岩前花落，涧上月明”的幽寂禅思藏进笔墨之间，整体意境淡远疏朗，寥寥数笔勾勒出世外幽居的清雅意趣，尽显文人山水的空灵雅致。",[24,25,74,7,36,38,80,28,624,30,34,3596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2220afc42963645c5176b9924a2ca1.jpg",[42,64],{"id":34063,"slug":34064,"title":2736,"dynasty":174,"author":2737,"museum":450,"description":34065,"tags":34066,"thumbUrl":34067,"material":166,"size":166,"collection":166,"collections":34068,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},239056,"shan-shui-hua-niao-ce-yang-jin-239056","此帧以淡墨晕染烟霭远山，浅皴轻点绘就嶙峋危崖。崖顶古松盘曲若游龙，半遮山亭，似有幽人凭槛远眺江帆。山径逶迤接引视线，山下村居田亩隐于墨色浅深间，野趣自生。\n\n全幅笔致松秀简淡，将江南山水的温润清和融于尺幅之中。浅淡烟岚晕化开天地边界，远江帆影轻似闲云，悠悠漾开山水纵深感。左侧题字清雅，笔墨与画意相映成趣，以极简笔墨勾勒出林泉高致，尽显文人寄情丘壑的闲淡意趣。",[24,7,74,36,28,32,31,162,34,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfc4436b9b6be9d016480c45a840438.jpg",[],{"id":34070,"slug":34071,"title":34072,"dynasty":174,"author":34073,"museum":450,"description":34074,"tags":34075,"thumbUrl":34076,"material":166,"size":166,"collection":42,"collections":34077,"showCount":114,"zanCount":1084,"manualWeight":46,"mainColor":47},239037,"hou-tu-zhou-zhu-chang-fu-239037","厚图轴","祝昌阜","此作以高远章法铺陈，主峰斜曳横贯，以斧劈皴利落勾勒石体质感，淡墨晕染出崖壁的苍莽雄浑，自带冷峭荒寒的山野意趣。\n\n崖畔孤松虬曲凌云，枝干舒展如展翼，松针攒簇见精神，扎根绝壁尽显傲骨。旁侧枯木寒枝错落，苔点墨色浓重，衬出山境的清寂寥落。画面留白疏朗，铺陈出天地空茫之意，笔墨简淡萧散，以写意笔法尽抒林下幽怀，将山水的荒寒之美与文人逸致相融，寥寥数笔便勾勒出清寂出尘的林泉意韵，淡远悠长。",[24,95,7,36,28,624,34,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2151157b14216f4511adb2ab721e9afa.jpg",[42,222],{"id":34079,"slug":34080,"title":34081,"dynasty":18,"author":31500,"museum":450,"description":34082,"tags":34083,"thumbUrl":34084,"material":166,"size":166,"collection":42,"collections":34085,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},239013,"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,25,95,7,36,37,80,28,32,33,34,193,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[42,222,245],{"id":34087,"slug":34088,"title":34089,"dynasty":18,"author":34090,"museum":450,"description":34091,"tags":34092,"thumbUrl":34094,"material":314,"size":1061,"collection":166,"collections":34095,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},239012,"liu-shu-ba-ge-shan-zhang-chong-239012","柳树八哥扇","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[1462,24,25,7,27,1035,34093,75,9254,123],"八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9969dad6bbf3dbb960f381596a2faa2.jpg",[],{"id":34097,"slug":34098,"title":34099,"dynasty":174,"author":34100,"museum":450,"description":34101,"tags":34102,"thumbUrl":34103,"material":166,"size":166,"collection":42,"collections":34104,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},238980,"shan-shui-ce-peng-xin-xie-wang-chen-238980","山水册－蓬心写","王宸","此作用笔苍秀松脱，以干笔皴擦追摹披麻古意，墨色干湿层叠，淡赭与花青轻施晕染，色调清和雅致。近景草堂依水，古松亭亭如盖，木桥架于浅溪，坡岸草木葱茏，山居意趣悠然尽显。中景峰峦环合，林木蓊郁掩映，水泽迂回流连，藏露得宜。远景平峦以淡墨虚写，空蒙渺远，铺展出悠远空间层次。\n\n整幅以简淡之笔绘就江南丘壑，将山川温润秀逸之态，与文人寄情林泉的幽寂襟怀相融，观之如身临幽居，俗虑尽消，尽显静穆淡远的文人山水意韵。",[24,25,74,7,27,28,36,29,30,162,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdce2d56454e2dcb3893504b67bb526.jpg",[42,600,64],{"id":34106,"slug":34107,"title":34108,"dynasty":174,"author":34109,"museum":450,"description":34110,"tags":34111,"thumbUrl":34112,"material":166,"size":166,"collection":600,"collections":34113,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},238940,"hua-guan-gui-yu-zhou-hua-guan-238940","华冠归渔轴","华冠","华冠 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明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,25,74,7,36,28,624,34,29,193,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ad5700825cb73019c96712ef15dc32.jpg",[42,222],{"id":34178,"slug":34179,"title":376,"dynasty":174,"author":34180,"museum":450,"description":34181,"tags":34182,"thumbUrl":34183,"material":314,"size":1061,"collection":42,"collections":34184,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},237479,"shan-shui-tu-ce-yao-song-237479","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,74,7,28,36,38,80,335,350,162,29,35,32,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[42],{"id":34186,"slug":34187,"title":10439,"dynasty":174,"author":34188,"museum":450,"description":34189,"tags":34190,"thumbUrl":34191,"material":166,"size":166,"collection":42,"collections":34192,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},237468,"shan-shui-tu-zhou-zhou-tang-237468","周棠","周棠（1806 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横29.2厘米",[],{"id":34362,"slug":34363,"title":34364,"dynasty":52,"author":581,"museum":450,"description":34365,"tags":34366,"thumbUrl":34367,"material":166,"size":166,"collection":166,"collections":34368,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[23,24,25,95,7,36,28,193,127,210,213,30,16865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],{"id":34370,"slug":34371,"title":34372,"dynasty":5382,"author":34373,"museum":450,"description":34374,"tags":34375,"thumbUrl":34376,"material":314,"size":1061,"collection":166,"collections":34377,"showCount":114,"zanCount":1084,"manualWeight":46,"mainColor":921},231749,"si-ji-shan-shui-tu-ping-feng-di-4-ping-zhou-wen-231749","四季山水图屏风第4屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,7,28,194,33,34,36,5385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5a32141c2718bb6b808c418df78505.jpg",[],{"id":34379,"slug":34380,"title":34381,"dynasty":5382,"author":581,"museum":450,"description":34382,"tags":34383,"thumbUrl":34386,"material":314,"size":1061,"collection":166,"collections":34387,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 流亡的皇帝屏风","金箔为底晕开朦胧暖光，淡墨细绘出浩渺水岸，层层水纹带着澹澹涟漪，铺陈开幽寂江景。左岸孤客彳亍，衣袂似随江风微扬，满溢羁旅怅惘。右畔水榭依水而立，灼灼桃枝缀着浅淡花意，晕开零落暖意，和空阔江天的萧寂形成温柔的对照。\n水墨冷寂被金箔柔光轻轻中和，将沉郁藏在清雅笔意间，留白里晕开澹澹愁思，以侘寂幽玄的笔致，把漂泊况味融在烟暮色中，在极简构图里铺陈出含蓄悠长的诗意。",[23,281,24,25,5385,7,27,34384,36,28,193,268,33,213,58,34385],"金碧","开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcce2a562d3507c088b54444c8a8b0f.jpg",[],{"id":34389,"slug":34390,"title":16785,"dynasty":205,"author":1089,"museum":5692,"description":34391,"tags":34392,"thumbUrl":34393,"material":298,"size":166,"collection":166,"collections":34394,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,25,494,7,27,36,481,37,38,80,193,28,34,33,311,32,205,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":34396,"slug":34397,"title":34398,"dynasty":18,"author":5177,"museum":450,"description":34399,"tags":34400,"thumbUrl":34402,"material":166,"size":166,"collection":166,"collections":34403,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","此作用淡墨晕开寒雾，远山隐没其中，高岭悬崖覆着素雪，以留白衬出积雪清寒厚重，山石勾勒硬朗古拙，尽显崖壁巍峨肃穆。\n\n中景枯木虬曲苍劲，枝桠舒展，雪覆槎丫，林麓间山居掩映，篱舍静谧安闲，似能隔绝冬日霜寒。近处石径蜿蜒，策杖行人缓步徐行，暗合冬日寻幽的雅趣。\n\n整体笔墨简练老辣，以空寂清冷的意境，将山野萧寒与幽居恬然相融，尽显文人寄情林泉、静悟山水的隐逸雅兴。",[24,25,95,7,36,28,34401,7312,717,624,34,35,193,212,211],"寒崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":34405,"slug":34406,"title":6962,"dynasty":174,"author":6963,"museum":450,"description":34407,"tags":34408,"thumbUrl":34409,"material":166,"size":166,"collection":166,"collections":34410,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},230218,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230218","此作以猛虎为魂，山林为幕，蛰伏于草木间的碧眼吊睛虎身姿蓄势待发。笔线勾勒皮毛纹理细腻入微，墨色晕染斑纹虚实相生，将百兽之王的沉凝悍劲与潜藏的威严精准铺陈。\n\n背景以泼墨写意挥洒阔叶草木，细劲藤蔓与挺秀竹丛疏密错落，淡赭晕染山石晕开深山幽寂氛围。虚实相生间将虎的机警觉察与山野静谧相融，工写兼备的笔意揉合虎的威仪与林泉野趣，藏灵动于沉雄，尽显造境塑物的深厚功底，是形神皆备的精妙之作。",[23,24,7,27,95,3914,453,126,34,78,123,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8e10a2005f4a486a40b8c4ba6c9264.jpg",[],{"id":34412,"slug":34413,"title":34414,"dynasty":18,"author":29079,"museum":450,"description":34415,"tags":34416,"thumbUrl":34417,"material":166,"size":166,"collection":166,"collections":34418,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},228890,"san-you-tu-juan-chen-gua-228890","三友图卷","此帧以水墨写就，老松虬曲苍劲，枯笔焦墨勾勒皴擦，尽显鳞皴老干的嶙峋古意。松针攒簇劲挺，如刃似戟。垂挂的藤萝以淡墨长线曳落，柔丝曼曼，和老干的刚硬形成绝妙反差。下方嫩竹亭亭，小篁数丛简淡清雅，寥寥数笔便把清拔姿态绘就。\n画面留白疏朗，水墨浓淡干湿相生相合，笔意纵恣却暗含法度，将岁寒之友的清逸孤傲风骨尽显，藏着文人写意的澹澹禅心，清雅脱俗，意韵悠长。",[9254,24,25,26,7,547,80,127,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43250ffaea547b9ef3fabbd4b5c2e4e.jpg",[],{"id":34420,"slug":34421,"title":34422,"dynasty":18,"author":407,"museum":450,"description":34423,"tags":34424,"thumbUrl":34425,"material":166,"size":166,"collection":166,"collections":34426,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},228845,"ji-shan-gao-yin-tu-zhou-dai-jin-228845","箕山高隐图轴","画面以雄奇山水铺陈意境，斧劈皴勾勒出山岩棱角刚硬，危峰迭起直入烟霭。古松虬曲苍劲，盘崖绕谷，枝干舒展如腾龙，松针攒簇尽显苍郁生机。\n\n松下高士坦襟趺坐，凭石观山，意态萧散悠然，将山野林泉间的隐逸闲趣尽显。整作以刚劲笔墨绘就山川风骨，又以简淡笔触描摹人物风神，将北宗山水的雄浑大气与文人高隐的清雅意趣相融，尽抒林泉高致，恍见太古幽情。",[23,24,25,95,7,36,28,193,624,34,210,7489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb2ac4e2251e083f824252fb1f3869f.jpg",[],{"id":34428,"slug":34429,"title":34430,"dynasty":18,"author":5683,"museum":450,"description":34431,"tags":34432,"thumbUrl":34433,"material":166,"size":166,"collection":166,"collections":34434,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},228758,"guan-hua-tu-zhang-lu-228758","观画图","这幅画作以巨松浓墨开篇，衬出山居小屋错落野趣。画面群像鲜活灵动：扶案老者凝目观画，村汉孩童攒头探看，窗内女子隔帘偷觑，各有神态，将乡野小民观画时的好奇热忱尽数铺展。\n\n笔意承袭浙派写意，线条粗粝劲健，衣纹顿挫利落，墨色浓淡铺陈拉开远近层次。以简括布景衬出盎然烟火，粗笔间藏着细腻情思，寥寥数笔便把俗世片刻的鲜活意趣定格，尽显明代人物画世俗化的鲜活风貌，将山野日常的闲适与观画时的热闹相融，质朴又传神。",[23,24,25,7,27,547,193,268,33,96,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ac9c01422f9d12f5cf20f72d77ee8d.jpg",[],{"id":34436,"slug":34437,"title":6382,"dynasty":18,"author":7182,"museum":450,"description":34438,"tags":34439,"thumbUrl":34440,"material":166,"size":166,"collection":166,"collections":34441,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":921},228755,"shan-shui-tu-juan-wen-jia-228755","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,24,25,26,7,36,28,33,34,211,32,30,2316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],{"id":34443,"slug":34444,"title":34445,"dynasty":18,"author":17723,"museum":450,"description":34446,"tags":34447,"thumbUrl":34448,"material":166,"size":166,"collection":166,"collections":34449,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},228493,"pei-yue-xian-xing-tu-du-jin-228493","陪月闲行图","《陪月闲行图》是中国明代画家杜堇的国画作品。\n该画为纸本水墨，纵156.5厘米，横72.4厘米，现流落于（美）克里夫兰艺术博物馆。\n杜堇[明]十五—十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒人。\n丹徒（今江苏镇江）人，占籍燕京（今北京市）。\n宪宗成化（一四六五―一四八七）中试进士不第，绝意进取。\n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。\n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。\n弘治二年（一四八九）为吴原博（宽）作赏菊宴集图。\n《画史会要》、《图绘宝鉴续纂》、《无声诗史》、《艺苑巵言》 。\n杜堇的传世作品有《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（15）由金琮（1449-151）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。\n《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《郡雍像》轴等，上述画均藏故宫博物院。\n从艺活动约在成化、弘治间。",[24,7,95,193,28,717,34,36,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d45025facb50d10416b1c61101165b.jpg",[],{"id":34451,"slug":34452,"title":5598,"dynasty":18,"author":34453,"museum":450,"description":34454,"tags":34455,"thumbUrl":34456,"material":166,"size":166,"collection":166,"collections":34457,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},228276,"hua-hui-ce-chen-dao-fu-228276","陈道复","这幅作品以淋漓水墨挥写湖石，苍润朴拙，留白藏尽空灵意趣。环绕花木设色清妍柔和，素白牡丹柔枝舒展、花瓣轻绽，淡粉碎花攒簇生姿，兰草劲挺修长，叶片舒展带露生机。\n笔意松秀灵动，兼工带写间糅合文人雅致，以色墨晕染烘托春日融融。花木俯仰有情，与苍润湖石形成刚柔对照，将庭间春日野趣尽显笔端，淡冶雅致中饱含闲散文心，寥寥数笔便勾勒出盎然春意，尽显水墨写意的精妙韵味。",[23,24,281,123,27,7,76,180,78,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca306f52ecfeeac584ccaa95f1e44470.jpg",[],{"id":34459,"slug":34460,"title":25206,"dynasty":52,"author":10972,"museum":450,"description":34461,"tags":34462,"thumbUrl":34463,"material":166,"size":166,"collection":166,"collections":34464,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,281,24,25,95,2175,7,27,36,147,717,34,30,1840,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":34466,"slug":34467,"title":34468,"dynasty":52,"author":34469,"museum":450,"description":34470,"tags":34471,"thumbUrl":34472,"material":314,"size":1061,"collection":166,"collections":34473,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},228032,"song-liu-man-shi-juan-ye-lv-chu-cai-228032","送刘满诗卷","耶律楚材","耶律楚材（1190-1244）字晋卿，号湛然居士，又号玉泉老人。辽宗室。博学能文，元太袓定燕，召为相，历事两朝。耶律楚材少年时受金代文化影响至深，在赵孟頫扭转金及南宋末午书法流风之前，他的书法具有一定的代表性。《元史》本传称其：“善书，晚年所作字画尤劲健，如铸铁所成，刚毅之气，至老不衰。”他的书法继承了唐宋颜真卿，黄庭坚书风，雄放刚健、硬拙挺拔，以端严刚劲著称，有“河朔伟气”，与后来赵孟頫提倡的晋人韵味迥异。",[23,37,26,38,7,80,858,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b16520804b9eccfa270024c95dab57f.jpg",[],{"id":34475,"slug":34476,"title":28580,"dynasty":205,"author":3062,"museum":450,"description":34477,"tags":34478,"thumbUrl":34479,"material":166,"size":166,"collection":166,"collections":34480,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},227980,"qiu-lu-fei-wu-tu-liang-kai-227980","以淡墨晕开秋江空蒙的冷寂氛围，枯瘦芦草欹斜舒展，迅疾老辣的笔致带着野逸秋意。水畔坡岸以泼墨点染，浓淡墨色自然晕化，混融天成，静立坡头的小禽与振翅掠空的飞鹜形成动静对照。\n\n远飞的水禽仅以寥寥数笔勾勒，形神俱足，活现掠空姿态。画面以大片留白衬出江天寥廓，将秋日江汀的萧疏淡远藏在简淡笔墨中，以少胜多，把秋日清寂与禅意文思揉合一处，余韵悠长。",[23,281,24,25,95,7,123,1004,282,180,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917b71480910d4f702db28eefc181657.jpg",[],{"id":34482,"slug":34483,"title":6936,"dynasty":205,"author":2727,"museum":450,"description":23490,"tags":34484,"thumbUrl":34485,"material":166,"size":166,"collection":166,"collections":34486,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},227706,"dai-du-tu-mi-you-ren-227706",[23,24,7,36,28,31,30,96,164,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b90154e546073fde551209019683cef.jpg",[],{"id":34488,"slug":34489,"title":34490,"dynasty":174,"author":377,"museum":450,"description":34491,"tags":34492,"thumbUrl":34493,"material":166,"size":166,"collection":166,"collections":34494,"showCount":114,"zanCount":1084,"manualWeight":46,"mainColor":47},224510,"shan-shui-tu-ce-8-kai-1-zhang-da-qian-jiu-cang-shi-tao-224510","山水图册8开-1-张大千旧藏","淡墨晕染远山，恍如烟霭轻笼，望之渺渺。近前丘峦以枯笔焦墨皴擦勾勒，苍劲朴拙，自带厚重古意。坡岸寒林萧疏，枝桠错落淡写，空寂清寒之境跃然纸上。右侧三两茅舍依偎岩岫，隐于林木间，尽出世幽居之趣。\n书画相融，题诗佐景，朱红金石印章错落点缀，更添雅致。笔意纵恣又不失内敛，将山雨初歇后的微茫空濛铺陈开来，淡而弥厚，简而愈远，尽显静穆萧散的文人逸趣，把江南山野的幽淡之美，晕作悠然忘尘的林下诗意。",[23,281,24,25,74,7,36,28,717,35,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93031ba8b540688941b476a31e5177ff.jpg",[],{"id":34496,"slug":34497,"title":34498,"dynasty":174,"author":377,"museum":450,"description":34499,"tags":34500,"thumbUrl":34501,"material":166,"size":166,"collection":166,"collections":34502,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},224500,"shan-shui-ce-kai-jiu-shi-tao-224500","山水冊开(九)","近景虬松斜出，板桥横卧浅溪，野意悠然。中景崖边村居错落，山径蜿蜒隐入青山，远江烟棹朦胧，翠微含黛，浅绛设色晕染出温润清和的春日山乡。\n\n枯笔皴擦勾勒山石，朴拙苍劲间带着灵动生气，林木简笔点染，形神兼备。题画诗与山水相融，将伤春怀远的幽寂心绪藏在清寂丘壑里，以山川写尽文人缱绻情思，简淡天真中见纵逸灵秀，笔底既有林泉野趣，又含寄情山水的文人心魂，尽显平淡悠远的画中真意。",[23,281,24,7,27,36,74,28,29,30,35,33,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112ef3c7e0ff3fa7d53483405b5d3c67.jpg",[],{"id":34504,"slug":34505,"title":34506,"dynasty":174,"author":5090,"museum":450,"description":34507,"tags":34508,"thumbUrl":34509,"material":166,"size":166,"collection":166,"collections":34510,"showCount":114,"zanCount":5,"manualWeight":46,"mainColor":47},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[23,24,25,95,7,36,28,335,210,30,29,147,32,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":34512,"slug":34513,"title":34514,"dynasty":174,"author":1100,"museum":450,"description":34515,"tags":34516,"thumbUrl":34517,"material":166,"size":166,"collection":166,"collections":34518,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":140},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[23,281,24,25,26,7,28,36,162,717,706,730,30,164,96,9187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":34520,"slug":34521,"title":34522,"dynasty":18,"author":18116,"museum":544,"description":34523,"tags":34524,"thumbUrl":34525,"material":298,"size":34526,"collection":245,"collections":34527,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},222534,"wang-wu-tu-bing-shi-juan-wang-duo-222534","王屋图并诗卷","此卷草书用墨苍润，行笔峻爽遒劲，布白参差错落，纵逸之中含有稳健，沉郁之中富有灵性，从中可以看出他集数十年的功力，融会“二王”、李北海、颜真卿、怀素、黄庭坚、米芾、赵孟俯于一炉的化境。可谓是“风樯阵马，笔走龙蛇”，后人鲜有至者。",[23,26,25,38,394,37,7,28,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ba62362da41f16cf87df548bbc578c.jpg","纵29.9厘米，横639.8厘米",[245],{"id":34529,"slug":34530,"title":34531,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":34532,"thumbUrl":34533,"material":166,"size":166,"collection":166,"collections":34534,"showCount":114,"zanCount":1084,"manualWeight":46,"mainColor":47},222517,"shen-xian-tu-ce-6-zhang-lu-222517","神仙图册6",[23,281,24,25,74,7,547,193,19341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd335e2d1ed4bc96ae99305478e6322.jpg",[],{"id":34536,"slug":34537,"title":34538,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":34539,"thumbUrl":34540,"material":166,"size":166,"collection":166,"collections":34541,"showCount":114,"zanCount":1084,"manualWeight":46,"mainColor":47},222512,"shen-xian-tu-ce-18-zhang-lu-222512","神仙图册18",[23,24,25,74,547,7,193,3557,13874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557df45321eb26ba2815088ee1331857.jpg",[],{"id":34543,"slug":34544,"title":34545,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":34546,"thumbUrl":34547,"material":166,"size":166,"collection":166,"collections":34548,"showCount":114,"zanCount":1084,"manualWeight":46,"mainColor":47},222510,"shen-xian-tu-ce-16-zhang-lu-222510","神仙图册16",[23,24,25,74,7,27,193,453,180,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F340c19a73646ea3d6a0139ee88b385e9.jpg",[],{"id":34550,"slug":34551,"title":34552,"dynasty":18,"author":6468,"museum":544,"description":34553,"tags":34554,"thumbUrl":34555,"material":34556,"size":34557,"collection":166,"collections":34558,"showCount":114,"zanCount":46,"manualWeight":46,"mainColor":47},222449,"he-tang-ji-qin-tu-zhou-lin-liang-222449","荷塘集禽图轴","林良有些花气画，专绘群乌聚集景象，品类众多，情态各异，生动活泼，极富自然天趣。此幅集禽图以荷塘为背景，塘内荷叶绽开，莲蓬结子，苇丛摇曳，正是盛夏季节。一对豆雁在水中叼着莲茎嬉玩，相依相偎；两只鸬鹚在觅食，一只正衔着小鱼飞向另一只伸颈等待的伴侣，透出相濡以沬的情感；天空有一燕子展翅鸣叫，正飞向栖止荷花上的雏燕，又别呈哺育之情。成对禽鸟的不同情感，既真实地揭示出它们的天性，又赋以强烈的感情色彩，使这些生物不仅活泼可爱，也亲切感人。禽鸟欢悦和谐的生活景象与盛夏池塘生意盎然的环境气氛相交融，奏出了一曲十分优美悦耳的生命交响乐。作品所传达的情凋、氛围，在林良花鸟画中是不多见的。\n此图画法比较工整，荷花、莲蓬均用细线勾勒后再加色晕染，阴阳向背分明。禽鸟亦勾染结合，形态准确，物类——可辨。芦苇、荷茎比较写意，但粗细、深浅也很有分寸，各具轻薄、圆韧质感。此为林良工写相兼画风中的精细之作。（单国强）",[23,24,281,95,7,123,75,128,398,282,4719,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4364f9bd90694c020b7ec431ffec25.jpg","绢本、设色","152 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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,74,7,36,28,147,31,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc717244aa971e7b3f826512d59005905.jpg",[42,64],{"id":35118,"slug":35119,"title":2940,"dynasty":174,"author":2605,"museum":450,"description":2941,"tags":35120,"thumbUrl":35121,"material":166,"size":2944,"collection":166,"collections":35122,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},238026,"hong-ren-shan-shui-tu-ce-hong-ren-238026",[24,25,74,7,36,28,162,34,454,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd878af4f1ee29a1194aa9d7c0a0456e.jpg",[],{"id":35124,"slug":35125,"title":35126,"dynasty":174,"author":581,"museum":450,"description":35127,"tags":35128,"thumbUrl":35129,"material":964,"size":25041,"collection":600,"collections":35130,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},238020,"di-wang-ming-chen-xiang-ce-wei-cao-cao-yi-ming-238020","帝王名臣像册- 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200,"title":35201,"dynasty":18,"author":11203,"museum":450,"description":14021,"tags":35202,"thumbUrl":35203,"material":314,"size":1061,"collection":166,"collections":35204,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":140},236701,"guan-pu-shan-zhou-chen-236701","观瀑扇",[281,24,25,1462,7,36,193,28,34,33,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8157a9dde39dc9be6fd83fde962e9723.jpg",[],{"id":35206,"slug":35207,"title":35208,"dynasty":174,"author":17920,"museum":54,"description":35209,"tags":35210,"thumbUrl":35212,"material":537,"size":35213,"collection":42,"collections":35214,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞此画笔墨简淡，苍秀卓立，轮廓中锋勾勒，山作背面少皴。画坡树萧疏，水中野亭，高峰见顶。画家的作品最鲜明的特点就是“简”，主要以线表现，有时简练到一根线条表现一个境地，又决不因为线少而致景陋。其论画有云：“能疏能密，有奇有正，方为好手。”在明末清初的画家中，汪之瑞具有十分雄厚的艺术功力，可惜流传的作品太少。本幅上有戴洪魁的题语：“此前辈汪之瑞真迹，其势高洁，其笔简老，亦一时名手也。”\n此图作者用渴笔、焦墨，画远山疏林、小桥流水，山石有皴无染， 画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[24,28,7,36,95,29,34,147,33,3177,211,215,214,35211,80,14066,123],"书法题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[42,222],{"id":35216,"slug":35217,"title":70,"dynasty":174,"author":739,"museum":5692,"description":35218,"tags":35219,"thumbUrl":35220,"material":166,"size":10327,"collection":166,"collections":35221,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},236625,"hua-niao-ce-hua-yan-236625","华喦（1682-1756），清画家。字秋岳，号新罗山人、东园生、布衣生等，福建上杭人。自幼即喜绘画，尤精花鸟。所作花鸟，多姿多态，生趣盎然，干笔枯墨间以淡彩，寓雅逸于艳丽之中，构图独出心裁，为清代中叶花鸟画之中坚，对后世扬州派、海派花鸟产生莫大影响。",[24,25,74,27,7,75,282,482,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06312802578ce589174d3d293fb9797a.jpg",[],{"id":35223,"slug":35224,"title":70,"dynasty":174,"author":11792,"museum":450,"description":11793,"tags":35225,"thumbUrl":35226,"material":166,"size":120,"collection":166,"collections":35227,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},236615,"hua-niao-ce-ma-yuan-yu-236615",[24,25,281,74,7,27,75,282,12536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748e4c66b59983881f87bee7e05da01.jpg",[],{"id":35229,"slug":35230,"title":35231,"dynasty":18,"author":2872,"museum":120,"description":35232,"tags":35233,"thumbUrl":35235,"material":298,"size":166,"collection":83,"collections":35236,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[281,24,25,26,7,36,33,147,35234,79,37,80],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[83,222,245],{"id":35238,"slug":35239,"title":35240,"dynasty":174,"author":25636,"museum":92,"description":35241,"tags":35242,"thumbUrl":35243,"material":537,"size":166,"collection":222,"collections":35244,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},236113,"song-zhu-ming-qin-zhou-zhang-ruo-ai-236113","松竹鸣禽轴","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。\n以书、画供奉内廷，一日太后出方寸之玉佩，命书心经一篇。竟日而就，因赐上方珍玩无算。善画山水、花鸟，得王糓祥、周之冕遗意。乾隆十一年（1746）随帝西巡，因病回京，不久卒，谥文僖。有《岁寒三友图》、《仿王元章疏影寒香图》传世。卒年三十四（按清代画史、清画家诗史均作三十二岁，中国画家人名大辞典作三十六岁）。著《晴岚诗存》。",[24,95,7,481,127,126,282,180,80,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d9922684aec53b3958be0fa2735536.jpg",[222,919],{"id":35246,"slug":35247,"title":157,"dynasty":174,"author":35248,"museum":450,"description":35249,"tags":35250,"thumbUrl":35251,"material":166,"size":166,"collection":42,"collections":35252,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},236076,"shan-shui-ce-shen-zong-jing-236076","沈宗敬","此作用笔苍秀，以干笔皴擦勾勒近侧危崖，嶙峋石体质感尽显，崖顶古松挺劲，枝桠舒展带风霜之态。崖畔孤亭兀立石台，凭虚临空，暗合幽人隐逸之思。\n烟波浩渺的江面之上，扁舟随波缓行，远景山峦澹晕隐现，晕染出空濛悠远的水天色。整幅水墨写意，糅合北派山水的雄健质感与南宗山水的淡远意境，萧散简淡的笔意间铺展出林泉高致的幽旷之境，将山居江湖的清寂冷逸尽数彰显，把文人寄情山水的隐逸襟怀藏于尺幅之中。",[24,7,74,36,28,34,624,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4bd7b1242ed0c8d84ab4be3bba94b9.jpg",[42],{"id":35254,"slug":35255,"title":6113,"dynasty":174,"author":377,"museum":450,"description":35256,"tags":35257,"thumbUrl":35258,"material":166,"size":166,"collection":166,"collections":35259,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[24,25,74,38,7,27,36,37,80,28,212,33,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f749a49e7b8c667c20c3c60e27a09e8.jpg",[],{"id":35261,"slug":35262,"title":6113,"dynasty":174,"author":377,"museum":450,"description":35263,"tags":35264,"thumbUrl":35265,"material":166,"size":166,"collection":166,"collections":35266,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},235879,"yuan-ji-shan-shui-tu-ce-shi-tao-235879","这幅册页诗画合璧，行书题诗萧散俊逸，笔墨间自带林下幽居的清寂意趣。\n\n山水取景奇崛苍润，危崖拔地而起，飞泉挂壁落于溪涧，苍松杂木错落生姿，山居隐于林间烟岚之中，淡墨轻皴写尽丘壑之态。笔底兼具黄山奇峭风神，又融禅意隐逸之思，以简驭繁，将诗中静伴秋雨、枯禅幽栖的心境，铺陈在咫尺画卷里。\n诗境衬着画境，画境晕染诗心，淡远空灵的气韵漫溢纸面，尽显文人画诗画交融的雅致风神。",[24,25,74,38,7,28,180,33,80,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b855edfdb93578bdd513ec9b3f934a.jpg",[],{"id":35268,"slug":35269,"title":35270,"dynasty":174,"author":2605,"museum":450,"description":5286,"tags":35271,"thumbUrl":35272,"material":314,"size":1061,"collection":166,"collections":35273,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},235788,"hong-ren-nan-gang-qing-yun-tu-shan-ye-hong-ren-235788","弘仁南冈清韵图扇页",[24,25,1462,7,28,34,33,35,36,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c9cebec78b4c98d9b073af86409e76.jpg",[],{"id":35275,"slug":35276,"title":70,"dynasty":18,"author":31407,"museum":450,"description":31408,"tags":35277,"thumbUrl":35278,"material":314,"size":1061,"collection":166,"collections":35279,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},235724,"hua-niao-ce-tan-zhi-yi-235724",[24,25,74,7,27,75,180,363,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68fa4f245f339557ddc51c8d1503cc52.jpg",[],{"id":35281,"slug":35282,"title":35283,"dynasty":174,"author":9335,"museum":450,"description":19356,"tags":35284,"thumbUrl":35285,"material":314,"size":1061,"collection":166,"collections":35286,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},235449,"hua-xia-tu-zhou-gao-qi-pei-235449","画虾图轴",[24,25,95,7,869,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f336d98863fd6a942bd26ccc3a6825.jpg",[],{"id":35288,"slug":35289,"title":35290,"dynasty":174,"author":581,"museum":450,"description":35291,"tags":35292,"thumbUrl":35293,"material":166,"size":166,"collection":166,"collections":35294,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},235299,"xu-gu-lan-hua-zhou-yi-ming-235299","虚谷兰花轴","此作用枯淡墨色挥写岩壁，皴擦老辣苍劲，留白愈显空灵疏朗。垂落兰叶以中锋行笔，如素练飘曳，笔力柔韧挺拔，墨色干湿浓淡交叠，将兰叶舒展之姿尽显无余。淡红轻晕兰花，简笔点染便得娇柔妍态，于素雅底色上晕开一抹温柔生机。\n全画以少胜多，将兰花空谷幽芳的高洁风骨藏于笔墨之中，以画寄情，尽显文人写意的清雅禅意，把兰草清逸脱俗之态勾勒得淋漓尽致。",[10153,24,25,95,7,27,123,4041,180,75,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77ac63d45e7e281058ce026acac47742.jpg",[],{"id":35296,"slug":35297,"title":9368,"dynasty":174,"author":581,"museum":450,"description":35298,"tags":35299,"thumbUrl":35300,"material":166,"size":166,"collection":166,"collections":35301,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},235159,"hong-ren-shan-shui-ce-yi-ming-235159","此作诗书合璧，意韵清寂淡远。画面中山石以淡墨轻勾慢皴，简劲利落，危崖垂瀑，涧水泠泠仿佛可闻，旁侧古木疏朗，枝叶简净，留白铺就出悠远天地，尽显萧疏空灵。\n\n题笔书法清隽挺秀，与山水意趣相融，暗合林泉幽怀。整幅以极简笔墨写尽山川风骨，冷静出尘的禅意溢满尺幅，将山野间苍岩古渡的幽寂之境凝于纸面，尽显文人山水寄情丘壑的雅逸，藏着独与天地精神往来的林下襟怀。",[24,25,74,7,36,37,80,28,210,33,213,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e7428e9559f5e031d87ab5bba48b8a.jpg",[],{"id":35303,"slug":35304,"title":35305,"dynasty":174,"author":9682,"museum":450,"description":35306,"tags":35307,"thumbUrl":35308,"material":166,"size":166,"collection":166,"collections":35309,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},235136,"shuang-feng-lan-re-tu-zhou-cha-shi-biao-235136","双峰兰若图轴","此作用笔简率松秀，以干笔淡墨绘就林泉丘壑。构图兼具高远、深远之致，上部平湖远山，轻舟泛波，空寂悠然；中部危崖矗立，山居隐于幽谷林麓；下部溪桥蜿蜒，长松杂木苍润清隽。\n画风承袭倪瓒遗意，意境荒寒清旷，题诗与山水交融，将暮色归舟、倦鸟投林的幽寂禅意晕开，尽显江南山水的雅逸空灵，把遗民文人孤寂淡远的心境，寄寓于萧散淡远的林泉之间，是逸笔山水的上乘之作。",[24,25,95,7,36,28,7489,180,29,147,30,31,268,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9077b316f660c1c5318a901885a06687.jpg",[],{"id":35311,"slug":35312,"title":7442,"dynasty":18,"author":1836,"museum":450,"description":7951,"tags":35313,"thumbUrl":35314,"material":166,"size":166,"collection":166,"collections":35315,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},234977,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234977",[24,7,36,74,28,162,29,30,34,164,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eaf428da4b947634930dd08ae3803a.jpg",[],{"id":35317,"slug":35318,"title":35319,"dynasty":174,"author":35320,"museum":450,"description":35321,"tags":35322,"thumbUrl":35323,"material":166,"size":166,"collection":166,"collections":35324,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},234617,"gu-yun-fang-tang-yin-shan-shui-wan-shan-gu-yun-234617","顾沄仿唐寅山水纨扇","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[281,24,25,1462,7,36,254,28,624,193,34,211,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":35326,"slug":35327,"title":35328,"dynasty":18,"author":17750,"museum":120,"description":35329,"tags":35330,"thumbUrl":35331,"material":564,"size":35332,"collection":166,"collections":35333,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":921},234228,"xi-shan-shen-xiu-juan-hou-mao-gong-234228","溪山深秀卷","北京故宫博物院藏晚明侯懋功名下的两件山水长卷内容与设色方式近乎一致，基本可判定二者出于同一稿本，属于书画鉴定中俗称的“双胞胎”，这两件作品分别现名为《邛崃图》和《溪山深秀图》。通过对两件作品现状及笔墨细节比较，笔者认为前者为真，且所绘与“邛崃”无关，应以《溪山深秀图》为是。从更广泛的艺术史角度看，侯氏《溪山深秀图》属于宋代以来流行的长卷“溪山图”画意范畴，并体现了明中后期吴门画派隐(避)居山水所发生的新变化。",[23,24,26,7,28,33,34,58,35,29,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5d1e0ed58bff06f6bd49f006660055.jpg","34 * 258cm",[],{"id":35335,"slug":35336,"title":33328,"dynasty":174,"author":9682,"museum":450,"description":35337,"tags":35338,"thumbUrl":35339,"material":166,"size":166,"collection":166,"collections":35340,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","查士标在《秋林暮霭图》的款识中曾说自己的山水画初学米芾，后学倪瓒，并且寻根求源，以自己的绘画实践追溯董、巨，从中探索绘画源流的发展变化。而创造米点山水的米芾和米友仁，他们在绘画上开创了水墨山水的新风尚，为了抒写胸臆而不求工细，即在董源水墨山水的基础上，挥洒出了江南烟雨空濛的景象。米芾长子米友仁，继承家学，作画尤其在于尽兴，自称“墨戏”。总体来看，“二米”山水多作江南平远景色，突破了前人运用线条表现峰峦、云水、树木的画格，另辟蹊径。山石不作轮廓，而用清水笔墨润泽出大概，再以淡墨渍染，然后用稍浓的墨笔破出并皴擦大体层次，趁笔墨尚湿之时再以大小错落的浓墨、焦墨横点叠垛。山体上部用墨稍浓，用笔较密，下部用墨稍淡，用笔较疏。云气以淡墨空勾并加以渲染。树木枝干多用浓墨一笔画出，以大浑点作叶。山脚坡岸用浓淡适中的水墨横扫，多数不加皴斫。整个过程显得随意而自然，表现出江南山水烟雨蒙眬、丘陵晦明、丛林隐现的意境，大大丰富了中国山水画的表现技法。这种新的山水风格，对元以后的水墨山水产生了较大影响。从目前所见画迹来看，查士标最早一幅仿米家山水的作品，是顺治十七年（1660）夏四月所作《山谷闲云图》。其题诗有云：“闲云无四时，散漫此山谷。\n幸乏霖雨姿，何妨媚幽独。”该幅作品完全仿学米氏云山，横点山、树之形，间及渲染，烟雨空濛之景跃然纸上。题诗也不乏自得之意，可以见出查士标在米家山水方面下过较大的功夫。除此之外，查士标临仿米家山水的作品尚有很多，如北京荣宝斋藏查士标康熙二年（1663）嘉平月六日夜作《云树江村图》、扬州市博物馆藏查士标康熙五年（1666）六月作《云山图》、故宫博物院藏查士标康熙十一年（1672）作《鹤林烟雨图》、山西省博物馆藏查士标康熙十三年（1674）秋天作《米家云山图》和故宫博物院藏查士标康熙十九年（1680）六月作《南山云树图》等，这些作品都是他学习米家山水的优秀代表。其中，扬州市博物馆所藏《云山图》，是查士标52岁时仿学米友仁《楚山清晚图》而作。该画主峰突起，衬以远山，近处桥屋树木，均寥寥数笔，然墨气淋漓，大有烟雨空濛之感。在作品中，查士标抓住了米友仁自称“墨戏”的特点—写意大于写形，因此在构图形式与笔墨变化上，较米友仁更为肆意潇洒。米友仁在画中以横点水墨的浓淡积染，分出山体的层次，试图摆脱轮廓线的束缚，但画中的墨点还是显得比较严谨、缜密，细察之下还有无形的轮廓线在羁绊着笔墨的灵动。而到了查士标这里，画面近乎泼墨，充分体现了他在用墨上的灵动变化。特别是上述故宫博物院藏其康熙十九年（1680）六月作《南山云树图》长卷，作品以“迷远法”构图，图中云雾占有大半。卷首云海弥漫，山峦隐约可见，远山坡脚随着云气的浮动变幻，逐渐显露，并重叠起伏地展开，远处峰峦终于出现在团团白云之中。中段主峰耸立，林木扶疏，表现出远近层次。全卷云树掩映，峰峦明灭，处处体现出生意郁勃的造化生机和苍莽雨雾的特殊韵致。画面水墨淋漓，少见笔触，形象不作具体细致的刻画，含蓄自然，浑然一体，给人留下了远景云山空濛的印象。查士标在款识中有云：\n康熙庚申六月，余客润州。再登金山，留宿慈云阁。雨中为德润禅兄画南山云树，仿米家笔意，累日乃竣事。\n根据他的款识记载，我们知道这件作品是他在润州（今镇江）登金山，看到烟江缥缈的景致后，联想起米家山水的粉本，触景生情而作。这件作品也得到了后人的称赞，如清人张熊在题跋中评说：\n此卷仿米家泼墨云山，简淡清新，直欲上追宋元。洵是罕见逸品，岂浅学者所能梦见耶。",[23,24,7,26,254,28,335,454,162,29,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":35342,"slug":35343,"title":35344,"dynasty":52,"author":2127,"museum":120,"description":35345,"tags":35346,"thumbUrl":35347,"material":3471,"size":35348,"collection":166,"collections":35349,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[24,25,7,28,193,33,31,468,37,80,36,30,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],{"id":35351,"slug":35352,"title":35353,"dynasty":205,"author":3062,"museum":120,"description":35354,"tags":35355,"thumbUrl":35356,"material":612,"size":19175,"collection":166,"collections":35357,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":140},234067,"shu-liu-han-ya-tu-ye-liang-kai-234067","疏柳寒鸦图页","图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[281,24,7,4489,1462,75,1853,13674,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98edc522b970230b3f33e393d08d85c.jpg",[],{"id":35359,"slug":35360,"title":157,"dynasty":18,"author":1836,"museum":120,"description":6359,"tags":35361,"thumbUrl":35366,"material":1843,"size":2973,"collection":166,"collections":35367,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},234056,"shan-shui-ce-dong-qi-chang-234056",[24,25,74,28,27,7,4558,254,36,216,534,23124,210,35,2953,6002,10879,35362,37,80,35363,1612,35364,35365],"松涧","云树","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg",[],{"id":35369,"slug":35370,"title":25318,"dynasty":205,"author":278,"museum":120,"description":35371,"tags":35372,"thumbUrl":35374,"material":61,"size":25324,"collection":166,"collections":35375,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":140},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[24,281,74,38,7,27,36,28,126,35373,4899,29,30,162,706,10689,268,37],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg",[],{"id":35377,"slug":35378,"title":35379,"dynasty":174,"author":26950,"museum":120,"description":35380,"tags":35381,"thumbUrl":35382,"material":564,"size":35383,"collection":42,"collections":35384,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},233918,"dai-lu-fang-bei-tu-ce-huang-yi-233918","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,7,36,74,28,32,33,213,193,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d96a04c3dfd290a7d014ab25a0f80.jpg","纵17.4厘米，横50.8厘米",[42,83],{"id":35386,"slug":35387,"title":35388,"dynasty":18,"author":22999,"museum":120,"description":35389,"tags":35390,"thumbUrl":35391,"material":6280,"size":35392,"collection":166,"collections":35393,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[24,25,95,7,38,37,80,19437,126,480,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纵104.5cm，横34.8cm",[],{"id":35395,"slug":35396,"title":13077,"dynasty":205,"author":278,"museum":120,"description":35397,"tags":35398,"thumbUrl":35400,"material":27013,"size":35401,"collection":166,"collections":35402,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":140},233212,"yan-xiu-lin-ju-tu-ye-xia-gui-233212","图中绘一老者走过板桥，沿小径而行，远处山林后隐现房舍一角，意境幽深。近景树石着重墨，中景以淡墨勾染，至远景则以极浅淡的水墨渲染出一片雾色，拉开空间层次。用笔轻松简洁，皴中带染，染中有皴，整体风格不失精致秀润。构图是夏圭惯用的半边式。\n此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。\n陈文璟：《烟岫林居图》营造的正是一种烟云境界，近处以重墨勾勒树木、山石、人物，皴染却以淡墨扫出，显得浓重透出空间来，使节奏感明快而庄重，而远山渺渺，烟雾缭绕，使背景和前景的对比更加突出，则人物所居，自然是“只在此山中，云深不知处”。尤为人不可及的当然是线条的凝练畅快，显示出画者的心态安定而悠闲忘机，既不媚世求欢，也不率意而狂狷，彬彬然，霭霭然，内敛而外平，越品味越觉意味深远，不免有“珠玉在侧，觉我形秽”的感慨。\n陈振濂：《烟岫林居图》为小团扇——这是宫廷内多见的特殊形式。笔墨皆一遍施足，不重复皴染——这是步骤的简；树木繁纷，但却以粗笔为之，形成几个团块组合，外形并不过于曲折回环——这是造型的简。远山一二而已，空白处尽量加多，以见旷达之趣、约略之景——这是构图的简。最后，并无峰回路转、溪桥重叠、丘壑幽深的气韵：一切都是平淡的、直率的、简约的。这三种简复合起来，即构成一个简洁的减笔夏挂。",[24,281,25,28,7,36,2446,335,162,5487,35399,5581,34],"居处","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73197fa365d71fb00c132cb41deb0b52.jpg","纵25cm，横26.1cm",[],{"id":35404,"slug":35405,"title":3136,"dynasty":174,"author":377,"museum":120,"description":3137,"tags":35406,"thumbUrl":35407,"material":298,"size":3140,"collection":166,"collections":35408,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},233129,"yuan-ji-shan-shui-ce-shi-tao-233129",[24,25,74,7,27,28,268,33,164,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ea36ca025104421f82367b525e57ec.jpg",[],{"id":35410,"slug":35411,"title":3136,"dynasty":174,"author":377,"museum":120,"description":3137,"tags":35412,"thumbUrl":35413,"material":298,"size":3140,"collection":166,"collections":35414,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},233125,"yuan-ji-shan-shui-ce-shi-tao-233125",[24,25,74,7,27,28,194,717,34,80,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ecd5e9a88ca195d5a33c884ecf3e42.jpg",[],{"id":35416,"slug":35417,"title":3136,"dynasty":174,"author":377,"museum":120,"description":3137,"tags":35418,"thumbUrl":35419,"material":298,"size":3140,"collection":166,"collections":35420,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},233124,"yuan-ji-shan-shui-ce-shi-tao-233124",[24,7,27,36,74,28,194,29,30,31,32,33,35,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c602cd77091e21913fd0d6ad29641db.jpg",[],{"id":35422,"slug":35423,"title":35424,"dynasty":18,"author":26968,"museum":120,"description":35425,"tags":35426,"thumbUrl":35427,"material":964,"size":35428,"collection":166,"collections":35429,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},233121,"zhao-xian-juan-zhang-ling-233121","招仙卷","此图又名《朝仙图》，是幅以景寓情的杰作。皓月当空的桥头处，一清丽女子低眉笼袖悄然伫立。作者通过绘女子的饰带微微上扬，岸边的芦荻摇摆不定，巧妙地暗示出晚风席地而起的寒意。通过构图上大面积留白的处理烘托出画面寂寞凄凉的氛围。女子在此萧索的情景中不禁惆怅慨叹之情陡起，而这种凄婉的心境亦是作者自身不得志的写照。 图中女子的画法承袭了宋元以来的“白描”技法。作者以墨笔勾描人物面部及衣纹服饰。线条遒劲圆转，富有表现力度并有轻重缓急等诸多变化，显示出作者以线造型的精湛造诣。此外，作者还根据所绘物象的不同巧妙地运用了墨染法，人物的头部以浓墨晕染，芦荻、芙蓉叶等为深墨晕染，衣装饰带用淡墨晕染，深浅程度不同的墨韵无疑起到了扩大画面的层次和空间感的作用。此图不仅是张灵的代表作，亦是明代白描人物画的精品之作。 明代张丑《清河书画舫》在著录此图时言：“张梦晋《朝仙图》卷后有唐子畏题咏。”但目前此图并无唐寅的咏题，显然后世好事者在张丑目睹之后将唐寅的题咏割去而移作它用了，从而令原是书画合璧之作减色，使张灵与唐寅间的笔墨交往失去了重要的佐证。在唐寅的《六如居士补遗》中查到他为此图所作的题咏，名为《招仙曲》：“郁金步摇银约指，明月垂珰交龙绮。秋河拂树蒹葭霜，哪能夜夜掩空床。烟中滉滉暮江摇，月底纤纤露水飘。今夕何夕良宴会，此地何地承芳佩。”显然，唐寅的诗情与张灵的画意是完全吻合的。",[24,25,26,7,547,636,940,2875,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed1d30780fb498a81dae48abdae7351.jpg","纵29.8厘米，横111.5厘米",[],{"id":35431,"slug":35432,"title":35433,"dynasty":174,"author":35434,"museum":92,"description":35435,"tags":35436,"thumbUrl":35437,"material":196,"size":35438,"collection":166,"collections":35439,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":140},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,95,7,27,481,36,28,193,33,717,624,35,58,34,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":35441,"slug":35442,"title":8152,"dynasty":52,"author":239,"museum":450,"description":35443,"tags":35444,"thumbUrl":35445,"material":166,"size":166,"collection":166,"collections":35446,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":140},231479,"pu-tao-tu-zhao-meng-fu-231479","赵孟𫖯，字子昂，号松雪道人，别号鸥波、水精宫道人等。两浙西路乌程人。元代官员，书画家。其妻为元朝画家、诗人管道昇。元朝画家王蒙之外祖父。赵孟𫖯为宋室后代，后选择与元朝合作，并受到皇帝宠爱，“荣际五朝，名满四海”，官至翰林学士，是元代文人画、书法的领袖人物。",[24,25,95,7,38,1252,551,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10dcc024257120bea82518be05de76f.jpg",[],{"id":35448,"slug":35449,"title":645,"dynasty":205,"author":206,"museum":92,"description":35450,"tags":35451,"thumbUrl":35452,"material":166,"size":166,"collection":166,"collections":35453,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":140},230967,"shan-shui-tu-guo-xi-230967","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[23,24,25,28,36,7,27,74,31,147,34,58,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":35455,"slug":35456,"title":35457,"dynasty":174,"author":7015,"museum":450,"description":35458,"tags":35459,"thumbUrl":35460,"material":314,"size":1061,"collection":166,"collections":35461,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},230928,"lan-shi-tu-wang-wu-230928","兰石图","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[24,25,1462,7,27,123,133,706,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818304cde9ff66cdef25c7b98f674d5b.jpg",[],{"id":35463,"slug":35464,"title":35465,"dynasty":174,"author":418,"museum":450,"description":35466,"tags":35467,"thumbUrl":35468,"material":166,"size":166,"collection":166,"collections":35469,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},230275,"shan-shui-ce-12-fu-zhu-da-230275","山水册12幅","此作用笔枯淡老辣，以焦墨勾勒皴擦山石轮廓，删繁就简，褪去繁杂修饰，只留山水神骨。萧疏古木枝桠奇崛扭曲，带着孤傲冷逸的姿态，山居错落隐于林麓之间，藏着幽僻野趣。\n\n画作留白开阔肆意，将天地空寂的氛围感拉满，寥寥数笔便铺展出荒寒山居的清冷意境，把遗世独立的心境融于淡墨疏林之中。笔意简远通透，以极简的水墨写意尽显空灵禅味，清冷幽寂的山水图景，尽显水墨写意的高妙格调，将孤寂澹泊的心绪藏于每一处淡笔枯墨之中。",[24,7,74,36,80,28,34,33,35,164,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21323aa743aff19ec0971a23cc6574f.jpg",[],{"id":35471,"slug":35472,"title":35473,"dynasty":174,"author":739,"museum":450,"description":35474,"tags":35475,"thumbUrl":35476,"material":166,"size":166,"collection":166,"collections":35477,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[281,24,25,74,7,4558,27,28,624,34,33,30,29,31,4920,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":35479,"slug":35480,"title":35481,"dynasty":174,"author":819,"museum":450,"description":35482,"tags":35483,"thumbUrl":35484,"material":166,"size":166,"collection":166,"collections":35485,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},230141,"si-yan-lian-zheng-ban-qiao-230141","四言联","此作用笔纵逸老辣，主体“得大自在”四字雄开张拓，线条提按顿挫尽显朴厚筋骨，带着标志性的“六分半书”意趣，融诸体于一体，打破规整法度，奇崛跌宕。\n\n两侧小字题款灵动流美，与大字形成疏密虚实的鲜明对比，让整幅章法错落和谐，气息贯通无碍。墨色枯湿浓淡相宜，枯笔见苍劲，重墨显沉浑，将书法的形式美感与“得大自在”的禅意抒怀完美相融，尽显作者疏朗超脱的襟怀，把清人尚意抒怀的书法特质挥洒尽致，文气与笔力共生，是极具个人风格的书法精品。",[23,24,25,95,7,6187,38,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f41e7ff2e617d50d91127a94c018d01.jpg",[],{"id":35487,"slug":35488,"title":18341,"dynasty":174,"author":16702,"museum":450,"description":35489,"tags":35490,"thumbUrl":35491,"material":166,"size":166,"collection":166,"collections":35492,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},230113,"shan-shui-ce-ye-xi-gang-230113","此作用淡墨晕染铺就底色，山峦以枯笔皴擦勾勒嶙峋肌理，留白衬出山涧飞瀑，似能闻声泠泠。坡岸杂木错落，虬曲与挺拔相映，淡墨点叶疏密有致，尽染清秋疏朗况味。\n\n左侧茅舍临水幽居，隔绝尘嚣；右侧板桥孤悬，更衬林泉静寂。右上角题字清雅，与山水意境相融，满溢文人书卷之气。\n\n整幅以简淡为骨，笔意松秀空灵，不事浓丽雕琢，将出世幽居之思寄于萧散山光水色，以笔墨写心，尽显静穆淡远的林下之风，藏着文人心底的丘壑。",[24,25,74,7,36,28,34,33,210,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba38e7a5a03f2ceeed631fcab0deec5.jpg",[],{"id":35494,"slug":35495,"title":35496,"dynasty":174,"author":35497,"museum":450,"description":35498,"tags":35499,"thumbUrl":35500,"material":166,"size":166,"collection":166,"collections":35501,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":47},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,24,25,74,7,36,28,194,32,31,34,33,211,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":35503,"slug":35504,"title":35505,"dynasty":18,"author":1788,"museum":450,"description":18797,"tags":35506,"thumbUrl":35507,"material":314,"size":1061,"collection":166,"collections":35508,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[23,24,25,1462,27,7,28,624,35,193,381,33,34,533,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":35510,"slug":35511,"title":31581,"dynasty":18,"author":11473,"museum":450,"description":35512,"tags":35513,"thumbUrl":35515,"material":166,"size":166,"collection":166,"collections":35516,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":140},228425,"shan-shui-shi-kai-lan-ying-228425","此作用笔苍秀兼具，远景层峦叠嶂，云气轻笼，山寺浮屠隐现烟岚间，漾出幽寂禅意。近水岸洲渚错落，虬松杂木姿态夭矫，茅庐临水静立，板桥横卧浅流，野逸之趣扑面而来。以斧劈皴写山石，轮廓爽利劲健，墨色浓淡铺陈拉开远近空间层次，将林壑清旷冷寂与山居闲适安然相融，把林泉高致的隐逸向往寄寓寻常丘壑间，简淡尺幅里尽显苍润格调，是意韵悠然的山水小品佳构。",[24,281,25,28,7,36,74,35514,519,24181,29,30,624,23300,8249,11639,27156],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7732be2a59ff5b0e60ffc6785e38c.jpg",[],{"id":35518,"slug":35519,"title":35520,"dynasty":18,"author":4131,"museum":450,"description":35521,"tags":35522,"thumbUrl":35523,"material":166,"size":166,"collection":166,"collections":35524,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":140},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","《五泄山志》是《五泄山志》编纂委员会编纂的地方志。\n本志记述范围，重点是五泄风景主景区9．5平方公里，以在建景区5平方公里为环界。\n有些必要涉及的人、物、事件，记述范围为传统意义上的整个五泄区域内。\n记述年代，上限不定，下限至2年，个别事件延伸到成稿之时。\n封面 五泄山志 《五泄山志》编纂委员会顾问 《五泄山志》编纂委员会 《五泄山志》编纂室 图片 江泽民与夏征农亲切握手 尉健行视察五泄 俞正声视察五泄 张德江视察五泄 曾培炎视察五泄 五泄导游图 绿树掩清溪 五泄水上森林公园 五泄东龙湫 夹岩烟雨 五泄东湫阁 白鹤临湖 五泄春来早 春在溪头 西源——绿色氧吧 银杏秋韵 江南罕见楠木林 画舫迎客 空气洁净蓝天白云 溪水悠悠 西源步幽亭 灵默真身塔 五泄禅寺 唐·灵默舍利子宝瓶 南北朝砖雕观音 果实(种子)化石 五泄古石器 灵默禅师舍利子 古寺玉兰 山龟 水濑 穿山甲 鸳鸯 眼镜蛇 花蝶 金钱豹 山鸡 蝶恋石蒜花 编纂人员合影 荣誉 陈洪绶《五泄图轴》 五泄山水甲天下 附图 序 《五泄山志》编辑凡例 概述 大事记 目录 第一篇 地理环境 第一章 自然地理 第一节 地理位置 第二节 地理面积 第三节 地理交通 第二章 地质地形 第一节 地质地层 第二节 风景地貌 第三节 土壤 第四节 地形成因 第三章 水文 第一节 水系 第二节 水文测量 第三节 雨量 第四节 经流量、水位 第五节 水质供水量 第四章 旅游气象 第一节 温度和日照 第二节 雨日和概率 第三节 雾和风 第四节 霜和雪 第二篇 自然资源 第五章 植物 第一节 木本植物 第二节 草本药物 第三节 古树名木 第六章 动物 第一节 哺乳纲(兽类) 第二节 鸟纲(禽类) 第三节 爬行纲 第四节 两栖、鱼纲 第五节 昆虫纲 第六节 其它类 第七章 土特产 第一节 土纸 第二节 茶叶 第三节 竹笋 第四节 干鲜果 第三篇 景区沿革 第八章 五泄畈村 第一节 姓氏由来 第二节 群落区划 第三节 移民外迁 第九章 五泄林场 第一节 历史演变 第二节 森林培育 第三节 森林管护 第四节 经营规划 第十章 五泄水库(五泄湖) 第一节 历史背景 第二节 建库经过 第三节 工程规模 第四节 工程效益 第五节 大坝除险加固 第六节 管理体制 第四篇 景区开发 第十一章 县级景区 第一节 项目提出 第二节 组织调查 第三节 确定建设 第四节 合力开发 第五节 首期规划 第六节 开通观瀑通道 第十二章 省级景区 第一节 实地调查 第二节 科学考察 第三节 组织考察 第三节 总体规划 第四节 批准省级景区 第十三章 国家重点风景名胜区 第一节 申报 第二节 创建 第三节 考察与评估 第四节 总体规划 第五篇 风景名胜 第十四章 平湖揽胜 第一节 紫藤长廊 第二节 坝顶揽胜 第三节 平湖泛舟 第四节 湖上观峰 第五节 湖后景观 第十五章 五级飞瀑 第一节 蛟龙出海 第二节 烈马奔腾 第三节 诸态备出 第四节 珠濂飘洒 第五节 隽永奇巧 第十六章 西源探幽 第一节 幽谷 第二节 奇峰 第三节 险崖 第四节 怪石 第五节 清溪碧潭 第六节 朱林 第七节 趣桥 第八节 紫微岭 第九节 刘龙坪 第十七章 开发中的景点 第一节 青口 第二节 玉京洞 第三节 遗址与沈氏宗祠 第六篇 宗教 第十八章 沿革 第一节 历史变迁 第二节 日寇罪迹 第三节 兴衰历程 第十九章 高僧 第一节 灵默 第二节 藏奂 第三节 良价 第四节 正元 第五节 苏溪 第六节 贯休 第七节 茂真 第八节 智三 第九节 敏康 第十节 慈明 第二十章 五泄禅寺 第一节 地理位置 第二节 悠久历史 第三节 寺院佛像 第四节 如意宝塔 第五节 寺院特色 第二十一章 良价祖庭 第一节 曹洞圣迹 第二节 良价出师图 第三节 祖师纪念像 第四节 曹洞宗风 第二十二章 寺院藏品 第一节 灵默石棺 第二节 舍利子宝瓶 第三节 祖师白玉像 第四节 佛像、陶俑、砖雕瓦档 第五节 匾牌、碑刻、字画 第二十三章 佛教活动 第一节 建立、健全寺内规章 制度 第二节 编印五泄禅寺史迹 第三节 开展佛教文化交流 第七篇 管理 第二十四章 管理机构 第一节 行政隶属 第二节 机构沿革 第三节 五泄风景旅游管理局 第四节 公安派出所 第二十五章 现代专业管理 第一节 文物管理 第二节 防火管理 第三节 林木管理 第四节 水库管理 第五节 卫生管理 第六节 规划管理 第七节 工商管理 第八节 安全管理 第八篇 旅游 第二十六章 游览活动 第一节 名人游山 第二节 旅游线路 第三节 大型活动 第二十七章 旅游接待 第一节 五泄旅游公司 第二节 诸暨旅行社 第三节 五泄游客接待中心 第二十八章 服务设施 第一节 馆舍 第二节 交通 第三节 通讯 第四节 商店 第五节 水电 第六节 娱乐 第二十九章 名产 第一节 土特产 第二节 风味小吃 第三节 工艺品 第九篇 文学艺术 第三十章 史志典籍摘抄 第一节 专著拾英 第二节 辞书条目 第三节 史志摘录 第四节 禅史节选 第三十一章 诗词 第一节 五泄胜景(综合篇) 第二节 飞瀑奇观 第三节 西源峡谷 第四节 禅寺觅踪 第五节 平湖掠影 第六节 歌曲 第七节 外围(规划)景点拾零 第三十二章 散记 第一节 游踪散记 第二节 游记纵揽 第三节 开发纪实 第三十三章 石刻联额 第一节 摩崖石刻 第二节 匾额楹联 第三节 书画墨宝 附：编余文化 第三十四章 民间传说 第一节 神话传说 第二节 民间故事 第三节 佚事旧闻 附：本志编辑参考书目 后记 版权页",[23,24,25,95,7,36,28,34,33,212,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":35526,"slug":35527,"title":292,"dynasty":52,"author":12875,"museum":450,"description":35528,"tags":35529,"thumbUrl":35530,"material":166,"size":166,"collection":166,"collections":35531,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":140},228258,"mo-zhu-tu-zhang-yu-228258","此作用淡墨挥写新竹，枝茎瘦劲清健，自斜角逸出，竹叶疏密有致、俯仰生姿，寥寥数笔便将竹的疏朗孤傲尽显。不着浓艳，仅以水墨晕染出君子清拔之态，尽显文人写意画的极简意趣。\n画面搭配题咏诗书，印信点缀其间，诗书画印相融，将竹的霜节高格与作者幽淡襟怀合而为一，以竹喻人、托物言志。浅淡墨痕里藏着林下高致，萧散笔墨间尽是淡泊脱俗的心境，虽是水墨小品，却将文人画借物抒怀的意韵表达尽致，尽显水墨写心的清雅魅力。",[23,281,24,25,7,38,80,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55750a6d6d41cc71996763bb18ed76ba.jpg",[],{"id":35533,"slug":35534,"title":15109,"dynasty":205,"author":15110,"museum":450,"description":35535,"tags":35536,"thumbUrl":35537,"material":166,"size":166,"collection":166,"collections":35538,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[23,24,25,26,547,7,193,312,8403,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":35540,"slug":35541,"title":35542,"dynasty":205,"author":2727,"museum":450,"description":23490,"tags":35543,"thumbUrl":35546,"material":166,"size":166,"collection":166,"collections":35547,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":47},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷",[23,24,25,26,7,36,80,38,3074,28,212,211,6001,35544,35545],"雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":35549,"slug":35550,"title":35551,"dynasty":205,"author":581,"museum":450,"description":35552,"tags":35553,"thumbUrl":35554,"material":166,"size":166,"collection":166,"collections":35555,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 (今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[23,24,25,26,7,36,28,193,194,29,30,31,32,282,610,147,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":35557,"slug":35558,"title":35559,"dynasty":5382,"author":10170,"museum":450,"description":35560,"tags":35561,"thumbUrl":35562,"material":166,"size":166,"collection":166,"collections":35563,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":140},226652,"qiu-dong-shan-shui-tu-er-qiu-jing-xue-zhou-226652","秋冬山水图二（秋景）","雪舟等杨是日本绘画史上“汉画派”的开创者和集大成者，他的绘画代表着日本汉画的最高成就，他所处的时代是汉画的全盛期。雪舟等杨，12岁入相国寺为僧，热衷于绘画，曾师从日本的山水画大师学习绘画，兼容并蓄临摹了大量的中国宋元的水墨画样式。为了探究中国画之真谛，1467年，他作为画僧随日本遣明使节来到中国，历览中国名山大川，创作了大量的山水画，并向各方绘画大师交流绘画技艺。他领悟到中国画的根源在于中国的自然风物，中国的自然风物是最好的老师。",[23,24,25,7,95,28,194,31,34,30,36,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62940e9c2c67e15be413e65dd353aee4.jpg",[],{"id":35565,"slug":35566,"title":35567,"dynasty":174,"author":15533,"museum":450,"description":24545,"tags":35568,"thumbUrl":35569,"material":166,"size":166,"collection":166,"collections":35570,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},226633,"si-shi-shan-shui-06-pu-ru-226633","四时山水06",[23,24,25,74,7,36,28,57,33,213,30,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a07a1da90f3721a821c6ce420630cd0.jpg",[],{"id":35572,"slug":35573,"title":35574,"dynasty":174,"author":9682,"museum":450,"description":35575,"tags":35576,"thumbUrl":35577,"material":166,"size":166,"collection":166,"collections":35578,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},224259,"qing-shan-bian-ju-zhou-cha-shi-biao-224259","青山卞居轴","此作用笔简淡松灵，枯笔皴擦绘就远山，留白晕染出烟水空濛。近岸茅亭孑然独立，疏柳杂木错落萧疏，淡墨轻写出浅滩陂陀，处处漫溢着清寂冷逸。\n\n整幅师法云林笔意，删去俗冗细节，以极简线条勾勒物象，铺陈出江南水村的静穆清旷。无浓墨重彩，只以干笔淡墨写尽荒寒淡远，隔绝尘嚣的幽居之景跃然纸上，寄寓着幽隐世外的襟怀，尽显简淡清逸的文人风神，将空寂淡远融于尺幅之间，观之如临无人之境，心绪随烟水一同沉静。",[23,24,95,7,36,547,28,32,717,96,34,30,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006ae7f50b438d9d6964e4b663017571.jpg",[],{"id":35580,"slug":35581,"title":35582,"dynasty":174,"author":739,"museum":450,"description":35583,"tags":35584,"thumbUrl":35586,"material":166,"size":166,"collection":166,"collections":35587,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},224172,"han-mei-cui-niao-tu-hua-yan-224172","寒梅翠鸟图","水墨写就老梅枯干，苍劲嶙峋，以浓淡墨色晕染出覆霜带雪的清寒况味，淡粉轻缀梅花，疏落间暗透暗香。\n三只禽鸟各有意态，枝上两只翠鸟头颈相偎，亲昵宛然，羽色晕染细腻柔和；另有一鸟振翅掠空，灵动破寂，为萧寒画面添上蓬勃生趣。\n右侧题跋行书笔致洒脱，文辞与画意相融，更衬出文人雅意。全作用留白铺就冬日清寂底色，却于冷逸间藏着融融生机，将写生的鲜活与文人笔墨的简逸灵秀合而为一，落笔传神尽显幽淡空灵的冬韵雅趣。",[23,24,25,7,27,123,75,125,35585,282,79,552,37,80],"翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ddfd247e50aebab76cda504b1f8c58f.jpg",[],{"id":35589,"slug":35590,"title":35591,"dynasty":174,"author":633,"museum":450,"description":35592,"tags":35593,"thumbUrl":35594,"material":166,"size":166,"collection":166,"collections":35595,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},223226,"shan-mian-ren-wu-ren-yi-223226","扇面人物","绘制山石花草，用笔寥寥，淡墨晕染。画中人物坐竹椅之上，身边童子抱鹅坐于地上，富有生活气息。",[23,24,25,1462,27,7,193,180,8941],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda8dd60918c4a810ce2910db29247b93.jpg",[],{"id":35597,"slug":35598,"title":24098,"dynasty":174,"author":2029,"museum":450,"description":9611,"tags":35599,"thumbUrl":35600,"material":964,"size":22584,"collection":166,"collections":35601,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},222624,"shan-shui-shan-mian-4-gong-xian-222624",[23,24,7,28,1462,36,33,34,29,6616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a851eec450e8b11c5a0839e9edbcd70.jpg",[],{"id":35603,"slug":35604,"title":35605,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":35606,"thumbUrl":35607,"material":166,"size":166,"collection":166,"collections":35608,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":47},222516,"shen-xian-tu-ce-5-zhang-lu-222516","神仙图册5",[23,24,25,74,7,940,455,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a4ddcd0bd748a89bf8a86268389623.jpg",[],{"id":35610,"slug":35611,"title":35612,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":35613,"thumbUrl":35614,"material":166,"size":166,"collection":166,"collections":35615,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":47},222504,"shen-xian-tu-ce-10-zhang-lu-222504","神仙图册10",[23,24,25,74,547,7,193,349,15682],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa805c57f3b0210527082f5f804d7c219.jpg",[],{"id":35617,"slug":35618,"title":35619,"dynasty":18,"author":581,"museum":294,"description":35620,"tags":35621,"thumbUrl":35622,"material":61,"size":35623,"collection":42,"collections":35624,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":140},222463,"yang-bian-cui-ma-song-liang-mang-tu-quan-juan-yi-ming-222463","扬鞭催马送粮忙图全卷","燕文贵（967年—1044年），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。出身微贱，曾隶籍军中。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。擅画山水、屋木、人物。作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。燕文贵本隶军籍，曾任县主簿，掌管出纳官物、销注簿书，阶从九品。太宗（976－997）时游汴京（今河南开封），于天门道上卖画，为待诏高益所见，荐画相国寺壁，遂入图画院（一说大中祥符（1008－1016）初补图画院祗侯）。\n所作山水，不专师法，极富变化，独立一家规范。其画多为北方大川，破笔皴点，干擦淡染，细碎清雅，苍润秀媚，岸边水渚多画台榭相接，景致优美，富有变化，人称“燕家景致”。所作景物丰富多变，布局精巧谨严，山水树石、亭台楼阁各得其所，互臻其妙，令人目不暇接，如临其境。画风介于南北山水之间，清雅秀媚，温润可爱。尝画《七夕夜市图》，写七夕之夜京师民俗事象及夜市交易，“状其浩穰之所，至为精备”。《舶船渡海图》反映当时海上贸易之发达，画虽不盈尺，但人舟密聚，樯帆指呼奋跃，尽得情状。画面风波浩荡，岛屿相望，蛟蜃杂出，有咫尺千里之势，极为精妙。惜皆佚。存世作品有《江山楼观图》、《溪山楼阁图》、《秋山琳宇图》、《烟岚水殿图》等。\n画卷以平铺式绘山峦连绵，峰回路转，山间处云雾缥缈，高塔、庙宇、楼阁隐现，瀑布、泉水汇于山脚，水面宽阔，有船只往来、另数只依岸停泊。河岸边、小桥上、崎岖山道上，运粮的驴队浩浩荡荡，络绎不绝。画面中部绘有一座客栈，茅屋里数位客人吃饭歇脚，另有数人坐于高台上凭栏观景。此图非燕文贵所绘，更似明人风格。",[23,24,25,26,7,28,193,312,36,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0120c1f854c45c250d407c1fb8a69f0e.jpg","30x498",[42,222],{"id":35626,"slug":35627,"title":35628,"dynasty":18,"author":2851,"museum":35629,"description":35630,"tags":35631,"thumbUrl":35632,"material":564,"size":35633,"collection":166,"collections":35634,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},222360,"ye-ting-ai-rui-tu-juan-tang-yin-222360","野亭霭瑞图卷","美国基怀尔","画卷中古木阴郁，霭云布岫，溪流潺潺，山径曲折，一童子负草药归来。右边一茅庐，一老者坐于其间，前方置有笔、砚、纸，略作沉思状。画面发展到左面三分之二处 ，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[23,24,25,26,7,38,37,28,36,32,624,34,282,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":35636,"slug":35637,"title":35638,"dynasty":18,"author":1788,"museum":92,"description":35639,"tags":35640,"thumbUrl":35641,"material":284,"size":35642,"collection":166,"collections":35643,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":140},222017,"jin-shan-tu-zhou-wen-zheng-ming-222017","金山图轴","文氏将金山描绘成万顷波涛中的一座岛屿，波涛间点缀着风帆。全幅以秃笔中锋出之，笔致苍健。乾隆皇帝南巡经过金山寺江阁，曾取此图展玩，并题诗云:“携将亲证取，当境固如斯”，说明了他携带古画即景印证的雅好。",[23,24,25,95,7,36,28,194,31,80,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db83391670deabb833cf95e93affb45.jpg","横23.8cm，纵70cm",[],{"id":35645,"slug":35646,"title":35647,"dynasty":18,"author":1788,"museum":450,"description":35648,"tags":35649,"thumbUrl":35650,"material":61,"size":35651,"collection":166,"collections":35652,"showCount":153,"zanCount":5,"manualWeight":46,"mainColor":140},221979,"qian-zi-wen-wen-zheng-ming-221979","千字文","文徵明小楷《千字文》，嘉靖十四年乙未（1535年）夏四月二十有九日。徵明时年六十六岁书。他的书法温润秀劲，稳重老成，法度谨严而意态生动。\n在众多的书体中，文征明的小楷艺术成就最高，其取法高古，有“小楷名动海内”之誉。\n他小楷初学赵孟俯，后以晋唐小楷为基础，一改元人软弱秀媚之习气，尤其晚年力追魏晋锺、王笔意，力求古朴苍劲，法度严谨，如朱谋垔所言：“深得智永笔法”。其子文嘉评曰: “始亦规摹宋元之撰，既悟笔意，遂悉弃去，专法晋唐，小楷虽自《黄庭》《乐毅》中来，而温纯精绝，虞、褚而下弗论也。”\n纵观其传世作品，虽各阶段书风略显不同，早期形体略扁，起笔尖细，多棱角; 中期如丰坊《书诀》所述: “五十岁以后，因书诰敕，颇兼时体，渐尚整齐”； 晚年则宗法二王，人书俱老，已入化境。\n但却可以看出他一生都沉浸于小楷，正如王世懋云: “衡山先生……时作小楷，多偏锋，太露芒颖，年九十犹作蝇头书，人以为仙。然行笔未免涩强，其最称合作者，以字行后五六十时也。”可见其对小楷的用功极深。",[23,25,37,242,38,7,298,80,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0979d9d6d2e102a78d798de62745e07.jpg","34×74厘米",[],{"id":35654,"slug":35655,"title":35656,"dynasty":52,"author":11685,"museum":770,"description":35657,"tags":35658,"thumbUrl":35659,"material":811,"size":35660,"collection":166,"collections":35661,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[23,281,24,25,26,7,547,36,37,38,80,28,126,33,669,29,30,193,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":35663,"slug":35664,"title":35665,"dynasty":52,"author":11732,"museum":92,"description":35666,"tags":35667,"thumbUrl":35668,"material":298,"size":35669,"collection":42,"collections":35670,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":47},221728,"shi-jing-you-tan-fang-cong-yi-221728","石径幽探","方从义善画，又兼工诗文、书法。其画初师 他的画风格潇洒，笔致跌岩，意境苍茫，无尘俗之气，以幽为其画特色。他善画云山墨戏，笔下的景色多是冷寞，幽闭，尘俗绝少的地方：高山奇峰，深谷幽涧，古树老屋，野水孤舟，给人以深沉、奇特和悲壮之感。他早年的画严谨，晚年不拘于形，用笔奔放，满含激情。传世不多，人以礼求之，始为出其一二。尝言：“太行、居庸天下之岩险，其雄杰奇丽，皆古之名画，余所顾见者今皆见之，而有以慊吾志，充吾操，吾非若世俗者区区而至也。”盖学仙之颖然者，由无形而有形，虽有形终归无形，画能如是，其至矣乎？",[23,24,25,7,36,28,212,33,14155,211,3371,12556,3293,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","91.3x63.5厘米",[42,222],{"id":35672,"slug":35673,"title":35674,"dynasty":52,"author":8400,"museum":1346,"description":33556,"tags":35675,"thumbUrl":35676,"material":61,"size":35677,"collection":166,"collections":35678,"showCount":153,"zanCount":1084,"manualWeight":46,"mainColor":140},221695,"han-shan-shi-de-tu-zhi-yi-yan-hui-221695","寒山拾得图之一",[23,281,24,25,95,7,27,193,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17092872d16e436ce0744a9a75dbe22c.jpg","127.6X41.8",[],{"id":35680,"slug":35681,"title":35682,"dynasty":205,"author":9584,"museum":92,"description":35683,"tags":35684,"thumbUrl":35685,"material":284,"size":9588,"collection":245,"collections":35686,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":47},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,24,25,26,28,7,36,37,38,57,4348,31,33,213,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg",[245],{"id":35688,"slug":35689,"title":645,"dynasty":18,"author":18021,"museum":4012,"description":35690,"tags":35691,"thumbUrl":35692,"material":35693,"size":35694,"collection":166,"collections":35695,"showCount":153,"zanCount":46,"manualWeight":46,"mainColor":166},220662,"shan-shui-tu-li-liu-fang-220662","李流芳，初字茂宰，后字长蘅，号檀园、香海、六浮道人、慎娱居士，祖籍安徽歙县丰南，侨居上海嘉定。万历三十四年（1606）举乡试，后五次会试皆不第。至天启二年（1622）第六次北上应试，闻金兵攻陷广宁，又感时局昏暗，遂绝意仕途南归，以书画自娱。诗文方面，与唐时升、程嘉璲（1565-1643）、娄坚（1567-1631）合称「嘉定四先生」。绘画上又与董其昌（1555-1636）、王时敏（1592-1680）同誉「画中九友」。\n\n此卷山水绘于绢上，画坡石虚亭高树，河水远山，一片宁寂。虽是草草而就，却显现元代大师黄公望（1269-1354）、倪瓒（1301-1374）笔意，且墨色苍润、笔法峻爽简洁，当是晚年之作。画上作者自识：「欲晴不晴山翠浓，欲雨不雨林霏重，幽人不来谁领此，溪潮急处晚来风。」更见寄情山川之意。此卷曾为晚明大收藏家朱之赤（17世纪）收藏，后面有清初著名鉴藏家高士奇（1645-1703）跋，至近代为广州小画舫斋收藏，终于1999年入藏文物馆。",[23,281,24,25,26,7,36,28,32,147,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5a525f194403dc4909e63b6409e00.jpg","水墨,绢本,手卷","画心：32×205.2厘米 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。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[281,24,28,993,518,95,36,34,809,148,832,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa073fbe6026acf7b071e27be9e2b4dd.jpg",[],{"id":36006,"slug":36007,"title":36008,"dynasty":205,"author":607,"museum":450,"description":5294,"tags":36009,"thumbUrl":36010,"material":314,"size":1061,"collection":166,"collections":36011,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},289109,"han-zhi-ce-ye-zhuang-biao-ma-yuan-289109","寒枝册页（装裱）",[281,24,25,74,7,22890,717,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbae26ad85a54ed25a328adc48ff2ff6.jpg",[],{"id":36013,"slug":36014,"title":4306,"dynasty":205,"author":18613,"museum":450,"description":22779,"tags":36015,"thumbUrl":36016,"material":314,"size":1061,"collection":166,"collections":36017,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":461},288977,"xia-shan-tu-qu-ding-288977",[281,24,26,7,36,28,212,1776,58,5297,211,28891],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5ed240c08185678837f9810e468620.jpg",[],{"id":36019,"slug":36020,"title":36021,"dynasty":205,"author":1763,"museum":450,"description":36022,"tags":36023,"thumbUrl":36024,"material":314,"size":1061,"collection":166,"collections":36025,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},288518,"qiu-jiang-ming-po-tu-zhao-gou-288518","秋江瞑泊图","秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。",[23,24,281,25,1462,7,28,30,31,147,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f38a38f40d9ef6cbc5a04e3d855599e.jpg",[],{"id":36027,"slug":36028,"title":19322,"dynasty":174,"author":14606,"museum":450,"description":26878,"tags":36029,"thumbUrl":36030,"material":314,"size":1061,"collection":166,"collections":36031,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},288448,"fang-you-tu-gao-cen-288448",[23,24,281,494,36,27,624,212,34,3685,19324,1776,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c57893b576a57047bbcea7bcd2995a8.jpg",[],{"id":36033,"slug":36034,"title":36035,"dynasty":205,"author":278,"museum":450,"description":36036,"tags":36037,"thumbUrl":36038,"material":314,"size":1061,"collection":166,"collections":36039,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},288335,"wu-zhu-xi-tang-tu-xia-gui-288335","梧竹溪堂图","此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。",[23,24,281,25,1462,7,28,126,1475,32,29,30,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d7e4d8b8f02db5e2072c25ef69640f.jpg",[],{"id":36041,"slug":36042,"title":36043,"dynasty":18,"author":14510,"museum":450,"description":14511,"tags":36044,"thumbUrl":36045,"material":314,"size":1061,"collection":166,"collections":36046,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},288043,"la-mei-tu-ye-chen-ji-ru-288043","腊梅图页",[23,24,281,7,125,126,180,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeaf5a6200dee1b6146b29ef5bc777af.jpg",[],{"id":36048,"slug":36049,"title":36050,"dynasty":174,"author":5599,"museum":450,"description":36051,"tags":36052,"thumbUrl":36053,"material":314,"size":1061,"collection":166,"collections":36054,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},287971,"qiu-lan-wen-shi-tu-li-zhou-luo-pin-287971","秋兰文石图立轴","此图绘兰花和文石，画家在运用墨色和线条方面有独到之处，简练的线条，圆劲而宽厚，硬如铁画，柔如棉条，准确地勾画了兰花和文石。\n《秋兰文石图》构图简练，怪石以焦墨勾出，通体以墨彩晕染，厚重凝炼。秋兰则舍弃了当时所盛行的水墨撇写之法，而以双钩白描绘出，略施淡墨，写出兰丛繁茂之貌，以浓墨点提花心及地面野菜。兰之高洁晶莹与石之坚实沉稳形成鲜明对照，使画面自有一种超凡脱俗的灵动之感。",[23,24,95,7,133,180,37,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9341f5bd9cf62305f811fc5dbc383bc.jpg",[],{"id":36056,"slug":36057,"title":36058,"dynasty":18,"author":34453,"museum":450,"description":36059,"tags":36060,"thumbUrl":36061,"material":314,"size":1061,"collection":166,"collections":36062,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},287864,"shu-hua-tu-li-zhou-chen-dao-fu-287864","书画图立轴","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。",[23,24,25,95,38,7,27,75,125,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7d39ca26d641837ebf65ad0c93d700.jpg",[],{"id":36064,"slug":36065,"title":36066,"dynasty":52,"author":726,"museum":450,"description":9354,"tags":36067,"thumbUrl":36068,"material":314,"size":1061,"collection":166,"collections":36069,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},287758,"gao-jie-ling-yun-tu-zhuang-biao-wu-zhen-287758","高节凌云图（装裱）",[281,24,25,95,7,126,180,717,37,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c6c5f018da369c34404e3ac4413aec.jpg",[],{"id":36071,"slug":36072,"title":36073,"dynasty":52,"author":726,"museum":450,"description":36074,"tags":36075,"thumbUrl":36077,"material":314,"size":1061,"collection":166,"collections":36078,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},287668,"gao-jie-ling-yun-tu-wu-zhen-287668","高节凌云图","画中的墨竹、松树以及斜入的石坡都好像是巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇坚守高尚的情怀与志向高远个性的自喻。就像这幅画的名字一样，“高节凌云”。",[24,281,95,7,126,180,147,36076],"高节","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9990f883da641f02afee77dd20315c3.jpg",[],{"id":36080,"slug":36081,"title":36082,"dynasty":205,"author":581,"museum":92,"description":36083,"tags":36084,"thumbUrl":36085,"material":457,"size":36086,"collection":220,"collections":36087,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},287559,"zhu-shi-jiu-zi-tu-yi-ming-287559","竹石鸠子图","以淡墨晕染坡石，苍朴温润尽显古拙意态。双钩绘竹，枝叶纵横偃仰，挺劲清疏间流露萧散之致。画面动静相生，空中禽鸟振翅俯掠，翎羽细节写实，灵动之态跃然绢上；石畔鸠子闲静安栖，意态悠然。\n\n整幅以水墨写就，笔意简括却形神兼备，将郊野林间的幽寂清趣定格，以极简构图铺陈出平和冲淡的林下意境，尽显对自然生趣的细致体察与雅致的文人审美意涵。",[24,75,126,282,706,7,481,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc64792b547c4182b2df7bf8f427e6105.jpg","166x93.9",[220],{"id":36089,"slug":36090,"title":18175,"dynasty":52,"author":2172,"museum":92,"description":36091,"tags":36092,"thumbUrl":36093,"material":98,"size":36094,"collection":166,"collections":36095,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},287542,"zhu-shi-zhou-guan-dao-sheng-287542","管道昇（1262年—1319年5月29日），字仲姬，浙江德清茅山（今浙江干山镇茅山村）人，一说华亭（今上海松江）人 ，元代著名的女书法家、画家、诗词创作家。\n南宋景定三年生。幼习书画，笃信佛法。曾手书《金刚经》数十卷，赠名山寺。嫁元代吴兴书画名家赵孟頫为妻，封吴兴郡夫人，世称管夫人，延祐四年（1317年），封魏国夫人。\n管道昇所写行楷与赵孟頫颇相似，所书《璇玑图诗》笔法工绝。精于诗。尤擅画墨竹梅兰。晴竹新篁，为其首创。延佑六年（1319年）病逝。存世的《水竹图》等卷，现藏北京故宫博物院，《竹石图》1帧，藏台湾故宫博物院。",[281,24,7,95,126,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7878310a226e545764562d59ddf2c7.jpg","87.1x28.7",[],{"id":36097,"slug":36098,"title":36099,"dynasty":18,"author":2851,"museum":450,"description":8920,"tags":36100,"thumbUrl":36101,"material":314,"size":1061,"collection":166,"collections":36102,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴",[23,24,25,95,28,7,27,36,14529,30,210,194,34,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],{"id":36104,"slug":36105,"title":34040,"dynasty":18,"author":36106,"museum":120,"description":36107,"tags":36108,"thumbUrl":36109,"material":298,"size":36110,"collection":245,"collections":36111,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},239988,"shi-zhou-ni-yuan-lu-239988","倪元璐","诗轴用笔迅捷，酣畅洒脱，其结体多取斜姿，以求奇险之势，气息较为古朴。虽未署年款，但从书风、款印分析，当为倪氏中期向晚期过渡时的作品。",[24,25,95,80,38,394,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e8ea93099a42877a977dd039276642.jpg","纵133.7厘米，横41.9厘米。",[245],{"id":36113,"slug":36114,"title":36115,"dynasty":174,"author":1100,"museum":450,"description":36116,"tags":36117,"thumbUrl":36118,"material":166,"size":166,"collection":245,"collections":36119,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},239945,"qi-yan-lian-wu-chang-shuo-239945","七言联","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。",[24,25,95,7,80,6187,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1c846cf7899990640b1874b2d333b4.jpg",[245],{"id":36121,"slug":36122,"title":36123,"dynasty":18,"author":1788,"museum":450,"description":18797,"tags":36124,"thumbUrl":36125,"material":166,"size":166,"collection":245,"collections":36126,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},239721,"zhang-zhou-wen-shi-chi-du-ce-zhi-tai-xue-shao-xi-wen-wen-tie-wen-zheng-ming-239721","长洲文氏尺牍册-致太学少溪闻问帖",[25,37,74,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8907891c275c343bda4bc9f20d352bce.jpg",[245],{"id":36128,"slug":36129,"title":36130,"dynasty":18,"author":36131,"museum":450,"description":36132,"tags":36133,"thumbUrl":36134,"material":166,"size":166,"collection":166,"collections":36135,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},239460,"ming-qing-zhu-jia-ji-jin-ce-song-shi-ce-ye-wen-cong-jian-239460","明清诸家集锦册-松石册页","文从简","此作用笔松秀简远，水墨淡逸空灵。古松躯干鳞皴苍劲，虬枝旁逸斜出，松针攒簇尽显老辣风骨，暗含岁寒之姿。右侧湖石以干笔皴擦，尽显嶙峋瘦透之态。平坡之上二儒策杖徐行，衣纹简括空灵，似正共话林泉幽意。\n\n题字清隽与画面气格相融，不着浓艳，只以淡墨写尽山林雅寂。萧散简淡的文人意趣漫溢素楮，悠悠林下之风，将隐逸之士的襟怀尽显无遗。",[24,25,74,7,36,624,180,193,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb347d42eecba7a25384cf8bb3ae4e4a9.jpg",[],{"id":36137,"slug":36138,"title":36139,"dynasty":174,"author":36140,"museum":450,"description":36141,"tags":36142,"thumbUrl":36143,"material":314,"size":1061,"collection":166,"collections":36144,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},239339,"lan-hua-shan-ye-ye-han-xian-239339","兰花扇页","叶翰仙","女。字墨君，杭州人。能诗词，兼善梅花，疏枝冷蕊，不染尘氛。合玉几（丁敬）、冬心（金农）为一手。",[24,25,1462,7,4041,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ee9f056b972b39a355906d78f8eb0ae.jpg",[],{"id":36146,"slug":36147,"title":26400,"dynasty":18,"author":36148,"museum":450,"description":36149,"tags":36150,"thumbUrl":36151,"material":166,"size":166,"collection":166,"collections":36152,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},239170,"shan-shui-shan-mian-liu-lian-239170","柳廉","此作为水墨洒金扇面，近景古木虬枝苍劲，以浓淡墨色晕染出层叠木叶，尽显蓊郁生机。树下扁舟轻泊，渔翁安坐其中，意态萧散自在。远景以淡墨晕染平岗浅峦，虚化朦胧，和近景的茂林渔舟形成虚实对照，留白暗喻水色，咫尺尺幅间铺展出悠远空寂的山水意境。\n\n笔墨简括老辣，以浓淡变化拉开空间层次，洒金底纸更添古雅质感。整体画面简淡清逸，寥寥数笔便将隐逸江湖、寄情烟水的文人野趣铺陈开来，藏着传统文人心底林泉高致的悠悠向往。",[24,25,1462,28,7,36,33,268,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9bccc077bc5f42a0d7ebb80b3963542.jpg",[],{"id":36154,"slug":36155,"title":36156,"dynasty":18,"author":7182,"museum":450,"description":34871,"tags":36157,"thumbUrl":36158,"material":314,"size":1061,"collection":166,"collections":36159,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},238969,"ling-shi-tu-zhou-wen-jia-238969","灵石图轴",[24,25,95,7,27,123,180,7908,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cfbc86ede7cd4df44c9f3d7add0d0.jpg",[],{"id":36161,"slug":36162,"title":36163,"dynasty":174,"author":25030,"museum":450,"description":36164,"tags":36165,"thumbUrl":36166,"material":166,"size":166,"collection":42,"collections":36167,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},238768,"shan-shui-ren-wu-xiao-ce-dong-gao-238768","山水人物小册","此作取半边构图造境，左畔崖岸虬松错立，丹黄枝叶点染秋韵，苍林幽泉尽纳尺幅之间。右侧留白以细劲墨线勾出水波纡徐，浅赭轻描远渚，一叶扁舟悠然凌波，以简驭繁铺展出秋水长天的空茫逸趣。笔墨清隽秀雅，皴擦柔婉不失骨力，设色轻淡明净，以少胜多，将林泉幽寂与江湖远意相融，尽显留白造境的悠然意趣，淡远萧散的林下之风跃然纸上。",[24,74,27,36,28,193,31,33,34,30,7,25,19276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647239f68b0592221cd30bfb0b9043b3.jpg",[42,64],{"id":36169,"slug":36170,"title":36171,"dynasty":174,"author":9002,"museum":450,"description":25914,"tags":36172,"thumbUrl":36173,"material":314,"size":1061,"collection":42,"collections":36174,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},238536,"chun-jing-shan-shui-ce-qian-wei-cheng-238536","春景山水册",[24,25,74,7,38,28,624,35,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6372a28c538b6e9ca7385ebf67324e3.jpg",[42],{"id":36176,"slug":36177,"title":19553,"dynasty":18,"author":1836,"museum":120,"description":36178,"tags":36179,"thumbUrl":36180,"material":612,"size":19557,"collection":42,"collections":36181,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},238079,"yan-ling-cun-tu-dong-qi-chang-238079","延陵村因有“唐人张从申碑”而具有深厚的历史人文内涵。画家以此为题，意在创造出与石碑意趣相同的“古意”。此图以鸟瞰的角度取景，描绘延陵村的整体风貌。构图内容丰富，运用山势的转折、峰峦的呼应以及烟云的空间留白营造出广阔辽远的空间，表现出延陵村的地理风貌。然而，这又不同于写实再现，画家以抒情的笔调描绘出绮丽浑厚的山峰、蓊郁奇崛的松木、晨雾中若隐若现的村舍，这正是在真实山水的基础之上的艺术加工。在笔墨的运用上，图中山石的画法是将勾勒与董、巨的披麻皴相结合，笔法精微。设色追求晋唐风韵，古雅淡泊。在此，画家将元人的笔墨情趣与唐宋人的造型、意境相结合，进而营造出平淡典雅、天真朴拙的“古意”，画中的延陵村因而显得真实而又具有悠远的意味，宁静清幽而又古趣盎然，这是董其昌所创造出的“奇景”。此外，画面上端的楷书结体端庄秀雅，墨色清旷明润，有晋唐人风度，与画面本身共同传达出一种古朴典雅的艺术气息。\n撰稿人：杨丽丽",[24,25,95,28,36,7,212,33,624,213,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc504525ce90c44b873edcd7f676754cd.jpg",[42],{"id":36183,"slug":36184,"title":26983,"dynasty":174,"author":26950,"museum":450,"description":26984,"tags":36185,"thumbUrl":36186,"material":314,"size":1061,"collection":42,"collections":36187,"showCount":288,"zanCount":46,"manua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。 颇能诗文，著有《画禅室随笔》《容台文集》等。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[24,25,95,7,36,38,28,194,33,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[245],{"id":36212,"slug":36213,"title":18629,"dynasty":18,"author":7182,"museum":450,"description":36214,"tags":36215,"thumbUrl":36216,"material":166,"size":166,"collection":166,"collections":36217,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},237478,"guan-pu-tu-zhou-wen-jia-237478","此作用高远章法铺展景致，山峦以淡墨轻皴，留白晕出空濛云气，层叠峰峦间苍松虬劲挺秀。涧谷飞瀑蜿蜒穿林而下，松下幽人临流观瀑，野逸悠然。\n\n笔墨秀雅温润，以淡赭轻敷晕染山林，简淡笔触里尽显苍润质感，尽显清隽雅致的意趣。题诗与画境相融，将林泉高致的隐逸情怀藏于尺幅间，把文人寄情山水、静享丘壑的雅怀，化作可感的画面，是明代文人山水画中寓情于景的典型佳构。",[281,24,25,95,7,36,28,210,33,34,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f782bbeca3d1ae43c0ee0954efdb627.jpg",[],{"id":36219,"slug":36220,"title":36221,"dynasty":18,"author":33336,"museum":450,"description":36222,"tags":36223,"thumbUrl":36224,"material":314,"size":1061,"collection":166,"collections":36225,"showCount":288,"zanCount":1084,"manualWeight":46,"mainColor":921},237458,"fang-ju-ran-shan-shui-shan-ye-yun-xiang-237458","仿巨然山水扇页","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[24,25,1462,7,36,254,28,34,33,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33bb82ef2826a18b206fb0142da7222.jpg",[],{"id":36227,"slug":36228,"title":36229,"dynasty":18,"author":36106,"museum":450,"description":36230,"tags":36231,"thumbUrl":36232,"material":314,"size":1061,"collection":166,"collections":36233,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},237455,"hua-zhu-shan-mian-ni-yuan-lu-237455","画竹扇面","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[24,25,1462,7,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd517f81d0d7c20154e029aba7a5a37.jpg",[],{"id":36235,"slug":36236,"title":36237,"dynasty":174,"author":34203,"museum":450,"description":36238,"tags":36239,"thumbUrl":36240,"material":166,"size":166,"collection":166,"collections":36241,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},237445,"xue-jing-mei-zhu-shu-wu-shan-mian-wu-gu-xiang-237445","雪景梅竹书屋扇面","以淡墨晕染积雪，留白铺就天地清寒底色。虬曲梅枝破雪而出，细小红萼点点，暗透生机；修竹亭亭立雪，墨色浓淡层叠，苍劲枝叶凝着雪意，更显挺秀疏朗。覆雪湖石隐现棱骨，留白处尽是薄雪覆地，极简便烘托出冬日清寂。右侧题字清雅疏朗，书画相映成趣。\n\n整体笔意秀润温婉，无萧索苦寒，反倒带着幽淡文人气韵，将岁寒梅竹的清逸风骨收于扇面尺幅间，静谧雅致，尽显文人幽怀雅趣。",[24,25,1462,7,993,125,126,2748,180,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf01914bbf0494ae177982be3e9f7bab.jpg",[],{"id":36243,"slug":36244,"title":36245,"dynasty":18,"author":2851,"museum":450,"description":8920,"tags":36246,"thumbUrl":36247,"material":314,"size":1061,"collection":166,"collections":36248,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},237363,"she-yang-tu-zhou-tang-yin-237363","射杨图轴",[24,25,95,7,547,193,180,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699dfa326d67bbf86297196d4ed32fab.jpg",[],{"id":36250,"slug":36251,"title":36252,"dynasty":18,"author":71,"museum":450,"description":30466,"tags":36253,"thumbUrl":36254,"material":314,"size":1061,"collection":166,"collections":36255,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},236813,"mo-zhu-shan-ye-sun-ke-hong-236813","墨竹扇页",[24,1462,7,126,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631b59634d6881d5c6668c1f12868788.jpg",[],{"id":36257,"slug":36258,"title":70,"dynasty":174,"author":11792,"museum":450,"description":11793,"tags":36259,"thumbUrl":36261,"material":166,"size":120,"collection":166,"collections":36262,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},236613,"hua-niao-ce-ma-yuan-yu-236613",[24,25,74,7,27,123,75,36260,367,79,80],"板栗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261498a4d6e42c115e8696a7c858dffe.jpg",[],{"id":36264,"slug":36265,"title":1567,"dynasty":174,"author":36266,"museum":120,"description":36267,"tags":36268,"thumbUrl":36269,"material":166,"size":166,"collection":42,"collections":36270,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[24,25,95,7,36,28,57,210,33,35,32,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[42,222],{"id":36272,"slug":36273,"title":36274,"dynasty":18,"author":22999,"museum":450,"description":27057,"tags":36275,"thumbUrl":36276,"material":314,"size":1061,"collection":166,"collections":36277,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},236368,"lan-zhu-shan-xiang-yuan-bian-236368","兰竹扇",[281,24,25,1462,7,133,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617b711c1e97eefe1c21c4248da33717.jpg",[],{"id":36279,"slug":36280,"title":4806,"dynasty":174,"author":377,"museum":450,"description":36281,"tags":36282,"thumbUrl":36283,"material":166,"size":166,"collection":166,"collections":36284,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},235894,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235894","此作用笔干湿互济，左侧危崖以焦墨勾勒皴擦，线条朴拙厚重，苍劲雄浑。右侧水泽间芦荻随风轻曳，浅渚扁舟静泊，淡墨晕染出水气空濛的柔润质感，虚实相生晕开江南水畔清寂氛围。\n\n题诗落于左上角，以书入画诗画相融，铺展出江湖幽独的野逸之趣。画师以极简笔墨绘就林泉隐逸之景，淡简中自含苍茫悠远的意境，寄寓着寄情山水的隐逸襟怀，尽显萧散淡远的文人意趣。",[281,24,25,74,7,36,28,180,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8cd68e458f9c8cd71f269d55f44adc.jpg",[],{"id":36286,"slug":36287,"title":36288,"dynasty":174,"author":2737,"museum":450,"description":36289,"tags":36290,"thumbUrl":36291,"material":166,"size":166,"collection":166,"collections":36292,"showCount":288,"zanCount":1084,"manualWeight":46,"mainColor":47},235781,"yu-shan-zhu-xian-he-bi-ce-fang-ju-ran-xiao-jing-ce-ye-yang-jin-235781","虞山诸贤合璧册-仿巨然小景册页","此作用淡墨晕染出空山新雨的清润意境，远山含黛隐于烟岚之间，层崖间飞瀑直下，暗合“树杪百重泉”的诗意。山坳溪流转折，苍松错落成林，溪侧茅舍孑立，野趣横生。\n画师以松秀苍雅的笔意追摹巨然，水墨皴染间元气淋漓，将山雨初歇后的空濛静穆铺陈开来，不见艳色，却把江南山野的湿润生机与文人幽居的逸趣融于尺幅。观之便如身临幽谷，似能听见泉鸣溪淙，呼吸到林间清润的空气，尽揽山居悠然诗意。",[24,25,74,7,36,254,28,210,58,33,32,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ca409c904227b12e2f2e2c545a309b.jpg",[],{"id":36294,"slug":36295,"title":70,"dynasty":18,"author":31407,"museum":450,"description":31408,"tags":36296,"thumbUrl":36297,"material":314,"size":1061,"collection":166,"collections":36298,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},235738,"hua-niao-ce-tan-zhi-yi-235738",[24,25,74,9254,7,36,14241,624,34,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875b42ba3ba9ddc7d3633242f5cf586c.jpg",[],{"id":36300,"slug":36301,"title":36302,"dynasty":174,"author":16702,"museum":450,"description":36303,"tags":36304,"thumbUrl":36305,"material":166,"size":166,"collection":166,"collections":36306,"showCount":288,"zanCount":1084,"manualWeight":46,"mainColor":47},235672,"yan-ju-qiu-shuang-tu-zhou-xi-gang-235672","岩居秋爽图轴","《奚冈岩居秋爽图轴》是清代奚冈创作的一幅画。\n图绘峰峦高耸、庭轩虚敞的江南秋景。\n奚冈的山水画在宗法元四家的基础上又上溯五代董源、巨然，下逮明人董其昌及清人王原祁诸公，萃其逸韵而自成一格。\n此图是他法黄公望（号井西道人）笔意所作，笔法清秀，润色淡雅，意境深远，颇得黄氏画作中雅洁淡逸之趣。\n款署：“仿井西老人岩居秋爽图。\n嘉庆丙辰小春。\n蒙泉外史奚冈。\n”钤“奚冈之印”阴阳文印、“蒙泉外史”白文印。\n“丙辰”为清嘉庆元年（1796年），作者时年51岁。",[24,95,7,36,28,213,33,35,215,164,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc6a03c56962e7bf9eca5520ceefbc.jpg",[],{"id":36308,"slug":36309,"title":36310,"dynasty":174,"author":9682,"museum":450,"description":36311,"tags":36312,"thumbUrl":36313,"material":166,"size":166,"collection":166,"collections":36314,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[24,25,281,95,7,28,32,126,180,162,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":36316,"slug":36317,"title":36318,"dynasty":18,"author":581,"museum":450,"description":36319,"tags":36320,"thumbUrl":36321,"material":166,"size":166,"collection":166,"collections":36322,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},235608,"you-qiu-hong-fu-tu-zhou-yi-ming-235608","尤求红拂图轴","此作用白描淡墨绘就，线条细劲圆转如游丝萦回，尽显雅致风神。庭院古木虬曲、湖石玲珑，案几清供衬出厅堂雅静。榻上主人神态端凝自有威仪，仕女身姿柔婉，红拂悄然凝睇李靖，暗露倾慕之意，其余侍女恭谨侍立，奏乐乐师专注投入，下方侍女缓步持物，灵动自然。\n\n画作定格风尘三侠初遇瞬间，人物排布疏密得宜，素淡墨色铺展传奇开篇，笔意秀润含蓄，将古典侠情的缱绻意境描摹尽致，淡远雅致间古意悠悠。",[281,24,25,95,547,7,27,193,162,706,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3a9f3843074eab8d3ca0495e164b6c.jpg",[],{"id":36324,"slug":36325,"title":10038,"dynasty":18,"author":19939,"museum":450,"description":36326,"tags":36327,"thumbUrl":36328,"material":166,"size":166,"collection":166,"collections":36329,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":921},235577,"mo-mei-tu-zhou-liu-shi-ru-235577","此作用笔老辣苍劲，枯墨皴擦梅干，尽显古木饱经霜雪的嶙峋质感。梅枝自左上蜿蜒垂落，如虬龙探水，枝桠俯仰藏露，错落有韵。繁花以圈花点蕊之法写就，淡墨晕染出花瓣清透柔润之感，无艳色却满枝似雪，冷香暗涌，将寒梅凌冬盛放的孤高之态尽显。右侧长题笔意清劲，与梅枝相映成趣，书画相融尽显文人借物抒怀的雅致意境，将梅花傲雪不屈的品格藏于水墨浓淡间，尽显幽淡清远的风骨。",[24,25,95,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635f1cec46fa1e4bfa9ea4448dff745a.jpg",[],{"id":36331,"slug":36332,"title":36333,"dynasty":174,"author":581,"museum":450,"description":36334,"tags":36335,"thumbUrl":36336,"material":314,"size":1061,"collection":166,"collections":36337,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},235403,"xu-gu-yang-liu-ba-ge-zhou-yi-ming-235403","虚谷杨柳八哥轴","此作以淡墨写垂柳枝干，枯笔勾出袅袅柳条，绿赭晕染柳叶，笔致疏朗清逸，将春风拂柳的柔婉之态尽显。两只八哥栖于枝头，浓墨点染羽翼，淡墨铺衬胸腹，将羽毛蓬松质感细致呈现，二者依偎私语，神态亲昵生动。下方柳条间还隐有数只小雀，为画面添了灵动野趣。\n右侧题字笔墨苍劲朴拙，与画境融于一体。整幅以兼工带写之法绘就，水墨晕染间设色淡雅清新，将江南春日的柔媚生机藏于尺幅，尽显清寂简雅的文人意趣。",[24,25,95,7,27,75,7500,34093,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd36dcaa95f017a0f0fc9a6d5c75db4a.jpg",[],{"id":36339,"slug":36340,"title":36341,"dynasty":18,"author":1788,"museum":450,"description":18797,"tags":36342,"thumbUrl":36343,"material":314,"size":1061,"collection":166,"collections":36344,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},235269,"wen-zheng-ming-zhu-shi-shan-ye-wen-zheng-ming-235269","文徵明竹石扇页",[24,25,1462,7,126,706,133,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6186efbb9a6f3d103b50c388b1fb58e8.jpg",[],{"id":36346,"slug":36347,"title":36348,"dynasty":18,"author":4131,"museum":450,"description":27524,"tags":36349,"thumbUrl":36350,"material":314,"size":1061,"collection":166,"collections":36351,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},235202,"shui-xian-zhu-shi-tu-shan-ye-chen-hong-shou-235202","水仙竹石图扇页",[24,1462,7,126,706,132,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4f41d3672c78ad2544b49a1265624d.jpg",[],{"id":36353,"slug":36354,"title":157,"dynasty":174,"author":21180,"museum":450,"description":36355,"tags":36356,"thumbUrl":36357,"material":166,"size":166,"collection":42,"collections":36358,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":921},235174,"shan-shui-ce-ye-xin-235174","此作用笔秀雅淡逸，以平远之法铺展景致。近岸老梅虬曲苍劲，枝桠缀着新芽，三两行人策蹇徐行，野意悠然自生。中洲淡渚萦回错落，林木参差间，茅舍隐于浅滩，尽显江乡闲寂之态。远景主山以干笔皴擦，墨色清润苍厚，云气吞吐于崖岫，虚灵空濛。\n全幅简淡萧疏，以水墨晕染出江南春日清和之态，未作繁复刻画，却将平林远岫的空阔淡荡铺陈尽致，将文人寄情丘壑的幽怀融于尺幅，淡而弥远，清而有味，尽显静穆淡远的山水逸趣。",[24,7,36,74,28,34,33,29,30,193,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c5744de3032ee5211824bd4b4ccd05.jpg",[42],{"id":36360,"slug":36361,"title":9368,"dynasty":174,"author":581,"museum":450,"description":36362,"tags":36363,"thumbUrl":36364,"material":166,"size":166,"collection":166,"collections":36365,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},235158,"hong-ren-shan-shui-ce-yi-ming-235158","此作用笔清劲洗练，以淡墨勾勒山石轮廓，线条方硬爽利，尽显皖南丘壑冷峻之态。近岸孤树疏枝亭亭，树下茅舍幽隐，野意悠然。远景矶汀错落，浅渚留白铺展出空濛清寂的水色。\n\n搭配行书题诗，笔意疏朗洒脱，诗画相映，将荒寒山居的幽致和文人幽栖之志相融，整体简淡空灵，脱尽尘俗烟火气，把山水的清寂冷逸与林下雅怀合为一体，风骨萧散淡远，余韵悠长。",[24,25,74,7,36,28,27250,34,268,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa067945763735df25b05abe9da2fedc9.jpg",[],{"id":36367,"slug":36368,"title":6113,"dynasty":174,"author":377,"museum":120,"description":3984,"tags":36369,"thumbUrl":36370,"material":11042,"size":3140,"collection":166,"collections":36371,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},235001,"yuan-ji-shan-shui-tu-ce-shi-tao-235001",[281,24,7,36,74,28,180,147,27,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a9ea9a82d8c25e4dde2472c9cda449.jpg",[],{"id":36373,"slug":36374,"title":6113,"dynasty":174,"author":377,"museum":120,"description":3984,"tags":36375,"thumbUrl":36376,"material":11042,"size":3140,"collection":166,"collections":36377,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},234997,"yuan-ji-shan-shui-tu-ce-shi-tao-234997",[24,25,74,7,36,28,31,30,34,33,282,35,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60998edd7aa06ac4ca0e9c4fd7984022.jpg",[],{"id":36379,"slug":36380,"title":36381,"dynasty":18,"author":29079,"museum":450,"description":33179,"tags":36382,"thumbUrl":36383,"material":537,"size":166,"collection":166,"collections":36384,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},234247,"mo-hua-jiu-zhong-juan-chen-gua-234247","墨花九种卷",[23,24,25,26,7,75,123,80,129,395,3880,130,7643,132,4041,2816,1476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg",[],{"id":36386,"slug":36387,"title":36388,"dynasty":18,"author":36389,"museum":450,"description":36390,"tags":36391,"thumbUrl":36392,"material":166,"size":166,"collection":166,"collections":36393,"showCount":288,"zanCount":1084,"manualWeight":46,"mainColor":47},234221,"an-mo-bi-lan-ting-tu-juan-wang-yun-234221","安墨笔兰亭图卷","王允","《王允安墨笔兰亭图卷》是明代画家王允安创作的一幅画。\n《墨笔兰亭图》卷，明，王允安绘，纵21.7cm，横44cm。",[23,24,26,7,547,28,193,33,34,29,30,32,5299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b51d88b8f0e32cb20a94bceb55ed39.jpg",[],{"id":36395,"slug":36396,"title":36397,"dynasty":174,"author":5748,"museum":120,"description":36398,"tags":36399,"thumbUrl":36400,"material":564,"size":36401,"collection":166,"c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的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。\n《东图玄览》记：“李唐《春牧图》，牛欲前行，童子力挽之，势甚奇。”吴其贞《书画记》载：“李唐《风归牛图》……有一牛乘风而奔，气韵如真，为神晶。”又记：“李唐《牧牛图》绢画一幅，树下有水，牛欲右行，而牧童欲牵左转，两下努力相持，使观者亦自费力。”以上记载，亦可略见李唐画牛成就之一斑了。李唐画的牛今日已不多见了。《乳牛图》一直传为李唐之作，在传世的宋人画牛图中，似此图者不少，然如此图之精彩者却不多。现存画迹中，南宋的画牛图还不算太少，大抵皆受李唐的影响。\n李唐(约1066一约1150)字晞古，河南人，乃南宋画院“四大家”之一，宋徽宗时就已是画院待诏。后因战乱被俘，遂又潜逃南渡，历尽颠沛流离之苦，一度落泊于南宋都城临安，靠卖画度日。后被高宗赵构重用，仍任朝廷画院旧职。李唐的山水、人物、走兽皆精，而山水最佳，创大斧劈皴法，所作长图大幛，气势宏伟，独步南宋画坛。晚年代表作有《清溪渔隐图》等留世。其人物画富李公麟遗韵，却性格刻画突显，且多绘文人高士形象，如《七贤过关图》、《采薇图》等。史传他极擅画牛，但存世作品真伪难辨。",[24,25,74,7,27,36,1853,1839,193,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9caed9a29913ebe1ad5d983892d9d17.jpg","61X63cm",[],{"id":36466,"slug":36467,"title":36468,"dynasty":174,"author":3928,"museum":20,"description":3929,"tags":36469,"thumbUrl":36470,"material":298,"size":166,"collection":166,"collections":36471,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},233192,"hua-hui-ce-mei-hua-zhu-ye-zhao-zhi-qian-233192","花卉册-梅花竹页",[24,25,74,7,27,75,125,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a3f56778ab52cafa54736f7f44df9a.jpg",[],{"id":36473,"slug":36474,"title":29128,"dynasty":18,"author":1788,"museum":120,"description":29129,"tags":36475,"thumbUrl":36476,"material":298,"size":29132,"collection":166,"collections":36477,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},232959,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232959",[24,25,74,7,28,147,180,36,38,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0d0f5d6235a84082f5f7e653cc6acb.jpg",[],{"id":36479,"slug":36480,"title":36481,"dynasty":18,"author":11473,"museum":176,"description":36482,"tags":36483,"thumbUrl":36484,"material":612,"size":36485,"collection":166,"collections":36486,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},232642,"shan-shui-gu-mu-tu-lan-ying-232642","山水古木图","高峰，杂林连绵，古木，矶石屋宇杨柳平坡，湖光山色边，春意盎然。有人湖 语，有人舟中弄笛，相映成趣。全图用笔苍劲，设色清丽，点染别致，树木景物，充满生机，巧得江南野趣。",[24,7,36,95,25,28,2637,147,624,34,164,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a75b6d590433c88559de0a0f19d3d2.jpg","纵72.5厘米，横89.5厘米",[],{"id":36488,"slug":36489,"title":36490,"dynasty":18,"author":36491,"museum":92,"description":36492,"tags":36493,"thumbUrl":36495,"material":40,"size":36496,"collection":166,"collections":36497,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","崔子忠","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[9254,24,25,481,27,7,193,33,34,268,36494,15408,37,80,717,672],"家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],{"id":36499,"slug":36500,"title":11304,"dynasty":52,"author":581,"museum":92,"description":36501,"tags":36502,"thumbUrl":36503,"material":7576,"size":36504,"collection":166,"collections":36505,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},231399,"qiu-shan-tu-yi-ming-231399","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[24,25,28,36,7,27,335,162,30,34,6001,213,1776,215,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","46.3x57.1厘米",[],{"id":36507,"slug":36508,"title":36509,"dynasty":174,"author":9682,"museum":450,"description":36510,"tags":36511,"thumbUrl":36512,"material":166,"size":166,"collection":166,"collections":36513,"showCount":288,"zanCount":1084,"manualWeight":46,"mainColor":47},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,24,25,95,7,36,28,31,282,147,30,180,729,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":36515,"slug":36516,"title":36517,"dynasty":18,"author":36518,"museum":450,"description":36519,"tags":36520,"thumbUrl":36521,"material":314,"size":1061,"collection":166,"collections":36522,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},230927,"shan-shui-tu-shan-mian-wen-xi-230927","山水图扇面","文喜","此作用笔枯淡清逸，以水墨写就林泉雅境。崖壁崔嵬，飞泉隐于山坳，皴笔简括写意，尽显山石苍朴质感。几株古松虬曲苍劲，枝桠舒展自带灵动之姿，衬出林间清寂。平岗之上二人伫立，身形简括却宛然可见凭眺幽赏之态，暗合文人寄情丘壑的雅怀。整幅扇面构图疏密得宜，留白暗含空远之境，淡墨轻皴间，萧散出尘的林下意趣扑面而来，尽显小品山水的雅致情致。",[1462,24,25,7,36,28,624,34,193,215,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a09efb7730295a8cdc7f2ba237beb1e.jpg",[],{"id":36524,"slug":36525,"title":70,"dynasty":174,"author":418,"museum":450,"description":36526,"tags":36527,"thumbUrl":36528,"material":166,"size":166,"collection":166,"collections":36529,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},230281,"hua-niao-ce-zhu-da-230281","《题花鸟册》是清代诗人八大山人创作的一首五言绝句。\n诗人说：想想误我害我的乃是自己的书法，现在只能靠这书法来混饭吃了。\n这是诗人对自己的书法较之于所画的石头而言。\n诗人言外之意是在说自己的石头画得好，故用米南宫的石头作一比。\n这张《石头》，就算那些要买我书法的人，对我有三顾之请，我也是不愿意给他的。\n思之误是书（1），只今南郭处（2）。\n南宫石头硬（），三顾那得去（4）。\n（1）思：想。\n误：耽误，害。\n（2）只今：如今、现在。\n南郭：复姓。\n《 ·内储说上》有南郭处士，以吹竽事齐宣王。\n此南郭处，典出“滥竽充数”，诗人自指，比喻混饭吃。\n（）南宫：古称尚书省。\n米芾（151～117），字元章，北宋著名书画家。\n因其累官礼部员外郎，故世称南宫先生。\n米芾一生痴爱石头，千金难买。\n故有“石头硬”一说。\n（4）三顾：典出《 》刘备中“ ”访贤诸葛亮事。\n此诗有学者解释为：有人看见他的书法好，要请他去。\n但是要请他去的那个主人，招待的客人，都是 ，像南郭先生那样的骗子，所以他说他的脾气，有如米芾拜的石头那么硬，就是请他三次，他也不去。\n此一说不仅有些牵强，且与诗人晚年的性格、行为不相吻合。\n因为八大山人的晚年以出售书画为生，即使有些自己不喜欢的人或不懂书画的人，他也照样有应酬，只是应酬的方式有些不同罢了，比如要求画四幅，他却只给三副等。\n八大山人（1626－175），明末清初人，杰出画家。\n原名朱耷，又名朱道朗，字雪个，又字个山、道朗、个山驴、朗月、刃庵、传綮、破云樵者、人屋、驴屋和因是僧号良月，一生所用名号多达五十五个，八大山人是他晚年的文号。\n“八大山人”的来历有两种说法：一说“尝持《 》，因号八大”；另一说“八大者，四方四隅，皆我为大，而无大于我者也”。\n八大山人为清初“四大画僧（ 、 、 、 ）”之一，他以大笔水墨写意画著称，尤以花鸟画见长，以简略见胜。",[24,25,7,28,717,180,147,123,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd06328a99007e276effefc6b4d8683.jpg",[],{"id":36531,"slug":36532,"title":36533,"dynasty":174,"author":36534,"museum":450,"description":36535,"tags":36536,"thumbUrl":36538,"material":314,"size":1061,"collection":166,"collections":36539,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},230265,"shu-fa-tiao-fu-lin-san-zhi-230265","书法条幅","林散之","此作用笔纵逸老辣，枯湿浓淡对比强烈，中锋侧锋兼施，线条极具张力。主文笔势连绵奔涌，重墨如坠石沉凝，枯笔似惊鸿掠影，将草书写意性发挥尽致。左侧题款简劲灵动，与正文虚实相衬，章法疏密相宜，萧散朴拙间自带着雄浑大气，尽显炉火纯青的笔墨功夫。整幅书作将诗意与书境相融，笔墨间流淌着飘逸苍劲的文人风骨，尽显不凡笔力。",[10153,37,394,36537,7,80],"条幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66e0d2e67e17ccf9fb572ceeecdce0a3.jpg",[],{"id":36541,"slug":36542,"title":36543,"dynasty":174,"author":36544,"museum":450,"description":36545,"tags":36546,"thumbUrl":36547,"material":166,"size":166,"collection":166,"collections":36548,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},230216,"fang-gu-shan-shui-ce-ye-8-kai-gu-kui-230216","仿古山水册页8开","顾逵","此作用淡墨晕染出烟雨江南的朦胧意趣，山峦以浅皴轻苔点出温润质感，如被薄雾轻笼。水面留白衔接着远天近岸，一叶扁舟随波缓行，载着晚归的闲散意趣。\n\n林间茅舍隐于枝叶之间，不见喧嚣，唯余清寂。简笔点染的林木不带繁饰，却将风雨初歇的湿润淋漓尽数藏于墨色层次里。通篇以水墨铺陈，无一处浓艳设色，把平和冲淡的林下之思晕在烟岚雾霭中，将人轻轻拉入这幅水墨长卷，静看波痕微动，坐听晚风穿林，尽得古典山水空灵澹远的禅意。",[24,7,74,36,3217,28,31,30,180,33,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab22a74172d9c0fa0f97e6463ea3e86.jpg",[],{"id":36550,"slug":36551,"title":36552,"dynasty":18,"author":407,"museum":450,"description":36553,"tags":36554,"thumbUrl":36555,"material":314,"size":1061,"collection":166,"collections":36556,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,24,25,26,3557,193,28,7,27,36,37,38,80,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":36558,"slug":36559,"title":36560,"dynasty":18,"author":19,"museum":450,"description":36561,"tags":36562,"thumbUrl":36563,"material":314,"size":1061,"collection":166,"collections":36564,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。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”。",[23,24,25,26,28,27,7,36,38,80,335,162,324,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":36566,"slug":36567,"title":36568,"dynasty":18,"author":11809,"museum":450,"description":36569,"tags":36570,"thumbUrl":36571,"material":166,"size":166,"collection":166,"collections":36572,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,25,26,7,27,28,1853,30,31,282,1004,193,729,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":36574,"slug":36575,"title":36576,"dynasty":174,"author":20018,"museum":450,"description":36577,"tags":36578,"thumbUrl":36579,"material":166,"size":166,"collection":166,"collections":36580,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},228397,"fang-ju-ran-shan-shui-liu-du-228397","仿巨然山水","此作用披麻皴晕染山石肌理，层叠山峦似含江南烟岚，氤氲着湿润朦胧的空寂质感。近岸苍松杂木蓊郁，山居屋舍掩映林间，汀渚蜿蜒入水，清波澹澹漾开涟漪，将幽居野逸之趣藏于丘壑之间。\n\n笔墨追摹古意，苍润兼具，把山林幽寂、溪声松涛的林下之思铺陈开来，恍如引观者踏入避世桃源，静赏林泉烟霞，尽得山水寄情的悠远意韵。",[23,24,28,254,36,7,212,33,30,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8672297878af1e9fe4bc94a8e35ae8.jpg",[],{"id":36582,"slug":36583,"title":36584,"dynasty":18,"author":18899,"museum":450,"description":36585,"tags":36586,"thumbUrl":36587,"material":166,"size":166,"collection":166,"collections":36588,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[23,24,25,26,7,28,126,33,30,80,38,394,36,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":36590,"slug":36591,"title":36592,"dynasty":18,"author":30966,"museum":450,"description":36593,"tags":36594,"thumbUrl":36595,"material":314,"size":1061,"collection":166,"collections":36596,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,281,24,25,95,494,7,27,36,127,34,30,787,193,33,164,211,2748],"https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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[23,36639,3557,28,194,34,33,7,27,36],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9750ce4f94c586b51d9307a835d50ecb.jpg",[],{"id":36643,"slug":36644,"title":1731,"dynasty":205,"author":206,"museum":92,"description":36645,"tags":36646,"thumbUrl":36647,"material":166,"size":166,"collection":166,"collections":36648,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},227292,"shu-se-ping-yuan-tu-guo-xi-227292","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[23,24,25,26,494,7,36,28,33,164,5552,147,610,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":36650,"slug":36651,"title":36652,"dynasty":174,"author":15533,"museum":450,"description":24545,"tags":36653,"thumbUrl":36654,"material":166,"size":166,"collection":166,"collections":36655,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},226628,"si-shi-shan-shui-01-pu-ru-226628","四时山水01",[24,7,27,36,74,28,34,624,30,32,282,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c764ce4c7a82085c37e224fd507c9.jpg",[],{"id":36657,"slug":36658,"title":36659,"dynasty":174,"author":22880,"museum":450,"description":36660,"tags":36661,"thumbUrl":36662,"material":166,"size":166,"collection":166,"collections":36663,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[23,24,95,7,127,126,4745,34,28,75,36,8796,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],{"id":36665,"slug":36666,"title":7181,"dynasty":174,"author":32025,"museum":450,"description":36667,"tags":36668,"thumbUrl":36669,"material":166,"size":166,"collection":166,"collections":36670,"showCount":288,"zanCount":1084,"manualWeight":46,"mainColor":47},224533,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-224533","此作用笔追摹前贤意趣，主峰奇崛高耸，淡墨晕染石身，浓墨点苔醒出山岩苍古肌理，山间林木疏密错落，枯荣相映。近岸虬松老干遒劲，枝桠舒张如盖，临水茅庐静立，二人凭栏晤谈，衬出林下幽寂雅趣。\n整幅以高远法布局，虚实相生，留白处晕出山岚氤氲，将山野幽居的静谧萧散尽数铺展。笔墨简淡清逸，淡墨皴擦间尽显山水温润空濛，又自具峭爽格调，尽显文人寄情林泉的雅致意趣。",[23,24,25,95,7,36,28,624,35,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7804fca5f15a8af04239b286d359bd.jpg",[],{"id":36672,"slug":36673,"title":36674,"dynasty":174,"author":377,"museum":450,"description":36675,"tags":36676,"thumbUrl":36677,"material":166,"size":166,"collection":166,"collections":36678,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},224505,"shan-shui-ce-kai-shi-shi-tao-224505","山水冊开(十)","此作以淡墨晕染山水，江上扁舟轻漾，白衣士人立舟头，身伴仙鹤，与撑篙舟子共赴江天。远山以浅赭淡墨晕化，似笼着氤氲薄雾，虚实相生间尽显江空岑寂之美。近岸以枯涩焦笔勾勒嶙峋怪石，与淡远云山形成刚柔对照。右侧题笔纵逸苍劲，诗画相融，将乘舟遣兴的悠然襟怀诉诸笔端，以简淡之笔写尽江湖散人意趣，笔墨随心生发，尽显随性放达的文人风骨。",[23,24,25,7,28,31,193,335,80,37,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329d8a848e21eec4000cbfe815172720.jpg",[],{"id":36680,"slug":36681,"title":36682,"dynasty":174,"author":377,"museum":450,"description":36683,"tags":36684,"thumbUrl":36685,"material":166,"size":166,"collection":166,"collections":36686,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},224504,"shan-shui-ce-kai-liu-shi-tao-224504","山水冊开(六)","此作用淡赭轻晕山峦，焦墨点染林木，笔意纵肆苍秀。近观村舍错落溪畔，渔翁独棹扁舟泛于清波，丹崖翠岫间松柯虬劲，墨色苍润见层次。远景峰岫隐在烟岚留白中，晕出水气空濛的夏夕凉意。\n\n页首题诗与画境浑然相融，将山畔闲居、横塘晚风的清寂悠然铺展开来，以尺幅写尽江南水乡的淡远萧散，借山水寄寓胸中丘壑，尽显文人画幽淡旷达的意趣。",[24,25,74,7,27,36,28,31,33,35,212,30,1925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee7ed3d690ac35d0a82eb7f20090f30a.jpg",[],{"id":36688,"slug":36689,"title":36690,"dynasty":174,"author":377,"museum":450,"description":36691,"tags":36692,"thumbUrl":36693,"material":166,"size":166,"collection":166,"collections":36694,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},224499,"shan-shui-ce-kai-san-shi-tao-224499","山水冊开(三)","石涛（1642—177）名原济，号大涤子、清湘老人、苦瓜和尚、济山僧、瞎尊者等。\n石涛原名朱若极，明代藩靖江王后裔，父朱享嘉于南明隆武时在广西自称“监国”，遭俘杀。\n石涛便隐匿起来，后出家为僧。\n石涛曾游历过许多名山大川，有“搜尽奇峰打草稿”、“笔墨当随时代”名言。\n石涛晚年寓居扬州，卖画为业。\n这里介绍的石涛山水，是藏于故宫博物院、以唐代王维、李白、张说等人诗意创作的八开册页中的一页。\n每开册页纵2.厘米，横16.5厘米，纸本，水墨淡设色。\n石涛擅山水、花卉，师宋、元诸家，参以造化，自创一格，笔墨清新多变、天真烂漫，对后世影响极大。\n石涛与石溪并称“二石”，再加朱耷、弘仁，便称“清初四画僧”。\n石涛存世作品尚多，著述则有《苦瓜和尚画语录》、《 》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[23,24,7,27,36,74,28,31,147,35,34,33,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":36696,"slug":36697,"title":36698,"dynasty":174,"author":5090,"museum":450,"description":36699,"tags":36700,"thumbUrl":36701,"material":166,"size":166,"collection":166,"collections":36702,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,24,25,95,254,7,36,28,993,57,213,33,210,7312,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":36704,"slug":36705,"title":31589,"dynasty":174,"author":28306,"museum":450,"description":35040,"tags":36706,"thumbUrl":36707,"material":314,"size":1061,"collection":166,"collections":36708,"showCount":288,"zanCount":1084,"manualWeight":46,"mainColor":461},224437,"shu-fa-dui-lian-he-shao-ji-224437",[37,6187,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa19723fa203ce6b93cc4b22740314ff7.jpg",[],{"id":36710,"slug":36711,"title":10439,"dynasty":174,"author":491,"museum":450,"description":36712,"tags":36713,"thumbUrl":36714,"material":166,"size":166,"collection":166,"collections":36715,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,281,24,25,95,7,28,33,34,35,215,624,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":36717,"slug":36718,"title":36719,"dynasty":174,"author":926,"museum":450,"description":36720,"tags":36721,"thumbUrl":36722,"material":166,"size":166,"collection":166,"collections":36723,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},224312,"hua-niao-ce-shi-kai-2-li-shan-224312","花鸟册十开2","这幅大写意花鸟以纵逸笔墨铺陈，水墨晕染枝叶，浓淡干湿错落间，将叶片舒展之态尽显，笔意随性疏朗，不囿于细枝末节，却晕开草木清灵生机。\n\n两只禽鸟栖于枝桠，一俯一仰灵动鲜活，淡墨轻点头颈绒毛，浓墨晕染翅尾肌理，简括数笔便将禽鸟神形尽数勾勒，意趣盎然。右侧题字率意朴拙，书画相映成趣，浑然相融。\n\n整幅画尽显纵恣不羁的写意风骨，脱略形似而独求意气，寥寥笔墨便将枝间闲趣跃然纸上，寄寓着悠然闲适的文人意趣。",[23,281,24,25,74,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c260e3230891761922e78c776eb0f72.jpg",[],{"id":36725,"slug":36726,"title":36727,"dynasty":174,"author":739,"museum":450,"description":36728,"tags":36729,"thumbUrl":36730,"material":166,"size":166,"collection":166,"collections":36731,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},224190,"guan-quan-tu-hua-yan-224190","观泉图","此作画境清逸古雅，右上角古木盘曲，垂藤轻曳，飞泉自崖间潺潺而下。崖下雅士踞石观泉，仰首凝神，似将身心融于泉声林色之中，旁侧童子携囊持壶，静立相随，愈衬画面幽寂。\n\n笔墨苍润秀灵，淡赭铺底晕出春日空濛，浓墨点染木叶，山石勾勒皴擦结合，写意中不失细腻。题诗与画境相得益彰，将草青花初的春景与泉鸣相融，尽显文人寄情林泉、静赏山水的闲逸襟怀，清隽淡远，观之如临其境，恍闻泉声松风。",[23,24,95,7,27,193,28,33,213,210,30,6485,6484,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455ed575cfebe4bc1c8c2a52961e950.jpg",[],{"id":36733,"slug":36734,"title":36735,"dynasty":174,"author":581,"museum":450,"description":36736,"tags":36737,"thumbUrl":36739,"material":166,"size":166,"collection":166,"collections":36740,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,25,7,27,28,36,2446,34,33,58,730,35,212,211,1525,215,59,36738,8472],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":36742,"slug":36743,"title":36744,"dynasty":174,"author":12042,"museum":450,"description":12043,"tags":36745,"thumbUrl":36746,"material":298,"size":166,"collection":166,"collections":36747,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":2104},223273,"li-shu-tong-shou-gao-zhen-ji-chang-sui-fo-xue-hong-yi-fa-shi-223273","李叔同手稿真迹-常随佛学",[23,37,26,7,3557,4956,242,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1edd59dc08725e49bb546ea1fdf4492e.jpg",[],{"id":36749,"slug":36750,"title":36751,"dynasty":18,"author":11038,"museum":8670,"description":36752,"tags":36753,"thumbUrl":36754,"material":612,"size":36755,"collection":166,"collections":36756,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},222860,"song-he-you-wu-song-xu-222860","松壑幽屋","彩绘山峰、流水、小桥、绿树、桃花，一派春意盎然",[23,24,25,95,7,36,481,28,127,14399,29,30,34,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a048a58ed78444f5f47630c6a4faa40.jpg","141×63cm",[],{"id":36758,"slug":36759,"title":33069,"dynasty":18,"author":19133,"museum":120,"description":36760,"tags":36761,"thumbUrl":36762,"material":564,"size":36763,"collection":166,"collections":36764,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":140},222840,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-222840","萧云从的山水画风格多样，但贯穿其中的基本风貌是笔墨多方折而枯瘦，且在方折的骨体中加入一些皴擦，略有渲染，显得笔墨丰富而灵活。当时，松江派绘画风靡画坛，其画多柔曲的线条、秀润的笔墨，萧氏则改用直折的线条、枯瘦爽利的墨色，可谓别具一格。《国朝画征录》评论萧云从的画称：“不专宗法，自成一家，笔亦清快可喜。”道出了萧云从绘画风格的关键所在。他的画并非具体地宗法某一家，但可看出是从宋元画法中演变而来，不宋不元，即宋即元，又明确地表现出萧氏自身的艺术特色。此图虽是描绘雪景，表现手法与平时稍异，但仍可看出萧氏画作的典型特征。\n画面采用高远法构图描绘层岩绝巘。布局丰满，但山间茂密树丛的蓬松枝杈使画面气脉贯通，虽满却不迫塞。山石形廓较为方硬，凹陷处的皴擦笔笔精到；树木刻画亦极工致，用笔细劲清快，描绘树干纹理、树叶形状一丝不苟。地子则巧妙地留白，用以表现大面积山石及树木枝干上的积雪。皑皑白雪在以淡墨晕染的阴郁天空的衬托下愈发显得清寂萧索。但近景的树脚、石隙间偶尔显露出数竿篠竹，树木枝干染以藤黄，树叶则分别施以朱红、汁绿，这一切都使观者在寒冬的肃杀气氛中隐隐感受到蕴藏着的盎然生机，在历代雪景作品中可谓别开生面。这一方面是由于作者有着对自然界的独特感受，同时也昭示着萧云从内心涌动的希望。\n其时，明宗室诸王流亡各地，除弘光、隆武、永历等主要政权外，臣民奉宗室起兵抗清者所在尚多，且颇具声势。萧氏作为明朝遗民，无时无刻不关注着这些复国大事。题识中的“时得三秦好音”似即指此类事件。\n萧云从曾精研杜诗，著有《杜律细》一卷。其诗亦继承杜诗传统，多即事忧时之作，如此画题诗便是一例。诗中“皇旅云腾度渭河”、“将军高唱大风歌”等句更是雄浑奔放，音韵铿锵，与画面相互映照，真切地表现出萧云从作为明代遗民的思想感情。",[23,24,95,7,481,36,28,831,193,32,194,162,34,6606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f11d303d9b585f987c4fc189dc35570.jpg","纵125.3厘米，横47.7厘米",[],{"id":36766,"slug":36767,"title":36768,"dynasty":18,"author":11473,"museum":120,"description":36769,"tags":36770,"thumbUrl":36771,"material":196,"size":36772,"collection":166,"collections":36773,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,24,25,74,27,7,36,37,28,34,33,282,30,31,32,211,29,148,4920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":36775,"slug":36776,"title":36777,"dynasty":18,"author":11473,"museum":92,"description":25276,"tags":36778,"thumbUrl":36779,"material":196,"size":36780,"collection":166,"collections":36781,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},222590,"shan-xi-chui-diao-lan-ying-222590","山溪垂钓",[23,24,7,36,74,28,31,30,34,33,729,468,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1348f20030503526ea86f64463499e.jpg","72.1x44",[],{"id":36783,"slug":36784,"title":36785,"dynasty":18,"author":17272,"museum":120,"description":36786,"tags":36787,"thumbUrl":36788,"material":964,"size":36789,"collection":166,"collections":36790,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},222427,"san-tuo-tu-li-shi-da-222427","三驼图","《三驼图》绘三个驼背的老者，一提篮侧顾，一向提篮者作揖，一拍手大笑，三人形象滑稽，笑态可掬。画家以驼者之间的相互戏谑，来讽喻“世上无直人”。衣纹用“浑描”，须发皆不见钩勒痕迹，笔墨圆润，柔若无骨，可见作者高度的笔墨造型功力。其上方有钱允治诗云：“张驼提盒去探亲，李驼遇见问缘因；赵驼拍手呵呵笑，世上原来无直人。”点明了此幅的讽世主题。李士达的此画如钱允治的题诗一样，将民间歌谣形之于画图，带有通俗而又诙谐的情调。",[23,24,25,95,7,547,193,80,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bc90e03e64b2e24f32eaba2b927d55.jpg","纵78.5厘米，横30.3厘米",[],{"id":36792,"slug":36793,"title":36794,"dynasty":18,"author":10524,"museum":770,"description":36795,"tags":36796,"thumbUrl":36797,"material":18658,"size":36798,"collection":166,"collections":36799,"showCount":288,"zanCount":1084,"manualWeight":46,"mainColor":140},222078,"hu-fu-chun-qing-tu-xie-shi-chen-222078","虎阜春晴图","《明谢时臣虎阜春晴图》是明代画家谢时臣的作品，此画虚实结合，层次分明，笔墨稳健，湿墨渲染，衬托出江南春日胜迹的润郁宜人之色。此图为作者晚年对虎丘写生之作。\n谢时臣的作品笔法酣畅，墨色稳健，气势恢弘，与他同时期的吴门画派诸家的画则气格相对狭小，这更显出谢时臣绘画的魄力之大。但是，如果把他的作品和沈周、文徵明的作品做一比较，就会发现他的作品略显匠气。正如清代姜绍书在《无声诗史》中对谢时臣画的评价：“长卷巨幛，纵横自如，气势有余，韵秀不足。”\n《虎阜春晴》的布局来看，此图既有王蒙层峦叠嶂、构图紧密的绘画特点，又有谢时臣自己的绘画特征。曲折的山间小路和弯曲的流水给画面平添了无限的意趣。这样，欣赏者的目光就可以随之缓缓上移。远处江面开阔，云气缭绕。画面轻灵生动，意境开阔，于大幅之中透露出精致、典雅的格调。\n《图绘宝鉴续纂》称谢时臣的山水画“人物点缀，极其潇洒”。点景人物虽然只是山水画的点缀，不是独立的一种艺术表现形式，但它作为一种特殊的情感表现载体，赋予了山水画更多的思想色彩。它是山水画中必不可少的组成部分，常常具有“点睛”的作用。能否表现好点景人物，是衡量画家艺术水平高低的一个重要因素。由《虎阜春晴》来看，谢时臣不愧为绘制点景人物的能手。全图有近三十个点景人物，虽寥寥数笔，但都神态毕现、栩栩如生。譬如，近景船头有一人，手捧杂物，双腿微曲，正等船靠岸。画家把他等船的专注神情很好地刻画出来。更让人叫绝的是，画家仅用两笔就把远景舟船中的艄公和船客生动地表现出来。",[23,24,7,36,518,95,28,194,29,30,31,32,193,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5a2216ff13e70d6b7a9c5d0713dc22.jpg","纵162.4厘米，横39.2厘米",[],{"id":36801,"slug":36802,"title":36803,"dynasty":52,"author":3508,"museum":450,"description":36804,"tags":36805,"thumbUrl":36806,"material":19881,"size":36807,"collection":166,"collections":36808,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":47},221693,"xia-shan-guo-yu-tu-gao-ke-gong-221693","夏山过雨图","画上绘近处树木葱郁，水面波纹忽隐忽现，一蓑翁架着小舟悠然荡于河上，远处山峦起伏，云雾缭绕，画家绘出一幅雨后山青水秀的美景。高克恭，字彦敬，号房山，其所作的《云横秀岭图》精妙绝伦描绘出烟雨林峦的景色。",[23,24,1462,7,27,28,31,30,33,212,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc38d444bf3717efb9f2d5f10e4e3b9.jpg","纵25.3公分横26.0公分",[],{"id":36810,"slug":36811,"title":36812,"dynasty":18,"author":1836,"museum":4012,"description":36813,"tags":36814,"thumbUrl":36815,"material":74,"size":4016,"collection":166,"collections":36816,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":166},220752,"fang-ge-jia-shan-shui-4-dong-qi-chang-220752","仿各家山水-4","此作用笔松秀空灵，以干笔淡墨铺展秋山幽居之境。近坡枯木疏林姿态萧散，村居隐于林木间，坡岸错落尽显野逸之趣。中远景山峦层叠，主峰奇崛高耸，以淡墨皴擦轻勾山石肌理，留白晕出水色烟岚的空濛悠远。\n\n全画以书入画，线条温润秀雅，不执着实景摹写，重在以笔墨传递清旷简远之意，寥寥数笔便将深秋林泉的幽寂淡远铺陈开来。以简驭繁，虚实相生间尽显文人画尚意重韵的特质，观之如临静谧山林，涤荡尘心。",[23,24,25,7,254,36,74,28,147,180,30,34,33,164,785,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a359e05e61b220785e0e20211602f.jpg",[],{"id":36818,"slug":36819,"title":36820,"dynasty":18,"author":1836,"museum":4012,"description":36821,"tags":36822,"thumbUrl":36823,"material":74,"size":4016,"collection":166,"collections":36824,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":166},220751,"fang-ge-jia-shan-shui-5-dong-qi-chang-220751","仿各家山水-5","此作用笔松秀虚灵，以干笔淡墨勾勒皴擦，写尽山峦苍润肌理，简淡皴法藏尽丘壑深致。溪岸佳木繁荫，苍松挺劲蓊郁，与层叠远山相映成趣。画面留白清寂，水色空明，野桥横卧浅溪，弥散出萧散淡远的静穆雅韵。\n以书法意趣入画，笔墨简练脱略，不重实景描摹，尽显文人画超然出尘的林下之风。于简淡中藏雄浑，浅墨间见苍润，将山川静穆生机与文人幽怀相融，观之如坐林泉，悄然揽得山水清旷之趣。",[23,24,25,7,36,28,29,30,162,180,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8bcdaa85562a81f6a4956e87ec107b.jpg",[],{"id":36826,"slug":36827,"title":36828,"dynasty":174,"author":36829,"museum":4012,"description":36830,"tags":36831,"thumbUrl":36832,"material":36833,"size":36834,"collection":42,"collections":36835,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":166},220746,"shan-shui-ji-wang-shi-min-weng-ling-wu-hong-deng-220746","山水集","王時敏,翁陵,吳宏等","此作以淡墨写秋山幽居，高远山势裹挟平远溪村，虚实相生间铺展萧疏秋意。干笔皴擦勾勒崖石肌理，墨色枯润相间，山石苍朴古拙，间植的虬松杂木以浓墨点染，于淡逸底色中醒出清刚生气。山脚茅舍隐于坡麓林樾，似有幽人栖居，愈显空山岑寂。\n左侧题识朱印与画面相映成趣，文气融于山水间，将笔墨意趣与林下襟怀相融，尽显简淡天真的文人逸韵，引人神游林泉，坐忘尘嚣。",[24,7,36,95,28,34,33,193,533,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69bcfdca7a043dfd340cb6eb43397849.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[42],{"id":36837,"slug":36838,"title":36839,"dynasty":174,"author":29019,"museum":4012,"description":36840,"tags":36841,"thumbUrl":36843,"material":36844,"size":36845,"collection":166,"collections":36846,"showCount":288,"zanCount":46,"manualWeight":46,"mainColor":166},220730,"xun-qin-tu-5-huang-xiang-jian-220730","寻亲图5","画面以虚实二分排布，左为题识，右绘山水。淡墨晕开烟岚，青绿晕染峰峦，温润雅致。层叠山峦间云气萦回，山寺卓立翠岭之巅，江渚隐现烟波里，孤舟悬于空濛水面，暗衬长路寻亲的孤寂。\n\n苍劲题笔与秀雅山水相映，文情画境交融，将羁旅寻亲的悠长愁思，寄于阔远烟霞。青绿设色承袭古意，留白铺陈烘托出漫漫寻途的沉郁心绪，笔墨工秀兼具，把天涯寻亲的幽微情愫藏在云山烟水之间，意韵绵长。",[24,26,27,7,28,36,212,211,1525,164,36842,33,213,533],"近峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ed87cab5ac6282467def950a93b23e.jpg","水墨,设色,纸本,手卷","31.4 × 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[1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[281,24,25,26,7,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3242edbe22a43498a5e6b3ae99217475.jpg",[245],{"id":37170,"slug":37171,"title":37172,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":37173,"thumbUrl":37174,"material":314,"size":1061,"collection":166,"collections":37175,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},240868,"wu-gu-shi-zhou-zhu-da-240868","五古诗轴",[10153,37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1775b61b5757903e980ee83d7395ede5.jpg",[],{"id":37177,"slug":37178,"title":37179,"dynasty":174,"author":37180,"museum":120,"description":37181,"tags":37182,"thumbUrl":37183,"material":298,"size":37184,"collection":245,"collections":37185,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},240691,"wu-yan-lian-yi-bing-shou-240691","五言联","伊秉绶","释文：\n为文以载道，论诗将通禅。 书为舫西先生侍御尊兄正。嘉庆丁卯花朝。愚弟伊秉绶。\n伊氏早年拜在乾隆四大家之一的刘墉门下学习书法，并与王文治、桂馥、黄易、孙星衍等人师友相交，研讨书艺，加之其天资聪敏，融铸古今，遂形成独具特色的艺术风格。\n此作书于清嘉庆十二年（1807年），伊秉绶时年55岁，已是晚期作品。此联结字方正，舍隶书之波磔，突破了传统隶书的结构和笔法，凝重整肃，气势宏大，显示出伊秉绶晚年对隶书艺术不断开拓变革的境界和魄力。",[37,6187,6186,7,80,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95b9cb1945d5e0145f740cd4c0c5442.jpg","纵109.3厘米，横25.3厘米",[245],{"id":37187,"slug":37188,"title":37189,"dynasty":174,"author":20028,"museum":450,"description":37190,"tags":37191,"thumbUrl":37192,"material":314,"size":1061,"collection":245,"collections":37193,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},240290,"shu-zha-ce-lin-ze-xu-240290","书札册","林则徐（1785年8月30日－1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[25,37,74,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9261725c6f352b4da59444ba8901ae6d.jpg",[245],{"id":37195,"slug":37196,"title":37197,"dynasty":18,"author":11885,"museum":450,"description":37198,"tags":37199,"thumbUrl":37200,"material":166,"size":166,"collection":245,"collections":37201,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},239979,"qi-lv-juan-zhang-bi-239979","七律卷","张弼（1425～1487）字汝弼，家近东海，故号东海，晚称东海翁。松江府华亭县（今上海奉贤青村）人 [1] 。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[23,37,25,394,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d1fbb26be088463c567973dc4d31e5.jpg",[245],{"id":37203,"slug":37204,"title":37205,"dynasty":52,"author":12875,"museum":120,"description":37206,"tags":37207,"thumbUrl":37208,"material":38,"size":37209,"collection":245,"collections":37210,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},239663,"ti-hua-shi-tie-ye-zhang-yu-239663","题画诗帖页","释文：\n清才绝似王摩诘，爱向高堂写雪山。华盖洞中如屋里，赤栏桥外是人间。琼楼只许飞仙住，珠树应留织女攀。莫信寒泉伤玉趾，最宜清暑听潺湲。怪底朝寒云气浓，卷帘金翠出芙蓉。似倾三峡龙门雪，为洗明星玉女峰。玄豹藏来深雾雨，绿阴缺处小房栊。拟求许郭仙人宅，知隔琼华第几重。\n右题张彦辅画《雪山楼观》、《云林隐居》二图。雨。\n又书小字:\n四月廿六日晚，雨试笔，天镜、拙庵此时偃卧清凉室中，小龙了在天年袖中矣。\n钤“张雨私印”、“句曲外史张天雨印”。\n卷后有郑元祐题诗，罗天池题名，南郭翁书法。其中南郭翁书法一段与《题画诗帖》没有必然联系。卷前沈曾植隶书引首“诗留画味”。明周天球题诗及画像皆伪。\n文中“张彦辅”为元至正时人，号六一道士，居北京，善画山水。\n卷后郑元祐诗题中有“可怜斯人头已白”句，可知是张雨晚年的作品。《题画诗帖》书法清劲流利，舒放而又雍容，多具变化，又颇有些峻厉狂怪。张雨早年书法受赵孟頫影响，后得《茅山碑》，其书遂变，故此题字画清遒，染有唐人风格。张雨此件有双胞作品，美国大都会藏有另一本，无跋。两者比较，故宫为摹本，大都会为书写本，应是真迹。",[23,2175,37,38,7,27,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd04fe9c729e96af896681562a76f4.jpg","纵29.3厘米，横148.5厘米",[245],{"id":37212,"slug":37213,"title":37214,"dynasty":205,"author":581,"museum":450,"description":37215,"tags":37216,"thumbUrl":37217,"material":166,"size":166,"collection":166,"collections":37218,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},239660,"mi-fei-bai-zhong-yue-ming-shi-tie-juan-yi-ming-239660","米芾拜中岳命诗帖卷","此作用笔纵宕爽利，欹侧奇崛又不失沉稳，笔锋提按转合间牵丝映带，尽显随性潇洒的意趣。行书线条粗细变化自然，墨色润燥相生，将刷书的独特风神淋漓展现。\n\n诗文心境旷远静穆，和书法的逸气相融，笔墨间漫出脱尘的雅韵。整卷鉴藏朱印累累，与墨色相互映衬，晕开时光沉淀的厚重质感，尽显这件法书名迹的不凡价值与绝代风华。",[23,37,38,26,80,858,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f476a5fc1f672ebcd26a550f6bf3c.jpg",[],{"id":37220,"slug":37221,"title":37222,"dynasty":52,"author":621,"museum":120,"description":37223,"tags":37224,"thumbUrl":37225,"material":37226,"size":37227,"collection":245,"collections":37228,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},239633,"xing-dan-shi-shi-zhou-ni-zan-239633","行淡室诗轴","释文：\n欲写新诗尘满几，味我迂言淡如水。白云淡淡何从来，来伴我（此字点去）孤吟北窗里。酒味甘浓易变酸，世情对面九疑山。白云且结无情友，明月幽禽与往还。八月廿日过宗道云栖楼，命余赋子安淡室诗，因赋。是日疏雨生凉，山光满几，殊有幽兴也。瓒。\n无题跋。鉴藏印钤有清“润州戴植字培之鉴藏书画章”印一方。\n《淡室诗》是倪瓒为友人“宗道”所书的一首七律诗。诗中寄托了他避世索居、与白云幽禽为伴的心境。\n此书是倪瓒存世这是一件彰显作者个性的书法作品，以立轴形式装裱在当时是比较少见的。此件楷书运笔俊峭，取法初唐楷书而兼有隶意，韵致高古，结字章法更打破楷书均衡取势之态，颇显生动飘逸的特点。据书风判断应为其晚年之作。",[95,38,37,7,940,311,23124,1777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9dbd69a846f83951a4d74d76cfee6c1.jpg","纸本，行楷书","纵64厘米，横27厘米",[245],{"id":37230,"slug":37231,"title":37232,"dynasty":18,"author":7799,"museum":120,"description":37233,"tags":37234,"thumbUrl":37240,"material":242,"size":37241,"collection":245,"collections":37242,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},239569,"ti-zhuo-qing-xuan-shi-ye-xu-ben-239569","题濯清轩诗页","此作录五律一首，见于徐贲《北郭集》卷四。书法秀整端严，清逸可爱，具唐楷古意，与明初台阁体圆秀一路相比，自成一格，体现出徐贲书法的特色。此作曾经清安岐鉴藏。",[38,37,80,7,37235,15559,37236,14436,14631,37237,363,37238,37239,21689],"春江","流芥","沙鸥","钓舟","沧浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2beb26a8fa2e205a867c0441a530bd.jpg","纵17.6厘米，横7厘米",[245],{"id":37244,"slug":37245,"title":37246,"dynasty":52,"author":239,"museum":120,"description":37247,"tags":37248,"thumbUrl":37249,"material":37250,"size":37251,"collection":245,"collections":37252,"showCount":139,"zanCount":1084,"manualWeight":46,"mainColor":140},239561,"shu-jue-jiao-shu-juan-zhao-meng-fu-239561","书绝交书卷","此帖为赵孟頫六十六岁时抄录的魏晋时期名士嵇康名篇。行笔秾纤多古意，楷、行、草、章草间杂，浑然一体，而转折略带方硬，颇显苍老古拙韵味，是赵氏晚年佳作。其与赵书常见的气度雍容有异，颇显纵放跌宕，或是《绝交书》内容本身的愤激不平感染了书者的情绪所致。",[23,37,25,26,38,7,27535,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a757e16d27ab70bbe8d419733997948.jpg","行草书，绢本","纵21.8厘米，横254.7厘米",[245],{"id":37254,"slug":37255,"title":37256,"dynasty":174,"author":25030,"museum":450,"description":31252,"tags":37257,"thumbUrl":37258,"material":166,"size":166,"collection":166,"collections":37259,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},238834,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238834","董诰墨庄览胜图册",[24,25,74,7,481,126,32,706,28,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a28434c91ceeec5004c2ce64fc3df1.jpg",[],{"id":37261,"slug":37262,"title":157,"dynasty":174,"author":15930,"museum":450,"description":37263,"tags":37264,"thumbUrl":37265,"material":314,"size":1061,"collection":42,"collections":37266,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},238669,"shan-shui-ce-dong-bang-da-238669","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,25,74,7,27,36,28,34,33,35,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc15d3c92b2ab8760893ac4ead1ee3663.jpg",[42],{"id":37268,"slug":37269,"title":37270,"dynasty":18,"author":581,"museum":450,"description":37271,"tags":37272,"thumbUrl":37273,"material":314,"size":1061,"collection":166,"collections":37274,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},238061,"zhang-hong-jiao-yin-wei-cha-shan-yi-ming-238061","张宏蕉荫味茶扇","此作以淡设色铺陈茶事雅集，右侧芭蕉阔叶扶苏，浓荫下摆开茶席，文士围坐清谈品茗，侍童捧器静立，将文人日常闲雅之态铺展眼前。细劲墨线勾勒人物衣纹，神态宛然灵动，芭蕉与坡石晕染秀润柔和，泥金扇底晕开古雅光泽。画面疏密相宜，左侧留白衬出清寂悠远的意境，将文人耽于茶趣、寄兴林泉的雅逸心境尽数藏于尺幅之间，笔墨隽秀平和，尽显小品画里茶事雅集的悠然意趣。",[1462,24,25,7,547,27,193,421,34,33,2082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f866725105e3160e49352cadb13d358.jpg",[],{"id":37276,"slug":37277,"title":37278,"dynasty":18,"author":37279,"museum":450,"description":37280,"tags":37281,"thumbUrl":37282,"material":314,"size":1061,"collection":166,"collections":37283,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},237808,"gu-song-tu-shan-hou-xi-237808","古松图扇","侯晰","字灿辰，江苏无锡附监生。考授州佐。\n工隶、篆，善山水，有惜轩集。",[24,1462,7,127,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F737be6a3aa71cbe8df98763d26e0eb84.jpg",[],{"id":37285,"slug":37286,"title":6113,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":37287,"thumbUrl":37288,"material":166,"size":166,"collection":166,"collections":37289,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},237765,"yuan-ji-shan-shui-tu-ce-shi-tao-237765",[24,7,36,74,28,34,210,33,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09dc0c32ab98fa7cdb90b009cd5e906.jpg",[],{"id":37291,"slug":37292,"title":37293,"dynasty":18,"author":22999,"museum":450,"description":37294,"tags":37295,"thumbUrl":37296,"material":166,"size":166,"collection":42,"collections":37297,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},237695,"yun-shan-fang-guang-zhou-xiang-yuan-bian-237695","云山放光轴","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。 其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[24,25,95,7,36,335,454,706,282,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8320ab5ca362924ab59d1050aabcc8c.jpg",[42],{"id":37299,"slug":37300,"title":9368,"dynasty":174,"author":2605,"museum":450,"description":5286,"tags":37301,"thumbUrl":37302,"material":314,"size":1061,"collection":166,"collections":37303,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},237617,"hong-ren-shan-shui-ce-hong-ren-237617",[24,25,74,7,36,37,38,80,28,147,35,212,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2039876f758a16a9c834ff7da2a5182d.jpg",[],{"id":37305,"slug":37306,"title":9368,"dynasty":174,"author":2605,"museum":450,"description":5286,"tags":37307,"thumbUrl":37308,"material":314,"size":1061,"collection":166,"collections":37309,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},237616,"hong-ren-shan-shui-ce-hong-ren-237616",[24,25,74,7,36,38,80,28,180,33,532,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c67fe135fe740c9acc2ed77ec079c59.jpg",[],{"id":37311,"slug":37312,"title":28142,"dynasty":18,"author":4131,"museum":92,"description":37313,"tags":37314,"thumbUrl":37315,"material":298,"size":13325,"collection":42,"collections":37316,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},237387,"ku-mu-zhu-shi-zhou-chen-hong-shou-237387","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,25,95,7,547,36,809,126,706,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e90407ec747da8abbe02b723eb29e68.jpg",[42],{"id":37318,"slug":37319,"title":10308,"dynasty":174,"author":5090,"museum":92,"description":10309,"tags":37320,"thumbUrl":37321,"material":298,"size":166,"collection":166,"collections":37322,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},237204,"shan-shui-zhu-shi-ce-wang-hui-237204",[24,25,74,7,36,28,34,33,31,30,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f86f65ebff438d9c1b444271fc5d317.jpg",[],{"id":37324,"slug":37325,"title":10308,"dynasty":174,"author":5090,"museum":92,"description":10309,"tags":37326,"thumbUrl":37327,"material":298,"size":166,"collection":166,"collections":37328,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},237202,"shan-shui-zhu-shi-ce-wang-hui-237202",[24,7,74,36,80,28,126,706,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588c3a5135ccd9066912905e330b5d33.jpg",[],{"id":37330,"slug":37331,"title":1567,"dynasty":18,"author":14875,"museum":450,"description":37332,"tags":37333,"thumbUrl":37334,"material":166,"size":166,"collection":42,"collections":37335,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},237146,"shan-shui-zhou-xiang-sheng-mo-237146","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”。",[281,24,25,95,7,28,36,162,32,706,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d5cf14ad2087901e0d4f16e53aa4cf.jpg",[42],{"id":37337,"slug":37338,"title":157,"dynasty":18,"author":37339,"museum":450,"description":37340,"tags":37341,"thumbUrl":37342,"material":166,"size":120,"collection":42,"collections":37343,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},236600,"shan-shui-ce-ye-xiang-rong-236600","叶向荣","此作取景于幅面右侧，以奇崛山石为主体，细劲勾勒山石轮廓，淡墨皴擦晕染，尽显岩壁嶙峋质感。古松虬曲苍劲，枝干舒张如铁，松针层叠错落，饱经风霜之态跃然纸面。\n\n山谷间隐现村居茅舍，远景以淡墨轻施，留白晕染出朦胧空茫，将山野的幽寂悠远铺陈开来。笔墨简淡清逸，摒却繁复堆砌，以简驭繁，尽显清雅意趣，于方寸册页间，将林泉隐逸的恬淡山居诗意徐徐铺展，藏着寄情山水的幽远心境。",[24,25,74,7,36,28,624,34,29,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8abcdf9bd8980b8e21497c06feca20.jpg",[42,222],{"id":37345,"slug":37346,"title":37347,"dynasty":18,"author":37348,"museum":450,"description":37349,"tags":37350,"thumbUrl":37351,"material":166,"size":166,"collection":245,"collections":37352,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},236554,"bu-dai-he-shang-xiang-zhou-zhu-yi-pai-236554","布袋和尚像轴","朱以派","朱以派（？－1642年），字衍宗，号干山，山东省兖州府滋阳县（今山东省济宁市）人，明朝第十代鲁王，肃王朱寿镛庶三子。崇祯十三年（1640年）袭封鲁王。他在位两年。崇祯十五年（1642年）清兵入塞攻破兖州府，朱以派自缢而亡，长子及弟朱以洐、朱以江一并殉难。两年后其弟朱以海嗣位。",[24,25,95,3557,193,547,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,26,7,481,547,80,193,7781,30,33,1004,282,729,28,7105,10249,21333,6939,1035,468,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":37490,"slug":37491,"title":22363,"dynasty":18,"author":12323,"museum":120,"description":37492,"tags":37493,"thumbUrl":37494,"material":537,"size":166,"collection":166,"collections":37495,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},234242,"shan-shui-juan-sun-zhi-234242","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,26,7,27,36,37,38,28,212,58,3246,33,35,624,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":37497,"slug":37498,"title":37499,"dynasty":18,"author":21434,"museum":120,"description":37500,"tags":37501,"thumbUrl":37502,"material":298,"size":166,"collection":166,"collections":37503,"showCount":139,"zanCount":1084,"manualWeight":46,"mainColor":47},234122,"lan-shi-tu-juan-ma-shou-zhen-234122","兰石图卷","中国古代女性画家的作品，虽然其艺术语言尚未超越男性画家，却始终是美术史中的一个重要组成部分。尤其明清两代女性绘画的空前发展，使她们在各自的才艺表述中，散发着独特魅力。其中明代马守真便是最为卓越而富有才情的女画家之一。\n马守真（1548-1604），小字玄儿、又字月娇，自号“湘兰”，因家中排行第四，人称“四娘”。幼年时沦落风尘的马湘兰，天资聪慧，多才多艺，且能诗善画，一生以兰花、竹、石、灵芝、水仙等为题创作了许多作品。在她以兰花为主题的传世作品中，有真亦有伪，且早期与晚期的画风也不尽相同，水平自然亦有高低。其间，马守真在1598年五十岁时所作的《兰石图》（图一）（现藏中国国家博物馆），堪称她绘画成熟期的经典之作。是图描绘了草坡之上的一丛野生兰，只见兰叶随意舒展、花儿含羞怒放、身后有修竹为伴，亦随风轻轻舞动。兰花伴以湖石、润笔勾出，与信手点染的苔草相映成趣。画家以没骨之法、细线勾勒出的兰叶，行笔劲挺流畅、张显了兰花恣意生长、野趣盎然。图中左上有画家款识：“戊戍仲冬日写”、“湘兰马守真”，钤印“湘兰”、“守真玄玄子”二方。图中右下有“曾藏锡芝兰堂”等收藏印二方。\n从湘兰所画兰花的笔法来看，她更多承袭了南宋赵孟坚（1199—1264） 的水墨兰花风格。曹寅评其画云：“兰法子固，竹法仲姬，俱能袭其韵。”赵孟坚，字子固、南宋宗室。他工诗善画，是兼具贵族、士夫与文人身份的画家。他首创的墨兰，“清而不凡、秀而雅淡”,深得后世文人推崇（图二）。万历三十二年（1604），湘兰在她五十七岁临终那一年画的《兰花图》卷（上海博物馆藏）（图三） 款题中写道：“甲辰夏日，在松院仿赵子固画兰赠彦可兄，湘兰马守真。”足见对赵孟坚画兰之风的追随。此画卷分为两段：前段双勾、后段水墨写意，浓淡变化，颇多意趣。画卷开首有杨法所题变体篆书云：“咀嚼兰蕙”。如果说赵孟坚笔下的兰花盛开，犹如翩翩起舞的彩蝶、春风得意，那么湘兰笔下的兰花则更像是娴静的少女，多了几分柔媚与清幽。\n湘兰一生画了很多兰花，水墨居多，而少颜色，如《兰花图》扇面（图四）、《兰石图》卷（故宫博物院藏）、《兰竹石图》轴等传世佳作。后人评：“其墨兰一派，潇洒恬雅，极有风韵”。图中兰花的左右，往往伴有湖石、墨竹、水仙、灵芝等清雅之物。湖石或润笔或皴擦、简淡天成，瘦竹则疏朗有致，与幽兰相应成趣。画风给人的感觉更像是一个文人士大夫的作品，而难想像乃出自金陵花街柳巷的一风尘女子之手。\n湘兰专注于兰，为此还特意在秦淮河畔边盖了一座小楼，栽满兰花，名为“幽兰馆”。她所喜好的兰花，也正是历代文人画家所热衷的“君子”题材。宋末元初的诗人画家郑思肖（1241-1318） 专绘“露根兰”，谓之“纯是君子，绝无小人”，以寄托亡国之恨。兰花由此被赋予了极强的人格意义，成为品德高洁的君子象征。明代苏州吴门大家文征明尤爱画兰，留有许多兰花竹石逸品，如《兰竹图》（台北故宫博物院藏）（图五）。陈元素周天球等江南文人亦以描绘清幽而芬芳的兰花为乐事（图六）。作为“秦淮八艳”之一的名妓，湘兰“性情轻侠”，为人豪爽，慕名求访者甚多，这其中自然不乏江浙地区的文人雅士、风流才子。而画兰之风在晚明江南一带的日渐昌盛，不能不说对马守真产生了重要影响。\n湘兰“姿首如常人”、相貌并不出众，但是她胜在才情，“神情开涤，濯濯如春柳早莺，吐辞流盼、巧伺人意”。她不仅善于绘事而且工于诗文，常常在兰绘图中自题诗句，留下“一叶幽兰一箭花，孤单谁惜在天涯”、“何处风来气似兰，帘前小立耐春寒”等诸多佳句。与文人士夫借物抒情，集文学、书法、绘画的艺术表达为一体的情趣相契合，湘兰画的兰花，也是“画中有诗”、“诗中有画”，充满了书卷气。\n文人画的产生与兴盛，在相当程度上是出于厌世的隐遁心理，寄情笔墨以寻求内心平衡。晚明时局动荡，又多了这样前途渺茫的文人画家。江南文人更以描写“梅兰竹菊”等水墨写意自娱，籍以淡薄名利甚至逃避险恶仕途。尽管湘兰的兰花与文人笔下的兰花有诸多相似之处，但是对于一个烟花女子来说，她画兰，显然与文人画兰潜藏着仕途失意与不满的政治诉求没有太多关系。除了自身的喜爱，更多的应该是对当时文人圈时尚的某种迎合以及自我人格的标榜。\n正如湘兰的诗句：“空谷幽兰独自香，任凭蝶妒与蜂狂”、“绝壁悬崖喷异香”，借兰花标榜自己的孤芳傲世而别于欢场中人。不仅如此，湘兰还独创有一叶兰，仅一抹斜叶，托着一朵兰花，以体现兰花清幽空灵，仿佛又带有一丝哀怨与孤寂，来倾诉自己的无依之情。清香的幽兰，暗自吐芳，也是画家一生的写照：湘兰在二十四岁时相识长洲（今苏州） 才子王穉登，并为他痴守一生、孤单终老。二人经常以兰花为题，诗文书画互动，出现在湘兰的作品中。王穉登曾以“一枝写出湘皋影，仿佛凌波解佩人”，将湘兰画中兰花比作她本人，赞其超凡脱俗与清高品质。就在抱病赶往姑苏为穉登置办七十寿筵返回金陵之后，湘兰一病不起，于是燃灯拜佛、沐浴更衣、端坐而逝。王穉登悲痛之余写下挽诗：“歌舞当年第一流，姓名赢得满青楼，多情未了身先死，化作芙蓉也并头。”可以说，湘兰如此执着于兰花的写照，与落魄文人王穉登的情感纠葛不无关系。值得一提的是，同时代的另一位女画家薛素素也是画兰高手，也曾与王穉登有过交集。\n湘兰的绘画，有着浓浓的文人情怀。比起文人画兰张显的自我意识与个性，她的兰花则多了几分女性的温婉与秀雅，也多了几分哀怨与孤寂。湘兰的传世作品数量极多，民间多于官方，虽然真伪混杂，却足见世人对她的喜爱。作为身份卑微的青楼女子，湘兰的兰花风格占据不了画坛主导，却也独具幽芳，惹人怜爱，同时成为一个特定时代与文化的折射，并对后世的墨兰创作带来了深远影响。",[24,25,26,7,547,133,706,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab683345673a977ba6b3af4ea9c4edd.jpg",[],{"id":37505,"slug":37506,"title":37507,"dynasty":205,"author":607,"museum":120,"description":37508,"tags":37509,"thumbUrl":37510,"material":10405,"size":37511,"collection":166,"collections":37512,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},234071,"shi-bi-kan-yun-tu-ye-ma-yuan-234071","石壁看云图页","此图为典型的南宋院派山水画风格的作品，构图简练，根据需要把自然山水理想化，选景皆为主题服务，给人以联想的空间.",[24,7,27,36,74,28,180,193,454,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a3308367e3d067d9670be8e7a73643.jpg","23.7厘米，横：24厘米",[],{"id":37514,"slug":37515,"title":37516,"dynasty":174,"author":739,"museum":120,"description":37517,"tags":37518,"thumbUrl":37521,"material":564,"size":37522,"collection":166,"collections":37523,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[24,123,27,7,95,75,147,282,163,1004,28518,6001,37519,37520],"鸟禽","水边植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd744f410ea61ce30a13c0ce4ef3ca7c0.jpg","纵161厘米，横87.9厘米",[],{"id":37525,"slug":37526,"title":37527,"dynasty":52,"author":16372,"museum":120,"description":20761,"tags":37528,"thumbUrl":37530,"material":1221,"size":37531,"collection":166,"collections":37532,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":461},233879,"xue-gang-du-guan-tu-zhou-ma-wan-233879","雪岗渡关图轴",[24,494,95,36,7,831,335,7489,33,624,34,37529,1524,213,993],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","纵：125.4厘米，横：57.2厘米",[],{"id":37534,"slug":37535,"title":37536,"dynasty":174,"author":9682,"museum":120,"description":37537,"tags":37538,"thumbUrl":37539,"material":964,"size":37540,"collection":166,"collections":37541,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},233869,"xi-shan-fang-mu-tu-zhou-cha-shi-biao-233869","溪山放牧图轴","此幅绘一河两岸的空旷景致。构图简洁，平远取势。多以侧锋行笔，线条于精细处见苍劲，富有变化和表现力度，是查氏学倪瓒画风的代表作之一。",[24,7,28,95,36,312,717,215,34,25529,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acd635c29f606478003fbc4a3751dee.jpg","纵116.3厘米，横59.5厘米",[],{"id":37543,"slug":37544,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":37545,"thumbUrl":37546,"material":811,"size":4319,"collection":166,"collections":37547,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},233858,"mei-hua-ce-jin-nong-233858",[24,25,74,547,7,75,125,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697b9b210a11113f3a2283868babba80.jpg",[],{"id":37549,"slug":37550,"title":16666,"dynasty":52,"author":10972,"museum":20,"description":16667,"tags":37551,"thumbUrl":37552,"material":37553,"size":37554,"collection":166,"collections":37555,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},233845,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-233845",[281,24,25,95,7,809,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298fb7986c06f60a77682264460b6e97.jpg","绢本。墨笔","170x52厘米",[],{"id":37557,"slug":37558,"title":37559,"dynasty":52,"author":11732,"museum":120,"description":37560,"tags":37561,"thumbUrl":37562,"material":537,"size":37563,"collection":166,"collections":37564,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,25,281,7,28,29,30,33,34,36,38,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":37566,"slug":37567,"title":3136,"dynasty":174,"author":377,"museum":120,"description":9377,"tags":37568,"thumbUrl":37570,"material":23968,"size":23969,"collection":166,"collections":37571,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},233421,"yuan-ji-shan-shui-ce-shi-tao-233421",[281,24,25,74,7,36,28,34,147,33,1442,37569,10414],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c55c1ae79c7d14fcee18a101340766.jpg",[],{"id":37573,"slug":37574,"title":22363,"dynasty":18,"author":37575,"museum":120,"description":37576,"tags":37577,"thumbUrl":37578,"material":10405,"size":37579,"collection":166,"collections":37580,"showCount":139,"zanCount":1084,"manualWeight":46,"mainColor":140},233145,"shan-shui-juan-wang-yan-qiang-233145","王彦强","绘江边山峦起伏，林木繁茂，隐约可见村合依山而建。山石用披麻皴，笔法秀劲细密，林木简笔勾干，以浓淡水墨点叶。\n此图景色清新，境界清寂淡泊，具有春日山乡写生的特点，为王立中罕见传世品。",[24,25,26,7,36,28,33,212,58,480,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95037f673dc059a04e041dad1bea72e2.jpg","纵25．2厘米横53．3厘米",[],{"id":37582,"slug":37583,"title":37584,"dynasty":174,"author":3928,"museum":159,"description":37585,"tags":37586,"thumbUrl":37587,"material":5358,"size":37588,"collection":166,"collections":37589,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},232896,"ju-shi-tu-zhao-zhi-qian-232896","菊石图","同治十一年壬申，客居北京的赵之谦南归在家乡小住，旋赴江西修《江西通志》。临行前，他为朋友画了很多画，自此之后，他一心修《志》，绝少刻印画画，成了晚清艺术史上一大憾事。此轴即作于临去江西前，笔墨雄肆，构图奇突，可见当时的心情和画艺的熟练。极为难得。\n赵之谦（1829－1884），中国清代著名的书画家、篆刻家。浙江绍兴人。初字益甫，号冷君；后改字撝叔，号悲庵、梅庵、无闷等。在晚清艺术史上，赵之谦无疑是最为重要的艺术家之一。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大的影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，实得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。",[24,25,1462,27,7,123,75,134,180,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd190ad7341a8baac238ac32249ed8e.jpg","17×54厘米",[],{"id":37591,"slug":37592,"title":37593,"dynasty":18,"author":2851,"museum":92,"description":37594,"tags":37595,"thumbUrl":37596,"material":61,"size":37597,"collection":166,"collections":37598,"showCount":139,"zanCount":1084,"manualWeight":46,"mainColor":140},232667,"shan-lu-song-sheng-tu-tang-yin-232667","山路松声图","唐寅此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。\n图绘一山高耸，有一泉水自山腰拾级而上，汇入河中。山脚有一小桥跨泉连接山路，桥上两人，老者仰首侧耳，似听泉流松声，一童携琴随后。泉畔是茂密的松林，枝干虬曲，藤蔓缠身。一条崎岖不平的野路，蜿蜒通向山间。\n唐寅16岁中秀才，29岁在乡试中获第一名“解元”，30岁赴京赶考，大好的前途指日可待。岂料一同赶考的大地主徐经暗中贿赂主考官家的仆人从而得到试题，事情败落后，倒霉的唐寅也遭受牵连，甚至经受刑拷凌辱。一向恃才傲物的他经受如此大的打击后，对官场产生了强烈的反感，从此放荡不羁。失意后的唐寅游遍名山大川，千山万水了然于心，因此他的山水画中充满了吴地山水的景象，《山路松声图》就是他山水画的代表作。\n图中描绘了一座高耸的山峰，一汪泉水从山腰处流下，汇入清澈见底的河中。泉水边是葱郁的松林，藤蔓环绕在曲曲折折的枝干上。山脚下有一座小桥横跨河水，桥上一老人仰着头，似乎在倾听泉声，又好像在欣赏阵阵松涛，其后有一少年抱着琴跟随。唐伯虎在画上题诗道：“女几山前野路横，松声偏解合泉声。试从静里闲倾耳，便觉冲然道气生。”表达了他向往与世无争、闲淡自然生活的理想。\n图中松树枝叶的画法，从夏圭中来，但远比之繁盛、写实。以细劲的中锋勾勒，转折顿挫，不乏法度。山石硬朗，棱角分明，显然是李、郭的画法，但不师郭熙的卷云皴，也不施马、夏的斧劈皴，而是一种带有唐寅个人风格的线皴，较之许道宁的直线皴更为随意、疏松。勾笔较浓，而皴笔较淡，以浓点分出石的构成和层次，墨色通透而儒雅。用笔顿挫转折，遒劲飞舞，巧妙地点出了松声之意境。山的结体，错落盘桓，层次清晰，景致优美，而且真实感很强，有北宋全景山水的韵致。背景的处理极为简括，炕炕洛藩，给人以空旷萧瑟、冷漠寂寥的感受。\n此画构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。",[24,494,95,7,36,27,335,127,30,210,180,311,32,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9b8101070ee6720dcb0d5f2a0f287e.jpg","纵194.5厘米，横102.8厘米",[],{"id":37600,"slug":37601,"title":37602,"dynasty":52,"author":3508,"museum":92,"description":37603,"tags":37604,"thumbUrl":37605,"material":457,"size":37606,"collection":166,"collections":37607,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},232266,"qun-feng-qiu-se-tu-gao-ke-gong-232266","群峰秋色图","画中峰峦多用淡墨浅色皴染，主峰用墨最重，山顶并缀以横笔“米点”，有水墨淋漓之趣。石绿、石青之渍染润厚秀雅，显得峰峦更为浑厚稳重。",[24,25,95,7,27,36,494,57,212,211,33,30002,34,1974,32,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24f2fae530aea5dd8da8ae53c3bd081.jpg","该幅159.9x104.8公分；全幅105.8公分",[],{"id":37609,"slug":37610,"title":4832,"dynasty":52,"author":3508,"museum":450,"description":37611,"tags":37612,"thumbUrl":37613,"material":298,"size":37614,"collection":166,"collections":37615,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},231593,"yun-shan-tu-gao-ke-gong-231593","在元六家中，高克恭虽不算家喻户晓，但许多人认为其作品无论是用墨还是笔法，都体现着元代绘画极高的艺术水准。虽带有异域血统，但他却凭借自己对汉文化的刻苦钻研，成为一代大师。\n高克恭是色目人，色目是当时对少数民族的统称，他与父辈在元朝时迁居至燕京。相传他生于哈萨克斯坦，异域血统让他连长相都有些与众不同。好友朱德润评价其为“高侯回纥长髯客，唾洒冰纨作秋色”。从后世流传的画像中，我们也能看到他卷发虬须、五官深邃，带有几分外国人的模样。\n作为古代少有的几位少数民族书画大师之一，高克恭在山水画方面造诣极高，包括董其昌、张大千在内的艺术家纷纷模仿其画作。其创作的《仿米氏山水手卷》以299万人民币的价格在2012年的北京春拍中成交，创下其个人作品最高成交纪录。\n“国朝名笔谁第一，尚书醉后妙无敌。”是人们评价高克恭的溢美之词。能被冠以如此高的评价不仅仅是因他对后世书画创作的影响，其在为人处世方面的成就让他在世人心中的形象进一步升华。\n高克恭从小就在父亲的引导下发奋学习，潜心研究各家经典。对他而言，书画创作从不是独取一家所长，而是在融会贯通中诞生出全新内涵。\n他初学米芾、米友仁的画风，后又吸收了董源、巨然作品中的用笔，将“点”的运用发挥到了极致。但在创作一段时间后，他发现这种画风只是一味地模仿前人，并不能真正地表达自己心目中的山水形象。\n在多次钻研且不断尝试后，高克恭发现画家李成笔下的山水是有“骨架”的。他选择引线入点，将三位大师的创作融合起来。这种表现手法既能凸显出江南云山烟树的朦胧缥缈，又能不失山川的挺峻硬朗之感。\n对当时的大多数书画家来说，米芾、董源、巨然等人是可望不可及的书画名家。人们争相学习，将其绘画手法奉为圭臬，又有几个人能提出反对意见？像高克恭这样，在发现问题后并加以改进的画家更是少之又少。有时，大师只比我们多了一份质疑。\n除了融合多家技法特点，高克恭的画作中还有几分西方画法的韵味。他的创作绝不仅仅是单凭印象，而是在仔细观察后动笔。在写实方面，西方画作凭借色彩变化、光影明暗表现画面，而中国山水画则靠用墨浓淡展现层次。\n高克恭便是山水画用墨的佼佼者。其开创“积点法”，以墨色渲染层次，表现山水意境。近代画家黄宾虹的积墨山水就是在此基础上发展而成。",[23,281,24,25,7,28,36,335,454,162,35,350,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":37617,"slug":37618,"title":9324,"dynasty":174,"author":703,"museum":450,"description":37619,"tags":37620,"thumbUrl":37621,"material":298,"size":37622,"collection":166,"collections":37623,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},231546,"xun-mei-tu-wang-shi-shen-231546","汪士慎（1686-约1762），清代书画家、篆刻家。字近人，号巢林、溪东外史、左盲生、天都寄客，安徽歙县人，一作安徽休宁人，流寓江苏扬州。精篆刻、隶书，擅画花卉，尤擅画梅，笔墨疏落清劲，气清而神腴，墨淡而趣足，具有秀润恬静之致，与李方膺“铁干铜皮”形成鲜明对比。与金农、华品山等友善，为扬州八怪之一。\n汪士慎极爱梅花，擅长画梅竹，工于篆刻与八分书。人们评论他的梅竹说：“宠梅念竹有真意，剪水断冰无俗痕。”汪士慎跟金农、高翔、罗聘，被时人称为四大画梅高手。\n这幅《梅花》清淡秀雅，瘦劲姿媚，让我们看到了他画梅花的独特风格。汪士慎留世的梅花作品，其枝、花并不太繁，而以疏朗清瘦见长，给人一种疏影潇洒、冷香四溢的感觉。",[23,24,25,95,7,37,38,80,125,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebaace359b8eb216fa28c0c02b7b725.jpg","63x160厘米",[],{"id":37625,"slug":37626,"title":37627,"dynasty":18,"author":1836,"museum":120,"description":37628,"tags":37629,"thumbUrl":37631,"material":98,"size":37632,"collection":166,"collections":37633,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},231373,"xia-mu-chui-yin-tu-dong-qi-chang-231373","夏木垂阴图","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。",[24,494,7,95,25,36,33,34,30,211,32,624,335,1525,37630],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],{"id":37635,"slug":37636,"title":37637,"dynasty":174,"author":37638,"museum":450,"description":37639,"tags":37640,"thumbUrl":37641,"material":166,"size":166,"collection":166,"collections":37642,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},230853,"hua-hui-tu-zhang-yu-230853","花卉图","张敔","此作截取荷塘一隅取景，虚实相生间尽显写意妙趣。浓墨挥写半幅枯老荷叶，焦墨劲挺勾勒叶脉，苍浑厚重带着岁月沉凝的质感；淡墨晕染新叶与待放菡萏，清润柔和，与浓墨形成鲜明对比，暗合新旧交替的生机。荷梗以枯涩带点的笔线写出，朴拙老辣，带着疏野萧散的意趣。朱红闲章轻点画面，以一抹亮色调和水墨的清冷，平衡视觉重心。整幅以简驭繁，不用浓丽设色，仅以水墨干湿浓淡的层次变化，将秋日荷塘残而未颓的清寂诗意晕染开来，于随性挥洒间尽显文人写意的疏淡格调。",[24,25,281,7,75,128,396,398,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252ffd258c16f4357c28c9363dd76d8.jpg",[],{"id":37644,"slug":37645,"title":37646,"dynasty":5382,"author":37647,"museum":450,"description":37648,"tags":37649,"thumbUrl":37650,"material":314,"size":1061,"collection":166,"collections":37651,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},230579,"ming-qing-fang-gu-fen-ben-ren-wu-hua-niao-juan-2-tu-zuo-bing-guang-lin-feng-230579","明清仿古粉本人物花鸟卷2","土佐并光琳风","此作以水墨写意绘就两帧人物，韵致截然不同。右侧观音以淡墨晕出圆光，衣袂线条清柔舒缓，持经垂眸，神态静穆慈悲，尽显禅意空灵。左侧文士以泼墨挥写袍服，笔力纵逸老辣，持笔展卷，面容诙谐灵动，文人气韵盎然。\n\n画师以浓淡墨色区分物象虚实，将静穆禅意与疏放文气并置，于极简笔墨中形神兼备，尽显东方水墨写意的精妙意趣，让两种气质在卷中相映成趣。",[23,24,25,26,7,547,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0d007e14851b9c8995e4bc5444b5db.jpg",[],{"id":37653,"slug":37654,"title":37655,"dynasty":18,"author":1788,"museum":450,"description":37656,"tags":37657,"thumbUrl":37658,"material":166,"size":166,"collection":166,"collections":37659,"showCount":139,"zanCount":5,"manualWeight":46,"mainColor":47},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[23,24,25,26,547,7,242,38,37,4956,80,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":37661,"slug":37662,"title":37663,"dynasty":18,"author":407,"museum":450,"description":37664,"tags":37665,"thumbUrl":37668,"material":166,"size":166,"collection":166,"collections":37669,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[23,24,26,7,36,481,28,30,31,468,193,282,33,32,729,1004,37666,37667,7781,7883,59],"岸芷","汀草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":37671,"slug":37672,"title":37673,"dynasty":18,"author":19,"museum":450,"description":37674,"tags":37675,"thumbUrl":37676,"material":166,"size":166,"collection":166,"collections":37677,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,25,26,7,28,29,30,31,32,282,33,37,38,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":37679,"slug":37680,"title":37681,"dynasty":18,"author":10358,"museum":450,"description":10670,"tags":37682,"thumbUrl":37683,"material":314,"size":1061,"collection":166,"collections":37684,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},228360,"xiao-xiang-guo-yu-tu-quan-juan-xia-chang-228360","潇湘过雨图全卷",[23,281,24,25,26,7,28,126,10672,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d64a4192e950156f996dee8003aabb4.jpg",[],{"id":37686,"slug":37687,"title":10796,"dynasty":52,"author":1131,"museum":450,"description":37688,"tags":37689,"thumbUrl":37690,"material":166,"size":166,"collection":166,"collections":37691,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},228253,"ku-shu-tu-ye-cao-zhi-bai-228253","画面以古木为核心，老干虬曲扭结，皴擦简劲尽显树皮斑驳嶙峋，枯瘦枝桠如铁铸般舒展，倒挂的垂丝晕开幽寂清冷的氛围。侧旁杂木参差，枯荣相衬，更衬出主树孤高之姿。\n\n下方坡石以淡墨勾勒晕染，棱角浑朴古拙，托举着古木更见苍劲。构图疏朗空灵，以极简笔墨铺展出荒寒淡远的意境，尽显元代文人尚简重意的风骨。笔意苍劲松秀，枯中藏腴，淡而弥厚，将冬景萧瑟化作沉静的精神图景，淡墨轻岚间，寄寓着幽淡清寂的隐逸心绪，尽显疏旷出尘的文人意趣。",[23,24,25,2446,7,28,717,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa7ec689131e19f51954940a33d2460.jpg",[],{"id":37693,"slug":37694,"title":37695,"dynasty":205,"author":581,"museum":450,"description":37696,"tags":37697,"thumbUrl":37698,"material":166,"size":166,"collection":166,"collections":37699,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},227893,"yu-le-tu-ye-yi-ming-227893","渔乐图页","这幅小品以虚实相生铺展江渚闲情。右侧江岸苍松虬曲，墨色皴擦间晕染出枝叶蓊郁的清寂意韵，留白处烟霭漫过江天，晕开空濛淡远的朦胧诗意。\n\n水面扁舟轻漾，渔人围坐舟中，姿态松弛悠然，帐幔酒旗随江风微动，将寻常渔居琐事晕染出世外之味。简淡笔墨勾勒人物情态，寥寥数笔便写尽江湖渔隐的闲散日常，将俗世烟火揉入水墨淡彩间。\n\n整体雅致静穆，把宋人寄情林泉的隐逸襟怀藏进烟波里，尽显宋代小品画的诗意意境，将渔家寻常的片刻欢愉，铺陈为悠远淡和的江居雅卷。",[23,24,1462,7,27,28,31,3390,193,729,11639,36,80,6134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943293d6916514a78dbafe73eefd7416.jpg",[],{"id":37701,"slug":37702,"title":6936,"dynasty":205,"author":581,"museum":450,"description":37703,"tags":37704,"thumbUrl":37708,"material":166,"size":166,"collection":166,"collections":37709,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},227858,"dai-du-tu-yi-ming-227858","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,281,24,11048,1462,27,7,28,193,194,30,31,1035,164,21804,3685,180,37705,37706,7314,37707],"闲寂悠然","怅惘","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":37711,"slug":37712,"title":33368,"dynasty":205,"author":592,"museum":450,"description":33369,"tags":37713,"thumbUrl":37714,"material":166,"size":166,"collection":166,"collections":37715,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},227771,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227771",[23,281,24,25,26,254,36,7,28,31,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f76f964392cf441413ed6978a2135.jpg",[],{"id":37717,"slug":37718,"title":37719,"dynasty":174,"author":377,"museum":450,"description":37720,"tags":37721,"thumbUrl":37722,"material":166,"size":166,"collection":166,"collections":37723,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,24,25,74,7,27,36,28,31,30,35,33,729,34,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":37725,"slug":37726,"title":37727,"dynasty":174,"author":6172,"museum":450,"description":37728,"tags":37729,"thumbUrl":37730,"material":166,"size":166,"collection":166,"collections":37731,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[23,24,25,95,7,36,28,29,30,33,35,34],"https:\u002F\u002Foss.chua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77—？年），字君度，号鹤涧，江苏苏州人。善画山水，师法沈周而略有变化，画风苍秀，亦善人物。",[24,1462,7,1839,1035,193,453,7389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccc76923873475685601e9d35f19f81.jpg","纵17.6cm，横61.8cm",[83],{"id":38011,"slug":38012,"title":645,"dynasty":174,"author":581,"museum":430,"description":38013,"tags":38014,"thumbUrl":38015,"material":110,"size":38016,"collection":42,"collections":38017,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":140},215146,"shan-shui-tu-yi-ming-215146","佚名是一个指代不确定的人的称呼，所以无法提供具体的信息。但是，清朝时期的山水图是一种流行的艺术形式，在当时是非常受欢迎的。山水图通常是一种静态的描绘自然景观的图画，其中包含了山峰、河流、树木、云彩和其他自然元素。山水图通常以水墨画的形式呈现，但也有其他艺术形式，如铜版画、绢本画和纸本画。山水图的主要目的是表现自然的美丽，并通过艺术的手段来传达观赏者的情感和思想。",[24,25,28,7,27,31,147,212,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef1bfc3588e96cd75bb8ec8dc977fe8.jpg","21.6x22.3cm",[42],{"id":38019,"slug":38020,"title":38021,"dynasty":174,"author":377,"museum":430,"description":3042,"tags":38022,"thumbUrl":38023,"material":40,"size":3045,"collection":166,"collections":38024,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},214521,"yi-jin-ling-ce-13-shi-tao-214521","忆金陵册-13",[24,7,36,80,37,38,74,28,34,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f56ff0dacc1059db5508b00fe0e1e40.jpg",[],{"id":38026,"slug":38027,"title":38028,"dynasty":174,"author":418,"museum":159,"description":38029,"tags":38030,"thumbUrl":38031,"material":98,"size":166,"collection":166,"collections":38032,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":47},214388,"shan-shui-tu-ce-9-zhu-da-214388","山水图册-9","枯松如铁，虬枝斜探，墨线苍劲若篆籀，寥寥数笔便勾出山峦的峭拔与空濛。大片留白晕染云气流动，咫尺画幅生出千里烟霞之势。山石皴擦极简却见肌理，坡岸几株细树立得弱小倔强，似在空寂里守着生机。\n\n整幅画简淡到极致，藏着遗世的清冷与超脱——每处笔触都带疏离诗意，画家将心绪揉进墨里化在留白间，让观者于静默中触到天地浩渺与生命韧性。简而不空，淡而有味，八大山人以极简笔墨写尽深情，空寂里藏着乾坤，叫人在素净山水间读见一份倔强的诗意与旷达的心境。",[23,24,25,74,7,36,28,180,147,624,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059f84d01ef03869f5a3310858fe5883.jpg",[],{"id":38034,"slug":38035,"title":157,"dynasty":18,"author":2605,"museum":20,"description":38036,"tags":38037,"thumbUrl":38038,"material":166,"size":166,"collection":42,"collections":38039,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":38040},203294,"shan-shui-ce-hong-ren-203294","画面以简淡笔墨绘山水之姿，山石轮廓用干笔勾勒，皴擦疏朗见骨，尽显峭拔之态；枯树枝桠如铁线般挺劲，与空濛远景相映，留白处漾出清冷空寂的韵致。桥上行人、山间亭榭点缀其间，虽小却添生趣，却未破整体孤峭氛围。笔墨间藏遗世独立之思，意境幽远，尽显新安画派简净冷逸的特质。",[28,74,7,36,717,180,32,29,9307,1349,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802c780960b3d87683bdffc7dbde11bd.jpg",[42],"d3cac0",{"id":38042,"slug":38043,"title":7126,"dynasty":22220,"author":38044,"museum":20,"description":38045,"tags":38046,"thumbUrl":38048,"material":166,"size":166,"collection":83,"collections":38049,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":38050},203275,"mei-hua-tu-zhou-he-xiang-ning-203275","何香凝","这幅画以水墨写意手法绘就，梅枝虬劲如铁，纵横交错间尽显苍古之态，笔触老辣简练，干笔皴擦出的枝干纹理，传递出梅花的坚韧傲骨；旁侧牡丹花瓣层叠晕染，墨色浓淡相宜，雍容中透着清雅，与梅枝相映成趣。整幅作品笔墨奔放却不失细腻，线条张力十足，刚柔并济间，既有梅花的高洁品格，又含牡丹的典雅气度，尽显写意花鸟的神韵与生机。",[24,7,123,2816,129,75,19018,38047,95,23],"淡墨晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55019e2bc3112bfcc93e37f002df58fb.jpg",[83],"cfc6b4",{"id":38052,"slug":38053,"title":31882,"dynasty":22220,"author":360,"museum":20,"description":38054,"tags":38055,"thumbUrl":38058,"material":166,"size":166,"collection":166,"collections":38059,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":38060},203238,"pi-pa-tu-zhou-qi-bai-shi-203238","墨叶如掌，浓淡间见苍劲笔力；金丸缀枝，黄艳中透清甜意趣。几片枇杷叶以泼墨写出，边缘带细碎毛刺，尽显自然野趣；簇簇果实圆润饱满，墨点花心更添灵动。叶隙间隐一螳螂，青身细肢，姿态警觉似欲跃动——白石老人以寥寥数笔捕捉生灵之态，将日常生机凝于尺幅。左侧题字笔墨与画境相融，诗画相生，尽显“妙在似与不似之间”的写意精髓，于朴素中见真趣，简淡中藏深情。",[24,75,7,27,123,1642,365,38056,38057],"以书入画","妙在似与不似","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61fe4f511b2ffd70806e19777051d1e8.jpg",[],"c2b5a5",{"id":38062,"slug":38063,"title":38064,"dynasty":22220,"author":27944,"museum":20,"description":38065,"tags":38066,"thumbUrl":38067,"material":166,"size":166,"collection":83,"collections":38068,"showCount":139,"zanCount":1084,"manualWeight":46,"mainColor":38069},202811,"hong-mei-tu-zhou-chen-shi-ceng-202811","红梅图轴","墨枝如铁，虬劲盘折，尽显老干苍古之姿；胭脂点花，浓淡相宜，绽放红梅嫣然情态。笔力雄健洒脱，墨色层次丰富，枝干转折交叉皆见章法，花朵点缀疏密有致，于写意中见生动，于简淡中藏生机。留白得当，清雅韵致与傲然风骨尽显，是文人画中花鸟写意的佳构。",[24,7,27,75,125,123,16340,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec90339486a1ad246ae416b4554373e.jpg",[83],"e2ded4",{"id":38071,"slug":38072,"title":38073,"dynasty":22220,"author":8326,"museum":20,"description":38074,"tags":38075,"thumbUrl":38076,"material":166,"size":166,"collection":42,"collections":38077,"showCount":139,"zanCount":46,"manualWeight":46,"mainColor":38078},202802,"ceng-luan-fei-pu-tu-zhou-huang-bin-hong-202802","层峦飞瀑图轴","层峦叠嶂间，飞瀑漱石溅玉，沿崖壁奔流而下，滋养谷底草木。山间屋舍错落隐于浓荫，小径蜿蜒向上，似引观者入幽境。笔墨苍劲老辣，皴擦点染结合，积墨与留白相映，山峦肌理浑厚，云雾缭绕处虚实相生。草木葱茏、山石嶙峋，既含自然野趣，又藏文人雅致，尽显山川灵秀与静谧生机，仿佛可闻泉声鸟语，可感林泉之乐。",[24,25,95,7,36,28,8472,148,533,193,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3977ed45304cb2a20713c0d1536a341.jpg",[42],"969487",{"id":38080,"slug":38081,"title":10439,"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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。”",[23,24,28,7,27,36,194,29,193,33,212,163,80,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f03ee7c4a454a27bbbe56bc7379317f.jpg",[],{"id":38283,"slug":38284,"title":38285,"dynasty":18,"author":91,"museum":450,"description":15715,"tags":38286,"thumbUrl":38287,"material":314,"size":1061,"collection":166,"collections":38288,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},287942,"qiu-shan-han-shu-tu-zhou-wang-fu-287942","秋山寒树图轴",[23,24,95,7,28,14996,180,35,164,80,37,36,25528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a14128aeb069047921dc97c301c36.jpg",[],{"id":38290,"slug":38291,"title":38292,"dynasty":174,"author":581,"museum":450,"description":38293,"tags":38294,"thumbUrl":38295,"material":314,"size":1061,"collection":166,"collections":38296,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},287698,"fang-huang-gong-wang-fu-shan-chun-ju-tu-yi-ming-287698","仿黄公望富山春居图","此作用笔苍秀松灵，以披麻皴写山峦丘壑，复刻出原作浑厚华滋的山水意趣。远山淡晕如黛，近渚萦回清浅，林麓村居错落萧疏，尽显富春山野逸空濛之态。\n卷尾题跋笔墨雅致，与画境浑融一体，暗合元人山水“以画为寄”的隐逸风神，虽摹古却自见韵致，将江南富春山的空灵秀润尽藏尺幅间，是颇具功力的仿古佳制。",[23,24,26,7,494,254,36,212,3256,1776,37,80,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982c0319d064f8f446d442b55159a94.jpg",[],{"id":38298,"slug":38299,"title":20604,"dynasty":18,"author":7726,"museum":450,"description":38300,"tags":38301,"thumbUrl":38302,"material":314,"size":1061,"collection":166,"collections":38303,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,24,26,494,254,7,27,36,212,1776,59,35,16227,215,282,38,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":38305,"slug":38306,"title":38307,"dynasty":18,"author":1836,"museum":450,"description":38308,"tags":38309,"thumbUrl":38310,"material":314,"size":1061,"collection":166,"collections":38311,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},283752,"lan-rong-chuan-se-tu-zhou-dong-qi-chang-283752","岚容川色图轴","此图是董其昌74岁（1628年）时创作的，以笔墨表现为主旨，意在聊写胸中丘壑。作者在静观自然景象的基础上，以娴熟的笔墨技法阐释自己对自然山川的本质感悟，它超越了山水云树的具体形貌，以形写神，故图中每一景、每一境虽都不是自然景观的真实描绘，但读者却可从其谨严的笔墨塑造中领略到真山实水的存在。以近景的树木为例，形态各异的树木，互有遮掩地生长在凹凸不平的坡地上。树干以短线条双勾，高低不同且有曲直变化，干体以淡墨或皴或晕，增强了其明暗效果及立体感；树叶表现得更为丰富，有的以侧锋卧笔大点横贯，有的浓淡墨相互交叠，有的直接落笔画线成叶，有的则以线勾双边成夹叶状，各具神采。但将它们参照客观存在的植物，却难以分辨出其树种，显然它们是董其昌“读万卷书，行万里路，胸中脱去尘浊，自然丘壑内营，成立鄄鄂（注：指城廓），随手写出，皆为山水传神矣”的美学观的最好图释。",[24,281,95,7,28,37,80,212,33,30,180,1839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4139975bf6ec2cb9c58f64adc8a49b12.jpg",[],{"id":38313,"slug":38314,"title":38315,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":38316,"thumbUrl":38317,"material":314,"size":1061,"collection":166,"collections":38318,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},283751,"qi-xia-si-shi-yi-tu-zhou-dong-qi-chang-283751","栖霞寺诗意图轴",[281,24,25,95,7,28,212,33,148,30,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d4bb1db2fef7caa8986b31a95ba498.jpg",[],{"id":38320,"slug":38321,"title":5006,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":38322,"thumbUrl":38323,"material":314,"size":1061,"collection":166,"collections":38324,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},283721,"fang-gu-shan-shui-ce-dong-qi-chang-283721",[24,74,7,28,33,35,212,36,80,37,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5863dcecefd581d26dc3b868ce3a66c.jpg",[],{"id":38326,"slug":38327,"title":38328,"dynasty":174,"author":581,"museum":450,"description":38329,"tags":38330,"thumbUrl":38331,"material":314,"size":1061,"collection":166,"collections":38332,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},270218,"zhu-gu-qian-gu-bian-qian-ci-xi-yu-xi-hua-mei-hua-tu-mian-zhe-shan-yi-ming-270218","竹股嵌骨边钤慈禧御玺画梅花图面折扇","此扇墨梅清逸出尘，以浓墨写出苍劲虬曲的梅枝，穿插错落，尽显古木凌寒的硬朗风骨，淡墨晕染花苞朵蕊，留白衬出梅花冰洁素雅，暗香浮动仿佛随扇开合漫溢而出。侧旁题诗行书舒展雅致，笔意与画意相融，将咏梅诗意与绘梅清境合二为一。\n\n竹股嵌骨的扇身暗合梅竹同心的文人情致，钤印更添古雅端重。整扇书画印骨浑然一体，将文人慕梅的高洁意趣藏纳其中，轻摇间尽是清冷雅致的中式诗意。",[1462,24,7,125,37,80,11254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a1d2657bc372c87ff9c190ea52b64f.jpg",[],{"id":38334,"slug":38335,"title":38336,"dynasty":174,"author":657,"museum":450,"description":38337,"tags":38338,"thumbUrl":38339,"material":964,"size":38340,"collection":245,"collections":38341,"showCount":224,"zanCount":1084,"manualWeight":46,"mainColor":47},240890,"jin-nong-guan-hua-qi-yan-shi-zhou-jin-nong-240890","金农观画七言诗轴","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等",[37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f5b18909b66f906de484dbe17c3bcb.jpg","纵131.3cm ，横59.1cm",[245],{"id":38343,"slug":38344,"title":38345,"dynasty":18,"author":1788,"museum":450,"description":38346,"tags":38347,"thumbUrl":38349,"material":166,"size":166,"collection":166,"collections":38350,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},239518,"wen-zheng-ming-luo-mu-kong-jiang-zhou-wen-zheng-ming-239518","文徵明落木空江轴","此作淡墨轻岚，清寂出尘。枯木虬枝错落江渚，疏朗劲健，寥寥几笔便写尽秋林残意。远景山峦以淡墨晕染，隐于烟霭，不作繁复皴擦，只凭墨色深浅晕出山形悠远空濛，留白代江，愈发衬出天地寥廓的清寒萧索。\n\n题诗与绘景浑然相合，诗画映带间铺展出深秋空江的落寞意趣，带着独有的文雅书卷气。以极简笔墨写尽清秋况味，淡而不寡，清而愈幽，尽显文人画以意驭笔的雅致格调，将秋日江天的寂寥空阔藏于浅淡笔墨之中。",[24,25,95,7,28,717,126,38348,34,80,36],"空江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9d3f069edebe6cf45c6c0dd769af5d.jpg",[],{"id":38352,"slug":38353,"title":157,"dynasty":174,"author":9682,"museum":450,"description":38354,"tags":38355,"thumbUrl":38356,"material":166,"size":166,"collection":42,"collections":38357,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[24,25,74,38,7,36,28,31,468,33,163,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9afb62b36cf20a64628c29321c4312.jpg",[42],{"id":38359,"slug":38360,"title":38361,"dynasty":174,"author":38362,"museum":450,"description":38363,"tags":38364,"thumbUrl":38365,"material":314,"size":1061,"collection":166,"collections":38366,"showCount":224,"zanCount":1084,"manualWeight":46,"mainColor":140},239025,"hua-xie-zhou-lang-bao-chen-239025","画蟹轴","郎葆辰","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。",[24,25,95,7,123,4379,78,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc269c151aed2324928eccad2f99e61.jpg",[],{"id":38368,"slug":38369,"title":157,"dynasty":174,"author":15930,"museum":450,"description":37263,"tags":38370,"thumbUrl":38371,"material":314,"size":1061,"collection":42,"collections":38372,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},238680,"shan-shui-ce-dong-bang-da-238680",[24,7,36,74,28,34,33,1524,268,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b0a92e7f6b3453a847cb77a7dd14af.jpg",[42,222],{"id":38374,"slug":38375,"title":157,"dynasty":174,"author":38376,"museum":450,"description":38377,"tags":38378,"thumbUrl":38379,"material":166,"size":166,"collection":42,"collections":38380,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[24,7,36,74,28,164,10975,33,35,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acb599bd7ac62d645f8a8d69aa34971.jpg",[42],{"id":38382,"slug":38383,"title":38384,"dynasty":174,"author":10759,"museum":450,"description":31260,"tags":38385,"thumbUrl":38386,"material":166,"size":166,"collection":42,"collections":38387,"showCount":224,"zanCount":1084,"manualWeight":46,"mainColor":47},237959,"song-lin-shu-wu-tu-ye-hu-yu-kun-237959","松林书屋图页",[24,25,74,7,36,28,670,2748,32,33,34,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76a5642eaaf7d30e38cdbe0fb2a7f07.jpg",[42,222],{"id":38389,"slug":38390,"title":17519,"dynasty":174,"author":3195,"museum":450,"description":11102,"tags":38391,"thumbUrl":38392,"material":166,"size":166,"collection":42,"collections":38393,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237872,"yun-shan-tu-zhou-wang-jian-237872",[24,25,95,7,36,28,454,335,162,29,30,32,268,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4f86feecf65a9d018a086dddca5822.jpg",[42,222],{"id":38395,"slug":38396,"title":38397,"dynasty":18,"author":38398,"museum":450,"description":38399,"tags":38400,"thumbUrl":38401,"material":314,"size":1061,"collection":166,"collections":38402,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":140},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》",[24,1462,7,27,36,28,534,215,31,193,213,164,163,33,5431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff321caa0ed147ef8daab802eb0b0aea1.jpg",[],{"id":38404,"slug":38405,"title":6113,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":38406,"thumbUrl":38407,"material":166,"size":166,"collection":166,"collections":38408,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237764,"yuan-ji-shan-shui-tu-ce-shi-tao-237764",[24,25,74,7,36,28,29,30,35,33,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac1ee90f748a167e69acc2042541dba.jpg",[],{"id":38410,"slug":38411,"title":38412,"dynasty":18,"author":581,"museum":450,"description":38413,"tags":38414,"thumbUrl":38415,"material":166,"size":166,"collection":166,"collections":38416,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237636,"song-xu-xue-jiang-du-diao-tu-zhou-yi-ming-237636","宋旭雪江独钓图轴","此作用淡墨留白晕染出萧寒江雪，山峦素裹银装，留白衬出积雪的厚重莹润，远山淡渺隐于寒雾，虚实相生，铺就江天空阔辽远的冬日底色。近岸枯木凝雪，虬枝劲挺，虽带冬日萧索却不失清刚之态。滩头寒石隐现，细流凝冰，愈发衬出江风凛冽。扁舟泊于岸侧，渔翁瑟缩船头独钓，于天地冷寂间，晕开一缕孤高隐逸的意趣。全画笔法秀雅简淡，以极简笔墨勾勒出江雪寒林的荒寒之美，将幽人寄情山水、孤高自适的襟怀融于冷寂雪景之中。",[24,7,95,36,28,993,31,468,717,29,34,58,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc940a1841726368ad68f75503a2d9d9f.jpg",[],{"id":38418,"slug":38419,"title":2806,"dynasty":174,"author":418,"museum":450,"description":1277,"tags":38420,"thumbUrl":38421,"material":314,"size":1061,"collection":166,"collections":38422,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237627,"za-hua-ce-zhu-da-237627",[24,7,123,1015,453,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc002e57067588dbb34eab8750c58c3.jpg",[],{"id":38424,"slug":38425,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":38426,"thumbUrl":38427,"material":166,"size":166,"collection":166,"collections":38428,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237586,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237586",[24,7,36,254,74,28,335,350,162,126,164,785,3053,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45599eac91929665304e792add47aaa3.jpg",[],{"id":38430,"slug":38431,"title":38432,"dynasty":174,"author":5090,"museum":450,"description":10778,"tags":38433,"thumbUrl":38435,"material":166,"size":166,"collection":83,"collections":38436,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237579,"gu-jian-shu-lin-tu-zhou-wang-hui-237579","古涧疏林图轴",[24,25,95,7,36,254,610,147,2953,38434,28,180,30],"古涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8333f98813ce41aa4afc681f09ce7f2.jpg",[83],{"id":38438,"slug":38439,"title":26400,"dynasty":18,"author":34211,"museum":450,"description":34212,"tags":38440,"thumbUrl":38441,"material":314,"size":1061,"collection":166,"collections":38442,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237400,"shan-shui-shan-mian-xie-dao-ling-237400",[24,1462,28,7,36,282,33,34,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5582f9fe454ac3f2d4b16e06fe5aefe9.jpg",[],{"id":38444,"slug":38445,"title":38446,"dynasty":174,"author":5090,"museum":92,"description":38447,"tags":38448,"thumbUrl":38449,"material":298,"size":38450,"collection":42,"collections":38451,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237348,"shan-tang-xiao-chou-zhou-wang-hui-237348","山塘校讐轴","王翚出身于绘画世家。祖上五代擅画，曾祖王伯臣善画花鸟，祖父王载仕擅长山水、人物、花卉；生父王云客善画山水。少时先拜同里张珂为师，专摹元代黄公望的山水画。21岁时以小景扇面见赏于王鉴，被收为弟子，后又师事王时敏，得以饱览其家传真迹，对传统古画的鉴赏、临摹，功力极深，宋以来许多失传的古画，借王翚的临摹得以传世。笔参古今，貌含南北，时人吴梅村称为“画圣”，画技之精熟为清代第一。清代张庚的《国朝画征录》 评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[24,25,95,7,36,28,126,147,480,35,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[42],{"id":38453,"slug":38454,"title":38455,"dynasty":174,"author":5090,"museum":92,"description":38456,"tags":38457,"thumbUrl":38458,"material":298,"size":166,"collection":42,"collections":38459,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚 在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,25,74,7,254,36,80,28,32,162,717,164,4569,533,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[42],{"id":38461,"slug":38462,"title":10308,"dynasty":174,"author":5090,"museum":92,"description":10309,"tags":38463,"thumbUrl":38464,"material":298,"size":166,"collection":166,"collections":38465,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237203,"shan-shui-zhu-shi-ce-wang-hui-237203",[24,7,36,74,28,126,706,30,210,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4a19ad7439222ace0df97572693cdb.jpg",[],{"id":38467,"slug":38468,"title":38469,"dynasty":174,"author":38470,"museum":450,"description":38471,"tags":38472,"thumbUrl":38473,"material":314,"size":1061,"collection":166,"collections":38474,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237045,"gao-ling-han-zhong-shan-mian-zhu-ang-zhi-237045","高岭寒钟扇面","朱昂之","朱昂之[清]（一七六四～一八四一年后），历代人物年表碑传综表作（一七五五～？），今从宋元明清书画家年表。字青立，又字津里，江苏武进人。侨居吴中（今江苏苏州）。",[24,25,1462,7,36,28,21903,212,33,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ecdb02de8897eebe40965ddb2b4976.jpg",[],{"id":38476,"slug":38477,"title":38478,"dynasty":18,"author":22861,"museum":450,"description":38479,"tags":38480,"thumbUrl":38481,"material":314,"size":1061,"collection":222,"collections":38482,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},237017,"mo-mei-ce-shen-hao-237017","墨梅册","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,25,74,7,38,80,125,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0ca65ea98fd5f3298cad75afd81b2a.jpg",[222,83],{"id":38484,"slug":38485,"title":157,"dynasty":18,"author":38486,"museum":450,"description":38487,"tags":38488,"thumbUrl":38489,"material":166,"size":166,"collection":42,"collections":38490,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},236924,"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[24,25,74,7,27,28,32,147,29,30,180,164,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[42],{"id":38492,"slug":38493,"title":157,"dynasty":174,"author":739,"museum":5692,"description":15249,"tags":38494,"thumbUrl":38495,"material":166,"size":166,"collection":42,"collections":38496,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},236729,"shan-shui-ce-hua-yan-236729",[24,25,74,27,7,28,32,128,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796e93be747b35bfd33272ec848edc2a.jpg",[42,64],{"id":38498,"slug":38499,"title":12901,"dynasty":174,"author":703,"museum":120,"description":12514,"tags":38500,"thumbUrl":38501,"material":166,"size":166,"collection":166,"collections":38502,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},236587,"lan-mei-ce-wang-shi-shen-236587",[24,25,74,7,75,125,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9be90f87a50342bb3940f357e6e12.jpg",[],{"id":38504,"slug":38505,"title":33005,"dynasty":18,"author":796,"museum":450,"description":8275,"tags":38506,"thumbUrl":38507,"material":314,"size":1061,"collection":166,"collections":38508,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},236518,"mo-ju-shan-ye-chen-chun-236518",[24,25,1462,7,1476,75,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa8094773a549a15b7aa0ff8fdec3c7.jpg",[],{"id":38510,"slug":38511,"title":157,"dynasty":174,"author":38512,"museum":450,"description":38513,"tags":38514,"thumbUrl":38515,"material":61,"size":166,"collection":42,"collections":38516,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},236496,"shan-shui-ce-cheng-ming-236496","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。",[24,25,74,7,36,28,34,33,717,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c36e79a5f9b30c0ba5a08df138da30a.jpg",[42,64],{"id":38518,"slug":38519,"title":10686,"dynasty":18,"author":19775,"museum":120,"description":19776,"tags":38520,"thumbUrl":38521,"material":298,"size":19779,"collection":166,"collections":38522,"showCount":224,"zanCount":1084,"manualWeight":46,"mainColor":47},236491,"shan-shui-ren-wu-ce-guo-fen-ya-236491",[281,24,25,74,7,27,193,31,28,180,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3433dcfa615f2499e49190891608052.jpg",[],{"id":38524,"slug":38525,"tit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厘米",[],{"id":38857,"slug":38858,"title":38859,"dynasty":205,"author":4183,"museum":294,"description":38860,"tags":38861,"thumbUrl":38862,"material":298,"size":38863,"collection":166,"collections":38864,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":140},232773,"xue-shan-tu-juan-liu-song-nian-232773","雪山图卷","刘松年，约生于1155年，卒于1218年，钱塘（今浙江杭州）人，南宋著名画家，与南宋画家李唐、马远、夏圭合称为“南宋四大家”。\n刘松年有暗门刘的称号，暗门就是清波门，所以刘又号刘清波。他先为画院学生，光宗时期担任画院待诏。在画院工作期间，因成绩斐然，宁宗皇帝还曾给刘松年丰厚的物质奖励。他在画院体系地位也很尊崇，人们以绝品来对待刘松年及其绘画。\n刘松年绘画上，初学李唐、张敦礼，又继承了董源、巨然的部分艺术特征，严谨，典雅，清丽。他的题材多为江浙地区的风貌，西湖，茂林，修竹等。刘松年为人称道的地方，是发展了李唐大笔挥洒的斧劈皴，衍生出刮铁皴。这种皴法基本以小笔触为主，更加细腻。刘松年多园林小景，人称“小景山水”。\n刘松年除了山水之外，同时在人物画、界画、花鸟上，也水平甚高。据传，北京故宫博物院现藏《中兴四将图》，便是他的作品。这幅画人物生动，描绘精到，是宋代写实人物画的佳作。此外，他的《便桥会盟图》、《风雪运粮图》等人物故事画，也在中国绘画史上赫赫有名。此外，他的宗教画，罗汉等形象，则建立了中国佛画的一派典范。\n历史上流传下来的刘松年作品，大约有九十幅左右。这些作品真伪难辨。刘松年及其作品研究，是学术界以后仍然要力度加强的部分之一。",[23,281,24,25,26,7,28,36,4347,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02117c5bf69987bd9f56214a0e41ac.jpg","21.6×142.6厘米",[],{"id":38866,"slug":38867,"title":306,"dynasty":18,"author":38868,"museum":450,"description":38869,"tags":38870,"thumbUrl":38871,"material":298,"size":38872,"collection":166,"collections":38873,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":140},232635,"xi-shan-xing-lv-tu-leng-qian-232635","冷谦","冷谦，元末明初武陵人，字启敬，道号龙阳子，初为僧人，后习儒，入道隐杭州吴山，博学，精通易经。著有琴书《琴声十六法》、养生学著作《修龄要指》。明朝协律郎。据说与刘秉忠相交，担任协律郎时已经年过百岁。世传其化鹤入瓶，事甚诡异。",[23,24,25,7,193,3902,28,33,468,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fcf4a51cb2d9205e685b3b317e840a0.jpg","45x33厘米",[],{"id":38875,"slug":38876,"title":645,"dynasty":52,"author":239,"museum":92,"description":38877,"tags":38878,"thumbUrl":38879,"material":298,"size":38880,"collection":166,"collections":38881,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},232256,"shan-shui-tu-zhao-meng-fu-232256","溪涧、泉松水榭桥文房用具文玩（琴棋书画）香炉．火盆瀑布高士（士人、隐士）侍从（侍女、童仆） 家具（屏风）",[24,25,95,281,27,36,7,28,33,193,34,30,268,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e350d4065062d4a7428a6d1c958bfbc.jpg","本幅 57x30.9公分、全幅 56公分",[],{"id":38883,"slug":38884,"title":38885,"dynasty":18,"author":19,"museum":20,"description":38886,"tags":38887,"thumbUrl":38888,"material":298,"size":38889,"collection":166,"collections":38890,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,26,7,27,36,38,3074,37,80,28,33,193,5297,58,34,624,96,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":38892,"slug":38893,"title":38894,"dynasty":18,"author":1788,"museum":450,"description":38895,"tags":38896,"thumbUrl":38897,"material":811,"size":38898,"collection":166,"collections":38899,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[23,24,7,36,95,28,4347,717,624,215,34,32,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","167×60cm",[],{"id":38901,"slug":38902,"title":28288,"dynasty":52,"author":581,"museum":450,"description":38903,"tags":38904,"thumbUrl":38905,"material":166,"size":166,"collection":166,"collections":38906,"showCount":224,"zanCount":1084,"manualWeight":46,"mainColor":47},231480,"shu-cai-tu-yi-ming-231480","蔬菜瓜果是人民生活的必需品。画家们从很早以前就把蔬果选作画材，历代画家以蔬菜瓜果为内容组成美丽的画面，留下许多不同风趣的佳作。\n蔬果从来都属于花鸟画科，花鸟画家应该在表现花鸟题材的同时，认真对蔬果进行观察研究，掌握其表现方法，推陈出新地去创作新的表现技法。\n宋《宣和画谱》中“蔬果叙论”里说：“然蔬果于写生最为难工，论者以为郊外之蔬而易工于水滨之蔬，而水滨之蔬又易工于园畦之蔬也。盖坠地之果而易工于折枝之果，而折枝之果又易工于林间之果也。”",[24,95,7,481,548,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a8f4262b168a0dc28995878832b968d.jpg",[],{"id":38908,"slug":38909,"title":38910,"dynasty":205,"author":581,"museum":92,"description":38911,"tags":38912,"thumbUrl":38913,"material":298,"size":38914,"collection":166,"collections":38915,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,7,36,26,28,1810,194,35,34,33,58,164,211,3246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":38917,"slug":38918,"title":38919,"dynasty":18,"author":10698,"museum":450,"description":38920,"tags":38921,"thumbUrl":38922,"material":166,"size":166,"collection":166,"collections":38923,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},228853,"si-wan-shan-shui-tu-wen-bo-ren-228853","四万山水图","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。",[23,24,7,95,28,31,282,162,180,164,163,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa85fe8825904bddc6b0c2e6a9aa859.jpg",[],{"id":38925,"slug":38926,"title":1462,"dynasty":18,"author":19,"museum":450,"description":38927,"tags":38928,"thumbUrl":38929,"material":166,"size":166,"collection":166,"collections":38930,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},228830,"shan-mian-shen-zhou-228830","此作用水墨晕染枝间禽鸟，双雀依偎栖于繁花折枝之上，翎毛以浓淡墨色细勾慢染，灵动鲜活似正低语休憩。老干苍劲朴拙，花瓣以淡墨点染，晕出柔润舒展之态，干湿墨色交织，苍润相生。尺幅虽狭，却藏无尽生趣，以极简笔墨勾勒出春日枝桠间的闲逸幽情，将文人画的简淡天真融于方寸之间，尽显写意花鸟的隽永意致，观之如沐春枝清寂雅趣。",[23,24,25,1462,7,75,77,363,3443,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4404ed7004430e69ae3c02ca10aad4b.jpg",[],{"id":38932,"slug":38933,"title":38934,"dynasty":18,"author":11473,"museum":450,"description":38935,"tags":38936,"thumbUrl":38937,"material":166,"size":166,"collection":166,"collections":38938,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},228426,"zhi-xu-qing-yan-tu-lan-ying-228426","支许清言图","此作用笔刚柔相济，右崖奇崛厚重，以浓墨皴擦堆垒出山岩苍莽质感，左侧淡墨晕染平湖远峰，虚实相映间铺展出空濛悠远的湖山胜境。\n\n古松虬曲苍劲，针叶攒簇见笔力，尽显老松凌寒之姿。松下幽渚上二人对坐晤谈，衣袂简括，神态悠然，暗合魏晋林下雅集的高逸襟怀。\n\n笔墨干湿互融，既有刚劲风骨，又揉入写意萧散淡远的意趣，将林泉清谈的幽旷襟怀藏在松涛湖烟之中，尽现山居雅集的绝尘之味。",[23,281,24,25,95,7,36,28,193,127,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d387a521088c5ae100f06c610991a65.jpg",[],{"id":38940,"slug":38941,"title":38942,"dynasty":52,"author":11732,"museum":450,"description":38943,"tags":38944,"thumbUrl":38945,"material":166,"size":166,"collection":166,"collections":38946,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},228269,"shi-ren-ce-ye-fang-cong-yi-228269","十人册页","此作以淡墨晕染平湖烟霭，汀渚远山含晕隐现，尽是秋水长天的空濛寥廓。岸畔水榭依坡临流，霜树轻红点破满目清寂，三两渔舟泛于波上，掠水飞鸟更盘活了静穆湖面。\n\n作者以干淡笔墨轻勾缓皴，舍繁复皴法，以晕染代勾勒，将江南秋浦的闲淡疏旷收于尺幅。通篇不着浓彩，只以水墨氤氲出林泉幽致，把寄怀山水的文人意趣藏在浅淡岚烟里，静中含动，淡而愈远，尽显山水小景中尚意抒情的雅韵，恍若将观者带入秋日水畔，共赴一场林泉闲居之约。",[23,281,24,25,74,7,28,31,32,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1968189c7a593c26b6ed83fc24cfd804.jpg",[],{"id":38948,"slug":38949,"title":38219,"dynasty":52,"author":2127,"museum":450,"description":38950,"tags":38951,"thumbUrl":38952,"material":166,"size":166,"collection":166,"collections":38953,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":140},228047,"guan-chao-tu-sheng-mao-228047","咫尺尺幅铺展江天寥廓，右下方白衣高士踞坐石矶，抬眸望江，神思随浪涛远走，静穆出尘。右侧老树枝叶垂覆如翠幄，掩映出幽寂观潮之地。远景山峦以澹墨轻晕，烟霭空濛，将天地晕染成一片浑茫。\n\n笔墨简括柔润，浅设色温婉清和，以大片留白暗喻江潮浩渺，以静写动，未着潮声却似能耳闻浪拍长岸，把文人耽游林泉、寄情山水的雅怀藏在留白间。简淡画面中晕开悠远诗意，将凝神观潮的忘我意态，融在烟水山色里，尽显山水以景寄兴的悠然意境。",[23,24,7,27,36,28,193,162,350,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a29a6ce0c5bedcec8cc9a7d7960888.jpg",[],{"id":38955,"slug":38956,"title":38957,"dynasty":52,"author":3508,"museum":450,"description":38958,"tags":38959,"thumbUrl":38960,"material":166,"size":166,"collection":166,"collections":38961,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,25,74,7,27,28,29,30,31,33,35,211,164,37,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":38963,"slug":38964,"title":38965,"dynasty":205,"author":15110,"museum":450,"description":38966,"tags":38967,"thumbUrl":38968,"material":166,"size":166,"collection":166,"collections":38969,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":140},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,281,24,25,26,7,547,193,28,33,9102,453,5666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":38971,"slug":38972,"title":38973,"dynasty":174,"author":15533,"museum":450,"description":24545,"tags":38974,"thumbUrl":38975,"material":166,"size":166,"collection":166,"collections":38976,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},226635,"si-shi-shan-shui-08-pu-ru-226635","四时山水08",[23,24,25,74,7,36,28,31,32,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eea02cc99e83b92777a52ae8be0545e.jpg",[],{"id":38978,"slug":38979,"title":38980,"dynasty":174,"author":377,"museum":450,"description":38981,"tags":38982,"thumbUrl":38983,"material":166,"size":166,"collection":166,"collections":38984,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},224514,"shan-shui-tu-ce-8-kai-3-zhang-da-qian-jiu-cang-shi-tao-224514","山水图册8开-3-张大千旧藏","淡墨晕开平湖烟波，水汽裹着远山晕成一片黛色，皴擦写意的峰峦带着朴拙苍劲的质感，晕染出清旷的天地底色。近岸林木错落，干湿浓墨交织出深浅层次，三两渔舟横斜泊岸，静卧于烟水间。江畔幽坐的旅人凝望远山，留白铺就的水面将万般归思揉进空濛雾色。题画小字清雅错落，朱红闲章点缀素净画面，盘活了满卷静气。整幅笔意纵恣随性，以极简笔墨勾勒出山川清旷之美，将羁旅幽怀融于烟水林峦，藏着静穆淡远的禅意，尽显写意山水的空濛悠远。",[23,24,7,36,74,25,80,28,31,33,212,193,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546454255510cf28a6ced2790a597e6c.jpg",[],{"id":38986,"slug":38987,"title":38988,"dynasty":174,"author":6172,"museum":450,"description":38989,"tags":38990,"thumbUrl":38991,"material":166,"size":166,"collection":166,"collections":38992,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","《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。",[23,281,24,7,36,95,28,624,96,717,324,2925,34,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":38994,"slug":38995,"title":38996,"dynasty":174,"author":9682,"museum":450,"description":38997,"tags":38998,"thumbUrl":38999,"material":166,"size":166,"collection":166,"collections":39000,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},224257,"xi-ting-du-tiao-tu-cha-shi-biao-224257","溪亭独眺图","《新安画派·查士标-中国古代画派大图范本-二》是212年 出版的图书，作者是査士标。\n中国古代画派大图范本·新安画派二：溪亭独眺图，ISBN：97875481188，作者：杨东胜",[23,24,7,95,28,32,162,29,30,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e830b7b27daf04d27a64ae0f32cc68.jpg",[],{"id":39002,"slug":39003,"title":306,"dynasty":205,"author":581,"museum":92,"description":39004,"tags":39005,"thumbUrl":39006,"material":13720,"size":39007,"collection":166,"collections":39008,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},223569,"xi-shan-xing-lv-tu-yi-ming-223569","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[23,24,25,1462,7,36,37,38,80,28,180,33,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 x 44.1 cm",[],{"id":39010,"slug":39011,"title":39012,"dynasty":205,"author":581,"museum":120,"description":39013,"tags":39014,"thumbUrl":39015,"material":10405,"size":39016,"collection":166,"collections":39017,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":140},223454,"shan-po-lun-dao-tu-ye-yi-ming-223454","山坡论道图页","这幅画站在山中间，有几根竹枝。 左侧像桃花。 一个和尚和一个男人隐约出现； 一个和尚和一个男人在客厅里说话，画着一个拿着棍子听着的男孩，他身后是树。",[23,24,27,7,36,74,28,193,717,126,34,80,16865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e2d076740b9bf0b6ffda59a11b9da0.jpg","20X20",[],{"id":39019,"slug":39020,"title":39021,"dynasty":174,"author":2823,"museum":450,"description":15836,"tags":39022,"thumbUrl":39023,"material":166,"size":166,"collection":42,"collections":39024,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},223249,"shan-shui-2-pu-hua-223249","山水2",[23,24,25,95,7,27,36,28,127,32,34,30,324,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa36173f62b89aaa10373bf91171f17.jpg",[42,222],{"id":39026,"slug":39027,"title":39028,"dynasty":174,"author":39029,"museum":450,"description":39030,"tags":39031,"thumbUrl":39032,"material":166,"size":166,"collection":166,"collections":39033,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},222810,"hua-hui-cao-chong-ce-li-xiao-222810","花卉草虫册","李孝","李孝，字敦庸，号桐园，活动于康熙年间，系安徽无为人，父李亨（李仲仁）。善山水、花鸟、草虫，以“没骨画”著称，师法明代孙隆 。\n康熙五十年（1711）尝作《草虫图轴》。“没骨”，是中国传统绘画中的一种技法，它不用墨线勾勒，直接以彩色涂画物象。\n金陵天渡楼藏有其康熙己亥（1719）作《花卉草虫册》十二开。",[23,24,7,179,4152,95,128,12749,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda87507bf5208022f8d038afe868d9f7.jpg",[],{"id":39035,"slug":39036,"title":39037,"dynasty":18,"author":11425,"museum":92,"description":11426,"tags":39038,"thumbUrl":39039,"material":298,"size":11429,"collection":166,"collections":39040,"showCount":224,"zanCount":46,"manualWeight":46,"mainColor":47},222437,"hua-die-cao-chong-4-du-da-cheng-222437","花蝶草虫4",[23,281,24,25,74,481,7,75,363,364,4154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ebf16e035fe6f21a4862947405a3fe.jpg",[],{"id":39042,"slug":39043,"title":39044,"dynasty":18,"author":10698,"museum":120,"description":39045,"tags":39046,"thumbUrl":39049,"material":196,"size":39050,"collection":166,"collections":39051,"showCount":224,"zanCount":1084,"manualWeight":46,"mainColor":47},222222,"ping-qiao-yuan-shui-tu-juan-wen-bo-ren-222222","平桥远水图卷","此卷为文伯仁仿元赵孟頫《水村图卷》之作，亦称《平桥远水图卷》。作者用水墨之笔，轻渲淡染，以近景为主，远处则略加留白，以示水光苍茫。此图意境萧疏清旷，从容深秀，深得赵孟頫《水村图》之神韵。\n全卷层峦叠谳，岗岭蜿蜒，起伏不断。江面空旷，波光激荡，舟帆点点，远山朦胧。野色桥边，树石掩映，露出茅屋草亭，人物幽闲。青山高耸，俯临秋水，草木茂密，掩映楼阁。此图兼工带写，构图严密，既继承家法，又追宗王蒙， 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□□老人宴余啸傲东轩。\n座客陈君章、林子山、任叔达、任孟举。\n主者仲氏千里，子仲行、季文、高第，弟子任衡、张师周。\n席上赋诗一解，率诸客用韵成什。\n寄傲先生不乞灵，遥瞻江水接天青。\n未随汉使槎横斗，自爱郝郎书满庭。\n破镜飞来开月殿，洗车过去勒云軿。\n君看天上双星会，不似人间聚德星。\n明日书此纸会乩，抱遗叟杨维桢再拜。\n天乐大尹见此，聊发一卢胡也。\n本幅署款“抱遗叟杨维桢再拜”，钤“杨廉夫”（白文）、“铁笛道人”（朱文）二印。\n有清代安岐，近代何厚琦、赵叔彦、完颜景贤、张爰、谭敬等家鉴藏印。\n收入清代安岐旧藏《元法书大观》册中。",[37,38,80,1437,8049,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2a5be279f5460e62d5489b0d1ab9.jpg",[245],{"id":39548,"slug":39549,"title":39550,"dynasty":174,"author":39551,"museum":450,"description":39552,"tags":39553,"thumbUrl":39554,"material":314,"size":1061,"collection":42,"collections":39555,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},239467,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-fang-jing-hao-shan-shui-ye-wu-chong-239467","清初十四家书画集锦册-仿荆浩山水页","吴宠","吴宏（1615 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邹喆。\n”钤“邹喆之印”（白方）、“方鲁”（朱方）印。\n收藏印五方 ：“震泽王氏鉴藏画印”、“公绶”、“公绶”、“子孙宝之”、“购甲辰进士弟”。\n本幅所绘墨笔艾草运笔浓淡有致，并通过墨色的变化营造出了空间感。\n艾草在中国民间有着驱邪的寓意。\n邹喆作为文人画家也在自己的绘画中表现具有风俗元素的题材，使得作品既具有文人绘画的雅致，又具有风俗绘画的活泼与贴近时令，显得颇有韵味。\n邹喆（生卒年不详），字方鲁，江苏吴县人，客居金陵（今江苏省南京市）。\n工书善画，擅长山水、花卉，得其父邹典的家传，名列“金陵八家”之一。",[281,24,25,95,7,2203,39743],"艾草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6babe724a535a74d429861156ecd38.jpg",[],{"id":39747,"slug":39748,"title":4806,"dynasty":174,"author":377,"museum":450,"description":39749,"tags":39750,"thumbUrl":39751,"material":166,"size":166,"collection":166,"collections":39752,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},235892,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235892","此作以奇崛危崖撑起画面骨架，焦墨勾勒崖壁嶙峋肌理，淡墨晕染出云气在峰谷间漫漶，明暗虚实铺就山谷的空寂幽深。谷内林麓掩映茅舍，三两旅人或策杖徐行，或围坐晤谈，将山水静穆与林下雅集的悠然意趣相融，动静相生。\n\n笔墨兼具苍润，湿笔晕染出山间空蒙水汽，枯笔皴擦刻画出岩石坚实质感，尽显黄山的清灵出尘。边角题诗与山水呼应，将探幽问道的雅趣藏于丘壑，尽显文人林泉栖隐之思。",[24,25,74,7,36,80,37,38,28,10905,193,312,34,33,3685],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96f0d743602994e646e67e90a61dcf4.jpg",[],{"id":39754,"slug":39755,"title":39756,"dynasty":174,"author":9682,"museum":450,"description":39757,"tags":39758,"thumbUrl":39759,"material":166,"size":166,"collection":166,"collections":39760,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235861,"fang-wu-zhen-shan-shui-ye-cha-shi-biao-235861","仿吴镇山水页","此作用笔极简，以淡墨晕染远山，留白尽显空濛幽远。近渚枯木虬曲，坡岸人家隐于林樾，寥寥数笔便勾勒出江乡春日清寂之景，尽显简淡萧散的逸趣。\n左侧行书与画境相映，笔意清劲疏朗，诗画合璧，文气悠然。整幅以新安画派特有的冷寂清空之韵，追摹吴镇山水苍浑意趣，却自出灵秀澹泊之姿，将江南春景的幽寂淡远尽数铺陈，尽显文人画以笔遣兴、以墨抒情的雅致品格。",[24,7,28,74,38,37,36,335,162,268,2875,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f52947587da7f3f6d7872bc1adb71b.jpg",[],{"id":39762,"slug":39763,"title":39764,"dynasty":18,"author":4131,"museum":450,"description":27524,"tags":39765,"thumbUrl":39766,"material":314,"size":1061,"collection":166,"collections":39767,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235793,"xian-shi-shan-chen-hong-shou-235793","仙石扇",[24,25,1462,7,547,180,132,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc6f16a8a420e43a90be5206a71fa3.jpg",[],{"id":39769,"slug":39770,"title":70,"dynasty":18,"author":31407,"museum":450,"description":31408,"tags":39771,"thumbUrl":39772,"material":314,"size":1061,"collection":166,"collections":39773,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235731,"hua-niao-ce-tan-zhi-yi-235731",[24,25,74,7,75,76,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006b90d884e7157b5072739e1abe8a2d.jpg",[],{"id":39775,"slug":39776,"title":70,"dynasty":18,"author":31407,"museum":450,"description":31408,"tags":39777,"thumbUrl":39778,"material":314,"size":1061,"collection":166,"collections":39779,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235728,"hua-niao-ce-tan-zhi-yi-235728",[18,7,123,74,126,77,75,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe295693c368afce72067e0a0bc3da49f.jpg",[],{"id":39781,"slug":39782,"title":39783,"dynasty":18,"author":18151,"museum":450,"description":22938,"tags":39784,"thumbUrl":39785,"material":314,"size":1061,"collection":166,"collections":39786,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235531,"fang-ni-shan-shui-tu-shan-ye-lu-zhi-235531","仿倪山水图扇页",[9254,24,25,1462,254,7,27,36,28,162,32,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03a1d1c42a8e3d1c91f357d7c3bf9a8.jpg",[],{"id":39788,"slug":39789,"title":6113,"dynasty":174,"author":377,"museum":450,"description":39790,"tags":39791,"thumbUrl":39792,"material":166,"size":166,"collection":166,"collections":39793,"showCount":302,"zanCount":1084,"manualWeight":46,"mainColor":140},235523,"yuan-ji-shan-shui-tu-ce-shi-tao-235523","此作用枯淡笔墨写就秋林逸景，坡岸错落在浅滩之侧，奇崛山石以披麻皴写就，苍劲松竹错落林间，茅庐隐于林麓深处。水畔留白见空茫，寥寥几笔便将秋水清寂铺陈开来。左侧题字笔意纵逸，与画境相生相融。\n全画简淡萧疏，枯润笔墨相映，留白处尽得山水悠远之致，将秋郊水畔冷寂澹然与幽居文人的散淡意趣相融，尽显文心画骨，把寄情林泉的幽怀藏在笔底。",[24,25,7,36,74,28,96,34,30,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0f27c31545873ecbd11eb7ab97c011.jpg",[],{"id":39795,"slug":39796,"title":6113,"dynasty":174,"author":377,"museum":450,"description":39797,"tags":39798,"thumbUrl":39799,"material":166,"size":166,"collection":166,"collections":39800,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235522,"yuan-ji-shan-shui-tu-ce-shi-tao-235522","此作用枯笔淡墨绘就山水幽居之境。远山清瘦层叠，烟岚轻笼峰腰，晕染出空濛淡远之致。近处怪石盘迂，苍松杂木错落生姿，茅舍半隐林麓，林下幽人对坐抚琴，尽得林泉高致。\n\n左侧题诗与画面相映成趣，笔致萧散简淡，以诗衬画，将静听松风、默然会意的雅逸心境铺展纸上。整体画风疏秀空灵，脱尽尘俗，以极简笔墨勾勒悠远林下之思，把文人耽爱山水、寄情丝桐的襟怀融于尺幅间，淡而弥永，意韵悠长。",[24,7,74,36,28,180,33,324,164,3157,215,8941,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9ee25418441b56893f0e81e4198921.jpg",[],{"id":39802,"slug":39803,"title":5598,"dynasty":18,"author":39804,"museum":450,"description":39805,"tags":39806,"thumbUrl":39807,"material":314,"size":1061,"collection":166,"collections":39808,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235477,"hua-hui-ce-qi-xun-235477","戚勋","戚勋 (明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[24,25,74,38,7,547,75,395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37bc4a6a7e5fd9cdac8bdc41c2dd64f4.jpg",[],{"id":39810,"slug":39811,"title":157,"dynasty":174,"author":36266,"museum":450,"description":39812,"tags":39813,"thumbUrl":39814,"material":166,"size":166,"collection":42,"collections":39815,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235374,"shan-shui-ce-mei-geng-235374","此作为诗画合璧，上部行书题字笔墨清隽，文辞摹写山水幽境，与下方画作彼此呼应。画面以淡墨写就，虬劲枯松卓然挺立于崖岸，林下高士凭崖远眺飞瀑长川，远山以留白晕染出空濛幽深之意。整体笔墨简淡萧散，笔意松秀空灵，以极简的笔致勾勒出清远出尘的山水胜景，尽显文人画寄情林泉、澄怀观道的意趣，诗画相映间悠悠古意扑面而来，尽抒林下风流雅韵。",[24,25,74,7,28,36,193,34,210,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6ec88fd071f9d84239a1723f17bcda.jpg",[42,245],{"id":39817,"slug":39818,"title":39819,"dynasty":18,"author":13639,"museum":450,"description":31974,"tags":39820,"thumbUrl":39821,"material":314,"size":1061,"collection":166,"collections":39822,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235205,"lu-ting-di-chang-tu-shan-ye-cheng-jia-sui-235205","芦艇笛唱图扇页",[281,24,25,1462,7,27,28,193,31,33,1004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e9dfd01fea6f4b5647438d2e21ef354.jpg",[],{"id":39824,"slug":39825,"title":157,"dynasty":174,"author":418,"museum":450,"description":39826,"tags":39827,"thumbUrl":39828,"material":166,"size":166,"collection":166,"collections":39829,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235166,"shan-shui-ce-zhu-da-235166","此作以极简笔墨营构幽寂天地，左侧危崖突兀，枯松虬曲苍劲，崖石以淡墨勾勒皴擦，笔意老辣疏简。山坳间几椽茅舍错落隐现，淡写山乡野逸之态。\n画面大半留白，以虚代实，将江天寥廓空茫尽数铺展，留白处的题款与朱红印章冷暖相映，让素净画面多了一丝沉凝意蕴。\n笔底无多，却以疏淡荒寒之境藏尽孤高萧索的心境，把文人沉郁风骨融于山川丘壑，淡远空灵间，尽显水墨造境的悠长余韵。",[24,25,281,7,1176,36,2446,28,33,35,213,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a3803585d8cad8fc59bea54486cdb2.jpg",[],{"id":39831,"slug":39832,"title":39833,"dynasty":18,"author":18116,"museum":450,"description":39834,"tags":39835,"thumbUrl":39836,"material":166,"size":166,"collection":166,"collections":39837,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},235118,"fang-dong-yuan-shan-shui-tu-zhou-wang-duo-235118","仿董源山水图轴","此作用笔师法江南山水意趣，又自出机杼。上部危崖崔嵬，以浓墨点苔晕出山峦肌理，一道飞泉蜿蜒垂落，破开山的沉浑静穆。中部茂林如盖，焦墨积染出层叠郁葱的林木，掩映幽微山径，尽显山野深邃。下部涧水湍流卷浪，拍击乱石，灵动水态与静穆山石形成鲜明动静对照。\n\n水墨干湿浓淡自然变幻，皴擦点染间既有古雅温润的苍厚质感，又带着纵逸雄放的笔意。题款书法与画面浑然相融，将幽江南山水的幽深灵秀与文人磊落襟怀相合，是师古能化的山水佳构。",[24,25,95,254,7,36,28,33,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cae3ee7788a99f246c152d52164de1f.jpg",[],{"id":39839,"slug":39840,"title":27629,"dynasty":174,"author":749,"museum":450,"description":39841,"tags":39842,"thumbUrl":39843,"material":166,"size":166,"collection":166,"collections":39844,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235087,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-yuan-qi-235087","《王翚仿黄公望山水图轴》是清代 创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[24,25,95,7,36,28,34,33,35,30,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":39846,"slug":39847,"title":6113,"dynasty":174,"author":377,"museum":120,"description":3984,"tags":39848,"thumbUrl":39849,"material":11042,"size":3140,"collection":166,"collections":39850,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},235002,"yuan-ji-shan-shui-tu-ce-shi-tao-235002",[24,7,74,36,28,147,35,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88700a465848b4bfef96013a08e833f.jpg",[],{"id":39852,"slug":39853,"title":14272,"dynasty":174,"author":5748,"museum":120,"description":39854,"tags":39855,"thumbUrl":39856,"material":6280,"size":14275,"collection":166,"collections":39857,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[24,7,36,74,37,38,28,34,33,29,32,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg",[],{"id":39859,"slug":39860,"title":26400,"dynasty":18,"author":39861,"museum":450,"description":39862,"tags":39863,"thumbUrl":39864,"material":314,"size":1061,"collection":166,"collections":39865,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},234839,"shan-shui-shan-mian-wei-zhi-huang-234839","魏之璜","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,1462,7,28,33,35,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff739d6ab5a66ed9fd5bc38b5f836358.jpg",[],{"id":39867,"slug":39868,"title":27644,"dynasty":18,"author":14875,"museum":450,"description":22338,"tags":39869,"thumbUrl":39870,"material":314,"size":1061,"collection":166,"collections":39871,"showCount":302,"zanCount":1084,"manualWeight":46,"mainColor":47},234829,"zhu-ju-shan-xiang-sheng-mo-234829",[1462,7,126,134,75,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31652eb5aff878bf1eb816c29e9f89b6.jpg",[],{"id":39873,"slug":39874,"title":39875,"dynasty":174,"author":581,"museum":450,"description":39876,"tags":39877,"thumbUrl":39878,"material":166,"size":166,"collection":42,"collections":39879,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234551,"yu-mu-shang-xin-ce-jiang-zhu-shan-shui-ce-ye-yi-ming-234551","娱目赏心册-江注山水册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[24,25,74,7,38,80,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63b49a98dfed4752166cc9dfed195c5.jpg",[42,83],{"id":39881,"slug":39882,"title":39883,"dynasty":174,"author":32112,"museum":120,"description":39884,"tags":39885,"thumbUrl":39886,"material":564,"size":39887,"collection":166,"collections":39888,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234501,"bai-ying-lou-tu-ce-ye-fan-qi-234501","拜影楼图册页","《拜影楼图》共十二开，是清初多位画家以扬州拜影楼为主题创作的作品合册。册中或远山耸峙，或水波澹荡，或江烟寥廓，是文人雅士借画怀古、以画咏志之作。拜影楼位于明代扬州名园影园之中，是园主之子郑掌和清初于几近荒废的影园中所建。时过境迁，昔日名园与名楼今皆已不存，观赏此作，可一睹其当日风采。",[74,7,27,28,147,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158a279126b10b356fa6e901a87f1410.jpg","纵19.5厘米 横16.0厘米",[],{"id":39890,"slug":39891,"title":39892,"dynasty":18,"author":39893,"museum":450,"description":39894,"tags":39895,"thumbUrl":39896,"material":166,"size":166,"collection":166,"collections":39897,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[24,25,1462,7,36,28,940,33,34,163,164,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189ad8459fc1b6f9a24ecaf33e0dcfd.jpg",[],{"id":39899,"slug":39900,"title":157,"dynasty":174,"author":39901,"museum":120,"description":39902,"tags":39903,"thumbUrl":39904,"material":537,"size":166,"collection":42,"collections":39905,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234320,"shan-shui-ce-wang-jiu-234320","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,25,74,7,36,38,80,28,34,33,533,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36895b3e70d3dcf8d4166e70543c7c44.jpg",[42,64,245],{"id":39907,"slug":39908,"title":39909,"dynasty":18,"author":39910,"museum":120,"description":39911,"tags":39912,"thumbUrl":39913,"material":564,"size":166,"collection":166,"collections":39914,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234238,"jiang-nan-sheng-gai-tu-juan-zhu-zong-ru-234238","江南胜概图卷","朱宗儒","朱宗儒如字忆云。秀水（今嘉兴）人。善画山水人物。为人放浪不羁，弃诸生而游江湖，同邑戴泾曾为之传。",[23,24,25,26,7,28,193,35,33,36,29,30,59,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg",[],{"id":39916,"slug":39917,"title":36397,"dynasty":174,"author":529,"museum":120,"description":39918,"tags":39919,"thumbUrl":39920,"material":564,"size":39921,"collection":166,"collections":39922,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,26,7,28,36,37,38,80,335,350,33,32,29,30,31,213,35,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":39924,"slug":39925,"title":39926,"dynasty":18,"author":39927,"museum":450,"description":39928,"tags":39929,"thumbUrl":39930,"material":166,"size":166,"collection":166,"collections":39931,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[23,24,25,26,7,481,28,29,30,194,32,147,311,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":39933,"slug":39934,"title":39935,"dynasty":18,"author":1788,"museum":120,"description":39936,"tags":39937,"thumbUrl":39938,"material":916,"size":39939,"collection":166,"collections":39940,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,24,25,26,7,547,38,80,28,75,193,127,126,706,2875,77,125,133,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","每段 纵32.6厘米 横50.8厘米",[],{"id":39942,"slug":39943,"title":39944,"dynasty":18,"author":7182,"museum":120,"description":39945,"tags":39946,"thumbUrl":39947,"material":298,"size":166,"collection":166,"collections":39948,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,25,26,7,28,36,37,80,38,33,29,30,32,282,324,164,773,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":39950,"slug":39951,"title":39952,"dynasty":174,"author":13237,"museum":120,"description":39953,"tags":39954,"thumbUrl":39955,"material":61,"size":166,"collection":166,"collections":39956,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 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初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[281,24,25,26,7,27,28,624,194,29,30,31,32,80,33,35,3246,164,4569,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":39958,"slug":39959,"title":39960,"dynasty":174,"author":377,"museum":120,"description":39961,"tags":39962,"thumbUrl":39963,"material":964,"size":39964,"collection":166,"collections":39965,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234047,"yuan-ji-qi-feng-tu-shan-ye-shi-tao-234047","原济奇峰图扇页","此幅应是原济晚年之作。图绘黄山两处重要景观莲花峰和文殊院。构图新颖大胆，极尽含蓄隐现之妙。画幅中部的莲花峰以“截取法”表现，重点刻画了交叠错落的山顶，其山腰以下的部分利用“无中生有”的艺术手法，通过虚无飘渺的白云将它隐去，从而反衬出此峰的高深与雄伟，令整个画面也由此成为一个烟云流动、气势壮丽而又深邃空灵的小世界。",[24,1462,7,36,28,7340,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7869dbee107a474422c0cb53686895.jpg","纵17.5厘米，横49厘米",[],{"id":39967,"slug":39968,"title":39969,"dynasty":18,"author":4131,"museum":120,"description":39970,"tags":39971,"thumbUrl":39972,"material":3883,"size":39973,"collection":166,"collections":39974,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234045,"qiu-xi-fan-ting-tu-shan-ye-chen-hong-shou-234045","秋溪泛艇图扇页","此图通过木叶丹黄的秋天景色和人物悠闲划艇的活动，展现出一种宁静清逸的意境，给人远离尘俗之感。清初期，陈洪绶面对明为清所灭、友人相继殉国的情境，深感亡国离乱之痛，产生了隐遁避世的情致。此图绘成后的第二年六月，他就在云门寺剃发为僧，改号“悔迟”、“悔僧”、“秃翁”，亦号“云门僧”、“迟和尚”等。图中山石、树木法自蓝瑛，多以中锋行笔，笔致粗犷，点染生动，于雄浑中见朴拙蕴藉，加强了画面的视觉效果。",[1462,24,25,7,36,28,31,717,34,30,193,80,37,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca0bc4fcdb1b635c63e0a0c2219a288.jpg","纵16.3厘米，横51.8厘米",[],{"id":39976,"slug":39977,"title":39978,"dynasty":205,"author":581,"museum":120,"description":39979,"tags":39980,"thumbUrl":39981,"material":61,"size":39982,"collection":166,"collections":39983,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},234003,"feng-yu-gui-zhou-ye-yi-ming-234003","风雨归舟页","此图描绘风雨中江边的景象。 风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 全天的浓烈和浓重都恰到好处，水墨是典型的南宋风格。",[24,25,74,7,27,36,28,31,33,34,30,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090650b9f7490bc6479d959f1e649073.jpg","25.6×25.3cm",[],{"id":39985,"slug":39986,"title":7234,"dynasty":52,"author":2127,"museum":120,"description":39987,"tags":39988,"thumbUrl":39989,"material":537,"size":10378,"collection":166,"collections":39990,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},233952,"song-shi-tu-zhou-sheng-mao-233952","此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[24,7,95,36,127,706,180,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5472fa97ec25a324a41e344a125846.jpg",[],{"id":39992,"slug":39993,"title":14552,"dynasty":174,"author":9682,"museum":120,"description":14553,"tags":39994,"thumbUrl":39995,"material":964,"size":14556,"collection":166,"collections":39996,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},233871,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233871",[24,7,494,74,36,335,350,32,624,717,213,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445edf7b1c27c418f24ac44e35eb046f.jpg",[],{"id":39998,"slug":39999,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":40000,"thumbUrl":40001,"material":811,"size":4319,"collection":166,"collections":40002,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},233865,"mei-hua-ce-jin-nong-233865",[24,25,74,547,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8e1c5ce3671b037868fb408a6377ea.jpg",[],{"id":40004,"slug":40005,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":40006,"thumbUrl":40007,"material":811,"size":4319,"collection":166,"collections":40008,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},233862,"mei-hua-ce-jin-nong-233862",[24,25,74,7,547,2816,79,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60346c88438f5bbe9ef487e719159592.jpg",[],{"id":40010,"slug":40011,"title":4315,"dynasty":174,"author":657,"museum":294,"description":4316,"tags":40012,"thumbUrl":40013,"material":811,"size":4319,"collection":166,"collections":40014,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},233859,"mei-hua-ce-jin-nong-233859",[24,25,7,74,125,9613,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaae5adc1a49a24150b4f8edd78eb0ce.jpg",[],{"id":40016,"slug":40017,"title":3136,"dynasty":174,"author":377,"museum":120,"description":9377,"tags":40018,"thumbUrl":40019,"material":23968,"size":23969,"collection":166,"collections":40020,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},233417,"yuan-ji-shan-shui-ce-shi-tao-233417",[24,7,74,36,28,180,147,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbc7f6586f3953ae969d45c5a8d59a6.jpg",[],{"id":40022,"slug":40023,"title":10686,"dynasty":174,"author":657,"museum":120,"description":10687,"tags":40024,"thumbUrl":40025,"material":10691,"size":10692,"collection":166,"collections":40026,"showCount":302,"zanCount":1084,"manualWeight":46,"mainColor":47},233397,"shan-shui-ren-wu-ce-jin-nong-233397",[24,25,74,27,7,547,36,28,193,180,162,1841,636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9affef318a27a3eff09070d1263ab9ff.jpg",[],{"id":40028,"slug":40029,"title":40030,"dynasty":205,"author":581,"museum":120,"description":40031,"tags":40032,"thumbUrl":40033,"material":40034,"size":40035,"collection":166,"collections":40036,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},233207,"liu-xi-chun-se-tu-ye-yi-ming-233207","柳溪春色图页","此画又名《柳溪春色图》，无名款，从其风格判断应属南宋时期作品。图绘一处屋宇依山傍水，四周柳树环绕，此时正值春天，微风吹拂柳叶飞动，整幅画面洋溢着春日气息。庭院中一群仕女似乎在排演着歌舞，屋前有一大片空地可能类似如今的广场。此画构图十分特别，不似传统「三远法」中任何一种，画面的组织皆围绕着建筑展开平铺直叙。其画法属工细一路，用笔精致，设色淡雅。画中前景用斧劈皴画一巨石，茂林密柳以「胡椒点」为之，有别于常见的人、个、介字的排列画法；屋宇平直处用界画成，曲折处稍用笔有放逸；远山勾画简略，几乎是平涂而成，意在衬托出前面繁密的景物。作者在马夏风格一统画坛的南宋时期，仍可另辟蹊径创出一种新面貌，故此画当属难得的宋人佳作。",[24,1462,2446,481,27,7,36,28,1853,2315,454,162,30,25605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa316a638cfd655a3d2997055ce7f48.jpg","绢本淡设色","纵23.4厘米，横24厘米",[],{"id":40038,"slug":40039,"title":3136,"dynasty":174,"author":377,"museum":120,"description":3137,"tags":40040,"thumbUrl":40041,"material":298,"size":3140,"collection":166,"collections":40042,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},233127,"yuan-ji-shan-shui-ce-shi-tao-233127",[24,25,74,7,27,36,28,31,212,33,35,211,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20cb7a6d40f44117b887d4717d35798b.jpg",[],{"id":40044,"slug":40045,"title":40046,"dynasty":18,"author":2851,"museum":120,"description":40047,"tags":40048,"thumbUrl":40049,"material":10405,"size":17030,"collection":166,"collections":40050,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,25,74,7,27,28,33,194,213,597,29,37,38,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg",[],{"id":40052,"slug":40053,"title":40054,"dynasty":174,"author":7295,"museum":450,"description":40055,"tags":40056,"thumbUrl":40057,"material":5358,"size":40058,"collection":166,"collections":40059,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},232895,"shui-mo-tu-ce-hua-ce-zheng-min-232895","水墨图册画册","郑旼（1632-1683），号墓倩、穆倩、墓道人、神经证史、雪痕后人，安徽歙县人，擅长山水画。明亡之后，黄宾虹《黄山丹青志》中记载郑旼的行迹为：“……隐于狂疾，服如野僧，或有言触往事者，辄哭不休，或望空下拜，拜凡以三。簮绂中人，有愿近昵者，哭以拒之，或先避之，虽坚请不出也。”他在康熙十三年除夕日记云，“饥寒迫身……实愿甘之”，但他决不依附权贵，实在难饥，则以诗画易米，倘若以金帛予之，则必不予，即或成幅，亦毁之。郑旼人品高洁，不同流俗，刚正不阿，憎爱分明，具有坚贞民族气节的遗民。在篆刻方面，郑旼以先秦两汉为宗，每刻必有新意。曾自刻闲章：“闲来写幅青山卖，不使人间造孽钱”，盖于自己的画作上，表现出一个正直文人的清高与不俗。",[24,7,74,38,37,80,36,28,335,162,1442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da6b0639be05e6bfd10cc0a42e975a6.jpg","172.5×46.8cm",[],{"id":40061,"slug":40062,"title":40063,"dynasty":52,"author":621,"museum":450,"description":40064,"tags":40065,"thumbUrl":40066,"material":298,"size":40067,"collection":166,"collections":40068,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,25,26,7,36,38,37,281,28,180,33,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":40070,"slug":40071,"title":40072,"dynasty":174,"author":9682,"museum":159,"description":16921,"tags":40073,"thumbUrl":40074,"material":298,"size":40075,"collection":166,"collections":40076,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},232687,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-232687","仿倪云林古木图",[23,24,7,254,28,610,147,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd8c4275900bc0d3ef08012f2755498.jpg","110×50厘米",[],{"id":40078,"slug":40079,"title":40080,"dynasty":174,"author":5090,"museum":159,"description":40081,"tags":40082,"thumbUrl":40083,"material":298,"size":40084,"collection":166,"collections":40085,"showCount":302,"zanCount":1084,"manualWeight":46,"mainColor":47},232267,"geng-yan-shan-shui-tu-ce-wang-hui-232267","耕烟山水图册","王翚在王时敏等人的指导下进行学习和创作的生涯达二十年。他广泛学习宋元以来的各种流浓和山水画名迹。为他最终达到“集大成”打下了深厚的基础。相对于其它三王来说。王翚的家境是较贫寒的。在青年时代就做到“仿临宋元人无微不肖”因此当时有人便“倩其作装璜作伪，以愚好古者，虽老于鉴别亦不知为近人笔”〔清·周亮工《读画全录》。今天我们偶尔还能见到王翚的“作伪”的一些假，宋元古画。〕后人广泛称道王翚的画为集古之“大成”，此语原为石谷自道：“以元人笔墨。运宋人丘壑，而泽以唐人气韵，乃为大成”〔《清晖画跋》〕。而他说的另一段话中道得更为透彻：“翚自龉时搦管，仡仡穷年，为俗流派拘牵，无繇自拔……临颖茫然，识微难洞，已从师得指法，复于东南收藏好事家纵览右丞，思训，荆，董，胜国诸贤，上下千余年，名迹数二万种，然后知事理之精微，画学之博大如此，而非区区一家一派之所能尽也，由是潜神苦志，静心救之，每下笔落墨，辄思故人用心处……于是涵泳于心，练之于手，自喜不复为流派所感，而稍稍可以自信矣”（《清晖画跋》）。可见，王翚早年曾经“为世俗流派拘毫，无繇自拔”一味地广泛临摹，学习古人各种不同的的画法之然“然后知画理之精……非区区一家一派之所能尽也”。夜间他从世俗流派的不同门户偏见的羁伴中解脱出来，当然包括所谓“南北宗”山水画的区分。清盛大士说得好“耕烟贡性超俊，学习深邃，能含南北宗为一手”（《溪山卧游录》卷一），清张庚也指出：“画有南北宗，至石谷而合焉”（《国朝画征全录》）。中国的傅统山水画，其中最主要的一种审美要素便是和式化的”皴法；而所谓“南北宗”之别亦在“披麻皴”和“斧劈皴”的不同。但二者长期的对立状态却被王翚加以解化了。正如恽寿平所说“古来之笔至龃龉不能相入者，石谷则罗而置之笔端，融洽以出，神哉技手”（《瓯香馆画跋》） 。",[24,25,74,7,36,28,147,180,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bb574f4feb8802ab4baafc960bf456.jpg","29×29cm×10",[],{"id":40087,"slug":40088,"title":40089,"dynasty":5382,"author":40090,"museum":450,"description":40091,"tags":40092,"thumbUrl":40095,"material":314,"size":1061,"collection":166,"collections":40096,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},231785,"ming-qing-ri-ben-gu-hua-fen-ben-yao-guai-chu-xing-juan-he-guo-xiao-zhai-231785","明清日本古画粉本-妖怪出行卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,26,547,7,193,40093,40094,8403,80],"妖怪","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1401d1e4f5070159203b05ca347f68cc.jpg",[],{"id":40098,"slug":40099,"title":40100,"dynasty":5382,"author":40101,"museum":450,"description":40102,"tags":40103,"thumbUrl":40104,"material":314,"size":1061,"collection":166,"collections":40105,"showCount":302,"zanCount":1084,"manualWeight":46,"mainColor":140},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,24,25,7,27,28,194,31,30,34,33,29,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":40107,"slug":40108,"title":40109,"dynasty":205,"author":581,"museum":92,"description":40110,"tags":40111,"thumbUrl":40113,"material":166,"size":39313,"collection":220,"collections":40114,"showCount":302,"zanCount":1084,"manualWeight":46,"mainColor":47},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[281,24,25,1714,27,481,7,1839,15168,282,30,33,1004,34,596,40112,28,1071],"牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg",[220],{"id":40116,"slug":40117,"title":12363,"dynasty":205,"author":581,"museum":450,"description":40118,"tags":40119,"thumbUrl":40120,"material":166,"size":166,"collection":166,"collections":40121,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},231055,"song-quan-pan-shi-tu-yi-ming-231055","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,24,25,281,95,7,27,36,624,30,210,6882,34,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":40123,"slug":40124,"title":40125,"dynasty":174,"author":6172,"museum":450,"description":40126,"tags":40127,"thumbUrl":40129,"material":166,"size":166,"collection":166,"collections":40130,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},230948,"qing-yun-dong-he-tu-wu-li-230948","晴云洞壑图","此作以高远、平远交织的构图铺陈画面，层叠山石逐层递深，拉开幽邃山水空间。以苍劲厚重的皴法勾勒岩壑，尽显山石嶙峋质感，林木疏密错落，枝梢意态宛然，细节处见细腻功力。右下角独行旅人衬出山峦雄浑辽廓，以人之渺小衬出天地空阔，更显山居清寂。右上角题字与画面融为一体，晕染雅致文气，整体气韵沉静萧疏，将林壑间幽远静谧的山居意境尽显无遗，尽显古典山水的文人意趣。",[23,24,25,7,27,36,28,40128,454,33,34,533],"洞壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd15f0936b3087b09b345f32de9721dc1.jpg",[],{"id":40132,"slug":40133,"title":40134,"dynasty":174,"author":40135,"museum":450,"description":40136,"tags":40137,"thumbUrl":40138,"material":166,"size":166,"collection":166,"collections":40139,"showCount":302,"zanCount":1084,"manualWeight":46,"mainColor":140},230919,"shu-feng-zhan-dao-tu-ye-liu-long-230919","蜀峰栈道图","叶六隆","整作以水墨铺陈层叠山川，奇崛危崖间栈道盘绕，飞瀑穿林而下，古松虬曲扎根绝壁，尽绘山川雄荒之态。\n行旅之人或驱驴缓行于险道，或驻足观瀑稍作休憩，寸尺人物却神态宛然，将蜀道行路的艰涩与山川壮景相融，把奇险之境具象于笔底，又暗蕴羁旅行人的幽远意趣。笔墨苍劲古朴，皴擦勾勒间尽显山石肌理，山水之雄与行旅之幽浑然一体，尽显传统山水叙事的悠远意境。",[23,24,25,95,7,36,28,3845,193,312,335,706,162,210,311,194,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adb14969e212e22fafe642e5a5551c7.jpg",[],{"id":40141,"slug":40142,"title":40143,"dynasty":18,"author":10698,"museum":450,"description":40144,"tags":40145,"thumbUrl":40146,"material":314,"size":1061,"collection":166,"collections":40147,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},228854,"xun-yang-song-ke-tu-juan-wen-bo-ren-228854","浔阳送客图卷","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[23,24,25,26,7,27,28,31,282,33,34,36,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5504d48b2948047af35986cb9bd270c8.jpg",[],{"id":40149,"slug":40150,"title":40151,"dynasty":18,"author":5683,"museum":450,"description":40152,"tags":40153,"thumbUrl":40154,"material":314,"size":1061,"collection":166,"collections":40155,"showCount":302,"zanCount":1084,"manualWeight":46,"mainColor":140},228759,"shi-de-xiao-yue-tu-zhang-lu-228759","拾得笑月图","月圆时节分外明,天台国清僧敲钟。拾得望月放肆笑,扫尽崖下垢与尘。",[23,24,281,95,7,193,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612e8cb0aec083b8380283ac557cadab.jpg",[],{"id":40157,"slug":40158,"title":40159,"dynasty":18,"author":11473,"museum":450,"description":40160,"tags":40161,"thumbUrl":40162,"material":166,"size":166,"collection":166,"collections":40163,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},228429,"fa-zhao-ling-rang-hu-zhuang-yan-liu-bi-yi-lan-ying-228429","法赵令穰湖庄烟柳笔意","此作用淡墨晕染出空濛湖烟，枯柳虬枝错落披拂，将水乡早春的氤氲柔霭铺陈开来。水岸茅庐幽敞，隐者凭窗闲坐，滩头策杖人彳亍独行，湖面轻舟随波缓漾，处处浸着江南水村的清寂闲雅。\n画师以简淡清润的笔意，褪去繁饰，将幽居澹泊的文人心境融于烟水寒林之中，萧散诗意漫溢画面，尽显文人寄情丘壑的悠远意趣，是一帧极具抒情性的山水小品佳构。",[23,24,25,95,7,27,28,610,147,31,30,32,254,36,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":40165,"slug":40166,"title":40167,"dynasty":18,"author":14875,"museum":450,"description":40168,"tags":40169,"thumbUrl":40170,"material":166,"size":166,"collection":166,"collections":40171,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},228307,"jiang-shan-xue-ji-tu-shou-juan-xiang-sheng-mo-228307","江山雪霁图手卷","此作用淡墨晕染，留白拟积雪，绘就雪后江天。近岸寒林枯槎错落，崖巅孤亭孑立，可眺江色；山石以干笔皴擦，凝住冬日元气。远景江波澹澹，远山如墨痕晕散，孤鸟掠空衬出天地寥廓，满卷萧寒清旷之意。\n师法宋元笔墨，以极简之笔写尽雪霁荒寒，将文人幽居远眺的寄怀藏于山水间。后附题跋小楷娟秀，书画相映，在素淡笔墨里晕开空寂禅意，尽显古雅清逸的文人画风骨。",[23,24,25,26,7,36,28,993,34,33,32,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55f709ab0f0994569af64b386bef267.jpg",[],{"id":40173,"slug":40174,"title":40175,"dynasty":52,"author":8400,"museum":450,"description":40176,"tags":40177,"thumbUrl":40178,"material":166,"size":166,"collection":166,"collections":40179,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},228075,"yue-xia-bai-mei-tu-yan-hui-228075","月下白梅图","此作用极简笔墨，截取折枝白梅入画。枯劲苍涩的墨枝虬曲伸展，尽显老梅历经霜寒的嶙峋风骨，淡墨晕染出的柔白花瓣轻缀枝头，似将溶在朦胧月色里。\n画面空疏留白晕染开幽寂夜色，把月下梅的清冷雅致烘托到极致。笔意简淡却韵致悠长，将梅的疏淡高洁与夜色空濛融作一片，于空寂中暗涌生机，尽显文人画清雅出尘的意趣，似能让观者嗅见月下浮动的暗香，浸身于这幽谧孤高的清寂意境中。",[23,24,1462,7,125,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fbf45d785efad4875fefb5551c888a.jpg",[],{"id":40181,"slug":40182,"title":27778,"dynasty":52,"author":2127,"museum":450,"description":40183,"tags":40184,"thumbUrl":40185,"material":166,"size":166,"collection":166,"collections":40186,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},228040,"shan-shui-ye-sheng-mao-228040","此作以咫尺扇面铺展山水清境，近景崖石盘结，苍木层生，干笔皴擦写出岩体苍厚肌理，点染间见林木错落生机。远景以淡墨晕染远山，江天留白处轻舟横渡，晕开烟波浩渺的空寂诗意。\n\n笔墨兼工带写，既承精工之态，又融萧散简淡的意趣，浓淡墨色铺陈出深远空间层次，将林泉幽致藏于方寸之中，尽显文人寄情山水的悠远襟怀，清雅古淡之间，留存山水小品独有的静谧余韵。",[281,24,25,74,7,27,36,28,162,31,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d8beb27fb73713a6098a1128fdf4ce.jpg",[],{"id":40188,"slug":40189,"title":40190,"dynasty":52,"author":16372,"museum":450,"description":40191,"tags":40192,"thumbUrl":40193,"material":166,"size":166,"collection":166,"collections":40194,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},227990,"chun-jiang-tu-ma-wan-227990","春江图","此作用笔苍润秀雅，以淡墨晕染远岫平林，江波如练，渔舟轻漾，铺就江天寥廓之境。近岸危崖层叠，嘉木葱茏，间有丹叶点破春山碧色，山麓小径间策蹇徐行的旅人，为空寂江乡添上几分烟火意趣。\n全画以披麻皴写山石肌理，干湿互济，墨色苍润交融，诗题于画端，将春日江村的静穆野趣与文人逸怀相融，尽显悠远冲淡的林下幽情，晕染出江天春景的空濛诗意。",[24,281,25,95,7,27,36,37,80,28,3256,31,33,34,193,212,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":40196,"slug":40197,"title":40198,"dynasty":205,"author":581,"museum":450,"description":40199,"tags":40200,"thumbUrl":40201,"material":166,"size":166,"collection":166,"collections":40202,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[23,24,25,2446,7,27,28,31,33,268,30,164,468,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":40204,"slug":40205,"title":19052,"dynasty":205,"author":581,"museum":450,"description":40206,"tags":40207,"thumbUrl":40208,"material":166,"size":166,"collection":166,"collections":40209,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[23,24,25,2446,7,27,36,28,3256,5297,33,34,164,33584,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":40211,"slug":40212,"title":40213,"dynasty":205,"author":581,"museum":450,"description":40214,"tags":40215,"thumbUrl":40217,"material":166,"size":166,"collection":166,"collections":40218,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},227852,"shan-dian-feng-lian-tu-ye-yi-ming-227852","山店风帘图页","此帧水墨小品以边角取景，于尺幅间铺展幽寂冬日山居。嶙峋崖石以斧劈皴利落勾勒，苍劲笔墨写出硬质肌理，枯木虬枝弯折古拙，尽显萧寒之态。山坳间的野店隐于林泉，淡墨晕染的远峰裹挟烟岚，朦胧悠远。画师以简淡洗练的笔法拉开远近层次，留白空灵清旷，将山野间荒寒冷寂的氛围渲染尽致，暗含着文人士大夫心向往之的静穆淡远林下幽思，尽显以小见大、以景寄情的隽永意趣。",[23,24,25,74,7,27,28,36,38,80,335,213,33,268,40216],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d24dc4618a7f329647a52ced4edb35.jpg",[],{"id":40220,"slug":40221,"title":40222,"dynasty":205,"author":6572,"museum":450,"description":40223,"tags":40224,"thumbUrl":40225,"material":166,"size":166,"collection":166,"collections":40226,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},227595,"song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227595","送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。",[23,37,38,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3ee6efaf6a6bc07864e1e94e0d9ef0e.jpg",[],{"id":40228,"slug":40229,"title":40230,"dynasty":174,"author":377,"museum":450,"description":40231,"tags":40232,"thumbUrl":40233,"material":166,"size":166,"collection":166,"collections":40234,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},224516,"shan-shui-tu-ce-8-kai-4-zhang-da-qian-jiu-cang-shi-tao-224516","山水图册8开-4-张大千旧藏","此作笔墨纵逸灵秀，近景矶石层叠错落，古松浓荫如盖，半山楼阁隐现其间，扁舟系于石畔，漾出静雅思致。水面留白悠远，远景以淡墨晕染平峦，淡青轻覆山尖，虚实相生间晕开江南水畔的清寂底色。\n\n笔意枯湿浓淡随性自然，将山林幽居的萧散野趣尽显无余，题书朴拙苍劲，与画境浑然相融，藏着寄情林泉的隐逸襟怀，寥寥数笔便勾勒出静穆淡远的诗意山水。",[23,24,7,27,74,36,28,31,32,162,34,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcb11f13f60708864df487319738a70.jpg",[],{"id":40236,"slug":40237,"title":40238,"dynasty":174,"author":377,"museum":450,"description":40239,"tags":40240,"thumbUrl":40241,"material":166,"size":166,"collection":166,"collections":40242,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},224503,"shan-shui-ce-kai-ba-shi-tao-224503","山水冊开(八)","此作用笔清润秀雅，以淡墨晕染远山，将春山笼在烟岚薄雾之中。江岸村落隐于林莽间，江渚渔舟系泊静卧，近岸茅舍错落，柔柳轻拂堤岸，浅赭淡绿敷色晕染，晕开春日融融暖意。\n\n右上题诗与画面相生，将江畔春景揉进诗意之中，简淡空灵间尽显田园意趣。笔墨简而意足，淡而弥厚，把江南春日的缱绻春深藏在浅淡晕染里，将乡野间恬然闲静的春日氛围铺陈开来，让观者仿若踏入这烟柳春江，沉醉在这份闲寂又充满生机的乡野春光中。",[23,24,25,74,7,27,36,37,80,28,31,30,35,33,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7cb140b5bf9176162a92b4b69e5d7.jpg",[],{"id":40244,"slug":40245,"title":40246,"dynasty":174,"author":5090,"museum":450,"description":40247,"tags":40248,"thumbUrl":40249,"material":166,"size":166,"collection":166,"collections":40250,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},224465,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-zhou-wang-hui-224465","倣李营丘江干七树图轴","此作用笔苍秀兼具，以枯淡之墨绘就寒林古木，虬枝如蟹爪舒张，苍松挺拔卓立，近景瀑流涓涓，旅人策蹇徐行，野意悠然。远景江水浩渺，远山以淡墨晕染，轻岚笼山，平远之境清旷空灵。\n画作师法前贤，糅合北派山水的雄浑与南宗温润雅致，将冬日江干的荒寒萧疏铺陈开来，萧寒之气与空阔江天相融，摹古却自出机杼，尽显平远山水的幽渺意境。",[23,24,25,28,95,254,36,7,34,147,624,30,31,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2b6e269a01d7966da987a19da3ed77.jpg",[],{"id":40252,"slug":40253,"title":40254,"dynasty":174,"author":33054,"museum":450,"description":40255,"tags":40256,"thumbUrl":40257,"material":166,"size":166,"collection":166,"collections":40258,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},224196,"yan-zi-ji-mo-chou-hu-er-jing-tu-quan-juan-wu-hong-224196","燕子矶莫愁湖二景图全卷","此作以全景长卷铺展金陵山水，分绘两处胜景：一侧是燕子矶危崖耸峙，江涛浩渺，帆樯往来，山坞村居错落于林木间，笔墨苍劲，尽显丘壑雄奇；一侧是莫愁湖烟水空濛，汀洲软碧，人家隐于柳岸，笔意清润尽揽湖山温婉。\n\n浅绛设色调和雅致，皴擦勾勒松秀苍逸，远近层次井然，将实景山水晕染出文人意趣。长题诗跋与书画相映，把凭吊幽怀寄于烟岚水色，书卷气漫溢全卷，尽显实景入画又抒情写意的绝妙风韵。",[23,24,25,26,7,28,36,335,350,10976,34,33,3246,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F367d279b39c6d14e9d989d272bc2f3b3.jpg",[],{"id":40260,"slug":40261,"title":40262,"dynasty":205,"author":581,"museum":120,"description":40263,"tags":40264,"thumbUrl":40265,"material":61,"size":40266,"collection":166,"collections":40267,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},223567,"xi-shan-shui-ge-tu-ye-yi-ming-223567","溪山水阁图页","此幅绘溪水寒林，峭壁危岩，远山空濛，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[23,24,7,27,28,194,29,30,717,34,80,518,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d0e302f06c57c4580f073851fafef4.jpg","24.2x24.7厘米",[],{"id":40269,"slug":40270,"title":40271,"dynasty":205,"author":581,"museum":120,"description":40272,"tags":40273,"thumbUrl":40274,"material":612,"size":40275,"collection":166,"collections":40276,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},223522,"wu-tong-ting-yuan-tu-ye-yi-ming-223522","梧桐庭院图页","图中绘有歇山式、四角攒尖式顶的建筑，描写具体而精致。画家以直线、横线、斜线、弧线等多种线条准确地勾勒，并将它们有机地组合在一起，通过轮廓的轻重、线条的疏密，清楚地交代出殿阁远近纵深的层次和“向背分明”的体积感，比例准确合度。虽然从构图和技法上分析，此幅应出自南宋画家之手，而不是李佐贤所定的“恕老”作，但仍可谓是传郭忠恕之衣钵。",[23,281,24,25,2446,481,7,27,518,1475,597,268,33,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F235ac18ea34cfa2c76f12f7aedadc6e1.jpg","纵24cm，横19.3cm",[],{"id":40278,"slug":40279,"title":40280,"dynasty":18,"author":581,"museum":294,"description":40281,"tags":40282,"thumbUrl":40283,"material":61,"size":40284,"collection":42,"collections":40285,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":140},223362,"hui-ji-shan-tu-shou-juan-quan-juan-yi-ming-223362","会稽山图手卷全卷","图绘绍兴会稽山景色。远处山峦起伏，满山苍翠；数条河流将群山隔开，河面修长平静，数只船只来往忙碌；近处数座房屋座落于山脚河岸边，背山面水，景色优美，为宜居胜地。技法上，以细皴绘山脉，线条柔和，层次清晰。",[23,24,26,281,494,7,36,212,58,3246,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c41ff2d27b892270217b7097c0f66a.jpg","49.2×712.2",[42],{"id":40287,"slug":40288,"title":40289,"dynasty":174,"author":12042,"museum":450,"description":12043,"tags":40290,"thumbUrl":40294,"material":298,"size":40295,"collection":245,"collections":40296,"showCount":302,"zanCount":46,"manualWeight":46,"mainColor":47},223265,"xin-jian-hong-yi-fa-shi-223265","信笺",[23,10153,38,40291,7,40292,40293,80],"毛笔书法","手札","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bd65ef2310e07f4469e23d873b355d.jpg","35x124",[245],{"id":40298,"slug":40299,"title":376,"dynasty":174,"author":33648,"museum":45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。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十八岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。 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字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,281,25,95,7,28,29,30,194,147,34,80,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab36ff244ad3ea89c6dfff1f443d59e.jpg",[],{"id":40798,"slug":40799,"title":2098,"dynasty":174,"author":2913,"museum":450,"description":25536,"tags":40800,"thumbUrl":40801,"material":314,"size":1061,"collection":166,"collections":40802,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},288028,"mu-dan-tu-gao-feng-han-288028",[23,24,281,25,95,7,27,75,129,180,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3480b82813f3e74b11e99c7467ce72.jpg",[],{"id":40804,"slug":40805,"title":40806,"dynasty":174,"author":189,"museum":450,"description":14265,"tags":40807,"thumbUrl":40808,"material":314,"size":1061,"collection":166,"collections":40809,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},288022,"ren-wu-shan-shui-tu-li-zhou-huang-shen-288022","人物山水图立轴",[23,24,95,7,193,28,147,180,30,2271,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68e29611b387c6a662fb3dbadc9ec9a.jpg",[],{"id":40811,"slug":40812,"title":40813,"dynasty":205,"author":264,"museum":450,"description":6756,"tags":40814,"thumbUrl":40815,"material":314,"size":1061,"collection":166,"collections":40816,"showCount":40654,"zanCount":1084,"manualWeight":46,"mainColor":140},287967,"xun-shou-tu-ye-li-gong-lin-287967","训兽图页",[24,281,25,193,453,7,547,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7beec104c5977bf4ad00ef0106ff5e.jpg",[],{"id":40818,"slug":40819,"title":40820,"dynasty":18,"author":6070,"museum":450,"description":28911,"tags":40821,"thumbUrl":40822,"material":314,"size":1061,"collection":166,"collections":40823,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},287778,"si-shi-shan-shui-zhi-dong-jing-wu-wei-287778","四时山水之冬景",[23,24,7,28,95,11297,717,34,193,312,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f9a530c4bb5dddcfe3b8cffba615fb.jpg",[],{"id":40825,"slug":40826,"title":40827,"dynasty":174,"author":9682,"museum":450,"description":17512,"tags":40828,"thumbUrl":40829,"material":314,"size":1061,"collection":166,"collections":40830,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},287763,"fang-yun-lin-shan-shui-cha-shi-biao-287763","仿云林山水",[24,7,28,95,254,37,80,717,32,2953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad3e85835ca1b452c5ebd01bb0bc60c.jpg",[],{"id":40832,"slug":40833,"title":40834,"dynasty":205,"author":11974,"museum":450,"description":36001,"tags":40835,"thumbUrl":40836,"material":314,"size":1061,"collection":166,"collections":40837,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},287571,"jiang-xing-xue-ji-tu-guo-zhong-shu-287571","江行雪霁图",[24,518,7,22734,993,5780,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff341d05fedaf4a2a138c6beae3be607f.jpg",[],{"id":40839,"slug":40840,"title":40841,"dynasty":52,"author":40842,"museum":92,"description":40843,"tags":40844,"thumbUrl":40846,"material":98,"size":40847,"collection":166,"collections":40848,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},287534,"qiu-lin-xiao-yin-zhou-tao-fu-chu-287534","秋林小隐轴","陶复初","陶复初，字明本，号介轩，元中叶石曲人。",[24,281,25,95,7,36,28,1523,34,33,40845,30,30294,80],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048eda2176d397062069842db746f8cb.jpg","70x28.7",[],{"id":40850,"slug":40851,"title":40852,"dynasty":205,"author":581,"museum":450,"description":40853,"tags":40854,"thumbUrl":40855,"material":314,"size":1061,"collection":166,"collections":40856,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},287316,"shang-shan-si-hao-hui-chang-jiu-lao-tu-juan-se-qian-yi-ming-287316","商山四皓会昌九老图卷（色浅）","此作用淡墨白描写就园林雅集之景，亭台水榭错落于茂林修竹间，层岩清波衬出幽旷意境。卷中文人或围坐清谈、展卷观画，或凭栏听琴、临水闲步，笔致细劲秀雅，将士林林下风流尽数铺陈。\n\n画面简澹空灵，以极简笔墨晕染出古雅沉静的氛围，尽显以琴棋书画为伴的雅致日常。拖尾题跋虽有墨损，却更添岁月摩挲的沧桑古意，整卷文气四溢，将宋人的清逸意趣凝于尺幅，自带沉静拙朴的书卷余韵。",[23,281,24,25,26,7,547,193,194,127,126,11928,787,37,80,4143,11014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3d3921be16f9a6d9a093994019d1f5.jpg",[],{"id":40858,"slug":40859,"title":40860,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":40861,"thumbUrl":40862,"material":314,"size":1061,"collection":166,"collections":40863,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},283707,"zeng-xin-yu-shan-shui-tu-shan-ye-dong-qi-chang-283707","赠新宇山水图扇页",[281,24,25,1462,7,28,34,33,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5d0753015bd0727248f3ec76ad1bae.jpg",[],{"id":40865,"slug":40866,"title":40867,"dynasty":174,"author":40868,"museum":450,"description":40869,"tags":40870,"thumbUrl":40871,"material":298,"size":166,"collection":245,"collections":40872,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},241103,"dong-po-lu-shan-shi-zhou-bao-shi-chen-241103","东坡庐山诗轴","包世臣","包世臣自幼家贫，但勤于词章，并喜谈国事。嘉庆十三年（1808年）中举，但多次考进士不中。此后曾先后为陶澍、裕谦、杨芳幕客。他一生研究国事，东南各官吏都纷向他咨询，以此名满江淮。\n包世臣思想，反对脱离民事，文章也大都关切时务政事。他反对传统“重农抑商”政策，以“好言利”自许，提出“本末皆富”为“千古治法之宗”、“子孙万世之计”；他又提出“生齿日繁，地之所产，不敷口食”的“人多致贫”论。他坚持经世致用之学，对鸦片战争前后的社会和经济问题，作了较为广泛的探讨，主张具有进步意义的社会改革，在当时社会上有一定影响。",[37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dbcb2ad9db2821263be1d9ead32fd01.jpg",[245],{"id":40874,"slug":40875,"title":40876,"dynasty":18,"author":18116,"museum":120,"description":40877,"tags":40878,"thumbUrl":40879,"material":35058,"size":40880,"collection":245,"collections":40881,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},241029,"wang-duo-lin-tie-zhou-wang-duo-241029","王铎临帖轴","释文：\n廙言五日穷思永远甘雪应时严寒奉被手诏伏\u002F承圣体御膳胜常以慰下情匆匆慈恩垂愍\u002F每见慰问感戴不胜衔遇谨表陈闻。庚寅正月廿日午时。王铎。\n这是王铎59岁时创作的行书精品。作品节录东晋王廙书《祥除帖》（见《淳化阁帖》卷二）。\n王铎学书立足于临摹古人，尤其推崇二王，认为“书不宗晋，终入野道。”他勤于临摹，精熟之功可至“不爽毫发”的境地，但步趋古人绝非其终极目标，而是他艺术创造的基础。王铎曾云：“书法之始难以入帖，继则难以出帖。”“入帖”仅仅是追摹古人，“出帖”方为脱古创新。对于古法帖，他往往不专意于内容，而是以古帖文本为依托，意在对古人传统精神的把握和追求，因此常将古帖摘而书之，或数帖杂糅并书。帖文之外，书体笔法亦不刻意模仿，而是运自家笔法，创个性书风。如王廙此帖原为楷书，王铎却行书带草，挥洒而就，展示出他晚年所取得的艺术成就，也为自己“入帖”与“出帖”作了最好的诠释。",[25,37,394,254,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11035686ab901cae1a59409b3f1e394.jpg","纵235厘米，横52.7厘米",[245],{"id":40883,"slug":40884,"title":40885,"dynasty":18,"author":581,"museum":450,"description":40886,"tags":40887,"thumbUrl":40888,"material":314,"size":1061,"collection":245,"collections":40889,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},240946,"san-wu-mo-miao-ce-chen-chun-shi-yi-ming-240946","三吴墨妙册-陈淳诗","此作用笔率意纵逸，牵丝映带灵动自如，墨色干湿浓淡富于层次变化，尽显萧散疏朗的文人书风。文字排布错落随性，字势欹正相生，通篇气息连贯畅达。\n\n诗书合璧之下，将诗文的清雅意趣与书法的写意格调融为一体，笔墨间浸透着江南文人的闲散意趣，尽显吴门书家特有的洒脱放旷的笔墨情致，即便未署真名，也能窥见晚明书法重性情、尚意趣的审美风尚，于尺幅之间尽显明代文人书法独有的抒情特质与艺术张力。",[281,24,25,74,38,7,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f768f25b85058211aad53d8a7000572.jpg",[245],{"id":40891,"slug":40892,"title":40893,"dynasty":174,"author":40894,"museum":450,"description":40895,"tags":40896,"thumbUrl":40898,"material":314,"size":1061,"collection":245,"collections":40899,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},240819,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240819","行诗文四条屏","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[10153,38,37,25,95,7,80,40897],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34154baf2582364400dda7885830d3ef.jpg",[245],{"id":40901,"slug":40902,"title":40903,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":40904,"thumbUrl":40905,"material":314,"size":1061,"collection":166,"collections":40906,"showCount":40654,"zanCount":1084,"manualWeight":46,"mainColor":47},240258,"li-sao-lan-ting-juan-dong-qi-chang-240258","离骚兰亭卷",[23,18,25,37,26,38,7,254,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9a0e30a0a7135aed7c58e6d367beb1.jpg",[],{"id":40908,"slug":40909,"title":40910,"dynasty":174,"author":377,"museum":120,"description":40911,"tags":40912,"thumbUrl":40917,"material":166,"size":166,"collection":245,"collections":40918,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},240034,"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。对后来扬州画派和近代画风，影响极大。",[25,37,38,7,80,1438,454,40913,23124,40914,40915,40916,940,30],"楼","洲","树影","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg",[245],{"id":40920,"slug":40921,"title":40922,"dynasty":174,"author":377,"museum":120,"description":40911,"tags":40923,"thumbUrl":40924,"material":166,"size":166,"collection":245,"collections":40925,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},240032,"yuan-ji-shu-ti-xue-jiang-juan-zi-shi-ye-shi-tao-240032","原济书题雪江卷子诗页",[37,38,7,80,25,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a26c844631d7bbf1965025ddc3e5ad.jpg",[245],{"id":40927,"slug":40928,"title":40929,"dynasty":52,"author":239,"museum":120,"description":40930,"tags":40931,"thumbUrl":40932,"material":298,"size":40933,"collection":245,"collections":40934,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},239664,"er-zan-er-tu-shi-juan-zhao-meng-fu-239664","二赞二图诗卷","元代初年，书法的风貌出现很大的变化。自“宋四家”以来所开拓的文人尚意书风逐渐无以为继，要突破这个困境，唯有追本溯源，上追二王，而赵孟頫便是这一复古潮流的提倡者。在这个背景之下，他的书法倾向于蕴籍沉稳、平正秀丽的风格。赵孟頫的《二赞二图诗卷》所流露的风格却与其追慕的风貌不甚相同而较为少见。此卷款署“湖州观堂与受益外郎饮酒，一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫。”从署款可知，此卷是赵孟頫和友人于湖州观堂相众时乘着酒兴而书的。此卷纸质光滑，又为酒后兴酣之作，故写来信笔飞动，流畅圆转。卷后明代鉴藏家董其昌题跋云： “此赵文敏(孟頫)学颜鲁公(真卿)《送蔡明远叙》兼米海岳(芾)用笔，迥异平日之作”，说明此卷兼有唐代颜真卿及宋代米芾笔意，不同于赵氏的其它墨迹。",[23,281,24,25,26,38,37,80,7,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c170d3ec939624a8380812c02f2b52.jpg","27厘米x456.3厘米",[245],{"id":40936,"slug":40937,"title":40938,"dynasty":52,"author":40939,"museum":120,"description":40940,"tags":40941,"thumbUrl":40942,"material":2837,"size":40943,"collection":245,"collections":40944,"showCount":40654,"zanCount":5,"manualWeight":46,"mainColor":47},239657,"shao-zhi-shui-shi-juan-lu-ju-ren-239657","苕之水诗卷","陆居仁","《苕之水诗》卷释文\n卷前钤陆氏“云间”、“幽谷一叟”印2方；卷末钤陆氏 “宅山”、“陆氏居仁”、“静寿山”、“卧松亭”、“寄寄轩”款印5方。鉴藏印以项元汴、卞永誉、安岐三家最多，并有项氏“意字号”编号。\n《苕之水诗》卷书七言古诗一首，赞扬笔工陆文俊所制毛笔精良耐用，夺造化之功。据自署年款，此卷书于明洪武四年辛亥（1371年），是陆居仁晚年的草书精品。书法飘逸苍秀，得张旭、怀素、孙过庭遗意。\n后幅有元代张枢楷书次韵陆诗并记，乃张枢传世名迹。又有元代陈朴题跋、袁凯题诗各一段。\n此卷曾经清代乾隆内府、宣统内府收藏。",[23,37,394,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf9d630c01a023eb1170d1e0a54a344.jpg","纵28.2厘米，横130.7厘米",[245],{"id":40946,"slug":40947,"title":40948,"dynasty":52,"author":239,"museum":450,"description":40949,"tags":40950,"thumbUrl":40951,"material":166,"size":166,"collection":245,"collections":40952,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},239613,"shu-tao-yuan-ming-shi-ce-ye-zhao-meng-fu-239613","书陶渊明诗册页","赵孟頫，1254年10月20日生人，字子昂，汉族，号松雪道人，又号水晶宫道人、鸥波，中年曾署孟俯。浙江吴兴（今浙江湖州）人。南宋末至元初著名书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他亦善篆、隶、真、行、草书，尤以楷、行书著称于世。其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。",[37,38,74,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a6bfd5aaf4b1d9e9d7575ef8d23a3a.jpg",[245],{"id":40954,"slug":40955,"title":34081,"dynasty":18,"author":31500,"museum":450,"description":40956,"tags":40957,"thumbUrl":40958,"material":166,"size":166,"collection":42,"collections":40959,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},239225,"ju-jie-shan-shui-zhou-ju-jie-239225","居节(约1524-1585后)〔明〕字士贞，一作贞士，号商谷、西昌逸士，吴县(今江苏苏州)人。少时从文嘉学画，文徵明见其运笔，惊喜之余，遂授以法，为文徵明高足弟子。所作山水意象简远，有来人韵致，字与诗亦自师门来。尚气节，虽贫困只以丹青自娱，不屑仰事侯门。晚年因触犯织造太监孙隆，家破，在苏州虎丘南村僦屋数间，仍萧然自适。或绝粮，则旦起写《疏松远岫》一轴，令童子易米以炊，后竟以穷死。后人珍视其画，认为可与朱朗、侯懋功相颉颃。传世作品有隆庆二年(1568)作《品泉诗意图》，图录于《中国名画》；万历二年(1574)作《松荫观瀑图》轴、十一年(1583)作《云岚松色图》卷现藏故宫博物院；《万松小筑图》轴藏上海博物馆；嘉靖四十年(1561)作《潮满春江图》轴藏镇江市博物馆；万历九年(1581)作《松壑高闲图》轴藏香港虚白斋。能诗，著有《牧豕集》。《明画录》卷四谓其：“年六十，竞以穷死。”",[281,24,25,95,7,36,28,34,33,717,35,533,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9bf572940e82f9e72b15c28a474de.jpg",[42],{"id":40961,"slug":40962,"title":40963,"dynasty":174,"author":22805,"museum":450,"description":40964,"tags":40965,"thumbUrl":40966,"material":166,"size":166,"collection":42,"collections":40967,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},239194,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239194","三大名山十二图册","此帧以渴笔焦墨写就山林丘壑，奇崛峰峦以短皴勾勒，尽显山石嶙峋质感，溪岸林木错落生姿，幽谷间屋舍隐现，铺陈出荒寒清寂的山居雅境。左侧行书题跋笔意萧散灵动，书画合璧，以文释意。笔墨间寄寓着画家疏离尘俗、安贫守节的隐逸襟怀，将遗民文人静守林泉的淡泊心境融于尺幅之间，是文人山水画中以意驭笔、以画明志的佳作，尽显乱世之中文人的精神归处。",[24,25,74,7,28,33,34,624,268,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3c923c0a1173967369105dfabce1a.jpg",[42,64],{"id":40969,"slug":40970,"title":9825,"dynasty":174,"author":38612,"museum":450,"description":38613,"tags":40971,"thumbUrl":40972,"material":314,"size":1061,"collection":166,"collections":40973,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},239021,"ren-wu-zhou-min-zhen-239021",[24,25,95,7,123,193,80,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7070fada6f17c134b4df3e552349d0ee.jpg",[],{"id":40975,"slug":40976,"title":157,"dynasty":174,"author":40977,"museum":450,"description":40978,"tags":40979,"thumbUrl":40980,"material":166,"size":166,"collection":42,"collections":40981,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},239005,"shan-shui-ce-li-dong-239005","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》。",[24,25,74,27,7,36,28,29,30,32,33,34,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa001791b78be3d3dbb1d84c29775c.jpg",[42,64],{"id":40983,"slug":40984,"title":27778,"dynasty":174,"author":5090,"museum":450,"description":40985,"tags":40986,"thumbUrl":40987,"material":166,"size":166,"collection":42,"collections":40988,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},238947,"shan-shui-ye-wang-hui-238947","图绘万壑千岩、草木葱茏、瀑布高悬直泻的江南风光。王翚约16岁师从同邑张珂学画时，就以元黄公望（号井西道人）的笔墨为宗，刻苦摹学始终不怠。此图是他早年学黄氏画法的代表作。图中山石以赭色和绿色交替晕染，学黄氏用纵线的披麻皴皴擦石面，笔势潇洒而秀润。其石边缘上的苔点要比黄氏的更为繁密，排列整齐的苔点，给高崖峻壑增添了青绿之美，同时，它与以卧笔横点表现的树叶，形成点与点的呼应，全图在“点”的统一下，具有湿润华滋的艺术效果。",[24,25,7,27,36,74,28,33,29,30,282,34,14321],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8241595b412879fd3462585f1b6fb1.jpg",[42,64],{"id":40990,"slug":40991,"title":5598,"dynasty":18,"author":14875,"museum":450,"description":22338,"tags":40992,"thumbUrl":40993,"material":314,"size":1061,"collection":166,"collections":40994,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},238118,"hua-hui-ce-xiang-sheng-mo-238118",[24,25,74,38,7,395,80,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc779104d688860184936ee207b3185.jpg",[],{"id":40996,"slug":40997,"title":26976,"dynasty":174,"author":9335,"museum":450,"description":40998,"tags":40999,"thumbUrl":41000,"material":166,"size":166,"collection":166,"collections":41001,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},238057,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238057","画面以淡墨写意出洛神仙姿，衣袂翩跹舒展，简练灵动的墨线勾勒身形，寥寥数笔便将她缓步踏水、御风徐行的轻盈姿态尽显。柔婉线条裹着缥缈仙气，将洛神脉脉含情的温婉神态暗藏于舒展衣褶间，虽无浓丽敷色，却自带出尘飘逸的气质。\n\n一旁题诗与画作相映成趣，文墨交融尽显雅致文人意趣，以指代笔落墨简括却神完气足，将洛神的缱绻幽怨暗含在柔缓步履之中，淡墨余韵悠长，尽显写意之妙。",[24,25,74,547,7,193,636,18333,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71eef0676ce22d3abe12546c8bcd778f.jpg",[],{"id":41003,"slug":41004,"title":157,"dynasty":174,"author":41005,"museum":450,"description":41006,"tags":41007,"thumbUrl":41010,"material":166,"size":166,"collection":42,"collections":41011,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},237896,"shan-shui-ce-cheng-hui-hao-237896","程徽灏","此作以枯淡笔墨绘就秋山幽居，浅绛设色晕染出清秋山林萧疏之致。山峦以披麻皴写意铺展，笔意松脱苍劲，淡墨晕开云气，衬出山峦空濛悠远。溪岸林木错落，木叶疏朗，茅舍板桥隐逸其间，野趣悠然自生。\n\n题款与画面浑然相融，留白衬出山川空寂，将林泉高致的隐逸情怀寄于尺幅间。简笔勾勒却骨力暗藏，淡墨轻敷而意韵悠长，尽显文人山水小品的雅致风骨，于浅淡中尽显林下风流。",[24,7,36,74,28,32,147,34,33,717,41008,15857,2028,41009],"山体","皴染结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e88565ddc648d685889817fc186807.jpg",[42,222],{"id":41013,"slug":41014,"title":17910,"dynasty":18,"author":17911,"museum":450,"description":17912,"tags":41015,"thumbUrl":41016,"material":166,"size":166,"collection":166,"collections":41017,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},237890,"ba-xian-tu-zhou-zheng-wen-lin-237890",[24,25,95,547,7,27,193,453,13874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0a8e170982fb918e1e9f25239c19f8.jpg",[],{"id":41019,"slug":41020,"title":27644,"dynasty":18,"author":14875,"museum":450,"description":22338,"tags":41021,"thumbUrl":41022,"material":314,"size":1061,"collection":166,"collections":41023,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237838,"zhu-ju-shan-xiang-sheng-mo-237838",[24,25,1462,7,75,126,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0c762c8dcedce1ced61e1b9206d4e5.jpg",[],{"id":41025,"slug":41026,"title":41027,"dynasty":18,"author":581,"museum":450,"description":41028,"tags":41029,"thumbUrl":41030,"material":314,"size":1061,"collection":166,"collections":41031,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237828,"zhang-chong-liu-ge-du-shu-shan-ye-yi-ming-237828","张翀柳阁读书扇页","柔丝垂绦的古柳虬劲苍然，将水面草阁半掩其中，似有幽人于阁中静读。淡墨晕染远水空蒙，虚实相映间，漾开江南水岸的温润清寂。\n\n画师以细笔摹写柳条柔媚舒展，老干皴擦苍劲古拙，刚柔相生尽显林木意态。行书题款墨色清雅，与画面浑然相融，将幽居林泉、静享闲读的林下幽思藏于尺幅之中，简淡萧疏，意韵悠长，尽显小品雅致之趣。",[1462,24,7,27,28,1853,194,193,6606,162,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9111a4ba59046cdd4b28ebbdc0ef377.jpg",[],{"id":41033,"slug":41034,"title":41035,"dynasty":18,"author":3243,"museum":450,"description":41036,"tags":41037,"thumbUrl":41038,"material":314,"size":1061,"collection":166,"collections":41039,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237819,"hu-shan-wan-yue-shan-zhang-hong-237819","虎山玩月扇","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,25,1462,7,28,29,194,162,940,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa46bf4220d1645be60da2305a7e7aca.jpg",[],{"id":41041,"slug":41042,"title":41043,"dynasty":174,"author":32025,"museum":450,"description":41044,"tags":41045,"thumbUrl":41046,"material":314,"size":1061,"collection":166,"collections":41047,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237803,"lan-hua-zhu-shi-shan-ye-qi-zhi-jia-237803","兰花竹石扇页","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学董其昌，而乏其秀韵。山水仿沈周，气势淋漓，笔力挺拔，自有一种不可羁勒之概。间作花卉，亦多逸致，诗文词皆有致，至於歌、弈、图章，百戏俱善。康熙八年（1669）作山水图。",[24,25,1462,7,133,126,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc762726d089f8f622ddf88813fc4776c.jpg",[],{"id":41049,"slug":41050,"title":6113,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":41051,"thumbUrl":41052,"material":166,"size":166,"collection":166,"collections":41053,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237768,"yuan-ji-shan-shui-tu-ce-shi-tao-237768",[281,24,25,74,7,27,36,28,180,35,33,164,10975,163,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdf237b23a0eee60675e6fe8c367619.jpg",[],{"id":41055,"slug":41056,"title":1567,"dynasty":174,"author":41057,"museum":450,"description":41058,"tags":41059,"thumbUrl":41060,"material":3471,"size":166,"collection":42,"collections":41061,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237688,"shan-shui-zhou-sun-yi-237688","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。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[24,25,95,7,36,28,162,126,127,35,34,29,30,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[42],{"id":41063,"slug":41064,"title":5598,"dynasty":18,"author":71,"museum":450,"description":30466,"tags":41065,"thumbUrl":41066,"material":314,"size":1061,"collection":166,"collections":41067,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237687,"hua-hui-ce-sun-ke-hong-237687",[24,25,74,7,38,76,79,367,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80173eb72f033a5c308ecbc5cce28297.jpg",[],{"id":41069,"slug":41070,"title":9368,"dynasty":174,"author":2605,"museum":450,"description":5286,"tags":41071,"thumbUrl":41072,"material":314,"size":1061,"collection":166,"collections":41073,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237615,"hong-ren-shan-shui-ce-hong-ren-237615",[281,24,25,74,7,36,28,31,212,33,58,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad22d0932b85effa43f3ae60f6e208d.jpg",[],{"id":41075,"slug":41076,"title":41077,"dynasty":18,"author":581,"museum":450,"description":41078,"tags":41079,"thumbUrl":41080,"material":314,"size":1061,"collection":166,"collections":41081,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},237495,"zhu-lu-mo-zhu-shan-mian-yi-ming-237495","朱鹭墨竹扇面","此作为金笺扇面，截取折枝幽竹入画，虚实错落尽显章法。左处墨叶繁茂，以焦枯浓墨挥写，笔锋爽利劲挺，将竹叶向背疏密之态描摹尽致。右侧枝桠清瘦，淡墨勾绘衬以影影绰绰的竹叶虚景，似有穿林风过，悄然漾开空寂灵动的幽趣。\n\n墨色层次分明，浓淡间将竹的君子风姿尽显，寥寥笔墨便勾勒出竹之挺拔清隽。题款与印章排布得当，融书画印为一，尽显萧疏散淡意趣，极简笔墨中漾出隽永风神，堪称小品中的逸雅之作。",[24,7,1462,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3186290e9e8af0e3aa7dcd00272d4e29.jpg",[],{"id":41083,"slug":41084,"title":41085,"dynasty":174,"author":41086,"museum":450,"description":41087,"tags":41088,"thumbUrl":41089,"material":314,"size":1061,"collection":166,"collections":41090,"showCount":40654,"zanCount":1084,"manualWeight":46,"mainColor":47},237491,"fang-cha-shi-biao-shan-shui-shan-wu-da-cheng-237491","仿查士标山水扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n在第二次鸦片战争之后的1886年，吴大澂与沙俄谈判。他据理力争，迫使沙俄重立土字碑、并对中国的出海权进行妥协：图们江口的出海权虽不能共享，但中国船只可以借道出海，俄国不得阻止。吴大澂又设法延长谈判，迫使沙俄归还了黑顶子山地区（今吉林珲春敬信镇）。其战略眼光与爱国精神令后人称颂。",[24,1462,7,28,254,162,34,35,164,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53e33f5203017dc01a2a7c4c8e095cef.jpg",[],{"id":41092,"slug":41093,"title":41094,"dynasty":174,"author":32345,"museum":120,"description":41095,"tags":41096,"thumbUrl":41097,"material":298,"size":41098,"collection":83,"collections":41099,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237367,"tong-qin-tu-zhou-yu-zhi-ding-237367","桐禽图轴","本幅左上自题：“余摹蓝田叔先生《得子图》非一本矣。乙亥立秋后二日，偶于京邸，因秋实老堂翁谈及故园风景，又属（嘱）写此幅，感其嗜痂，不知愧耳。广陵禹之鼎识。”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。乙亥为清康熙三十四年（1695年），禹之鼎时年49岁。从自题中得知画家此年寓居京师。\n此图用大写意法画桐树几枝，引来两只飞鸟栖息。树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n自题中的“蓝田叔”指明末清初著名的山水画家蓝瑛，虽然目前尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。",[24,95,7,75,282,7488,1071,123,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c514f9fac1228a658eb652771f0d0.jpg","纵109.5厘米，横48厘米",[83],{"id":41101,"slug":41102,"title":10686,"dynasty":174,"author":41103,"museum":450,"description":41104,"tags":41105,"thumbUrl":41106,"material":166,"size":166,"collection":42,"collections":41107,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237129,"shan-shui-ren-wu-ce-shang-guan-zhou-237129","上官周","上官周（1665－1749后），福建长汀南山官坊人，原名世显，后改名周，字文佐，号竹庄，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。所著《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。上官周自幼聪颖，治艺勤奋，学识渊博，擅长诗文、书法、篆刻，尤精于画。",[24,25,74,547,7,27,193,28,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4cfaf6570d41d377a6f14d68bd8e89.jpg",[42,600],{"id":41109,"slug":41110,"title":41111,"dynasty":18,"author":41112,"museum":120,"description":41113,"tags":41114,"thumbUrl":41115,"material":298,"size":166,"collection":42,"collections":41116,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},237013,"xi-zhu-ce-zhu-ying-237013","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[24,25,74,7,27,36,33,268,34,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81f0cd86aef5b2cadbeb5c25aee7d72.jpg",[42,64],{"id":41118,"slug":41119,"title":2806,"dynasty":174,"author":41120,"museum":450,"description":41121,"tags":41122,"thumbUrl":41124,"material":166,"size":166,"collection":83,"collections":41125,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},236937,"za-hua-ce-wang-liu-zhen-236937","王六真","此作以枯润笔墨写就乡野闲景，枯涩笔意勾勒老树苍朴肌理，淡墨晕染出巢窝蓬松柔软，窝中雏鸟憨态静卧，旁侧几片嫩叶晕开春日生机，动静相映间满是野趣。\n画侧题字与水墨景致相融，文墨相生，将郊林间禽鸟安栖的静谧瞬间定格。全作未施浓艳设色，纯以水墨抒写自然意趣，细腻体察郊野日常的恬然况味，以极简笔触晕开悠然生机，尽显冲淡平和的文人画韵致，藏着对乡野闲趣的温柔捕捉。",[24,7,74,147,41123,5892],"树洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7e52c1300f995047252734b5a8301c.jpg",[83],{"id":41127,"slug":41128,"title":41129,"dynasty":174,"author":5090,"museum":450,"description":19190,"tags":41130,"thumbUrl":41131,"material":166,"size":166,"collection":42,"collections":41132,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},236746,"fang-gao-yan-jing-shan-shui-ce-zhuang-zhou-wang-hui-236746","仿高彦敬山水册装轴",[24,281,28,7,37,80,36,212,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7015681639e90340b2a5d8af9be265.jpg",[42,222,245],{"id":41134,"slug":41135,"title":157,"dynasty":174,"author":739,"museum":5692,"description":15249,"tags":41136,"thumbUrl":41137,"material":166,"size":166,"collection":42,"collections":41138,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},236737,"shan-shui-ce-hua-yan-236737",[24,74,7,36,37,80,28,180,31,2925,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff620b1906b09e35a616d2a87598efa8e.jpg",[42,222],{"id":41140,"slug":41141,"title":41142,"dynasty":18,"author":11203,"museum":450,"description":14021,"tags":41143,"thumbUrl":41144,"material":314,"size":1061,"collection":166,"collections":41145,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},236696,"shan-shui-shan-zhou-chen-236696","山水扇",[24,281,25,1462,7,36,28,624,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc88505f15354988ebf6373d58a9cb9.jpg",[],{"id":41147,"slug":41148,"title":41149,"dynasty":18,"author":18151,"museum":450,"description":22938,"tags":41150,"thumbUrl":41151,"material":314,"size":1061,"collection":166,"collections":41152,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},236678,"hua-shan-lu-zhi-236678","花扇",[9254,24,25,281,1462,7,123,75,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fa27e2f570fe53a0fb0d730603d5f4.jpg",[],{"id":41154,"slug":41155,"title":41156,"dynasty":18,"author":13639,"museum":450,"description":31974,"tags":41157,"thumbUrl":41158,"material":314,"size":1061,"collection":166,"collections":41159,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},236674,"feng-yu-gui-zhou-shan-cheng-jia-sui-236674","风雨归舟扇",[1462,7,36,28,31,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f836136c780bcfcd7ed38e8f68a3d9.jpg",[],{"id":41161,"slug":41162,"title":41163,"dynasty":18,"author":17272,"museum":450,"description":20201,"tags":41164,"thumbUrl":41165,"material":314,"size":1061,"collection":166,"collections":41166,"showCount":40654,"zanCount":1084,"manualWeight":46,"mainColor":140},236559,"hu-xi-san-xiao-shan-li-shi-da-236559","虎溪三笑扇",[24,1462,7,36,193,624,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaff1c08f70ee9ae6d96b05eee03b10a.jpg",[],{"id":41168,"slug":41169,"title":41170,"dynasty":18,"author":3243,"museum":120,"description":41171,"tags":41172,"thumbUrl":41173,"material":564,"size":41174,"collection":600,"collections":41175,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},236403,"ji-fou-tu-zhou-zhang-hong-236403","击缶图轴","图绘村边平坡，老树几株，一人击缶，一人起舞，男女老少多人围观。构图疏朗，用笔率意简放。树石仅用阔笔草草写出，人物线条迅疾多变，突出了坐、立、蹲、行等不同动态，笔简意赅，神完气足。此图将乡间民众娱乐生活的瞬间刻画得活灵活现，淋漓尽致。",[24,27,7,193,717,180,2271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5439d0806a75e6365375005f527e52.jpg","纵42.8厘米，横59厘米",[600,64,245],{"id":41177,"slug":41178,"title":10554,"dynasty":174,"author":9335,"museum":120,"description":20583,"tags":41179,"thumbUrl":41180,"material":166,"size":166,"collection":83,"collections":41181,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},236324,"zhi-tou-za-hua-ce-gao-qi-pei-236324",[24,281,25,74,10557,7,453,2388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4644590c273401b8475d62ee7d26da69.jpg",[83,222],{"id":41183,"slug":41184,"title":41185,"dynasty":174,"author":22880,"museum":120,"description":41186,"tags":41187,"thumbUrl":41188,"material":166,"size":41189,"collection":42,"collections":41190,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},236195,"hui-mei-zhu-tu-kang-xi-di-lin-mi-fei-shu-zhe-shan-jiang-ting-xi-236195","绘梅竹图康熙帝临米芾书折扇","此扇一面为蒋廷锡绘梅竹图，蒋氏的作品大多呈两种面貌，一为墨笔、淡设色的小写意花鸟，一为工笔浓彩的细谨风格。此图即为后者，笔致精细，敷色冶艳，极富皇家华贵典雅的气韵。另一面为康熙帝临米芾书，所书内容出自李衢《都堂试贡士日庆春雪》，释文为：“锡瑞来丰岁，旌贤入贡辰。摇轻梅共笑，飞弱柳和春。绕砌封琼屑，依阶喷玉尘。蜉蝣吟更切，科斗映还新。鹤毳迷难辨，冰壶鉴易真。因歌大君德，率舞咏陶钧。临米芾元章。”",[24,25,1462,7,254,38,125,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db7d8989ef35548b0c37927bc3b15ab.jpg","纵34厘米，横56厘米",[42,64],{"id":41192,"slug":41193,"title":1567,"dynasty":18,"author":16327,"museum":450,"description":41194,"tags":41195,"thumbUrl":41196,"material":314,"size":1061,"collection":166,"collections":41197,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},236017,"shan-shui-zhou-fang-yi-zhi-236017","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[24,25,95,7,36,28,34,624,29,30,32,164,785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef511a540cd7c362a9bfeac870dc8c0a.jpg",[],{"id":41199,"slug":41200,"title":41201,"dynasty":174,"author":581,"museum":450,"description":41202,"tags":41203,"thumbUrl":41204,"material":166,"size":166,"collection":166,"collections":41205,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},235865,"nv-dao-zi-fang-zhu-shan-shui-ye-yi-ming-235865","女道子仿朱山水页","此作用水墨写意铺展山林幽境，以淡墨晕染远山，烟岚裹挟群峰，主峰奇峭挺秀，留白晕化出空濛雾霭，将山野清寂之态尽数铺陈。近岸林木苍郁错落，掩映一隅山居茅舍，笔致简淡却意态饱满，寥寥数笔便勾勒出林泉栖居的静穆意趣。\n\n左侧行书题文以文人典故衬出品鉴雅意，书画相映成趣。整作墨色干湿相济，淡墨取韵、浓墨提神，于简淡苍润间尽显清逸萧散的林下之风，寄寓着文人寄情林泉、静守丘壑的幽怀。",[24,25,74,7,36,38,28,32,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d82adf3f8cec5ebf66ff3fb046aab3a.jpg",[],{"id":41207,"slug":41208,"title":5006,"dynasty":174,"author":41209,"museum":450,"description":41210,"tags":41211,"thumbUrl":41212,"material":314,"size":1061,"collection":42,"collections":41213,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},235741,"fang-gu-shan-shui-ce-xue-xuan-235741","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,7,74,36,3217,28,335,162,831,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F136fc8aa37cb09e67e01143752c61481.jpg",[42],{"id":41215,"slug":41216,"title":27629,"dynasty":174,"author":5090,"museum":450,"description":41217,"tags":41218,"thumbUrl":41219,"material":166,"size":166,"collection":166,"collections":41220,"showCount":40654,"zanCount":1084,"manualWeight":46,"mainColor":47},235606,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-hui-235606","此作以高远兼深远之法写就，层峦叠嶂自右上逶迤铺展，山势雄秀兼具，留白晕染仿出初雪覆山的清润寒意。干笔皴擦间点缀湿墨晕染，勾勒出岩体质朴苍劲的纹理。\n\n林木疏密错落，枯荣交织，挺劲枝干带着摇曳之姿，涧水潺潺穿林绕石，掩映处的山居茅舍，衬出林泉幽寂的林下之致。右上角题诗补白，笔墨与文心相融，既得元人萧散简远的林下意境，又不失清丽秀润的自家风骨，师法前人却不泥古，将山川林壑的静穆生机晕染开来，尽显山水笔墨的隽永意趣。",[24,25,95,7,27,36,28,33,34,30,211,787,213,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ebab63a5fd626204d87b2f599add4a.jpg",[],{"id":41222,"slug":41223,"title":5598,"dynasty":174,"author":7015,"museum":450,"description":35458,"tags":41224,"thumbUrl":41225,"material":314,"size":1061,"collection":166,"collections":41226,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},235602,"hua-hui-ce-wang-wu-235602",[24,25,74,7,75,76,130,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385939373832557ba2ee4c861648fbcc.jpg",[],{"id":41228,"slug":41229,"title":41230,"dynasty":18,"author":7182,"museum":450,"description":41231,"tags":41232,"thumbUrl":41233,"material":166,"size":166,"collection":166,"collections":41234,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},235593,"hua-wang-bai-gu-ban-ji-an-tu-zhou-wen-jia-235593","画王百穀半偈庵图轴","《王百谷半偈庵图》是明代画家 创作的纸本设色画，现藏于 。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[24,25,95,7,38,37,194,126,162,180,597,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":41236,"slug":41237,"title":157,"dynasty":174,"author":9682,"museum":450,"description":17512,"tags":41238,"thumbUrl":41239,"material":314,"size":1061,"collection":166,"collections":41240,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},235514,"shan-shui-ce-cha-shi-biao-235514",[24,25,74,7,36,28,34,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8508d46704e30fe1ea407061c10d75.jpg",[],{"id":41242,"slug":41243,"title":157,"dynasty":174,"author":418,"museum":450,"description":41244,"tags":41245,"thumbUrl":41246,"material":166,"size":166,"collection":166,"collections":41247,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},235172,"shan-shui-ce-zhu-da-235172","此作以极简淡墨绘就山水丘壑，大片留白铺陈出空濛辽远的天地气韵。中锋淡墨轻皴山峦，朴拙苍润，山隅林木仅以数笔攒点，便见葱郁幽寂。浅滩汀岸简笔勾描，村舍隐于坡岸，远岫淡影浮沉在虚白间，似有无相融。\n\n画面疏朗至极，将萧澹冷逸的意趣藏于笔底，寥寥笔墨便勾勒出幽绝空寂的山水天地。题款与朱印错落点缀，虚实相衬，恰是以少胜多的极致手笔，澹泊天真中晕染出孤高清冷的襟怀，尽得山水写意的空灵真味。",[24,25,74,7,28,162,164,10059,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa395e40423e5f0fab2d9ec2b55841c14.jpg",[],{"id":41249,"slug":41250,"title":376,"dynasty":174,"author":739,"museum":450,"description":41251,"tags":41252,"thumbUrl":41253,"material":166,"size":166,"collection":166,"collections":41254,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},235080,"shan-shui-tu-ce-hua-yan-235080","此作用枯笔焦墨写飞瀑垂落，嶙峋山石皴擦苍劲，水雾随墨色晕染漫开，将丘壑的厚重与水烟的清柔相融。一叶扁舟随波浮沉，愈发衬出江天空寂。\n左侧题诗行书纵逸跌宕，笔意与画中山水的萧疏浑然相合。整幅以干湿浓淡的笔墨变化，勾勒出世外幽居的清寂意趣，将山瀑奔涌的动，对晤林泉静穆的闲。诗画相生，以书入画，把幽人高隐的林下襟怀铺陈开来，尽显文人水墨抒情写意的雅逸格调。",[24,7,74,36,38,80,28,210,31,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5fdc80d96f85c6bb2327e0092e3558c.jpg",[],{"id":41256,"slug":41257,"title":157,"dynasty":174,"author":6172,"museum":120,"description":24395,"tags":41258,"thumbUrl":41259,"material":964,"size":24398,"collection":166,"collections":41260,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},235026,"shan-shui-ce-wu-li-235026",[24,25,74,7,28,31,147,30,180,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc84bebdcb3c8a0368bf20a1a97b797.jpg",[],{"id":41262,"slug":41263,"title":7442,"dynasty":18,"author":1836,"museum":450,"description":7951,"tags":41264,"thumbUrl":41265,"material":166,"size":166,"collection":166,"collections":41266,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},234979,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234979",[24,25,281,74,7,36,28,147,34,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c5ad6a1d141bb7c41b6afae7119da4.jpg",[],{"id":41268,"slug":41269,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":17929,"tags":41270,"thumbUrl":41271,"material":314,"size":1061,"collection":166,"collections":41272,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},234957,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234957",[24,25,74,7,28,36,254,34,147,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61f73b655bbfc97bf1e7e8187d098a3.jpg",[],{"id":41274,"slug":41275,"title":7442,"dynasty":18,"author":581,"museum":450,"description":41276,"tags":41277,"thumbUrl":41278,"material":314,"size":1061,"collection":166,"collections":41279,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},234925,"dong-qi-chang-shan-shui-ce-yi-ming-234925","此作用干笔淡墨铺陈丘壑，以极简皴擦绘出山峦层叠错落之态，苍润相生间尽显松秀空灵。萧疏林木散缀崖畔溪旁，不作繁饰，寥寥笔致便将山中秋寂清寒晕染开来。画面留白通透清灵，虚实相生间铺展出静穆澹远的林下幽境，笔墨间浸透着幽寂出尘的雅韵，观之如卧游林泉，俗尘尽涤。",[24,7,74,36,28,180,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cce78038cdde42a8656f3ea715d8201.jpg",[],{"id":41281,"slug":41282,"title":41283,"dynasty":18,"author":12010,"museum":120,"description":12011,"tags":41284,"thumbUrl":41285,"material":166,"size":166,"collection":166,"collections":41286,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},234874,"la-mei-tu-zhou-lu-fu-234874","腊梅图轴",[281,24,25,95,7,125,147,75,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b50b9d5180a9af10e35af8f4df2c6a.jpg",[],{"id":41288,"slug":41289,"title":41290,"dynasty":18,"author":11473,"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[1]\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,26,7,38,37,80,28,193,29,30,32,1839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":41357,"slug":41358,"title":41359,"dynasty":18,"author":19,"museum":120,"description":41360,"tags":41361,"thumbUrl":41362,"material":196,"size":41363,"collection":166,"collections":41364,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[23,281,24,25,26,7,27,38,36,28,23701,33,35,212,533,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","画323×33cm；跋64×33cm",[],{"id":41366,"slug":41367,"title":13069,"dynasty":174,"author":29566,"museum":450,"description":41368,"tags":41369,"thumbUrl":41371,"material":166,"size":166,"collection":166,"collections":41372,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},234117,"hua-guo-juan-yuan-jiang-234117","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,25,281,26,27,7,481,75,7854,41370,395,129,7643,130,132,8840,125,133,126,134,1593,76,78,80],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":41374,"slug":41375,"title":157,"dynasty":18,"author":1836,"museum":120,"description":6359,"tags":41376,"thumbUrl":41377,"material":1843,"size":2973,"collection":166,"collections":41378,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},234061,"shan-shui-ce-dong-qi-chang-234061",[24,25,74,7,36,28,30,180,33,5253,32,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091a7ca4982bd9068ee0a650b07f502.jpg",[],{"id":41380,"slug":41381,"title":157,"dynasty":18,"author":1836,"museum":120,"description":6359,"tags":41382,"thumbUrl":41383,"material":1843,"size":2973,"collection":166,"collections":41384,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},234060,"shan-shui-ce-dong-qi-chang-234060",[24,25,74,7,36,28,624,34,30,164,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f30ce9ddfaf2159f725103c9460f248.jpg",[],{"id":41386,"slug":41387,"title":157,"dynasty":18,"author":11473,"museum":120,"description":41388,"tags":41389,"thumbUrl":41390,"material":196,"size":41391,"collection":166,"collections":41392,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},233968,"shan-shui-ce-lan-ying-233968","蓝瑛（1585—约1666年），字田叔，号蜨叟、石头陀、西湖山民等，钱塘（今浙江杭州）人。擅画山水，早年以摹古为主，宗法唐宋元诸家，尤以习元黄公望、明沈周最有心得，笔致工整细润，墨色清淡妍静。中年于传统的绘画基础上形成自己的绘画面貌，笔墨苍劲雄浑，于疏简粗旷的线条组合中表现高峻突兀的江南葱郁之景。钱塘又称武林，后人将蓝瑛和从其学画的刘度、蓝孟、蓝深等合称“武林画派”。",[24,25,74,7,36,28,32,30,34,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7defdc594b8dc33e1658736fecc8c865.jpg","57×39 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横50厘米",[],{"id":41511,"slug":41512,"title":41513,"dynasty":18,"author":41514,"museum":92,"description":41515,"tags":41516,"thumbUrl":41517,"material":40,"size":41518,"collection":42,"collections":41519,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[23,24,25,95,7,28,36,34,210,33,35,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[42],{"id":41521,"slug":41522,"title":41523,"dynasty":18,"author":4131,"museum":593,"description":41524,"tags":41525,"thumbUrl":41526,"material":61,"size":41527,"collection":166,"collections":41528,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[281,24,25,95,7,36,28,33,717,34,210,215,532,10537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":41530,"slug":41531,"title":41532,"dynasty":18,"author":41533,"museum":593,"description":41534,"tags":41535,"thumbUrl":41538,"material":298,"size":41539,"collection":166,"collections":41540,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},231936,"fang-gao-ke-gong-shan-shui-tu-tao-hong-231936","仿高克恭山水图","陶泓","图绘云山峻岭，大气磅礴，山林滃郁，流泉潺湲。一高士过桥而回首观水，喻”智者乐水“之意。全幅用高尚书笔意而润密过之。 陶泓，字士泉，号砚山，生平无考。",[23,24,25,281,95,7,28,6155,41536,496,30,29,193,254,36,41537],"峻岭","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":41542,"slug":41543,"title":41544,"dynasty":18,"author":14875,"museum":92,"description":41545,"tags":41546,"thumbUrl":41547,"material":298,"size":41548,"collection":166,"collections":41549,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,26,7,28,36,37,38,80,34,33,30,29,32,193,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":41551,"slug":41552,"title":41553,"dynasty":18,"author":1788,"museum":450,"description":18797,"tags":41554,"thumbUrl":41555,"material":166,"size":166,"collection":166,"collections":41556,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,24,25,26,7,36,38,80,28,210,33,34,32,31,30,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":41558,"slug":41559,"title":41560,"dynasty":5382,"author":40090,"museum":450,"description":40091,"tags":41561,"thumbUrl":41564,"material":314,"size":1061,"collection":166,"collections":41565,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷",[23,24,25,26,547,7,481,5666,3452,41562,41563,1015,77,162,34,2875,2203,453,193,75],"蛙","狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":41567,"slug":41568,"title":29207,"dynasty":5382,"author":41569,"museum":450,"description":41570,"tags":41571,"thumbUrl":41574,"material":314,"size":1061,"collection":166,"collections":41575,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},231582,"qi-shi-wen-shu-tu-ling-cai-231582","灵彩","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[23,24,25,95,3557,547,7,193,453,41572,41573,80],"云纹","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97b7cf0e134855a8876822301aa10b4.jpg",[],{"id":41577,"slug":41578,"title":41579,"dynasty":205,"author":581,"museum":92,"description":30796,"tags":41580,"thumbUrl":41581,"material":284,"size":41582,"collection":166,"collections":41583,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},231378,"song-yan-xian-guan-tu-yi-ming-231378","松岩仙馆图",[281,24,494,194,193,624,481,36,7,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f657fecd8b6c42929cbcb3ea659e46.jpg","171x115.7",[],{"id":41585,"slug":41586,"title":41587,"dynasty":174,"author":41588,"museum":176,"description":41589,"tags":41590,"thumbUrl":41591,"material":5358,"size":41592,"collection":166,"collections":41593,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[23,24,7,95,28,36,254,29,30,32,147,57,210,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","110cmx55cm",[],{"id":41595,"slug":41596,"title":41597,"dynasty":52,"author":581,"museum":450,"description":41598,"tags":41599,"thumbUrl":41601,"material":166,"size":166,"collection":166,"collections":41602,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},230922,"jiang-cheng-ye-po-tu-yi-ming-230922","江城夜泊图","此作用淡墨晕染出夜色江天，远山隐在朦胧烟霭之中，虚渺苍茫，将夜的空寂晕染开来。江面舟船错落排布，屋舍、桅杆细节宛然，朴拙写实又不失写意松弛。淡墨轻扫江面，微波暗藏，静中藏动。\n\n没有星月铺陈，却处处浸着夜的宁谧，泊舟暂歇的安然藏在错落舟楫之间，带着元画特有的简淡萧散气质。寥寥笔墨便将羁旅的淡寂揉入江南夜色，仿佛能听见细浪拍舷，触到晚风裹着的水汽凉意，以简驭繁，把江城夜色的柔静与行旅安闲融成清寂悠远的诗画意境。",[24,1462,7,36,28,3246,41600,268,3256],"桅杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79119bd59edd2dd5c8ff285ff75b5330.jpg",[],{"id":41604,"slug":41605,"title":41606,"dynasty":5382,"author":41607,"museum":450,"description":41608,"tags":41609,"thumbUrl":41610,"material":314,"size":1061,"collection":166,"collections":41611,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},230588,"jiang-hu-shi-dai-xi-hu-chun-jing-tu-ping-feng-chi-da-ya-230588","江户时代 西湖春景图屏风","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,25,95,7,36,28,32,33,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3125c5c3370cc69ab3b9f3786836eea.jpg",[],{"id":41613,"slug":41614,"title":41615,"dynasty":5382,"author":32574,"museum":450,"description":41616,"tags":41617,"thumbUrl":41618,"material":314,"size":1061,"collection":166,"collections":41619,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},230490,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-er-ping-yun-gu-deng-yan-230490","安土桃山 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t":46,"mainColor":47},224467,"hua-meng-hao-ran-shi-yi-zhou-wang-hui-224467","画孟浩然诗意轴","此作以诗入画，全景铺展幽寂山居。层峦叠嶂以披麻皴写就，笔力苍秀，皴擦间尽显山石肌理的苍厚质感。云气在山谷间流荡开合，晕染出空濛湿润的烟雨氛围，将山峦切割成错落层次，虚实相生。\n\n水岸汀洲、古木虬枝错落排布，板桥行旅、崖畔山居点缀其间，为清冷山水添上灵动烟火气。高远与平远兼具的构图，上见巉崖陡立，下观浅溪通幽，将诗句里的隐逸恬淡具象化，笔墨兼具宋元山水的浑朴与清丽秀雅，尽显山居烟岚的悠然意趣。",[23,24,494,95,7,36,28,29,30,32,194,33,34,211,193,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c7a0db74deff24cd7a29e728cdc7a4.jpg",[],{"id":41756,"slug":41757,"title":41758,"dynasty":174,"author":5090,"museum":450,"description":41759,"tags":41760,"thumbUrl":41761,"material":166,"size":166,"collection":166,"collections":41762,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},224459,"hua-hui-shan-shui-he-ce-1-7-wang-hui-224459","花卉山水合册1-7","此作用水墨写就冬日林泉之景，枯木虬曲苍劲，扎根嶙峋岩岸，间有翠松点染，于萧寒里暗蕴生机。山岩以干笔皴擦勾勒，朴拙厚重的棱角间，溪涧萦回、细瀑垂落，静景暗藏动势。远景以淡墨晕染烟霭，水天相融朦胧悠远，归雁掠过长空，更衬荒寒清寂。\n\n左侧题款朱印点缀，文气与画意浑然相融。全作用枯淡笔触铺陈萧疏之境，于极简中晕染出澹泊诗意，将冬日林泉的幽寂清远刻画尽致，笔意苍秀兼具，尽显文人山水雅逸格调，是以简驭繁的水墨佳作。",[23,24,281,25,74,7,36,28,717,213,282,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0081d806b4ce52c4d8230dfefa4b761b.jpg",[],{"id":41764,"slug":41765,"title":41766,"dynasty":174,"author":21853,"museum":450,"description":41767,"tags":41768,"thumbUrl":41769,"material":166,"size":166,"collection":166,"collections":41770,"showCount":40654,"zanCount":1084,"manualWeight":46,"mainColor":47},224283,"shan-shui-hua-hui-ce-shi-si-fu-shan-224283","山水花卉冊(十四)","此作用色浅淡温润，以淡赭晕染崖壁，弱化山石棱角锋芒，尽显朴拙沉静的质感。前景枯林疏枝以简笔勾勒，不着浓墨修饰，空留出大片水泽，衬出山野空寂。远山仅以淡墨轻扫，虚实相生间拉开悠远层次。\n\n全画笔墨极简，不尚繁复描摹，以写意之法直抒胸臆，将萧散淡远的林下襟怀藏于淡远景致之中，静穆古雅的气质漫溢纸面。方寸间尽是冬日空山的清寂氛围，淡而不寡，简而不空，把胸中丘壑化作纸上清景，尽显文人画以意驭形的悠长余韵。",[23,24,25,74,7,36,28,717,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347803b95215729f574e8f7396313f9c.jpg",[],{"id":41772,"slug":41773,"title":645,"dynasty":174,"author":9682,"museum":450,"description":41774,"tags":41775,"thumbUrl":41776,"material":196,"size":41777,"collection":42,"collections":41778,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[23,24,28,7,27,1035,163,193,1839,164,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8532cafb37db10142222cf2f0d4da91.jpg","纵90.1厘米，横36.7厘米",[42],{"id":41780,"slug":41781,"title":41782,"dynasty":174,"author":4221,"museum":450,"description":41783,"tags":41784,"thumbUrl":41785,"material":166,"size":166,"collection":166,"collections":41786,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},224112,"lin-san-xi-tie-qian-long-224112","临三希帖","《三希堂法帖（一箱全五册）》是29年出版的图书，作者是梁诗正。\n《三希堂法帖(套装全5卷)(繁体竖排版)》分为五卷，其中四卷为原刻印本，第五卷为法帖释文和书家小传。\n《三希堂法帖》是我国清代乾隆年间由朝廷谕旨编刻的一部大型丛帖，全称为《御制三希堂石渠宝笈法帖》。\n乾隆十二年（一七四七年），乾隆皇帝敕命大学士吏部尚书梁诗正、户部尚书蒋溥等人，将内府所藏魏晋至明末的书法作品，择其精华加以校勘编次，从全国各地调集书法石刻艺人高手摹刻上石。\n法帖共分三十二册，刻石五百余块，收集自魏晋至明代末年共一百三十五位书法家的三百四十件书法作口叩和二百一十多件题跋，一千六百多方印章，共九万多字。\n帖中收有被乾隆帝视为稀世墨宝的三件东晋书迹，即王羲之的《快雪时晴帖》、王献之的《中秋帖》和王殉的《伯远帖》，而收藏这三件墨宝的地方又被乾隆称为三希堂，故法帖取名《二希堂法帖》。\n乾隆皇帝爱好书法，日理万机之余，潜心临池，遍习诸家，其书法温润妍媚，亲雅有致。\n由于《二希堂法帖》是乾隆皇帝御览之宝，所以刻印考究，版本珍贵。\n后流传民间，刻印日趋繁杂，以致版本良莠不齐。\n鉴于此，黄山书社和北京传世文化发展中心联合有关专家、学者，遴选各家藏馆版本，后选定首都图书馆善本库这套《二希堂法帖》版本予以影印出版。\n该本刻印清楚，神韵犹足，版本完整，堪称珍品。\n在此基础上，我们附加了法帖全部释文和书家小传，以便读者阅读、研习。",[23,37,254,38,26,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d59b3438eb9d2d283990bdc413c4cf5.jpg",[],{"id":41788,"slug":41789,"title":3812,"dynasty":52,"author":581,"museum":450,"description":41790,"tags":41791,"thumbUrl":41792,"material":166,"size":166,"collection":166,"collections":41793,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},223613,"zhu-shi-tu-zhou-yi-ming-223613","此作用笔清劲秀逸，丛竹挺立于湖石旁，辅以枯木，构图疏朗有致，尽显萧散之致。以双钩法写竹，笔线匀挺利落，竹叶交叠错落，层次分明，将修竹清峻挺拔的姿态尽数铺展，暗合君子劲节之心志。湖石以淡墨勾勒皴擦，造型朴拙古雅，寥寥笔墨便带出苍润质感。枯木枝桠简括，细叶点缀其间，枯而不槁，与丛竹相映，衬出画面幽寂出尘的林下意境。整幅简淡空灵，以简驭繁，尽显画中重意趣、尚风骨的文人特质，把寄情于物的雅志融于笔墨间。",[23,24,281,95,7,547,126,706,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6691779204c2a0ed3400253a2cae24.jpg",[],{"id":41795,"slug":41796,"title":1502,"dynasty":205,"author":581,"museum":120,"description":41797,"tags":41798,"thumbUrl":41799,"material":166,"size":41800,"collection":220,"collections":41801,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},223606,"qiu-lin-guan-quan-tu-yi-ming-223606","此作用苍劲皴笔写危崖怪石，虬木盘绕崖侧，繁密秋叶如织，晕染出萧疏秋意。中景秋水蜿蜒，激流穿石，波痕细劲灵动，带着幽涧清泠之气。右侧平岸林阴如盖，两位幽人相对闲坐，于泉石间清谈对晤，似在静听流泉松风。整幅以淡墨铺陈山野清旷，将林泉幽寂与雅集闲恬融为一体，尽显林下高逸的隐逸意趣，笔墨间藏着沉静的文人风骨，把山居雅兴的诗意，晕染在这一卷秋林烟水之中。",[23,24,281,26,7,36,28,33,30,213,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f83250b26eab6c95e8b76a94f3eeaf.jpg","纵24.7厘米,横112.3厘米",[220],{"id":41803,"slug":41804,"title":41805,"dynasty":174,"author":581,"museum":450,"description":36736,"tags":41806,"thumbUrl":41807,"material":166,"size":166,"collection":166,"collections":41808,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},223527,"wu-yi-shan-shi-ba-jing-tu-2-yi-ming-223527","武夷山十八景图2",[23,24,25,7,28,36,31,34,33,58,74,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0a6154bc08a6564afd5a91ee205e4b.jpg",[],{"id":41810,"slug":41811,"title":41812,"dynasty":205,"author":581,"museum":120,"description":41813,"tags":41814,"thumbUrl":41815,"material":3471,"size":41816,"collection":166,"collections":41817,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},223504,"song-jian-shan-qin-tu-yi-ming-223504","松涧山禽图","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。",[23,24,25,481,27,7,36,80,28,75,147,30,282,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358748c7ccf2b7905f2e1c8e5ca0f3c9.jpg","25.3x25.3厘米",[],{"id":41819,"slug":41820,"title":41821,"dynasty":52,"author":581,"museum":1346,"description":41822,"tags":41823,"thumbUrl":41825,"material":537,"size":41826,"collection":166,"collections":41827,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":140},223401,"si-shui-tu-yi-ming-223401","四睡图","图绘丰干、寒山、拾得三位僧人与一虎酣睡之景。二人坐姿入睡，一人半躺酣睡，一虎卧于三人之中，安详寂静；远处祥云朵朵，松青柏翠，所绘树杆皆以祥云形状，显示出浓浓的禅意。",[23,24,25,95,7,481,36,37,80,193,41824,453,33,34,147,180],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90f15e151f2dd9dc88df95bfd31a45.jpg","77.8×34.3cm",[],{"id":41829,"slug":41830,"title":28,"dynasty":174,"author":739,"museum":770,"description":41831,"tags":41832,"thumbUrl":41833,"material":166,"size":166,"collection":166,"collections":41834,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},223243,"shan-shui-hua-yan-223243","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\n华岩一生贫困，金农在《画竹题记》提到：“汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。”乾隆十七年（1752），回到杭州旧居“解弢馆”。乾隆二十一年卒，有《离垢集》5卷。",[23,24,27,7,36,95,28,32,127,126,35,34,193,33,164,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8812e9c83f76f654f907938a5ca82940.jpg",[],{"id":41836,"slug":41837,"title":26382,"dynasty":174,"author":633,"museum":120,"description":41838,"tags":41839,"thumbUrl":41840,"material":964,"size":26387,"collection":166,"collections":41841,"showCount":40654,"zanCount":46,"manualWeight":46,"mainColor":47},223225,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-223225","本幅无作者款印。幅上有徐邦达先生题云：“公孙大娘舞剑器图，伯年先生粉本真迹。己卯心远生徐邦达识。” 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其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[23,281,24,25,26,394,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb1520b7383b91beba04b2b2c7089b36.jpg",[],{"id":42403,"slug":42404,"title":42405,"dynasty":174,"author":20225,"museum":450,"description":42406,"tags":42407,"thumbUrl":42408,"material":314,"size":1061,"collection":245,"collections":42409,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},241173,"qing-ren-ji-jin-ce-chu-ci-jiao-kan-du-zhu-shi-yi-er-ce-qi-ji-ye-weng-fang-gang-241173","清人集锦册-初次校勘杜注拾遗二册讫记页","翁方纲（1733年～1818年），字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴（今北京大兴区）人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。",[37,38,74,80,7,8047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567ca0e2d3d58e8209a59408b25229d7.jpg",[245],{"id":42411,"slug":42412,"title":42413,"dynasty":174,"author":16702,"museum":6432,"description":42414,"tags":42415,"thumbUrl":42416,"material":298,"size":42417,"collection":245,"collections":42418,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},241080,"xi-gang-shi-zhou-xi-gang-241080","奚冈诗轴","奚冈(1746—1803) 清代篆刻家、书画家。原名钢，字铁生、纯章，号萝龛、蝶野子，别号鹤渚生、蒙泉外史、蒙道士、奚道士、散木居士、冬花庵主，原籍歙县（今属安徽），一作黟县（今属安徽），寓浙江杭州西湖。不应科举，寄情诗画，山水花石，逸韵超隽。曾游日本，名噪海外。乾隆时，征孝廉方正，辞不就。刻印宗秦、汉，与丁敬、黄易、蒋仁齐名，号西泠四大家。并与陈豫钟、陈鸿寿、赵之琛、钱松合称西泠八家。",[24,25,95,38,394,7,37,80,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ee8e92d6aec15c20b73f2839311b1e.jpg","143.5×34cm",[245],{"id":42420,"slug":42421,"title":42422,"dynasty":174,"author":21853,"museum":120,"description":42423,"tags":42424,"thumbUrl":42425,"material":42426,"size":42427,"collection":245,"collections":42428,"showCount":273,"zanCount":1084,"manualWeight":46,"mainColor":47},240911,"qi-jue-zhou-fu-shan-240911","七绝轴","释文：\n黄师塔前江水东，春光懒困倚微风。桃华一簇开无主，可爱深红爱浅红。傅山。\n作品书杜甫《江畔独步寻花七绝句》（之五）。无上款，或为闲时偶书。通篇气韵通达，笔墨纵逸酣畅，章法疏密相间，是傅山连绵草书条幅中的佳构。",[24,25,95,7,394,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0622685c106cd2f7ee624c3e7397f27.jpg","绢本，草书","纵178.5厘米，横45.5厘米",[245],{"id":42430,"slug":42431,"title":42432,"dynasty":18,"author":18021,"museum":450,"description":42433,"tags":42434,"thumbUrl":42435,"material":314,"size":1061,"collection":166,"collections":42436,"showCount":273,"zanCount":1084,"manualWeight":46,"mainColor":47},239354,"chun-fan-yu-yi-tu-shan-mian-li-liu-fang-239354","春帆雨意图扇面","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。",[24,25,1462,7,36,28,31,33,212,1810,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc08c5d090e825295762234e3114e0f.jpg",[],{"id":42438,"slug":42439,"title":42440,"dynasty":174,"author":42441,"museum":450,"description":42442,"tags":42443,"thumbUrl":42445,"material":166,"size":166,"collection":245,"collections":42446,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},239228,"hui-shi-ce-hu-zhen-kai-239228","绘石册","胡贞开","[清]字循蜚，号瑟庵，又号皋鹤，别号耳空居士，仁和（今杭州）人。",[24,25,74,27,42444,37,10153,7],"彩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f77c57ed9d3d91b05fec166fdc06af.jpg",[245],{"id":42448,"slug":42449,"title":5598,"dynasty":174,"author":11792,"museum":450,"description":19377,"tags":42450,"thumbUrl":42451,"material":314,"size":1061,"collection":166,"collections":42452,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},239094,"hua-hui-ce-ma-yuan-yu-239094",[24,27,7,74,75,134,4379,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11574ea984d1eb6477ac8e118d6fe93f.jpg",[],{"id":42454,"slug":42455,"title":42456,"dynasty":174,"author":42457,"museum":450,"description":42458,"tags":42459,"thumbUrl":42460,"material":166,"size":166,"collection":222,"collections":42461,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},238945,"lin-yue-se-tu-ce-ye-xu-fang-ping-238945","林月色图册页","徐方平","此作用淡墨晕开空蒙月色，枯木疏枝错落伸展，勾勒出秋夜林野的清寂轮廓。山溪蜿蜒穿林，板桥横卧浅流，策杖行人驻足于侧，冷寂夜色里添了些许动静对比。笔触清润秀雅，取法北宗淡远意趣，铺展出幽旷林泉之境，将月夜林间的萧寒静谧尽数晕开。把羁旅闲步的清寂意趣与林泉幽怀相融，尽显文人画简淡出尘的诗意，仿佛让人踏入这片溶溶月色下的平林，浸身于澄澈安宁的夜色中。",[24,25,74,7,27,28,717,940,29,30,193,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa1474cbd2b9cb76aef5844274a64e1.jpg",[222],{"id":42463,"slug":42464,"title":157,"dynasty":174,"author":28853,"museum":450,"description":42465,"tags":42466,"thumbUrl":42467,"material":166,"size":166,"collection":42,"collections":42468,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},238009,"shan-shui-ce-lu-zun-shu-238009","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,7,36,74,28,194,34,33,30,164,3157,268,211,2043,4468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F591c692a53110aba3d0f7ed31649a34e.jpg",[42,222],{"id":42470,"slug":42471,"title":42472,"dynasty":174,"author":21853,"museum":450,"description":42473,"tags":42474,"thumbUrl":42475,"material":166,"size":166,"collection":222,"collections":42476,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},237925,"gu-bai-han-ya-zhou-fu-shan-237925","古柏寒鸦轴","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[24,25,95,7,36,147,282,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98462ef39975b740790320e8961aa39.jpg",[222],{"id":42478,"slug":42479,"title":41142,"dynasty":18,"author":5177,"museum":450,"description":42480,"tags":42481,"thumbUrl":42482,"material":314,"size":1061,"collection":166,"collections":42483,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},237852,"shan-shui-shan-zhao-zuo-237852","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[24,25,1462,7,36,28,34,33,35,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ce62d998c4a1bca199934a0ec5116e.jpg",[],{"id":42485,"slug":42486,"title":42487,"dynasty":18,"author":796,"museum":450,"description":8275,"tags":42488,"thumbUrl":42489,"material":314,"size":1061,"collection":166,"collections":42490,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},237833,"xi-ting-wan-yue-shan-ye-chen-chun-237833","溪艇玩月扇页",[24,1462,28,31,940,33,34,7,36,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8f22a2ec16cecf0600a59d52dc9678.jpg",[],{"id":42492,"slug":42493,"title":34284,"dynasty":18,"author":796,"museum":450,"description":8275,"tags":42494,"thumbUrl":42495,"material":314,"size":1061,"collection":166,"collections":42496,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},237832,"shan-shui-shan-ye-chen-chun-237832",[24,25,1462,7,36,28,31,33,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c06f0cea0357587c50fd51772cb626.jpg",[],{"id":42498,"slug":42499,"title":42500,"dynasty":18,"author":34090,"museum":450,"description":34091,"tags":42501,"thumbUrl":42502,"material":314,"size":1061,"collection":166,"collections":42503,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},237827,"jiang-shan-xiu-se-shan-ye-zhang-chong-237827","江山秀色扇页",[24,1462,7,27,36,28,147,212,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324c78d855e1a91b6ac0a7079ab30afc.jpg",[],{"id":42505,"slug":42506,"title":34284,"dynasty":18,"author":12323,"museum":450,"description":27952,"tags":42507,"thumbUrl":42508,"material":314,"size":1061,"collection":166,"collections":42509,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},237813,"shan-shui-shan-ye-sun-zhi-237813",[1462,24,7,36,28,162,324,31,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26c2d60f35ddcbd0b9474fd43509424.jpg",[],{"id":42511,"slug":42512,"title":34284,"dynasty":18,"author":10698,"museum":450,"description":40144,"tags":42513,"thumbUrl":42514,"material":314,"size":1061,"collection":166,"collections":42515,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},237789,"shan-shui-shan-ye-wen-bo-ren-237789",[24,25,1462,7,36,28,212,33,34,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89607da89f83b489d1f2d1dadfd1514.jpg",[],{"id":42517,"slug":42518,"title":5598,"dynasty":18,"author":71,"museum":450,"description":30466,"tags":42519,"thumbUrl":42520,"material":314,"size":1061,"collection":166,"collections":42521,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},237686,"hua-hui-ce-sun-ke-hong-237686",[24,25,74,7,38,75,76,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88818b5938dd1a8187c4b8091e26fe0b.jpg",[],{"id":42523,"slug":42524,"title":5598,"dynasty":18,"author":14875,"museum":770,"description":42525,"tags":42526,"thumbUrl":42527,"material":6136,"size":42528,"collection":166,"collections":42529,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},237443,"hua-hui-ce-xiang-sheng-mo-237443","项圣谟五十六岁创作的《花卉十开》是其花鸟画册页精品之一。十幅画皆纸本设色、淡彩没骨，依次画千叶桃花、石榴、白色桃花、白色梅花、海棠、兰花、野菊、秋菊、荷花荷叶、莲蓬莲藕，第一、三、四、五、八开画家题诗，第二、六、七、九、十开画家仅题名号，每一幅都有清代画家汪家珍题写诗文。",[24,25,74,38,7,125,80,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8eed9bc0b52509a6e8cb158cf8aee5.jpg","31 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彦宗,又字子述",[24,25,74,7,28,32,1035,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0cacaeb23cdf518d56ce5c74bd9e36.jpg",[42],{"id":42664,"slug":42665,"title":42666,"dynasty":174,"author":1100,"museum":450,"description":42667,"tags":42668,"thumbUrl":42669,"material":166,"size":166,"collection":166,"collections":42670,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},235407,"shou-xing-bai-shi-zhou-wu-chang-shuo-235407","寿星拜诗轴","此作用笔极简，左侧淡墨写意勾勒出持杖寿星，宽袍博袖下老者矍铄淡然的神态毕现，留白写意间尽是禅意空寂之美。右侧狂草题书笔力苍劲老辣，金石气扑面而来，以篆籀笔法贯穿书画，线质雄健朴拙，笔墨风貌浑然一体。\n\n书画相映成趣，诗意与画意呼应共生，传递出冲和超逸的世外意趣，尽显诗书画印相融的文人画精髓，将写意美学的冲淡之韵抒发到极致。",[24,25,95,38,7,193,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c552ee82435f1654619ac4dbb914e6.jpg",[],{"id":42672,"slug":42673,"title":5598,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":42674,"thumbUrl":42675,"material":314,"size":1061,"collection":166,"collections":42676,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},235201,"hua-hui-ce-wu-chang-shuo-235201",[24,25,74,7,75,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fcbcd912a3c5ca2458e0ccf36abd25.jpg",[],{"id":42678,"slug":42679,"title":42680,"dynasty":174,"author":581,"museum":450,"description":42681,"tags":42682,"thumbUrl":42683,"material":166,"size":166,"collection":83,"collections":42684,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},235039,"yuan-ji-za-hua-tu-ce-yi-ming-235039","原济杂画图册","此作为山水小品，以淡彩晕染出空濛春山，远峰如烟似雾，淡宕朦胧。垂柳柔丝轻曳，笔致细秀，尽写垂拂之姿。苔石旁高士凭岩静坐，敛神凝睇，似将身心融于林泉烟景之中。\n\n设色清润柔和，山石以淡赭、花青轻扫而成，不作繁复勾勒。左侧题诗与画面相映，诗画交融更添文气。全幅笔法松秀空灵，以简淡笔墨写尽山水清寂淡远之致，将文人寄情林泉、静赏春色的幽怀融于尺幅之间，简淡中见隽永风神，尽显文人画的雅致意境。",[281,24,25,74,7,27,28,193,1035,180,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff086b9647f1af5e2513b93a9ed806f3b.jpg",[83,64],{"id":42686,"slug":42687,"title":42688,"dynasty":18,"author":14875,"museum":120,"description":32096,"tags":42689,"thumbUrl":42690,"material":166,"size":166,"collection":166,"collections":42691,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},235013,"wang-shi-shan-hu-gang-mo-ji-ju-tu-ce-shan-shui-ye-xiang-sheng-mo-235013","汪氏珊瑚纲摩诘句图册-山水页",[24,25,74,7,36,80,28,147,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797c660dd7397b8fec87aa05a287cfa4.jpg",[],{"id":42693,"slug":42694,"title":6113,"dynasty":174,"author":377,"museum":120,"description":3984,"tags":42695,"thumbUrl":42696,"material":11042,"size":3140,"collection":166,"collections":42697,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},235005,"yuan-ji-shan-shui-tu-ce-shi-tao-235005",[24,7,28,31,36,33,57,211,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd784b91f6631c5f760dc9d90bdcebb.jpg",[],{"id":42699,"slug":42700,"title":6113,"dynasty":174,"author":377,"museum":120,"description":3984,"tags":42701,"thumbUrl":42702,"material":11042,"size":3140,"collection":166,"collections":42703,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},235004,"yuan-ji-shan-shui-tu-ce-shi-tao-235004",[281,24,25,7,27,36,74,37,80,28,193,717,211,3177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1d5969137e19a3568085176acf242b.jpg",[],{"id":42705,"slug":42706,"title":14272,"dynasty":174,"author":5748,"museum":120,"description":39854,"tags":42707,"thumbUrl":42708,"material":6280,"size":14275,"collection":166,"collections":42709,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},234968,"wu-wai-tian-yuan-tu-ce-kun-can-234968",[24,25,281,74,7,36,38,37,28,34,33,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb83a200d601cbbccabe8731da975f46.jpg",[],{"id":42711,"slug":42712,"title":42713,"dynasty":18,"author":17741,"museum":120,"description":42714,"tags":42715,"thumbUrl":42716,"material":1221,"size":42717,"collection":166,"collections":42718,"showCount":273,"zanCount":1084,"manualWeight":46,"mainColor":140},234875,"yin-bao-jie-shan-tu-zhou-wang-wen-234875","隐宝界山图轴","画中所绘当为宝界山实景。筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。王问之作传世不多，得此盛年鼎绝作品实为不易。\n此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生（1908-1990年）于1949年购于广州。1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。",[24,95,28,7,36,33,194,34,35,164,785,268,10537,6133,17572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9de3f53df33e51fc5b44308bff63eca.jpg","纵116厘米，横62.5厘米",[],{"id":42720,"slug":42721,"title":34284,"dynasty":18,"author":42722,"museum":450,"description":42723,"tags":42724,"thumbUrl":42725,"material":314,"size":1061,"collection":166,"collections":42726,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},234838,"shan-shui-shan-ye-guan-si-234838","关思","关思，明朝，生卒年不详，字何思，号虚白（明画录谓字九思，后以字行，更字仲通）。乌程（今江浙吴兴）人。万历（一五七三至一六二○）间名重海内，与宋旭齐名。善画山水，骨法气韵入二李、三王之微，拟王蒙、倪瓒更妙。初年的山水构图繁密，蹊径水口，犹多重叠，至晚年山头石面，粗疏数笔，林树离披，略加墨叶，人物飘然，舟室古雅，令人阅之，眼界肃清。崇祯三年（一六三○）作月夜行旅图、溪山雨霁图。《图绘宝鉴续纂、画史会要、无声诗史、乌程志、明画录、广印人传补遗》",[1462,7,36,28,33,34,215,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5935312e3e86cc250a11c2fc9230fc18.jpg",[],{"id":42728,"slug":42729,"title":42730,"dynasty":174,"author":6172,"museum":120,"description":42731,"tags":42732,"thumbUrl":42733,"material":166,"size":166,"collection":166,"collections":42734,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[24,7,36,74,28,31,282,96,34,163,7378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372024be031a85f24ba524143d396600.jpg",[],{"id":42736,"slug":42737,"title":26400,"dynasty":174,"author":42738,"museum":450,"description":42739,"tags":42740,"thumbUrl":42741,"material":166,"size":166,"collection":166,"collections":42742,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},234671,"shan-shui-shan-mian-hou-fang-yu-234671","侯方域","侯方域（1618年4月—1655年1月），字朝宗，明朝归德府（今河南商丘）人，明末清初散文家，散文三大家之一、明末“四公子”之一、复社领袖。\n侯方域是明户部尚书侯恂之子，祖父及父辈都是东林党人，均因反对宦官专权而被黜。明朝灭亡后，侯方域流落江南，明亡后参加科举，为时人所讥：“两朝应举侯公子，忍对桃花说李香。”晚年失悔此举。 网上引用清史稿只言片语，说侯方域为做清朝官而献计于清军直隶山东河南三省总督张存仁，镇压榆园军起义。但并非如此，侯方域在清顺治七年春，因张存仁访其父，不得已上泛泛而谈的《上三省督府剿抚议》，且张存仁在顺治八年才水淹榆园军。在35岁时，回想起自己遭遇坎坷，除诗文一无所成，悔恨不已，又因违心参与顺治八年乡试，认为自己失节于明，便将其书房更名为“壮悔堂”，表示其壮年后悔之意。在这里，完成了他的两部文集《壮悔堂文集》10卷、《四忆堂诗集》6卷明志。\n清朝顺治十一年十二月十三日（1655年1月30日），37岁的侯方域因国破家亡，复明无望，壮志难酬，郁闷在怀和思念香君，染病身亡。\n侯方域与冒襄、陈贞慧、方以智，合称明末“四公子”，有代表作《李姬传》。清初作家孔尚任撰《桃花扇》剧本，描写的就是侯方域与秦淮名姬李香君的爱情故事，侧面反映了明亡清兴的历史背景。",[24,25,1462,28,7,36,717,34,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2c3bb17af8e5f52cc5fb44cd14d8c9.jpg",[],{"id":42744,"slug":42745,"title":42746,"dynasty":18,"author":11473,"museum":450,"description":33156,"tags":42747,"thumbUrl":42748,"material":166,"size":166,"collection":166,"collections":42749,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},234632,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234632","仿北苑山水扇页",[1462,7,36,28,194,33,31,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2468ed648fd299f606049d48ceee37.jpg",[],{"id":42751,"slug":42752,"title":42753,"dynasty":174,"author":9682,"museum":450,"description":42754,"tags":42755,"thumbUrl":42756,"material":166,"size":166,"collection":166,"collections":42757,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[24,25,95,7,36,28,162,96,34,1974,164,3157,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":42759,"slug":42760,"title":157,"dynasty":174,"author":13940,"museum":120,"description":42761,"tags":42762,"thumbUrl":42763,"material":564,"size":166,"collection":166,"collections":42764,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},234292,"shan-shui-ce-jin-ting-biao-234292","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,27,7,36,2446,80,28,624,2816,34,30,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":42766,"slug":42767,"title":157,"dynasty":174,"author":9682,"museum":450,"description":42754,"tags":42768,"thumbUrl":42769,"material":166,"size":166,"collection":166,"collections":42770,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},234275,"shan-shui-ce-cha-shi-biao-234275",[24,25,74,7,28,162,335,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3081eba6012e76f1db4406bd622364d3.jpg",[],{"id":42772,"slug":42773,"title":42774,"dynasty":174,"author":5090,"museum":120,"description":19190,"tags":42775,"thumbUrl":42776,"material":196,"size":42777,"collection":166,"collections":42778,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷",[23,24,26,7,481,28,993,58,3246,33,268,282,29,5329,5331,5837,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 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x 30cm",[],{"id":42974,"slug":42975,"title":11366,"dynasty":174,"author":21853,"museum":544,"description":42976,"tags":42977,"thumbUrl":42978,"material":42979,"size":42980,"collection":166,"collections":42981,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},232580,"shan-shui-hua-hui-ce-fu-shan-232580","傅山傅眉《山水花卉冊》，该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开，绢本纸本均有，设色水墨俱全。纵25.7厘米，横25.2厘米，现藏于天津博物馆。\n傅山（1607-1684），明末清初思想家、书画家。善诗、书、画、其画山林，气概浩荡，骨格奇峭，丘壑磊落，有奇逸气势；间写竹石，不落恒蹊，超然出尘。因常披朱衣，故号朱衣道人。晚年喜欢苦酒，自称“老蘖禅”。\n傅眉（1628—1683）,傅山之子，字寿髦，一作寿毛，一字竹岭，自号小蘖禅，山西阳曲人。工诗书画，亦能篆刻，山水学父法古朴而有真趣。",[281,24,7,74,36,28,180,717,164,454,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F673a2f02dd0a60f1669bc67d8546001d.jpg","绢本纸本","纵25.7厘米，横25.2厘米",[],{"id":42983,"slug":42984,"title":42985,"dynasty":174,"author":5090,"museum":159,"description":42986,"tags":42987,"thumbUrl":42988,"material":298,"size":42989,"collection":166,"collections":42990,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[23,24,7,36,28,127,33,34,210,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":42992,"slug":42993,"title":42994,"dynasty":18,"author":38868,"museum":92,"description":42995,"tags":42996,"thumbUrl":42997,"material":298,"size":42998,"collection":42,"collections":42999,"showCount":273,"zanCount":1084,"manualWeight":46,"mainColor":47},231414,"bai-yue-tu-leng-qian-231414","白岳图","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[24,25,95,7,28,36,34,33,29,30,268,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[42],{"id":43001,"slug":43002,"title":43003,"dynasty":174,"author":7927,"museum":544,"description":43004,"tags":43005,"thumbUrl":43006,"material":196,"size":43007,"collection":166,"collections":43008,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},231391,"liu-ye-shan-shui-shi-hua-tu-ce-zou-yi-gui-231391","六页山水诗画图册","此册页花卉或重粉点瓣、敷色浓丽；或没骨轻染、淡雅隽逸。此花卉用功颇深，为深入了解绘画对象，邹一桂亲自培植百余种花卉，仔细观察形态特征，获得真切感性认识，使其花卉在他笔下形神兼备、超凡脱俗。",[24,25,74,7,36,28,194,32,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e4b6ea57f63d4747420caa89bdae6.jpg","29×23cm×8",[],{"id":43010,"slug":43011,"title":14745,"dynasty":18,"author":31749,"museum":92,"description":43012,"tags":43013,"thumbUrl":43014,"material":13720,"size":43015,"collection":166,"collections":43016,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},231380,"xue-ye-fang-dai-tu-zhou-wen-jing-231380","此图画东晋王徽之雪夜乘舟访问朋友戴达的故事。王徽之，东晋琅玡临沂(今属山东)人，字子猷，王羲之之子。曾任桓温的参军，性格浪漫，联拘小节。居山阴（今浙江绍兴）时，夜大雪，眠觉开室命酌酒。四望皎然，因乐彷徨，咏左思《招隐诗》，忽忆戴安道（戴达）。时戴在剡（今浙江嵊州），便夜乘小船就之。经宿方至，造门不前而返。人问其故，王曰：[吾本乘兴而行，兴尽而返，何必见戴？]该幅即画此故事分情节。用笔老辣，烘染精到，设色雅淡。\n该画表现的是晋朝王徽之的故事。故事为某夜徽之于梦中醒来，见雪后初霁，月色皎洁，突然萌发拜访好友戴逵的念头。于是，不顾路遥夜深，雇船前往。但到了目的地，徽之又放弃了与戴逵见面的打算，沿江返回。别人不解地问他为何这么做，他说：“乘兴而来，兴尽而返，岂必见安道耶?”正因为他与戴逵都是性情中人，卓荦不羁，故两人的友谊好像也升华为形而上的境界。在徽之看来，友谊重在心中而非形式，见面与否了无差别。这种带有禅意的观点被传为佳话，并且成为后世画家笔下喜欢表现的题材。\n《雪夜访戴》图中，一只小船行驶在江面，站在船头、船尾的梢公奋力地划着；船上蓬中透着微弱的灯光，显见夜色已深；蓬外有一童仆，蓬内的人大概就是王徽之了。全画构图简约旷远，用笔虚多实少，着力于对“夜访”主题的渲染，营造了画面的气氛：近处墨色较深，远处墨色朦胧，坡岸上及被夜色遮掩的茅屋顶上覆盖着白雪，虚灵空潆的笔调，显示出雪夜的寂静和寒冷，真是一幅令人心旷神怡的雪夜行舟图。画中山、石、树木的处理，有马远的笔法，而积雪则有元人韵味。",[24,28,95,7,36,31,193,717,832,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a3c7b82a51466d66d727a37a78efe2.jpg","纵：161.5，横：93.9厘米",[],{"id":43018,"slug":43019,"title":43020,"dynasty":18,"author":1788,"museum":92,"description":43021,"tags":43022,"thumbUrl":43023,"material":298,"size":43024,"collection":166,"collections":43025,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},231374,"song-xia-guan-quan-tu-wen-zheng-ming-231374","松下观泉图","本幅画高士二人，隔溪闲话，一童携琴，自松间来。近景松林，笔墨细淡，结顶一山，却粗重如奔云，命意堪称奇绝。文征明个性谨饬，工画精细小幅，此帧属高头巨制，于文画中极为罕见。\n白云盤滞山腰，飞泉来自重巖深处。溪谷一人临流，坐听松风，眼观飞泉。款题「文壁」，旧传文氏四十岁前名「壁」，四十岁后改「徵明」。据此名款与其画风，约为四十岁左右之作。",[24,7,36,481,95,127,30,193,28,34,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c15d5fad3064f8f1718c21a27d80b1a.jpg","纵348.2cm，横104.6cm",[],{"id":43027,"slug":43028,"title":31811,"dynasty":174,"author":5599,"museum":450,"description":43029,"tags":43030,"thumbUrl":43031,"material":166,"size":166,"collection":166,"collections":43032,"showCount":273,"zanCount":1084,"manualWeight":46,"mainColor":140},230143,"he-he-er-xian-tu-luo-pin-230143","画面里二人憨态尽显，袒胸露腹，衣衫松垂，相偎对视，笑意漫溢眉眼间，亲昵松弛的模样满是人间烟火的融融暖意。作者以写意淡墨晕染人物神态，简括的衣纹线条随性洒脱，寥寥数笔便勾勒出二仙随性自在的模样。\n\n题诗与画作相映成趣，以质朴诗文点出合和圆满的意涵，笔墨古雅朴拙，诗画相融无间。整作摒弃繁复设色，以水墨清简之韵消弭仙俗边界，将和合二仙承载的圆满喜乐，以最生动质朴的方式铺陈开来，尽显写意功力，也传递出对人间温情圆满的脉脉期许。",[23,24,25,7,123,547,193,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8112e91dbc56cac7f9b59025a7b714ff.jpg",[],{"id":43034,"slug":43035,"title":43036,"dynasty":174,"author":22880,"museum":450,"description":43037,"tags":43038,"thumbUrl":43040,"material":166,"size":166,"collection":166,"collections":43041,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},228957,"fang-song-ren-gou-ran-tu-ce-jiang-ting-xi-228957","仿宋人勾染图册","此作用淡墨勾勒花瓣轮廓，由外至内层层晕染，将盛放牡丹的丰腴柔润尽数铺展，花心以浓墨点簇，层次分明，把牡丹盛放时的娇妍饱满尽显无遗。枝叶笔墨干湿浓淡有别，叶片皴擦细致、叶脉清晰，挺秀枝干搭配舒展翠叶，清雅间带着端庄意韵。\n\n全幅未施丹青，纯以水墨晕染花卉神采，兼得宋画工致写实的格调和文人写意的澹泊雅致。错落排布的鉴藏印，更添古雅厚重的书卷意蕴，将工笔细腻与水墨清逸相融，把牡丹的华贵风骨敛在素净墨色中，静雅脱俗，余韵悠长。",[23,24,281,25,74,481,43039,7,75,129,80,254],"勾染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c010e2f237ef06f01aef610df459e6.jpg",[],{"id":43043,"slug":43044,"title":43045,"dynasty":174,"author":43046,"museum":450,"description":43047,"tags":43048,"thumbUrl":43049,"material":166,"size":166,"collection":166,"collections":43050,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},228935,"mo-gu-shan-shui-ce-lu-yuan-228935","摹古山水册","陆远","此作用淡墨干笔写就水岸幽居之景，近岸古木虬曲垂丝，与旁侧细竹相映，茅舍临水孑立，透着世外幽居的闲静。水面留白铺展出空阔淡远之意，远山以枯笔皴擦勾勒石体质感，苍朴的山石晕染出烟水朦胧之态。\n\n整体画风简淡萧疏，将水岸清旷冷逸之境藏于尺幅间，笔意简净却意蕴悠长，把林泉幽隐之思融在每一处点染之中，观之便如踏入无人烟水，浸享静穆淡远的文人雅趣。",[24,7,254,36,74,28,34,33,324,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ecd5879745033f91d86956e7bd1aae2.jpg",[],{"id":43052,"slug":43053,"title":43054,"dynasty":18,"author":2851,"museum":450,"description":43055,"tags":43056,"thumbUrl":43057,"material":314,"size":1061,"collection":166,"collections":43058,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},228479,"cao-wu-pu-tuan-tang-yin-228479","草屋蒲团","《草屋蒲团图》又名《虚亭听竹图》，是唐伯虎  中晚期创作最为丰富和成熟时期的作品，图绘江南初秋士人蒲团之上晨读之情景。画面环境幽雅清静，给人以深厚、凝重之感，呈现出大自然的生动景象。属于唐氏作品中少见的浑厚、凝重的作品。",[23,24,25,95,7,36,38,37,193,28,126,12385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3366fd1cdf4d4aac38338b2afddae630.jpg",[],{"id":43060,"slug":43061,"title":5224,"dynasty":18,"author":17418,"museum":450,"description":43062,"tags":43063,"thumbUrl":43064,"material":166,"size":166,"collection":166,"collections":43065,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},228461,"fang-huang-zi-jiu-shan-shui-tu-sheng-mao-ye-228461","此作用笔追摹黄公望苍厚朴茂的披麻皴，山峦层叠盘桓，以高远之势铺陈丘壑，兼具深远之致。林麓间山居屋舍错落，溪泉萦回，苍松挺立点缀幽壑，暗含元人山水萧散淡远的意趣。\n\n画家师法前贤却不囿于摹写，以温润秀雅的笔调，将富春山居的平淡天真复刻传神，把晚明文人寄情林泉的雅趣融在笔墨间，既恪守元画的空灵气韵，又自含清隽的个人意韵，尽显林泉高致的悠远意境。",[23,24,25,95,28,7,36,34,33,215,35,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6db1427bc5215e0f3e4bb071162d0a8.jpg",[],{"id":43067,"slug":43068,"title":43069,"dynasty":18,"author":39861,"museum":450,"description":43070,"tags":43071,"thumbUrl":43072,"material":166,"size":166,"collection":166,"collections":43073,"showCount":273,"zanCount":1084,"manualWeight":46,"mainColor":461},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,24,25,95,7,28,36,34,33,30,787,193,624,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":43075,"slug":43076,"title":21245,"dynasty":18,"author":23159,"museum":450,"description":43077,"tags":43078,"thumbUrl":43079,"material":166,"size":166,"collection":166,"collections":43080,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},228366,"shi-liu-luo-han-tu-chen-xian-228366","此作用笔极简却意韵悠长，淡墨勾勒罗汉衣袍，线条舒缓苍劲，将僧袍垂坠柔软的质感尽显无遗。罗汉面容刻画细腻入微，唇角含笑，神态恬然静定，安然的坐姿透着出尘的禅意。身旁盆栽兰草，寥寥数笔绘就舒展花叶，清雅脱俗，与罗汉气质相映成趣，烘托出静谧空寂的禅房氛围。\n\n画面以水墨写意见长，浓淡干湿自然过渡，不用浓艳敷色，以形传神，将高僧闲适安然的心境展露无余。右侧题字笔力苍劲古朴，与水墨画面气韵相融相合，尽显文人画以意驭笔的意趣，空灵悠远的禅境跃然纸上，是一件精妙的禅意小品。",[23,24,25,3557,193,7,547,80,133,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb042f67db1eec218836dfc97590a62a.jpg",[],{"id":43082,"slug":43083,"title":43084,"dynasty":52,"author":581,"museum":450,"description":43085,"tags":43086,"thumbUrl":43087,"material":166,"size":166,"collection":166,"collections":43088,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},228249,"lao-shu-wu-ya-tu-yi-ming-228249","老树乌鸦图","这幅山水以淡墨晕染出空阔秋水，汀渚横陈，水汽如薄纱漫过江天。滩头老树枯槎盘虬，枝桠无叶，孑然伫立在寒渚之上，将深秋江野的荒寂尽数铺展。\n\n画师以简驭繁，不用繁复皴擦，以水墨晕染造境，留白衬出江天寥廓，将元代文人萧索幽微的心境寄寓其间，淡墨里藏着清寂，枯枝中凝着怅惘，把寒江晚景的萧寒逸趣写尽，淡而愈远，枯而弥长。",[23,24,25,26,7,36,28,147,1592,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302366aef14e011720d4f3e96ae9223f.jpg",[],{"id":43090,"slug":43091,"title":645,"dynasty":52,"author":43092,"museum":450,"description":43093,"tags":43094,"thumbUrl":43095,"material":166,"size":166,"collection":166,"collections":43096,"showCount":273,"zanCount":1084,"manualWeight":46,"mainColor":140},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,25,1462,7,27,28,36,29,30,33,34,211,268,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":43098,"slug":43099,"title":43100,"dynasty":52,"author":8400,"museum":450,"description":43101,"tags":43102,"thumbUrl":43103,"material":166,"size":166,"collection":166,"collections":43104,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":461},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[23,24,25,95,3557,193,28,7,27,210,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":43106,"slug":43107,"title":43108,"dynasty":205,"author":31990,"museum":450,"description":43109,"tags":43110,"thumbUrl":43111,"material":166,"size":166,"collection":166,"collections":43112,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,24,25,74,7,28,831,942,717,1442,31,729,36,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":43114,"slug":43115,"title":21930,"dynasty":205,"author":581,"museum":450,"description":43116,"tags":43117,"thumbUrl":43118,"material":314,"size":1061,"collection":166,"collections":43119,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,281,24,25,26,7,27,28,34,33,29,30,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":43121,"slug":43122,"title":43123,"dynasty":174,"author":43124,"museum":450,"description":43125,"tags":43126,"thumbUrl":43127,"material":166,"size":166,"collection":166,"collections":43128,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},224574,"mo-zhu-cheng-shan-qing-ren-224574","墨竹成扇","清人","《百年启功:书画逸兴》包括：北京师范大学校训、启功先生小学时期作品、山水四条屏、曲水群贤等。\n其实，先生的作品不在巨大认真，而在趣味逸兴，一片纸、或数笔，“千里面目”，谴兴而已，有些甚至是无意流传的。\n集中注意选集先生一些不经意、随手间的手泽，没有大义，只是把玩。\n我们这么选辑，希望读者更能了解启功先生，希望读者更加喜爱中国笔墨文化。\n《百年启功:书画逸兴》选择启功先生书画手泽若干件，是简单印刷、平实装帧的书画作品集。\n校训 北京师范大学校训（简体） 启功先生小学时期作品 山水四条屏 曲水群贤 补桐养疴图 甲申年花笺手稿 石榴图 绿竹图 江山雪霁图 荷花图 菊扇 花笺手稿沁园春 临新妇帖 一九四六年作山水 四联扇面 烟江晓泊 秋松 山雨欲来风满楼 四连屏 赠伯简先生 少文款手迹 墨竹 兰竹成扇 付文物局收条之一 付文物局收条之二 书鲁迅诗扇面 积石干寻长松万仞 手抄本题签之一 手抄本题签之二 手抄本题签之三 手抄本题签之四 论书旧作花笺 平复帖临释 临兰亭 启功遗墨册页 痛心篇一 痛心篇二 痛心篇三 南乡子手稿 书赠毛泽东词 画菊成扇 年论书绝句手稿 双蛙图及题跋（局部） 书赠重晤老友 喜竹 竹石 诗画一开 南乡子题汉吉语方砖（附拓片） 东洲草堂句 兰飘竹撇写离骚 何可一日无此君 《共勉》 李白诗书赠 赠友人竹石 购书与慎言 芳草西池路 书太白句赠友人 墨竹成扇 书自作诗 赠向彤同志竹石 教师节书颂 双松堂堂 夏老爱猫 鹅群 静观 清华 和风细雨 瘦影参差水墨松 书文心雕龙原道 八尺对联 高山流水听琴音 甲子岁朝 乐天者寿 自题小照 静心 书为第一届教师节之一 书为第一届教师节之二 墨竹 红竹 看竹者多画竹者少 晴窗漫书 玛瑙寺前过 献给教师节 美意延年迈劲松 业广维勤 百福骈臻 失眠口占 化雨春风 正大光明 佳句四屏 细 秋分菊本自锄山 硬笔和毛笔 同学存念 霜叶红于二月花 书遂堂老人诗 龙 飞腾 寥斋 联姻 卓锥有地自逍遥 红竹 南无阿弥陀佛 松风水月 亲手树人真事业 少陵惊人佳句 信封上画菊 信封上画兰 尺椟书疏千里面目 快雪时晴佳想安善 我醉欲眠枕其股 传芭 腊笺书杜律 行百里者半九十里 澄泥砚赞 竹深留客处 承露 画筵赠静翁先生 枯笔书 过岭外忆前贤别都门之作而书之 枯藤缀紫霞 奇峰高节 协力 东望望长安 少陵佳句 龙年写龙 云合山留一发青 吉祥如意 竹淡兰馨 大哉孔子 索句深霄 竹报平安 写竹寿庆 春水船如天上坐 铁网珊瑚 题诗最高处 朱竹 比寿同清 小品之一 小品之二 小品之三 小品之四 师颂 福寿康宁 福禄寿喜 金玉满堂 河清人寿 风调雨顺 职为人师 淡墨兰石 仁者寿 赠毕业同学 静观 光阴可贵 乐观 莫名其妙从前事 学记之训 学高人之师 赠董桥联 寒山寺对联 好为人师之为患",[24,25,1462,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dba8e8fb302a09fcbb42818ccfb7ed3.jpg",[],{"id":43130,"slug":43131,"title":43132,"dynasty":174,"author":43133,"museum":450,"description":43134,"tags":43135,"thumbUrl":43136,"material":166,"size":166,"collection":166,"collections":43137,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":140},224405,"bao-bi-zhuang-shi-er-feng-wang-xue-hao-224405","宝碧庄十二峰","王学浩","此作用笔苍润秀雅，以水墨兼淡色绘就十二枚湖石，各峰形神迥异，将赏石“瘦、透、漏、皱”之美尽致展现，或如干霄孤直，或若玲珑宛转，顽石似被赋予君子清介风骨。\n\n每石配行草题咏，笔意洒脱与奇石雅姿相互衬映，书画合璧，把文人寄情于石的雅怀尽显无余，将赏石意趣与文人情思相融，尽显传统文人画以物托志的风雅意韵，淡墨轻色间，勾勒出藏于奇石中的林下高致。",[23,24,25,26,7,27,36,38,80,180,13071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601424168e70bd55e579842423ea8b45.jpg",[],{"id":43139,"slug":43140,"title":43141,"dynasty":205,"author":581,"museum":120,"description":43142,"tags":43143,"thumbUrl":43145,"material":61,"size":43146,"collection":166,"collections":43147,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,281,24,25,26,7,27,28,36,481,38,394,242,37,80,43144,30,33,787,29,282,180],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":43149,"slug":43150,"title":43151,"dynasty":174,"author":43152,"museum":450,"description":43153,"tags":43154,"thumbUrl":43155,"material":298,"size":166,"collection":166,"collections":43156,"showCount":273,"zanCount":1084,"manualWeight":46,"mainColor":47},223135,"shi-wan-tu-ce-shan-mian-2-ren-xiong-223135","十万图册-扇面2","任熊","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,1462,7,36,28,335,706,126,29,268,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff813e453a30df81524c4b73358b23be.jpg",[],{"id":43158,"slug":43159,"title":1567,"dynasty":174,"author":26423,"museum":450,"description":43160,"tags":43161,"thumbUrl":43162,"material":298,"size":43163,"collection":166,"collections":43164,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},223129,"shan-shui-zhou-qian-wei-qiao-223129","钱维乔（1739-1806）清文学家、戏曲家。字树参，季木，小字阿逾，号曙川，又号竹初，半园、半竺道人、半园逸叟、林栖居士等。江苏武进人。乾隆十年状元钱维城之弟。乾隆二十七年（一七六二）举人。曾讲学于如皋露香草堂，门前种竹，自号竹初居士。\n钱维乔早岁即工翰墨，得其兄钱维城之传，为兄代作，已咄咄逼真，而文秀之气过之。后笔尤苍厚，山水茂密不繁，峭秀不塞，作家士气兼备。晚岁笔墨尤精，随意所作，疏老苍浑。因作品风格酷似其兄，当时有“常州二钱”之誉。",[23,24,7,36,95,28,335,350,162,624,210,35,215,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5830d888db626572c39148425b0144.jpg","68x35",[],{"id":43166,"slug":43167,"title":43168,"dynasty":174,"author":2029,"museum":20,"description":9611,"tags":43169,"thumbUrl":43170,"material":1437,"size":9615,"collection":166,"collections":43171,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},222614,"shan-shui-ba-jing-4-gong-xian-222614","山水八景-4",[23,24,7,36,28,162,324,31,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c657c37d420a6e6b5f70b56085e2c.jpg",[],{"id":43173,"slug":43174,"title":43175,"dynasty":18,"author":11473,"museum":54,"description":25276,"tags":43176,"thumbUrl":43177,"material":27,"size":166,"collection":166,"collections":43178,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},222588,"shan-shui-tu-shan-mian-2-lan-ying-222588","山水图扇面2",[23,1462,24,28,624,34,21813,7453,717,36,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8fd29104ad247fbd9575e0f584ac299.jpg",[],{"id":43180,"slug":43181,"title":43182,"dynasty":18,"author":11425,"museum":92,"description":11426,"tags":43183,"thumbUrl":43185,"material":298,"size":11429,"collection":166,"collections":43186,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},222439,"hua-die-cao-chong-7-du-da-cheng-222439","花蝶草虫7",[23,24,7,481,74,1192,2875,43184,80],"草穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f11d6090cfbb4dde430b3b43ab887e7.jpg",[],{"id":43188,"slug":43189,"title":43190,"dynasty":18,"author":11425,"museum":92,"description":11426,"tags":43191,"thumbUrl":43193,"material":298,"size":11429,"collection":166,"collections":43194,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":47},222435,"hua-die-cao-chong-2-du-da-cheng-222435","花蝶草虫2",[23,24,6779,481,4154,1916,43192,2203,76,75,80,7],"蚱蜢","https:\u002F\u002Foss.chuangqi.store\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与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 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ections":43608,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":43609},202113,"jiang-gan-wan-po-tu-zhou-fang-xun-202113","江干晚泊图轴","方薰","暮色漫过江波，远峰朦胧如幻，近岸巨石崚嶒，老松盘曲其上，枝桠间漏出檐角。水面孤舟静泊，似待归人，笔墨清雅疏淡，山石以皴法写其肌理，树木枝干虬劲，松针点染细密，尽显苍古之态。整幅画意境清寂悠远，藏着江干晚泊的悠然意趣，是清代文人山水的雅致之作。",[24,7,28,31,36,34,33,194,43606,23],"江干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabac7a1d82d9370a8d5750e94d0c2707.jpg",[42],"d1c2af",{"id":43611,"slug":43612,"title":43613,"dynasty":174,"author":43614,"museum":20,"description":43615,"tags":43616,"thumbUrl":43617,"material":166,"size":166,"collection":42,"collections":43618,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":43619},202100,"wu-shan-wan-gui-tu-zhou-ma-zhong-li-202100","吴山晚归图轴","马中立","层岩错落，林木参差，溪流穿石蜿蜒，小桥横卧其上，一人策杖缓行，似赴晚归之途。山石以皴笔写就，纹理苍劲，兼施淡彩晕染，笔墨温润雅致。远处山峦隐于云雾，近景树木枯荣相衬，姿态各异。构图疏密得宜，虚实相生，将山野的清幽与晚归的静谧悄然融合，尽显传统山水的悠然意趣。",[24,25,95,28,7,27,36,29,30,147,180,193,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5b274cb3ab4c05a947697030d527f2.jpg",[42],"a4917d",{"id":43621,"slug":43622,"title":10439,"dynasty":174,"author":43623,"museum":20,"description":43624,"tags":43625,"thumbUrl":43626,"material":166,"size":166,"collection":42,"collections":43627,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":43628},202011,"shan-shui-tu-zhou-cao-yi-202011","曹沂","这幅山水图中，山石嶙峋，溪流蜿蜒而下，数株松柏姿态各异——或虬曲盘绕于崖边，枝干苍劲；或挺拔倚于峭壁，枝叶葱郁。山石以皴法勾勒，纹理细腻，尽显厚重质感；溪流线条灵动，似有潺潺水声溢出画面。背景山峦简淡，留白处更显清幽深远。笔墨间细腻与洒脱兼具，营造出静谧雅致的山水意境，尽显传统书画之韵味。",[28,36,624,215,34,7,95,24,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28967822aef52bfeeb0d1e2497d8baf.jpg",[42],"ac957d",{"id":43630,"slug":43631,"title":43632,"dynasty":174,"author":43633,"museum":20,"description":43634,"tags":43635,"thumbUrl":43636,"material":166,"size":166,"collection":42,"collections":43637,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":43638},201988,"fang-dong-qi-chang-shan-shui-tu-zhou-hong-li-201988","仿董其昌山水图轴","弘历","这幅山水取法董氏笔意，以淡墨皴染出平远丘壑。近景枯藤缠枝，老树疏朗，疏竹与山石相映成趣，笔墨简约却见清润；林间隐现茅舍，添几分野逸之致。远景山峦连绵，墨气淡远，皴擦结合间尽显空灵韵味。整体画风萧散简远，墨色层次分明，将文人画的闲适淡远融入笔触，仿作中既得董氏山水的笔墨神韵，又暗含悠然的文人情怀，意境清幽耐人寻味。",[28,7,254,36,610,147,126,34,14321,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942bfe52e852ad3d2090a46b4bc577fb.jpg",[42],"c8ad90",{"id":43640,"slug":43641,"title":14760,"dynasty":174,"author":43642,"museum":20,"description":43643,"tags":43644,"thumbUrl":43646,"material":166,"size":166,"collection":42,"collections":43647,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":43648},201955,"cai-ju-tu-zhou-shen-zong-qian-201955","沈宗骞","画面以水墨绘就，苍松倚石而生，枝干盘曲如虬龙，松针层叠细密，尽显古劲之姿。旁侧竹枝疏朗，与松枝相映成趣。远山以淡墨晕染，云雾缭绕间显悠远之境。近景处，文人宽袍博带，手持菊枝，俯身凝视，神态悠然恬淡，似沉醉于菊香之中。山石以简皴勾勒，菊花以淡墨点染，清雅脱俗。整幅画作线条细腻传神，墨色层次丰富，意境闲适静谧，尽显文人画的雅致意趣，传递出对自然与隐逸生活的向往。",[7,547,127,126,134,28,193,1153,43645,23],"意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f5fcf74fe1169e82ae8040345b383e4.jpg",[42],"b4a086",{"id":43650,"slug":43651,"title":43652,"dynasty":174,"author":2823,"museum":20,"description":43653,"tags":43654,"thumbUrl":43655,"material":166,"size":166,"collection":166,"collections":43656,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":43657},201865,"hong-liao-he-hua-tu-zhou-pu-hua-201865","红蓼荷花图轴","画面以荷花为核心，粉瓣娇嫩含露，白荷清逸出尘，荷叶泼墨层叠间晕染淡绿，墨色浓淡相依显生机。红蓼点缀岸畔，竹枝斜逸添意趣，笔墨奔放洒脱，兼具水墨苍劲与设色清雅。线条率性自然，花叶姿态灵动，尽显文人画的逸气与野趣，仿佛荷风轻拂，露坠叶间，于简淡中藏精巧，奔放中见细腻，是蒲华花鸟写意的典型风貌。",[24,25,75,395,27,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd997d9cb6083b68ce351b4c25f3d6840.jpg",[],"b5ada2",{"id":43659,"slug":43660,"title":43661,"dynasty":18,"author":19,"museum":20,"description":43662,"tags":43663,"thumbUrl":43664,"material":166,"size":166,"collection":42,"collections":43665,"showCount":273,"zanCount":46,"manualWeight":46,"mainColor":43666},201558,"jiang-nan-feng-jing-tu-juan-shen-zhou-201558","江南风景图卷","画面以水墨皴染铺展江南景致，峰峦用披麻皴勾勒，线条苍劲灵动，林木点染秀润有致。溪流蜿蜒穿涧，小桥横卧波上，孤舟泛于清涟，屋舍隐于烟树间，亭台点缀山麓，尽显江南水乡的温婉静谧与田园生机。笔墨兼具雄浑与秀雅，意境淡远清幽，似将烟雨江南的朦胧诗意融于一卷，观之如沐春风，可感文人画的雅致意趣与山水灵韵。",[24,26,28,7,36,29,30,31,32,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb52a795e39b7a021c8b1c516c684b2e.jpg",[42],"b6b0a5",{"id":43668,"slug":43669,"title":43670,"dynasty":52,"author":8027,"museum":92,"description":43671,"tags":43672,"thumbUrl":43673,"material":110,"size":43674,"collection":166,"collections":43675,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},291016,"xiao-chun-xi-jing-tu-zhao-yong-291016","小春熙景图","赵雍（1289年－1369年），字仲穆，吴兴（今浙江湖州）人。元代书画家。赵孟頫之子。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》《溪山渔隐》《饮中八仙图》等。",[24,95,7,28,193,147,34,29,610,993,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff512888b5e32fa7757161f1a46d8c0bd.jpg","155x76.5",[],{"id":43677,"slug":43678,"title":43679,"dynasty":52,"author":16372,"museum":92,"description":43680,"tags":43681,"thumbUrl":43682,"material":98,"size":43683,"collection":166,"collections":43684,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},290939,"qiu-lin-diao-ting-tu-ma-wan-290939","秋林钓艇图","该幅画秋林钓艇，马琬以章草题款，笔法工整。幅上另有陶宗仪隶书题识，正方结字与方笔折刀法，显见魏晋隶书影响。马氏章草与陶氏隶书均以规矩均整见长，充分反映元代之复古书风，与明初云间书家之于古法中求变，颇异其趣。 释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[281,24,25,95,7,28,1523,31,30,14321,12508,6001,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":43686,"slug":43687,"title":43688,"dynasty":18,"author":11120,"museum":450,"description":43689,"tags":43690,"thumbUrl":43691,"material":314,"size":1061,"collection":166,"collections":43692,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},290927,"liang-xin-tang-shen-shi-chong-290927","凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之。",[24,7,27,28,74,194,624,29,211,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8e28dccfca39f0fd78b4380f31662a.jpg",[],{"id":43694,"slug":43695,"title":43696,"dynasty":18,"author":7182,"museum":450,"description":34871,"tags":43697,"thumbUrl":43698,"material":314,"size":1061,"collection":166,"collections":43699,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},290924,"ming-yun-shan-tu-wen-jia-290924","明云山图",[1462,24,281,7,126,32,193,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d5bdbb29c66f8463b99d923ac8bee3.jpg",[],{"id":43701,"slug":43702,"title":43703,"dynasty":52,"author":621,"museum":92,"description":7434,"tags":43704,"thumbUrl":43705,"material":98,"size":43706,"collection":166,"collections":43707,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},290832,"xiu-zhu-tu-zhou-ni-zan-290832","修竹图轴",[24,25,95,7,126,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F822aa93986d1b9a95aca39bfa639557a.jpg","51x34.5",[],{"id":43709,"slug":43710,"title":43711,"dynasty":52,"author":581,"museum":450,"description":43712,"tags":43713,"thumbUrl":43716,"material":314,"size":1061,"collection":166,"collections":43717,"showCount":169,"zanCount":1084,"manualWeight":46,"mainColor":140},290798,"liu-hai-chan-xiang-zhou-yi-ming-290798","刘海蟾像轴","刘海蟾是五代宋初的道士，道教全真道将之奉为〝北五祖〞之一。宋元以来，民间流传〝刘海戏金蟾〞故事。今街头店家橱柜犹见置有三脚蟾蜍口衔金钱者，寓意辟财、富贵，皆渊源于此。本幅画刘海蟾像，人物衣纹多以干笔挥就，线条粗放，近似折芦描法。衣带下摆，飘飘欲举，为原本沉寂的画幅，凭添律动之感。题签虽属元代，然其布局与技法，实已开启明季浙派苍劲粗放之先河。",[24,95,7,547,193,43714,11172,43715],"道教","金蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c4f79a6cfd1830937f2a3763614cb8.jpg",[],{"id":43719,"slug":43720,"title":43721,"dynasty":52,"author":4476,"museum":92,"description":13229,"tags":43722,"thumbUrl":43723,"material":98,"size":43724,"collection":166,"collections":43725,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},290733,"xi-ting-shan-se-tu-zhou-ke-jiu-si-290733","溪亭山色图轴",[281,24,7,95,28,32,147,30,80,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5599533abc3f93415e3489adb2d0e751.jpg","63x34",[],{"id":43727,"slug":43728,"title":43729,"dynasty":174,"author":11212,"museum":450,"description":43730,"tags":43731,"thumbUrl":43732,"material":314,"size":1061,"collection":166,"collections":43733,"showCount":169,"zanCount":1084,"manualWeight":46,"mainColor":47},290559,"yu-jing-zhou-xu-yang-290559","雨景轴","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[24,25,281,95,7,27,28,193,29,30,194,33,34,10672,80,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":43735,"slug":43736,"title":43737,"dynasty":174,"author":2913,"museum":450,"description":25536,"tags":43738,"thumbUrl":43739,"material":314,"size":1061,"collection":166,"collections":43740,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},290463,"feng-xue-shi-hua-tu-ce-gao-feng-han-290463","风雪诗画图册",[24,25,74,7,27,128,21764,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f78f50f33fd0518e35fac4c088348b5.jpg",[],{"id":43742,"slug":43743,"title":40717,"dynasty":52,"author":621,"museum":450,"description":7434,"tags":43744,"thumbUrl":43745,"material":314,"size":1061,"collection":166,"collections":43746,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399",[23,24,281,7,494,37,80,36,147,212,30,180,282,11639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],{"id":43748,"slug":43749,"title":1567,"dynasty":18,"author":23065,"museum":450,"description":43750,"tags":43751,"thumbUrl":43752,"material":314,"size":1061,"collection":166,"collections":43753,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},290356,"shan-shui-zhou-gu-zheng-yi-290356","顾正谊 ， 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ion":44168,"tags":44169,"thumbUrl":44170,"material":166,"size":166,"collection":166,"collections":44171,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},235682,"fang-yuan-ren-xiao-jing-zhou-da-chong-guang-235682","仿元人小景轴","此展品为清代的书画，描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n现收藏于 。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 钤印：朱文“重光”、“江上外史”印。\n王翚（162-1717年）字石谷，号耕烟散人、剑门樵客、乌目山人等。\n江苏常熟人。\n工山水，为清初四王之一。\n有清初画圣之称。\n其宗学者形成“虞山派”。",[24,25,95,7,38,80,28,162,29,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b500ccd1e7724fc2219bd60bdb65f9.jpg",[],{"id":44173,"slug":44174,"title":9368,"dynasty":174,"author":2605,"museum":450,"description":5286,"tags":44175,"thumbUrl":44176,"material":314,"size":1061,"collection":166,"collections":44177,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},235612,"hong-ren-shan-shui-ce-hong-ren-235612",[24,25,7,36,28,38,37,57,33,35,59,34,6779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b314950d8ff3a520a30e7311eeaa3f.jpg",[],{"id":44179,"slug":44180,"title":2814,"dynasty":18,"author":16802,"museum":450,"description":44181,"tags":44182,"thumbUrl":44183,"material":166,"size":166,"collection":166,"collections":44184,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},235604,"mei-hua-zhou-wang-qi-235604","此作以枯淡笔墨绘老梅，主干嶙峋斑驳，皴擦出饱经风霜的古拙质感，枝桠虬曲伸展，错落点缀素梅，清疏淡雅，将寒梅孤高凌冽的风骨尽显。\n\n画面留白肆意，配多幅题诗，书画合璧，以文心衬花魂，把文人寄寓梅中的淡泊狷介缓缓铺陈开来。淡墨写意间不见艳色，却尽是岁寒君子的清雅意韵，简笔藏深情，清冷雅致的梅之精神跃然纸上。",[24,25,95,7,125,147,363,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9267d35915a6580275edec3babb3d516.jpg",[],{"id":44186,"slug":44187,"title":27344,"dynasty":18,"author":15313,"museum":450,"description":44188,"tags":44189,"thumbUrl":44190,"material":166,"size":166,"collection":166,"collections":44191,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},235563,"shou-xing-zhou-guo-xu-235563","这幅作品以淡墨晕染出悠然古雅的氛围。寿星宽袍博带，慈眉善目，笑意隐在松缓的面纹里，尽显长者温厚。仙鹿俯首亲昵依偎，憨态可掬，肩头捧桃童子悄然探身，暗合添寿吉意。\n\n衣纹以铁线描勾勒，笔力劲挺却不失柔婉，简练洒脱地勾勒出织物垂坠质感，虚实留白疏密相宜，淡墨铺陈衬出素雅古拙。题跋行书疏朗，笔意清逸，书画相映相融，不见祝寿俗套，将长生寄寓在日常悠然图景里，兼具笔墨意趣与吉祥寓意，是明代人物画中冲淡平和的文人意趣佳作。",[18,24,25,95,547,7,193,453,2388,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe21837e52af718d4a19316650be5928.jpg",[],{"id":44193,"slug":44194,"title":6113,"dynasty":174,"author":377,"museum":450,"description":44195,"tags":44196,"thumbUrl":44197,"material":166,"size":166,"collection":166,"collections":44198,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},235520,"yuan-ji-shan-shui-tu-ce-shi-tao-235520","淡墨皴擦出层叠山峦，带着苍莽野逸之气，蜿蜒山道串起深谷山居，晕开雨后初霁的湿润空濛。前景林木错落，虬曲枝干间点叶疏密有致，将江南山野的幽寂鲜活铺展。\n\n右上角题诗与画面呼应，诗画交融，暗合山乡行路的澹然况味。笔意纵恣却不失秀润，干湿墨色互用，让山石肌理灵动自然，全无刻硬之感，尽显山水清灵雅致。将天地间静穆生机凝于尺幅，随性旷达的文人意趣藏在每一处笔墨里，是意韵悠长的山水佳构。",[24,25,7,36,74,123,28,335,162,311,34,5253,212,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5c6622bc1fcd2c25c587e7049d8fce.jpg",[],{"id":44200,"slug":44201,"title":6113,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":44202,"thumbUrl":44203,"material":314,"size":1061,"collection":166,"collections":44204,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},235517,"yuan-ji-shan-shui-tu-ce-shi-tao-235517",[24,25,74,7,36,28,34,33,29,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539be3c07015b163b46cd40a7d09dfe6.jpg",[],{"id":44206,"slug":44207,"title":157,"dynasty":174,"author":14921,"museum":450,"description":44208,"tags":44209,"thumbUrl":44210,"material":314,"size":1061,"collection":42,"collections":44211,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},235493,"shan-shui-ce-liu-yu-235493","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,25,74,7,38,36,28,34,33,164,3157,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[42],{"id":44213,"slug":44214,"title":44215,"dynasty":18,"author":581,"museum":450,"description":44216,"tags":44217,"thumbUrl":44218,"material":314,"size":1061,"collection":166,"collections":44219,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},235206,"wang-gu-xiang-zhu-lan-tu-shan-ye-yi-ming-235206","王穀祥竹兰图扇页","泥金笺底古雅沉静，以铁线白描写幽兰与棘枝。幽兰叶条舒展清劲，花瓣柔婉含露，寥寥笔意尽显空谷芝兰的疏澹气韵。棘枝瘦硬嶙峋，枯涩的线条与兰花柔润形成刚柔对照，暗合君子风霜里自持清雅的意趣。\n\n题款小字清雅隽秀，朱印点染泥金底色，古意愈浓。整幅笔致简净，不施丹青，纯以线条出神韵，将文人托物言志的意涵藏于极简笔墨间，淡而有味，简而意足，尽显文人小品画的清雅格调。",[281,24,25,1462,547,7,133,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4d419803bceabe6b26f2daceee8814.jpg",[],{"id":44221,"slug":44222,"title":157,"dynasty":174,"author":418,"museum":450,"description":44223,"tags":44224,"thumbUrl":44225,"material":166,"size":166,"collection":166,"collections":44226,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},235167,"shan-shui-ce-zhu-da-235167","这幅画以大片留白铺就江天寥廓，将寒烟秋水的空茫意蕴藏于素纸之上。右侧淡墨勾勒丘坡枯木，笔意清瘦简逸，虬曲枯枝孤傲孑立，枯笔皴擦山石，不着浓墨晕染，尽显萧疏冷寂。\n\n空荡纸面恰如无人的寒江荒野，把天地荒寒的澹远之境铺陈开来。朱红钤印错落点缀，冷素笔墨与古雅印色相映，为清寂画面添了沉静厚重的余味。\n\n寥寥数笔便将幽独襟怀融于山水之间，极简意象里藏着沉郁孤高的心境，于空寂之中见深远意趣，淡远里尽显清冷孤绝的品格。",[24,7,74,28,33,35,34,180,36,14066,1176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c165116dd7770d6cc8dde0fdfaf4df9.jpg",[],{"id":44228,"slug":44229,"title":14272,"dynasty":174,"author":5748,"museum":120,"description":39854,"tags":44230,"thumbUrl":44231,"material":6280,"size":14275,"collection":166,"collections":44232,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},234965,"wu-wai-tian-yuan-tu-ce-kun-can-234965",[24,25,281,74,7,36,37,80,28,180,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab7e989e6b953554dabccfa86cb3c35.jpg",[],{"id":44234,"slug":44235,"title":7442,"dynasty":18,"author":581,"museum":450,"description":44236,"tags":44237,"thumbUrl":44238,"material":314,"size":1061,"collection":166,"collections":44239,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},234927,"dong-qi-chang-shan-shui-ce-yi-ming-234927","此作用笔清润松灵，近景古木虬曲苍劲，枝桠舒展自带古拙意趣，坡岸留白晕开浅淡水汽，衬得林下村居愈发幽寂安闲。中远景山峦层叠，以淡墨轻勾慢皴，山石轮廓秀逸温润，将江南丘壑的清润质感藏于简淡笔墨之中。画面留白与钤印错落相映，晕开雅致沉静的书卷气，以尺幅之地铺陈出萧散淡远的林下闲居之境，尽显平淡天真的文人意趣，观之如临幽寂山林，静享山居清宁。",[281,24,25,74,7,36,28,335,162,35,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ff81a6d88494802fde213820a8874.jpg",[],{"id":44241,"slug":44242,"title":41290,"dynasty":18,"author":11473,"museum":450,"description":12002,"tags":44243,"thumbUrl":44244,"material":314,"size":1061,"collection":166,"collections":44245,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831",[24,25,1462,28,254,36,7,34,33,35,29,1524,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":44247,"slug":44248,"title":44249,"dynasty":18,"author":11809,"museum":450,"description":44250,"tags":44251,"thumbUrl":44252,"material":166,"size":166,"collection":166,"collections":44253,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},234804,"qian-gu-shan-shui-dan-ye-qian-gu-234804","钱穀山水单页","钱穀（1508—1578），字叔宝，号罄室、句吴逸民，自号罄室子，长洲（今江苏苏州）人，吴越国王族钱氏的后人。少孤贫，迨壮始知读书，游文太史徵明门下，研习画法。画名甚著，且书、诗、文俱精妙。\n现藏于苏州博物馆的钱穀《摹吴镇、倪云林山水》卷为纸本水墨，纵31.5厘米、横148.5厘米，题款“钱穀”，钤“叔宝”白文方印。此作为我们观察、研究钱穀的仿古绘画面貌提供了资料。\n钱穀所处时代的吴中，形成了一个以文徵明为核心的精英文化圈。而成为文徵明的弟子，即意味着他进入了这个核心圈，共享圈内的资源。与诸多文徵明的弟子一样，他长期为老师代笔。这表明，钱穀的画风在很长时间内与文徵明的画风相当接近。除了替师捉刀之外，他也十分注重自己的个人创作。清代徐沁在《明画录》中评价钱穀“作山水不名其师学，而自腾踔于梅花、一峰、石田间，爽朗可爱”。从中可以看出，钱穀已意识到创作不应拘泥于文氏风格。他后期的绘画转师沈周及“元四家”，即是一种应变的策略。《摹吴镇、倪云林山水》卷便是他求变的产物。\n摹写前人的作品，注重从前人的画法中吸取营养，是画家自我提升的一个重要法门。吴门绘画特别推崇元人的笔墨。因此，钱穀追摹吴镇、倪瓒作品的举动也是不难理解的事情。在吴中的文化圈中，“元四家”的作品备受青睐、流传颇多，钱穀想要观赏这些作品自然也不是难事。因此在临仿元人绘画时，可供他选择的画作应是比较丰富的。在《摹吴镇、倪云林山水》卷中，他采用的并不是常见的不与原作相似、带有强烈个人印记的“神会”模仿，而是较为忠实地学习元代画家的风格特征，隐去了自己的笔法痕迹。不过，他的摹写并不是对某一画作的如实临摹，而是将不同画作的绘画元素转摹组合到同一个画面之中。",[24,25,7,36,74,28,32,33,34,35,215,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":44255,"slug":44256,"title":5006,"dynasty":174,"author":5090,"museum":450,"description":27666,"tags":44257,"thumbUrl":44258,"material":537,"size":27669,"collection":166,"collections":44259,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},234717,"fang-gu-shan-shui-ce-wang-hui-234717",[24,25,74,7,36,254,28,147,32,126,164,4468,34,163,13071,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg",[],{"id":44261,"slug":44262,"title":41142,"dynasty":18,"author":39861,"museum":450,"description":44263,"tags":44264,"thumbUrl":44265,"material":166,"size":166,"collection":166,"collections":44266,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},234486,"shan-shui-shan-wei-zhi-huang-234486","魏之璜（1568～1647），明代画家。字叔考，上元（今南京）人。能书善画，以卖画为生。书师法《黄庭经》，结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云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,24,25,26,7,28,335,454,162,210,282,215,164,785,34,211,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":44491,"slug":44492,"title":44493,"dynasty":174,"author":5090,"museum":450,"description":44494,"tags":44495,"thumbUrl":44496,"material":166,"size":166,"collection":166,"collections":44497,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":921},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","江山秋色图","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[24,7,36,27,28,29,30,34,33,210,32,80,6213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":44499,"slug":44500,"title":44501,"dynasty":174,"author":11415,"museum":450,"description":44502,"tags":44503,"thumbUrl":44504,"material":166,"size":166,"collection":166,"collections":44505,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,24,25,95,7,36,28,34,717,30,35,164,533,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":44507,"slug":44508,"title":44509,"dynasty":52,"author":239,"museum":450,"description":44510,"tags":44511,"thumbUrl":44512,"material":166,"size":166,"collection":166,"collections":44513,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},230906,"gun-ma-tu-ye-zhao-meng-fu-230906","滚马图页","画面左侧黑马就地翻滚，鬃尾张扬，筋骨肌肉的张力尽显，将骏马撒欢的野趣刻画得鲜活生动。牵马圉人神情略带无奈又习以为常，衣褶简练利落。右侧花斑马徐行，骑手神态悠然，马匹步态舒缓，一动一静相映成趣。\n此作用笔以书入画，线条圆劲雅致，兼顾院体精细与文人简逸格调，寥寥数笔便勾勒出人马神态性情，以极简笔墨传递出浓郁的草原牧歌意趣，尽显鞍马画以形写神的精妙。",[281,24,25,74,547,7,193,312,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fd377ca46972a5ae73979c85678145.jpg",[],{"id":44515,"slug":44516,"title":44517,"dynasty":174,"author":44518,"museum":450,"description":44519,"tags":44520,"thumbUrl":44521,"material":166,"size":166,"collection":166,"collections":44522,"showCount":169,"zanCount":1084,"manualWeight":46,"mainColor":140},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,25,95,7,27,481,36,28,1523,35,33,34,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":44524,"slug":44525,"title":44526,"dynasty":174,"author":5090,"museum":450,"description":44527,"tags":44528,"thumbUrl":44529,"material":166,"size":166,"collection":166,"collections":44530,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[23,24,27,28,193,96,421,3596,33,30,34,174,26,481,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":44532,"slug":44533,"title":18341,"dynasty":174,"author":17920,"museum":450,"description":44534,"tags":44535,"thumbUrl":44536,"material":314,"size":1061,"collection":166,"collections":44537,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},230362,"shan-shui-ce-ye-wang-zhi-rui-230362","汪之瑞（？—约1660年），字无瑞，号乘槎，清朝安徽休宁人，清初画家。生卒年不可具考，约和查士标同时，为明末新安画家李永昌高足。“新安四家”之一。",[24,25,74,7,36,28,180,33,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f78b8ecd3718efd6c5667138c15a033.jpg",[],{"id":44539,"slug":44540,"title":44541,"dynasty":174,"author":44542,"museum":450,"description":44543,"tags":44544,"thumbUrl":44545,"material":314,"size":1061,"collection":166,"collections":44546,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},230360,"zhang-guo-lao-huan-lv-tu-ce-ye-yin-qi-230360","张果老幻驴图册页","殷奇","字云生，江西石城人。善人物、山水，笔气文秀，烘染设色，俱法北宗笔法。",[24,25,74,547,7,27,193,3902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618fd5d61f2989656f94e86fc34ea545.jpg",[],{"id":44548,"slug":44549,"title":656,"dynasty":174,"author":657,"museum":450,"description":44550,"tags":44551,"thumbUrl":44552,"material":166,"size":166,"collection":166,"collections":44553,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},230235,"han-mei-yi-zhi-hua-jin-nong-230235","笔意清疏古拙，带着金石沉凝之气的题字，将访梅逸兴与旧游心绪相融。以袖里藏春暗合梅枝不随岁华凋残的品格，折梅入袖的雅事，呼应画中寒梅冷艳清嘉的风姿。淡墨绘就孤梅，极简构图衬出孤高疏淡风韵，诗画相生，借梅自喻，尽显清癯耿介的文人风骨。字句间漫着冷香幽韵，将赏梅、忆旧、寄怀揉作一处，淡而弥远，清而愈醇，尽显以文入画、画文同趣的扬州画派意趣。",[23,24,25,38,80,125,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7275f1b71fa722e04d1ac278389fe7b6.jpg",[],{"id":44555,"slug":44556,"title":44557,"dynasty":174,"author":14606,"museum":450,"description":44558,"tags":44559,"thumbUrl":44560,"material":166,"size":166,"collection":166,"collections":44561,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[23,24,25,74,7,36,28,33,29,35,211,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":44563,"slug":44564,"title":9539,"dynasty":174,"author":40639,"museum":450,"description":44565,"tags":44566,"thumbUrl":44567,"material":166,"size":166,"collection":166,"collections":44568,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},228484,"mu-niu-tu-zhang-mu-228484","此作以水墨铺就郊野溪谷之景，虬曲老木扎根荒滩，崖间飞瀑漱石，溪水蜿蜒漫过浅渚。群水牛或缓步就溪啜饮，或抵角相嬉，或蜷卧青草地休憩，神态憨然自在，将耕牛卸轭后的松弛尽显。笔墨朴拙写实，勾勒皴擦间，林石苍古荒率的野趣、水牛肌理的厚重质感一一浮现，似能闻得水草清腥，听哞哞牛鸣回荡溪山，将郊野牧歌式的闲逸悠然融于尺幅间，把山野生趣与静谧氛围揉合，于平淡笔墨中尽显自然真意。",[23,24,7,26,36,1839,28,147,30,210,213,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0eca3394d51ce6da7ee2a9c0b498ddd.jpg",[],{"id":44570,"slug":44571,"title":44572,"dynasty":18,"author":11038,"museum":450,"description":44573,"tags":44574,"thumbUrl":44575,"material":166,"size":166,"collection":166,"collections":44576,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[23,24,7,27,28,194,31,282,213,33,36,518,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":44578,"slug":44579,"title":44580,"dynasty":18,"author":11809,"museum":450,"description":44581,"tags":44582,"thumbUrl":44583,"material":166,"size":166,"collection":166,"collections":44584,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,25,74,27,7,28,36,212,211,30,29,194,33,282,32,34,533,193,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":44586,"slug":44587,"title":44588,"dynasty":18,"author":14875,"museum":450,"description":44589,"tags":44590,"thumbUrl":44591,"material":166,"size":166,"collection":166,"collections":44592,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,25,26,7,28,36,80,37,38,34,33,58,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":44594,"slug":44595,"title":44596,"dynasty":52,"author":581,"museum":450,"description":44597,"tags":44598,"thumbUrl":44599,"material":166,"size":166,"collection":166,"collections":44600,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},228200,"si-ji-feng-zhu-tu-zhou-yi-ming-228200","四季风竹图轴","此作用水墨写就丛竹，老干挺拔苍劲，新篁清润秀雅，高低错落排布，枝叶俯仰有姿，似裹挟穿林风韵。运笔遒劲爽利，竹叶下笔如削，虚实相生间，以浓淡墨色铺陈出前后层次，将竹之清刚气节尽显。画面洗练空灵，无多余皴染，以极简笔墨写尽竹之潇洒风神，藏动于静，仿若可聆风穿叶隙之声，暗合君子凌霜傲雪的品格风骨，尽显文人以物咏志的意涵，是墨竹写意中颇具意趣的上乘之作。",[23,281,24,25,95,7,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3960b7cca53261a5c677339f49302fe7.jpg",[],{"id":44602,"slug":44603,"title":5326,"dynasty":52,"author":1131,"museum":450,"description":44604,"tags":44605,"thumbUrl":44606,"material":166,"size":166,"collection":166,"collections":44607,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[23,281,24,25,26,7,36,28,58,33,7378,35,29,164,773,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":44609,"slug":44610,"title":44611,"dynasty":205,"author":3062,"museum":450,"description":44612,"tags":44613,"thumbUrl":44614,"material":314,"size":1061,"collection":166,"collections":44615,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},227978,"you-jun-shu-shan-tu-juan-ba-wen-liang-kai-227978","右军书扇图卷(跋文)","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元人赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,37,38,26,80,7,25,13883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5eaef1cd544138440d4dec3fac1cad1.jpg",[],{"id":44617,"slug":44618,"title":44619,"dynasty":205,"author":26813,"museum":450,"description":44620,"tags":44621,"thumbUrl":44622,"material":166,"size":166,"collection":166,"collections":44623,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},227975,"yan-cun-qiu-ai-tu-li-an-zhong-227975","烟村秋霭图","这幅画以淡墨轻晕铺就烟霭秋郊，虚实相生间尽显幽远意境。左侧茂林攒聚，细密点染出秋叶苍润的质感，林梢掩映隐约村舍，藏着乡野的静谧烟火。右侧枯木斜倚水岸，孤清萧疏，与左侧的苍林形成疏密对照。\n\n画师以留白晕染烟水空濛，墨色浓淡自然过渡，将暮秋薄霭浮动的氛围感烘托得恰到好处，把秋日郊野的冷寂清旷尽数铺展。带着独有的平和疏淡意趣，将乡野秋日的萧散之美藏在朦胧烟色中，尽显淡远幽微的山水诗意。",[23,281,24,25,28,7,27,36,33,5329,3660,30,717,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756c4f10a3cf56a3d7eba886bd268cd.jpg",[],{"id":44625,"slug":44626,"title":44627,"dynasty":174,"author":3195,"museum":450,"description":44628,"tags":44629,"thumbUrl":44630,"material":314,"size":1061,"collection":166,"collections":44631,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,281,24,25,95,7,28,36,624,57,34,1442,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":44633,"slug":44634,"title":44635,"dynasty":174,"author":5090,"museum":450,"description":44636,"tags":44637,"thumbUrl":44638,"material":166,"size":166,"collection":166,"collections":44639,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},224462,"liu-an-jiang-zhou-tu-wang-hui-224462","柳岸江洲图","《柳岸江洲图》 是清代王翚作品，尺寸为95.5cm×41cm。\n现藏于天津市艺术博物馆藏。\n近景以浓重墨色画稀疏柳林。\n枝干参差，富于变化，远处群山，波状起伏，湖上轻舟，张帆而行。\n笔墨简练，干脆利落。",[23,281,24,7,28,31,1035,2953,23532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc47787a2a429be37b4a2e87319051f3.jpg",[],{"id":44641,"slug":44642,"title":44643,"dynasty":174,"author":491,"museum":450,"description":44644,"tags":44645,"thumbUrl":44646,"material":44647,"size":44648,"collection":166,"collections":44649,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,7,27,36,74,28,34,30,32,35,33,29,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg","墨色绢本","48x32",[],{"id":44651,"slug":44652,"title":44653,"dynasty":174,"author":926,"museum":450,"description":44654,"tags":44655,"thumbUrl":44656,"material":166,"size":166,"collection":166,"collections":44657,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},224295,"bai-shi-da-ji-tu-li-shan-224295","百事大吉图","此作用笔纵恣老辣，古松盘曲虬劲，皴擦勾勒间尽显苍古拙朴之意，团簇的松针以浓墨点染，蓬勃生机扑面而来。独立松枝的雄鸡兼工带写，浓墨点染头颈尾羽，淡墨晕染躯干，寥寥数笔便将雄鸡引吭长鸣的英武之态勾勒传神。\n画面借松、鸡谐音承载吉祥意趣，将文人写意的疏放与世俗吉庆寓意相融，笔墨挥洒间脱略陈规，尽显疏狂意气，是寄情于物、雅俗共赏的写意佳作。",[23,24,25,95,7,123,75,624,10069,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114f2ba3c8a3d2ff5cb13dc84067253.jpg",[],{"id":44659,"slug":44660,"title":645,"dynasty":174,"author":33054,"museum":450,"description":44661,"tags":44662,"thumbUrl":44663,"material":314,"size":1061,"collection":166,"collections":44664,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},224194,"shan-shui-tu-wu-hong-224194","吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。",[23,1462,24,7,36,28,147,34,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d02ac75ef5b73d4c0984f4926cabcc.jpg",[],{"id":44666,"slug":44667,"title":44668,"dynasty":52,"author":581,"museum":92,"description":44669,"tags":44670,"thumbUrl":44671,"material":8374,"size":44672,"collection":166,"collections":44673,"showCount":169,"zanCount":1084,"manualWeight":46,"mainColor":140},223508,"lin-ting-qiu-se-tu-yi-ming-223508","林亭秋色图","沿江冈陵起伏，霜气已深，岁将暮矣。满山寒林卓立，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，渔艇鼓枻收网，朝起江村，各有所事。\n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。画上烟水空阔，气象萧疏，使人凛然而有寒意。无款印。",[23,24,281,25,7,36,28,32,610,147,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","27.5x50.7厘米",[],{"id":44675,"slug":44676,"title":44677,"dynasty":52,"author":581,"museum":1346,"description":44678,"tags":44679,"thumbUrl":44681,"material":537,"size":44682,"collection":166,"collections":44683,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},223445,"han-lin-gui-qiao-tu-zhou-yi-ming-223445","寒林归樵图轴","远处孤山耸立，近处寒林对峙，画面空旷深远，尽显寒意料峭。图画上端有刘长卿所作诗《寻盛禅师兰若》，净慈寺平山处林禅师所书诗：“秋草黄花覆古阡，隔林何处起人烟，山僧独在山中老，唯有寒松见少年”",[23,24,7,95,28,832,717,34,36,44680],"樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab559074d70afec98a2c35cecf05614.jpg","92.6＊48.9cm",[],{"id":44685,"slug":44686,"title":44687,"dynasty":205,"author":581,"museum":20,"description":44688,"tags":44689,"thumbUrl":44690,"material":61,"size":44691,"collection":166,"collections":44692,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},223378,"shi-liu-ying-zhen-du-hai-tu-juan-yi-ming-223378","十六应真渡海图卷","文中斯别开生面。形状奇怪夙所称，耳熟闻之目新见。苍鳞若龙若非龙，擎爪来闻法以现。第一。据树坐椸钵多罗，鸦鹊来餐香积饭。第二。飘然白鹤驾以降，屈眴七条披已惯。第三。数珠在手。第四。把明珠。第五。自摇箑其貌颟顸。第六。端立左铃而右杵。第七。扶童者迵顾彼崖。第八。是皆渡海履水物。水物狰狞名不辨。拍持具叶。第九。促舍汉。第十。白泽曳轮坐以晏。别有袖手乘骞槎。第十一。相参法喜作佳伴。据石入定若无人。第十二。牛哀跪伏如猫豢，傍见共谘二大士，其一默坐。第十三。一持扇。第十四。似步而迥更迥，第十五。臃肿披缁目光炫。第十六。跏趺相对谈二禅。云空。第十七。云色。第十八。色空幻，是为不二法之宗。绣居士说法编，向曾韵统考同文。位号次第订梵汉。莆田愚者不羁士。传神何碍后前舛。长歌笑我尚拘墟。山阴讶似镜中按。乾隆乙巳（1785）仲秋，御题。",[23,24,281,26,547,7,3557,193,3914,453,34,33,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbfb5332900a9dfc823e81b021913cf.jpg","29X322",[],{"id":44694,"slug":44695,"title":44696,"dynasty":174,"author":12042,"museum":450,"description":12043,"tags":44697,"thumbUrl":44698,"material":298,"size":166,"collection":4372,"collections":44699,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},223275,"fa-tie-hong-yi-fa-shi-223275","法帖",[23,37,242,7,80,6187,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7095a65f0b56772d2c979363e6860997.jpg",[4372],{"id":44701,"slug":44702,"title":26732,"dynasty":174,"author":15930,"museum":92,"description":44703,"tags":44704,"thumbUrl":44705,"material":44706,"size":44707,"collection":42,"collections":44708,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},223113,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[23,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纸本 设色","290x58厘米",[42,222],{"id":44710,"slug":44711,"title":28783,"dynasty":174,"author":5846,"museum":450,"description":44712,"tags":44713,"thumbUrl":44714,"material":564,"size":166,"collection":166,"collections":44715,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":921},222802,"lu-yan-tu-zhou-bian-shou-min-222802","芦雁 边氏芦雁图形象生动，造型极为准确，摆脱了前人繁细的表现手法，删繁就简，形神兼备。其在雁的喙间、足部略施赭黄，使墨彩达到了和谐的统一。他认为画不可拾前人，而要得前人意。并根据纸墨的特点，大胆落墨，显示了其绘画上的深厚功力。边寿民用写竹法绘芦苇，浓淡、枯润、疏密兼面有之，多以赭墨绘滩头、芦苇，雅淡有致，深得遗貌取神的妙趣。后来擅长芦雁的画家，如薜怀、程璋等人，皆仿苇间居士大意，可见其对后世影响之深。\n边寿民善画，花卉翎毛，均有别趣，尤以泼墨芦雁驰名于江淮；画意粗豪苍浑。飞鸣、潜动、食宿，曲尽其态；并以墨竹法写芦，疏而道劲，间作山水，鳞介之屑，亦有意趣。善画芦雁，倾注了其一生的心血。与芦雁有关的画作，堪称思想性与艺术性的代表。传世芦雁作品形式众多，有《芦雁图》册、《芦雁图》轴及《芦雁图》手卷等。\n边寿民具有典型的“在野”文人画审美观念，又与下层平民有较多接触，作品中自然混合着“高雅”和“通俗”双重因素，形成一种特殊的审美品格，这就是：以“典雅”为魂魄，以“清高”为气血，以“明白晓畅”为躯体。此外，还画过大量 画风有两种类型，一类是泼墨写意，多用于画芦雁；另一类是干笔淡墨勾皴，多用于画杂物。",[23,24,7,123,15582,6504,350,95,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269e93d8e4723c6b4ddb0e7d66b5c983.jpg",[],{"id":44717,"slug":44718,"title":44719,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":44720,"thumbUrl":44722,"material":166,"size":166,"collection":166,"collections":44723,"showCount":169,"zanCount":1084,"manualWeight":46,"mainColor":47},222515,"shen-xian-tu-ce-4-zhang-lu-222515","神仙图册4",[23,24,25,74,7,547,193,44721],"博弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80fe3d9b9a0db3001e28c267796d754e.jpg",[],{"id":44725,"slug":44726,"title":44727,"dynasty":18,"author":9621,"museum":92,"description":31713,"tags":44728,"thumbUrl":44729,"material":284,"size":44730,"collection":245,"collections":44731,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},222479,"shi-tie-kong-hou-pian-zhu-yun-ming-222479","诗帖《箜篌篇》",[23,37,394,858,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebf9d1756ea1dc16ab54fdb95d54307.jpg","纵36.1厘米,横1147.5厘米",[245],{"id":44733,"slug":44734,"title":44735,"dynasty":18,"author":11425,"museum":92,"description":11426,"tags":44736,"thumbUrl":44737,"material":298,"size":11429,"collection":166,"collections":44738,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},222441,"hua-die-cao-chong-9-du-da-cheng-222441","花蝶草虫9",[23,24,7,481,74,4154,2875,75,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51894c941ab97e4210b2e2dcf75e70bd.jpg",[],{"id":44740,"slug":44741,"title":44742,"dynasty":18,"author":2851,"museum":770,"description":44743,"tags":44744,"thumbUrl":44745,"material":537,"size":44746,"collection":166,"collections":44747,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},222340,"wu-yang-zi-yang-xing-tu-quan-juan-tang-yin-222340","悟阳子养性图全卷","图绘溪水流淌、绿树成荫的幽静之处，有草厅一间，一老者坐于蒲团之上，双手握于膝上，仰望的姿势似观赏远处的大好山水，身旁一桌上置诗书几本，表达出修身养性的意境；卷后有文徵明题《悟阳子诗叙》，二大才子书画合璧，精彩绝伦！",[23,24,25,26,7,38,37,28,193,324,33,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458bac5765bb1775c9eeabee74ee5f5.jpg","29.5x103.5cm",[],{"id":44749,"slug":44750,"title":44751,"dynasty":18,"author":18151,"museum":544,"description":44752,"tags":44753,"thumbUrl":44754,"material":298,"size":44755,"collection":166,"collections":44756,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,25,281,95,7,36,28,831,125,194,31,34,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":44758,"slug":44759,"title":44760,"dynasty":18,"author":19,"museum":92,"description":44761,"tags":44762,"thumbUrl":44764,"material":33242,"size":44765,"collection":166,"collections":44766,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},222113,"xing-lin-fei-yan-tu-shen-zhou-222113","杏林飞燕图","《沈周便面画选集》之一。没骨画杏花春燕。幅右款署：沉周戏墨。钤印一：启南。幅右胡师闵楷书题诗：参差茆屋燕飞来，农事方兴社鼓催。斜日半山林影乱，杏花香裹醉人回。款：胡师闵为匏菴老先生书。联钤印：师、闵。收传印记：乾隆御览之宝。",[23,24,1462,7,75,282,44763,80,37],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2248c64a7ff427b5d20f2fffc11318b.jpg","15×44.5cm",[],{"id":44768,"slug":44769,"title":44422,"dynasty":52,"author":8027,"museum":450,"description":44770,"tags":44771,"thumbUrl":44772,"material":44773,"size":44774,"collection":166,"collections":44775,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},221867,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-221867","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。",[23,281,24,25,74,7,36,28,1523,381,33,34,163,717,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71628b63edcc8a6d2dd2ebba0b6fdf9.jpg","扇","68X77",[],{"id":44777,"slug":44778,"title":44779,"dynasty":52,"author":581,"museum":120,"description":44780,"tags":44781,"thumbUrl":44785,"material":298,"size":44786,"collection":42,"collections":44787,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},221778,"di-ba-ga-na-ga-ba-ha-la-zhui-za-zun-zhe-zhou-yi-ming-221778","第八嘎纳嘎拔哈剌錣杂尊者轴","《元人画第八嘎纳嘎拔哈剌錣杂尊者轴》是创作于元代的一幅画。",[23,24,42370,95,7,481,547,193,28,210,11616,44782,44783,44784,213,30,80],"坐像","衣纹","光晕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad290dab85e6c127be5e1cb6be2a8059.jpg","114.4x66.8",[42,222],{"id":44789,"slug":44790,"title":44791,"dynasty":205,"author":264,"museum":450,"description":43266,"tags":44792,"thumbUrl":44793,"material":298,"size":43269,"collection":166,"collections":44794,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},221400,"fa-hai-ling-shan-tu-2-li-gong-lin-221400","法海灵山图2",[23,281,24,25,547,7,3557,193,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af87f3e8854855ed0e419c0fca193f3.jpg",[],{"id":44796,"slug":44797,"title":44798,"dynasty":52,"author":12481,"museum":4012,"description":44799,"tags":44800,"thumbUrl":44801,"material":30891,"size":44802,"collection":166,"collections":44803,"showCount":169,"zanCount":1084,"manualWeight":46,"mainColor":166},220658,"you-ting-yuan-xiu-tu-tao-xuan-220658","幽亭远岫图","《幽亭远岫图》为陶铉现存仅知的作品，画幅左上方有陶氏款识，说明是至正五年（1345）为友人王迪简所绘。陶铉生平仅元代夏文彦《图绘宝鉴》中有简短记载，谓陶氏号菊村 ，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[23,24,281,95,7,36,28,32,162,126,480,350,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","画心：58×31.7厘米 装裱：199.5×50.5厘米",[],{"id":44805,"slug":44806,"title":12984,"dynasty":359,"author":3289,"museum":5712,"description":44807,"tags":44808,"thumbUrl":12988,"material":166,"size":166,"collection":166,"collections":44809,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},220508,"he-du-ye-qu-zhang-da-qian-220508","泼墨与彩色交融晕染，主叶如翻卷流云，墨色浓淡裹挟着水汽漫溢，将盛夏荷塘的滂沛生机铺陈开来。白荷亭亭玉立，花瓣用线清劲秀雅，冰洁质感与重墨荷叶形成强烈反差，干湿互济的笔触晕染出水面漾开的朦胧绿意。\n\n整幅画兼工带写，以大写意泼墨构建荷塘野趣，又以工细笔意勾勒莲瓣柔姿，题款墨色与画面气韵浑然一体，将夏日莲池的清寂禅意和蓬勃野趣揉合一处，尽显泼墨荷花的写意风神。",[24,7,27,95,75,395,396,128],[],{"id":44811,"slug":44812,"title":44813,"dynasty":174,"author":27944,"museum":3766,"description":44814,"tags":44815,"thumbUrl":44818,"material":7053,"size":166,"collection":166,"collections":44819,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},220461,"bei-jing-feng-su-qiang-you-er-chen-shi-ceng-220461","北京风俗•墙有耳","画面以淡墨写意勾勒两位私语老者，二人交头接耳神态隐秘，一旁素简栅栏暗合隔墙有耳的讽喻。线条洗练传神，寥寥数笔便将人物的警惕描摹尽致，浅淡设色晕染出老北京街陌的烟火气，又藏着沉郁的时代心绪。\n\n题跋详述旧京世情，记录清末民初城中的言说禁忌，将市井纪实与讽喻融为一体。画作跳脱传统文人画的雅趣窠臼，以质朴笔墨定格巷陌日常，把当时社会噤若寒蝉的世相揉入简约画面，既是鲜活的风俗剪影，也暗藏对时代氛围的细腻体察，是兼具人文温度与现实关照的小品佳作。",[24,25,7,27,193,44816,44817,38,80],"墙","风俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64bdfe2a44ae985682ac241e3be3a4df.jpg",[],{"id":44821,"slug":44822,"title":44823,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":44824,"thumbUrl":44825,"material":298,"size":19575,"collection":166,"collections":44826,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},220308,"huang-shan-tu-ce-19-hong-ren-220308","黄山图册-19",[23,281,24,25,74,7,36,28,180,213,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6dfe45f93f0cf56b0381c1faf8a8fe.jpg",[],{"id":44828,"slug":44829,"title":44830,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":44831,"thumbUrl":44832,"material":298,"size":19575,"collection":166,"collections":44833,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},220290,"huang-shan-tu-ce-36-hong-ren-220290","黄山图册-36",[23,24,281,25,74,36,7,27,28,32,127,10963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6829f0cca6aa95fd925c0332e8917236.jpg",[],{"id":44835,"slug":44836,"title":44837,"dynasty":18,"author":17760,"museum":544,"description":17761,"tags":44838,"thumbUrl":44839,"material":40,"size":17764,"collection":166,"collections":44840,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},219065,"xiao-xiang-ba-jing-ce-6-zhang-fu-219065","潇湘八景册-6",[23,24,7,28,126,29,30,31,74,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edfcd85b61aa66bca1a2e3c15aa591b.jpg",[],{"id":44842,"slug":44843,"title":44844,"dynasty":205,"author":44845,"museum":92,"description":44846,"tags":44847,"thumbUrl":44848,"material":110,"size":44849,"collection":42,"collections":44850,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[23,24,25,74,518,7,27,28,194,29,31,33,164,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f9048532902657b0f71f4a712b0075.jpg","23.6x25.8",[42],{"id":44852,"slug":44853,"title":44854,"dynasty":18,"author":4131,"museum":294,"description":44855,"tags":44856,"thumbUrl":44857,"material":110,"size":166,"collection":166,"collections":44858,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},218026,"za-hua-ce-5-chen-hong-shou-218026","杂画册-5","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,25,74,481,547,27,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eadc7073d76fa201aeac2d5f0a759dd.jpg",[],{"id":44860,"slug":44861,"title":44862,"dynasty":174,"author":5090,"museum":378,"description":6947,"tags":44863,"thumbUrl":44864,"material":40,"size":6950,"collection":166,"collections":44865,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":47},217209,"fang-gu-shan-shui-shi-er-kai-jiu-wang-hui-217209","仿古山水十二开(九)",[24,74,7,28,36,31,468,32,33,212,30,729,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a728094980b72bfbfe1b0b26043764.jpg",[],{"id":44867,"slug":44868,"title":44869,"dynasty":18,"author":4131,"museum":450,"description":44870,"tags":44871,"thumbUrl":44872,"material":98,"size":166,"collection":166,"collections":44873,"showCount":169,"zanCount":46,"manualWeight":46,"mainColor":140},216295,"xi-xiang-ji-zhen-ben-tu-ce-29-chen-hong-shou-216295","西厢记真本图册-29","画面分幅铺展，左幅禽鸟相嬉，翎羽以细劲线条勾勒，纹理毕现却不失古拙之态，姿态亲昵灵动；右幅苇叶疏朗横斜，墨点错落如萍汀水禽，野趣天成。笔墨凝练中藏着灵动韵致，墨色浅淡却层次分明，禽鸟的温情与苇间的清寂相映成趣，似把自然闲逸与生命意趣凝于纸间。古雅气息漫溢尺幅，笔情墨韵与意境交融，尽显传统笔墨的独特魅力，读之如临幽境，心生悠然。",[24,25,74,7,547,75,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbfcc7f833afa8903f5e35c9f1df537.jpg",[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別署均齋、瓶笙、瓶廬居士、並眉居士等，別號天放閒人，晚號瓶庵居士，江蘇常熟人，中國近代史上著名政治家、書法藝術家。體仁閣大學士翁心存第三子，咸豐六年（1856年）狀元，歷任户部、工部尚書、軍機大臣兼總理各國事務衙門大臣。先後擔任清同治、光緒兩代帝師。卒後追諡文恭。\n翁同龢工詩，間作畫，尤以書法名世，幼學歐、褚，初學董其昌、米芾，中年後由錢灃上追顏真卿，又不受顏字束縛，結體寬博開張，筆畫剛勁有力，風格蒼渾遒勁，朴茂雍容，著有《翁文恭公日記》《瓶廬詩文稿》等。",[25,37,38,6187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2397a6c891f444b01b985452b67db6.jpg",[245],{"id":45447,"slug":45448,"title":45449,"dynasty":174,"author":377,"museum":120,"description":40911,"tags":45450,"thumbUrl":45451,"material":166,"size":166,"collection":245,"collections":45452,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},240039,"yuan-ji-song-jin-shan-jue-ding-ye-shi-tao-240039","原济颂金山绝顶页",[10153,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbbd3c582e163ef87e6d33252387817.jpg",[245],{"id":45454,"slug":45455,"title":45456,"dynasty":174,"author":377,"museum":120,"description":40911,"tags":45457,"thumbUrl":45458,"material":166,"size":166,"collection":245,"collections":45459,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},240033,"yuan-ji-zeng-weng-shan-shi-ye-shi-tao-240033","原济赠翁山诗页",[24,25,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b71aa2c0e79bb949456e320b138809b.jpg",[245],{"id":45461,"slug":45462,"title":45463,"dynasty":174,"author":45464,"museum":450,"description":45465,"tags":45466,"thumbUrl":45467,"material":166,"size":166,"collection":245,"collections":45468,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},239949,"lin-wang-xi-zhi-tie-zhou-liang-yan-239949","临王羲之帖轴","梁巘","梁巘（1710年——1788年后），字闻山、文山，号松斋，又号断砚斋主人；祖居亳州十九里镇，后居住在亳州城里夏候巷街（现夏候小学西跨院），殁后埋葬在十九里集南一里半杜庄村后。{曾祖父粱继宗；祖父梁尔禄，字天赐，国学生；父亲粱接孟，字介贤，候选经历，敕赠文林郎（文职、正七品）；兄粱峰，字屏山、号六松，性孝友，善文章、工书法。梁巘长子俊业，早卒；次子伟业，嘉庆六年（1801年）辛酉拔贡，官浙江於潜县知县。业师陈师古，字圣绪，乾隆九年（1744年）甲子科举人。门生有姚莲府、萧景云、王鲁庵、许春林等。}清乾隆二十七年（1762年）敕授文林郎壬午科举人，由咸安宫教习转任湖北巴东县知县；寿州（今安徽省寿县）循理书院院长（山长）。其在书法上的成就远大于政治，他与乾隆年间五位（张照、王澍、刘墉、王文治、梁同书）重要书家齐名，为清代著名书法家之一。",[37,254,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b11df7d3495d800ed5a9b1a91c25dd.jpg",[245],{"id":45470,"slug":45471,"title":45472,"dynasty":4342,"author":581,"museum":450,"description":45473,"tags":45474,"thumbUrl":45475,"material":166,"size":166,"collection":245,"collections":45476,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},239684,"guang-ming-zi-ri-ben-ti-za-a-she-jing-juan-di-nian-wu-juan-yi-ming-239684","光明子（日本）题杂阿舍经卷第廿五卷","这卷写经以小字行草抄录经文，通篇排布繁密却不显拥塞，字态灵动又不失书写的规整法度，带着唐人写经特有的朴拙清雅。墨色沉厚莹润，历经岁月经虫蛀略有破损，反而晕染出古旧苍茫的质感。朱笔圈点批注错落行间，是抄录校读时的留痕，更见抄写者的专注虔诚。\n\n书写既有恪守经文抄写的恭谨，又自然流露出行笔的舒展笔意，质朴间藏着内敛文气，静静承载着千年前的笔墨信仰与岁月温度。",[23,4956,37,26,3557,242,8047,80,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb8301b3490a48815746b1d386cecb0.jpg",[245],{"id":45478,"slug":45479,"title":45480,"dynasty":52,"author":8027,"museum":120,"description":45481,"tags":45482,"thumbUrl":45483,"material":298,"size":45484,"collection":245,"collections":45485,"showCount":184,"zanCount":1084,"manualWeight":46,"mainColor":47},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,26,25,37,38,7,80,125,831,335,350,940,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[245],{"id":45487,"slug":45488,"title":45489,"dynasty":205,"author":45490,"museum":450,"description":45491,"tags":45492,"thumbUrl":45493,"material":166,"size":166,"collection":166,"collections":45494,"showCount":184,"zanCount":5,"manualWeight":46,"mainColor":47},239649,"zi-shu-shi-lian-ju-shi-juan-wu-jun-239649","自书诗联句诗卷","吴浚","《自书诗联句诗卷》是宋年出版的图书，作者是吴浚。\n【名称】自书诗联句诗卷【年代】宋 【作者】吴浚 【类别】纸本，行书，手卷 【规格】纵6.2cm，横1cm，纵6.2cm，横141cm，79行，12字。\n本幅钤“山西”、“国”、“云根”、“虚谷”诸印。\n鉴藏印钤“生”、“南禺世史”、“丰氏人叔”、“云间邹氏珍藏”、“苕南吴氏午峰鉴赏”及项元汴诸印。\n卷后有宋朱鉴孙、翁□，明丰坊题跋。\n署年款“咸淳丁卯”，为咸淳三年（1267年）。\n此卷书法气秀色润，笔调谦和，点画精细柔媚，一钩一捺，均以温婉取态，反映了吴浚的典型书风。",[23,37,26,38,394,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918438660d71677b30f9ca090b89abc0.jpg",[],{"id":45496,"slug":45497,"title":45498,"dynasty":174,"author":35064,"museum":450,"description":45499,"tags":45500,"thumbUrl":45501,"material":166,"size":166,"collection":166,"collections":45502,"showCount":184,"zanCount":5,"manualWeight":46,"mainColor":47},239550,"fang-bei-yuan-shan-shui-tu-zhou-zhang-xue-ceng-239550","仿北苑山水图轴","张学曾仿北苑山水图轴是清顺治十二年的图轴。\n《仿北苑山水图》轴，张学曾绘，纸本，墨笔。\n此画远景为巨大的山石，以披麻皴绘出，山体及近处丛树、苔草施以墨点，一小桥延伸而去。\n构图简远，韵味无穷。\n“北苑”指五代时南唐著名山水画家董源，由于他曾任北苑使之职，故名。\n画幅中笔势苍茫，吐纳北苑；笔墨干湿浓淡、画风平淡天真处又受董其昌影响。\n款署：“乙未仲冬画仿北苑似子木词坛张学曾。\n”钤“张学曾印”白文印、“张尔唯氏”朱文印。\n“乙未”为清顺治十二年（1655年）。\n鉴藏印有孙煜烽、庞莱臣诸印：“孙煜烽珍藏印”朱文印、“希逸”白文印、“虚斋审定”白文印、“庞莱臣珍藏印”朱文印。",[24,25,95,7,28,29,34,33,193,80,254,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3154627689548e75d9c6124eddbd477e.jpg",[],{"id":45504,"slug":45505,"title":157,"dynasty":18,"author":22861,"museum":450,"description":45506,"tags":45507,"thumbUrl":45508,"material":166,"size":166,"collection":166,"collections":45509,"showCount":184,"zanCount":1084,"manualWeight":46,"mainColor":47},239546,"shan-shui-ce-shen-hao-239546","此作以淡墨轻皴绘就雪后清晓之景，浅赭晕染远山，留白处隐见残雪覆于峦岫，起伏连绵间尽显空蒙萧寒。枯林错落萧疏，淡写枝干无叶之态，暗合冬日荒寂。山径间旅人策蹇缓行，为冷寂山水晕开一缕烟火暖意。\n\n画面与题诗清雅相融，以极简笔墨铺陈悠远画境，将冬日郊野的静谧诗意缓缓晕开，尽显文人画空灵淡远之致，于简淡疏朗间藏着清旷余韵，淡而不薄，枯而不涩，尽显幽远的林下诗意。",[24,25,74,7,36,28,335,162,533,193,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5f5f8405bde5b52b15b6edd3558efa.jpg",[],{"id":45511,"slug":45512,"title":45513,"dynasty":174,"author":45514,"museum":450,"description":45515,"tags":45516,"thumbUrl":45517,"material":314,"size":1061,"collection":166,"collections":45518,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},239422,"fang-nan-tian-shan-shui-zhou-bi-han-239422","仿南田山水轴","毕涵","毕涵，[清]（1732—1807）字有涵，号焦麓，又号止庵道人，晚称篆竹居士，阳湖（今江苏常州）人。",[24,25,95,7,36,254,28,34,33,35,58,164,785,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b1631bfd1fe0fb06f0c5ed8d3eddc.jpg",[],{"id":45520,"slug":45521,"title":22255,"dynasty":174,"author":26688,"museum":450,"description":45522,"tags":45523,"thumbUrl":45524,"material":166,"size":166,"collection":166,"collections":45525,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},239337,"xue-jing-shan-shui-zhou-tang-dai-239337","整幅画作以淡墨晕染铺就天地寒寂，细劲线条勾勒出山石苍硬肌理。积雪覆裹峰峦，以留白晕染出雪色蓬松清冽，将隆冬山野的素净空濛尽显。枯木虬曲错落，萧瑟枝桠衬出山境荒寒，山坳隐见山居，为冷寂添了一缕烟火暖意。\n\n作画兼具苍劲与秀润，勾勒皴擦间刻画出山石的嶙峋质感，以空白代雪，虚实相生间烘托出冬日山林的静谧萧寒，借景抒怀，尽显文人山水的澹远雅逸意境。",[24,25,95,7,27,36,28,335,350,831,717,35,213,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57adb7a240be0b5f75cfe5857e8c0fde.jpg",[],{"id":45527,"slug":45528,"title":45529,"dynasty":174,"author":45530,"museum":450,"description":45531,"tags":45532,"thumbUrl":45533,"material":166,"size":166,"collection":83,"collections":45534,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},239277,"hou-qi-zhi-hua-hua-niao-ce-hou-qi-239277","后祺指画花鸟册","后祺","此作以指为笔，尽显写意风流。枯笔焦墨勾勒老干，苍劲朴拙自带风霜之态。泼墨晕染葡萄藤叶，浓淡铺陈虚实层次，墨色酣畅淋漓，不见毛笔尖秀精巧，反生朴野天然的肌理意趣。垂挂的葡萄果实以淡墨点染，稚拙可爱，暗合秋实之味。\n\n右侧题诗与画境相融，将秋夜风摇叶落的清寂悄然铺展。整幅简淡空灵，不刻意描摹形貌，却把秋夜的幽静谧穆藏在笔墨间，文人画的雅致禅意尽显，以指画的生涩拙朴，勾勒出清秋独有的疏朗意境，韵味悠长。",[24,25,74,18333,7,38,80,75,3443,367,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2655be70d1638baa59bcfacabcc51dd.jpg",[83],{"id":45536,"slug":45537,"title":45538,"dynasty":18,"author":45539,"museum":450,"description":45540,"tags":45541,"thumbUrl":45542,"material":166,"size":166,"collection":166,"collections":45543,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},239221,"song-xi-gao-shi-shan-mian-zhao-yi-239221","松溪高士扇面","赵伊","此作以细笔轻皴写山石肌理，敷色清润雅致。古松虬曲苍劲，荫蔽松溪之畔，两位高士凭栏对语，衣袂飘然，尽得林下晤谈的悠然意趣。峡谷环溪，栈道萦回，咫尺扇面铺展出山林丘壑的深幽，构图疏密相宜，将江南山水的温润灵秀与文人隐逸襟怀相融。笔墨兼具元人山水的简淡萧散，暗合文人画崇尚的林泉雅韵，于尺幅之间，写尽林泉高致的悠悠况味。",[24,25,1462,7,27,28,193,127,30,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb73d6c753cea02e3db1f54368f02b0d.jpg",[],{"id":45545,"slug":45546,"title":45547,"dynasty":174,"author":42139,"museum":450,"description":45548,"tags":45549,"thumbUrl":45550,"material":166,"size":166,"collection":83,"collections":45551,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[24,25,95,7,547,36,38,28,324,421,33,34,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[83,222],{"id":45553,"slug":45554,"title":45555,"dynasty":174,"author":34100,"museum":120,"description":44008,"tags":45556,"thumbUrl":45557,"material":298,"size":44011,"collection":42,"collections":45558,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},238983,"shan-shui-ce-zhong-lin-gao-xia-wang-chen-238983","山水册－重林高下",[24,25,74,7,27,36,28,33,34,194,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b50a0c85ac70858bbdf6267b4a59f.jpg",[42],{"id":45560,"slug":45561,"title":37256,"dynasty":174,"author":25030,"museum":450,"description":31252,"tags":45562,"thumbUrl":45563,"material":166,"size":166,"collection":166,"collections":45564,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825",[24,25,74,27,4558,7,28,34,33,717,32,30,80,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":45566,"slug":45567,"title":45568,"dynasty":174,"author":28853,"museum":450,"description":45569,"tags":45570,"thumbUrl":45571,"material":166,"size":166,"collection":166,"collections":45572,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},238273,"song-he-ming-quan-tu-zhou-lu-zun-shu-238273","松鹤鸣泉图轴","此作用全景式布局铺展山林胜境，山峦层叠延绵，以细密温婉的皴笔写尽岩壑肌理，苍松林立挺拔，松针刻画劲挺细致，尽显古松郁然深秀之姿。\n山居茅舍错落隐于林麓溪畔，飞泉流于山谷之间，似能闻声。淡墨晕染出清润空蒙的山林气韵，将幽寂清旷的林下雅境铺陈眼前。整画笔法秀雅工致，以静穆的笔调写就林泉幽居之趣，尽显文人山水萧散淡远的隐逸意致，藏着画者寄情林泉的山居雅怀。",[24,95,7,36,28,127,335,30,268,33,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21312d10a315f6756d858f716f06e8a2.jpg",[],{"id":45574,"slug":45575,"title":45576,"dynasty":174,"author":45577,"museum":450,"description":45578,"tags":45579,"thumbUrl":45580,"material":166,"size":166,"collection":166,"collections":45581,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},238240,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238240","山静日长图册","张雨森","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,27,7,28,36,74,335,350,1035,324,193,31,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6c5a108e9c64dea7e1e7ec17100c74.jpg",[],{"id":45583,"slug":45584,"title":157,"dynasty":174,"author":45585,"museum":450,"description":45586,"tags":45587,"thumbUrl":45588,"material":314,"size":1061,"collection":42,"collections":45589,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},238084,"shan-shui-ce-lu-yao-238084","陆耀","陆耀，字朗甫，一字朗夫，号青来，吴县人，工诗文，兼长书、画，精分隶书，水墨山水，落落有自家风。",[24,7,36,74,28,33,35,34,533,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2985e28acb1580fa39b13e42e6be69.jpg",[42],{"id":45591,"slug":45592,"title":1567,"dynasty":174,"author":45115,"museum":450,"description":45593,"tags":45594,"thumbUrl":45595,"material":19881,"size":166,"collection":42,"collections":45596,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},237970,"shan-shui-zhou-li-jian-237970","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。乾隆五十四年拔贡。诗画书称三绝，诗学李贺、黄庭坚，刻求新颖，书得晋人意。性喜山水，与张如芝、谢兰生、罗天池并称为粤东四大家。有《五百四峰草堂诗文钞》《药烟阁词钞》等\n黎简号称诗、书、画、印四绝，对岭南诗歌的发展起过积极的作用，且影响至中原。他一生虽然足迹未出岭南，但中年时诗画名气已远播中原。其诗以境新、句奇、意深、情真而独树一帜。但是，这位出色的诗人在中国文学史上长期没有位置，直到改革开放后才引起权威文学研究者的注意，收入《中国文学史》中。 著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,25,95,7,27,36,28,33,624,34,211,324,193,533,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[42,64],{"id":45598,"slug":45599,"title":34284,"dynasty":18,"author":10698,"museum":450,"description":40144,"tags":45600,"thumbUrl":45601,"material":314,"size":1061,"collection":166,"collections":45602,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":921},237964,"shan-shui-shan-ye-wen-bo-ren-237964",[1462,7,36,28,33,34,58,193,32,17572,6133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d74be524d3c7e5a4ee1128812e7204.jpg",[],{"id":45604,"slug":45605,"title":376,"dynasty":174,"author":14921,"museum":450,"description":45606,"tags":45607,"thumbUrl":45608,"material":166,"size":166,"collection":42,"collections":45609,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},237946,"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[24,25,74,7,36,37,80,28,33,34,30,211,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[42,83],{"id":45611,"slug":45612,"title":45613,"dynasty":18,"author":17418,"museum":450,"description":39423,"tags":45614,"thumbUrl":45615,"material":314,"size":1061,"collection":166,"collections":45616,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},237845,"shi-hu-yan-yu-shan-sheng-mao-ye-237845","石湖烟雨扇",[24,25,1462,7,27,28,10879,33,36,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34da1d8c00124d4b0cf45f9a7503e11.jpg",[],{"id":45618,"slug":45619,"title":26341,"dynasty":18,"author":45620,"museum":450,"description":45621,"tags":45622,"thumbUrl":45623,"material":166,"size":166,"collection":42,"collections":45624,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},237784,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-jing-237784","王允京","字谦文，号秋岩，江宁（今南京）人。为和阳教谕。工写竹枝。《金陵琐事》",[24,25,74,7,36,28,29,193,180,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16133cce0fa9f391194a7d8bb3d8e77.jpg",[42,64],{"id":45626,"slug":45627,"title":6113,"dynasty":174,"author":377,"museum":450,"description":45628,"tags":45629,"thumbUrl":45630,"material":166,"size":166,"collection":166,"collections":45631,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},237763,"yuan-ji-shan-shui-tu-ce-shi-tao-237763","此帧以淡墨挥写坡岸幽篁，参差修竹挺拔清健，枝叶以中锋撇捺，笔意疏朗灵动，墨色晕染深浅自然，尽显竹之潇爽风神。浅淡皴擦的坡石简括朴拙，衬出竹林的秀逸清奇。\n\n右上角题书与画境相映，诗画合璧，将林下幽居的澹寂意趣诉诸尺幅，不见繁复刻画，却以极简笔墨勾勒出空寂悠远的林下天地，尽显以意驭笔、寄情于物的文人雅韵，寥寥数笔，便将尘嚣之外的幽栖之境铺陈眼前，余韵悠长。",[24,25,74,7,126,180,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac55975a4208e42209158f4bcbbd273.jpg",[],{"id":45633,"slug":45634,"title":5598,"dynasty":18,"author":71,"museum":450,"description":30466,"tags":45635,"thumbUrl":45636,"material":314,"size":1061,"collection":166,"collections":45637,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},237685,"hua-hui-ce-sun-ke-hong-237685",[24,25,74,38,7,133,2875,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046574996353020d0a57e9782c2db571.jpg",[],{"id":45639,"slug":45640,"title":157,"dynasty":18,"author":22861,"museum":450,"description":45641,"tags":45642,"thumbUrl":45643,"material":964,"size":166,"collection":42,"collections":45644,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},237628,"shan-shui-ce-shen-hao-237628","沈颢（1586—1680后），字朗倩，号石天、朗道人，吴（今江苏苏州）人。补博士弟子员。沈颢风仪轩举，博雅多闻。\n早年薙发为僧，中年还俗。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著“画尘”，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[24,7,74,36,28,147,180,311,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20073fbc7840edd200c6a8edfaff6335.jpg",[42],{"id":45646,"slug":45647,"title":14509,"dynasty":18,"author":14510,"museum":450,"description":14511,"tags":45648,"thumbUrl":45649,"material":314,"size":1061,"collection":166,"collections":45650,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},237542,"mei-hua-dui-ti-tu-ce-chen-ji-ru-237542",[24,25,74,7,38,125,75],"https:\u002F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，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》 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—1927）原名俊，字昌硕，别号缶庐、苦铁等，浙江安吉人。我国近、现代书画艺术发展过渡时期的关键人物，诗、书、画、印四绝的一代宗师，晚清民国时期著名国画家、书法家、篆刻家，与任伯年、赵之谦、虚谷齐名为清末海派四大家。吴昌硕的艺术别辟蹊径、贵于创造，最擅长写意花卉，他以书法入画，把书法、篆刻的行笔、运刀、章法融入绘画，形成富有金石味的独特画风。他以篆笔写梅兰，狂草作葡萄，所作花卉木石，笔力敦厚老辣、纵横恣肆、气势雄强，构图也近书印的章法布白，虚实相生、主体突出，画面用色对比强烈。",[37,74,38,7,14159,46186,17682,45051,46187],"篆隶笔意","线条苍劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1f5359a1b1bda2e1890ee62746457.jpg",[],{"id":46191,"slug":46192,"title":46193,"dynasty":18,"author":1836,"museum":190,"description":46194,"tags":46195,"thumbUrl":46196,"material":61,"size":46197,"collection":166,"collections":46198,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、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。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[23,24,25,95,7,36,28,34,33,193,624,164,3157,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],{"id":46200,"slug":46201,"title":46202,"dynasty":52,"author":581,"museum":92,"description":46203,"tags":46204,"thumbUrl":46206,"material":110,"size":46207,"collection":83,"collections":46208,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[24,25,281,95,27,7,481,36,5490,46205,33,480,672],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[83],{"id":46210,"slug":46211,"title":46212,"dynasty":5382,"author":581,"museum":450,"description":46213,"tags":46214,"thumbUrl":46216,"material":314,"size":1061,"collection":166,"collections":46217,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},231688,"ping-an-shi-dai-di-yu-cao-zhi-yi-ming-231688","平安时代 地狱草纸","绘卷以图文交错铺陈，将地狱酷刑具象铺展。赤裸罪人身受火雨灼烧、沸血沉溺之苦，肢体扭曲仓皇，粗粝线条勾勒出受罚者的惊惧绝望。浓烈朱红晕染的火焰与枯旧纸色撞色对冲，将炼狱的灼热暴戾铺散开来，古朴稚拙的笔触裹带着厚重威慑力。一旁的墨书与画作彼此呼应，将罪与罚的因果悄然诉尽，带着中古时代的肃穆警示，把幽冥苦楚直抵观者眼前，让这份对业报的刻画沉郁又撼人。",[23,3557,26,27,7,193,46215,25,547],"火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e7a20f89a325f446a0e9a13a010a7.jpg",[],{"id":46219,"slug":46220,"title":46221,"dynasty":5382,"author":581,"museum":450,"description":46222,"tags":46223,"thumbUrl":46226,"material":314,"size":1061,"collection":166,"collections":46227,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},231677,"qing-feng-pu-bu-tu-yi-ming-231677","青楓瀑布図","整幅作品以飞瀑为骨，素白留白晕出水幕如银河垂落，撞向滩间黑石，激出层叠浪涛，笔绘水纹精细入微，将奔涌之势跃然纸上。\n\n斜出的青枫缀着翠色，柔化了瀑流的雄劲深峻，暗墨晕染的山壁衬得银练似的水瀑愈发通透。刚柔相衬间，将幽林飞泉的清寂禅意铺展开来，题字落款清雅融于画面，把山野间奔雷般的水势与枝桠垂立的安然相融，尽显东方山水写意的灵韵，藏着对山野幽居之趣的描摹。",[23,24,7,27,95,28,210,46224,46225,180],"青枫","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353240fc86d9ff3f2e1d951b0fe099c.jpg",[],{"id":46229,"slug":46230,"title":46231,"dynasty":5382,"author":46232,"museum":450,"description":46233,"tags":46234,"thumbUrl":46235,"material":314,"size":1061,"collection":166,"collections":46236,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":921},231664,"shi-ting-shi-dai-qin-gao-qun-xian-tu-xue-cun-zhou-ji-231664","室町时代 琴高群仙图","雪村周继","雪村周继（日语：雪村 周継，1504年－1589年），日本室町时代后期的禅僧画家与艺术家，出生于今日本本州岛中部的茨城县。他充分学习中国绘画技巧，为16世纪前后日本著名的水墨画画家之一。",[23,24,25,95,547,7,27,193,126,180,941,3557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841033e7db0128542364452f7261ea9f.jpg",[],{"id":46238,"slug":46239,"title":46240,"dynasty":174,"author":46241,"museum":176,"description":46242,"tags":46243,"thumbUrl":46244,"material":811,"size":46245,"collection":166,"collections":46246,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},231529,"xuan-shi-tu-li-fu-tang-231529","萱石图","李复堂","李鱓是扬州八怪中最早成名者，也是扬州八怪中唯一曾供职于康熙身边的画家，并应康熙命从蒋廷锡学艺，故画笔严谨而有书卷气。后返扬州，始纵笔大写，变得粗犷奔放，不拘一格。李鱓在戏剧性的一生中，接触到了当时包括墨骨、小写意、大写意各个派别的顶尖高手，并将粗笔与工细画两者进行了个性化的融合。李鱓是一个善于学习的人，他研究各家，并不是平均用力，而是有选择的学习自己需要的东西并加以消化融合，逐渐形成自家风貌。在他的笔下，既有明代浙派花鸟画的传统根底，又受到清代宫廷工笔花鸟和民间豪放花鸟画风的影响，因此他的作品既讲求造形构图，又讲求色墨的有机融合，这种绘画风格被后来的海派画家赵之谦、任伯年、吴昌硕等人继承，可以说，李觯堪称中国绘画史上起着承先启后作用的画家。\n《萱石图》以萱草为题材，描绘卧石与萱草相生相伴的情景。萱草是画家惯常表现的吉祥植物，古人认为萱草可以忘忧，因此又称其为“忘忧草”；又认为孕妇佩带萱草可以生男孩，因此又称萱草为“宜男”。图中作者自题诗点明了画意：“墨沉淋漓映袖寒，滥图赤棘傍阑干。凭君悬向闲庭馆，解却眉尖仔细看”。",[23,24,25,7,123,16082,180,80,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce067b869dab8e3a386223f3e59b334.jpg","74X60cm",[],{"id":46248,"slug":46249,"title":46250,"dynasty":174,"author":5090,"museum":692,"description":19190,"tags":46251,"thumbUrl":46252,"material":298,"size":46253,"collection":166,"collections":46254,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图",[23,24,281,494,7,27,36,212,1776,533,59,35,31,787,58,40662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":46256,"slug":46257,"title":46258,"dynasty":18,"author":17760,"museum":92,"description":46259,"tags":46260,"thumbUrl":46261,"material":2001,"size":46262,"collection":166,"collections":46263,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},231407,"xiao-xiang-ba-jing-ba-kai-zhang-fu-231407","潇湘八景八开","张復（1546—约1631），字元春，号苓石，江苏太仓人。少年时从钱榖学画，山水摹荆浩、关仝、马远、夏珪、黄公望、沈周，博采众长，晚年自成一家，为吴门画派名家。",[23,24,25,74,7,36,518,28,194,33,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d47fbd7178128b198163f92967b60e.jpg","40x36cm",[],{"id":46265,"slug":46266,"title":46267,"dynasty":174,"author":46268,"museum":176,"description":46269,"tags":46270,"thumbUrl":46271,"material":834,"size":46272,"collection":166,"collections":46273,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},231354,"huan-hua-li-yin-tu-zhang-qia-231354","浣花吏隐图","张洽","此图绘写江南明媚春光。从题跋可知，此图是嘉善盐生王启焜赴四川监茶道时，张洽为其作的送行图，七位题跋者均为同时送行之人。",[23,24,7,36,28,335,350,29,33,35,211,5912,624,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ca2fc160f4ec5491402f8bad41d44.jpg","32cmx99cm",[],{"id":46275,"slug":46276,"title":31703,"dynasty":174,"author":31340,"museum":450,"description":46277,"tags":46278,"thumbUrl":46279,"material":314,"size":1061,"collection":166,"collections":46280,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[24,7,36,25,95,28,29,30,31,35,33,212,126,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":46282,"slug":46283,"title":36517,"dynasty":174,"author":46284,"museum":450,"description":46285,"tags":46286,"thumbUrl":46287,"material":314,"size":1061,"collection":166,"collections":46288,"showCount":184,"zanCount":1084,"manualWeight":46,"mainColor":47},230923,"shan-shui-tu-shan-mian-shang-rui-230923","上睿","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[24,1462,7,27,28,33,32,193,940,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5310bef9780ef758a53339e81bc9fb1c.jpg",[],{"id":46290,"slug":46291,"title":46292,"dynasty":5382,"author":10170,"museum":450,"description":10171,"tags":46293,"thumbUrl":46294,"material":314,"size":1061,"collection":166,"collections":46295,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）",[23,24,25,95,7,36,28,34,624,32,30,1839,9051,147,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":46297,"slug":46298,"title":46299,"dynasty":174,"author":39501,"museum":450,"description":39502,"tags":46300,"thumbUrl":46301,"material":314,"size":1061,"collection":166,"collections":46302,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":461},230152,"shu-fa-ce-liu-yong-230152","书法册",[37,74,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4ac5168f96efcdcd6e168bc28e61af.jpg",[],{"id":46304,"slug":46305,"title":46306,"dynasty":174,"author":12839,"museum":450,"description":46307,"tags":46308,"thumbUrl":46309,"material":314,"size":1061,"collection":166,"collections":46310,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},228924,"qi-yan-jue-ju-gao-xiang-228924","七言绝句","高翔（1688--1753），字凤岗，号西唐，又号犀堂、西堂、樨堂等，别号山林外臣，擅画山水花卉，间作佛像人物。篆刻与汪士慎、丁敬齐名。又与高凤翰、潘西凤、沈凤并称四凤。高翔少年时期崇尚石涛，后与石涛结识为友，常相往来，情谊深长，受益颇深，是石涛的挚友和忠实追随者。\n高翔晚年时由于右手残废，常以左手作画。与石涛、金农、汪士慎为友。清朝的李斗在《扬州画舫录》中有过这样的记载：“石涛死，西唐每岁春扫其墓，至死弗辍”。意思是说，石涛死后，高翔每年春天都去扫墓，直到死都没有断过。从这里也可以看出他们之间的友谊很深。\n高翔除擅长画山水花卉外，也精于写真和刻印。他的山水画取法弘仁和石涛，所画的园林小景，大多是从写生中来。金农、汪士慎诗集上的小像，就是高翔的手笔，线描简练，神态逼真。著有《西唐诗钞》，“扬州八怪”之一 。",[23,37,6186,7,80,10153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840829472f15aa851faf55eed47b0888.jpg",[],{"id":46312,"slug":46313,"title":46314,"dynasty":18,"author":29079,"museum":450,"description":46315,"tags":46316,"thumbUrl":46317,"material":166,"size":166,"collection":166,"collections":46318,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},228891,"san-you-tu-juan-1-chen-gua-228891","三友图卷-1","此作用笔老辣苍劲，枯木虬枝以铁线勾勒，皴擦间尽显嶙峋古拙，淡墨晕染与留白相衬，晕出清寂萧疏的幽远意境。\n以极简水墨托物言志，寥寥数笔写尽岁寒君子的坚贞品格，将物象风骨与文人逸趣融为一体。鉴藏古玺朱红点缀，为画面添上古雅厚重的传世质感，是以意驭笔的写意典范，于简淡间藏雄浑气度，枯涩中暗蕴生机，尽显水墨写意的淋漓意趣。",[24,25,26,7,28,127,126,125,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d64f497889ad0f9607453a6af8ab34.jpg",[],{"id":46320,"slug":46321,"title":46322,"dynasty":18,"author":1788,"museum":450,"description":18797,"tags":46323,"thumbUrl":46324,"material":314,"size":1061,"collection":166,"collections":46325,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞",[23,24,25,26,38,7,624,1476,96,34,2283,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":46327,"slug":46328,"title":46329,"dynasty":18,"author":46330,"museum":450,"description":46331,"tags":46332,"thumbUrl":46333,"material":166,"size":166,"collection":166,"collections":46334,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},228459,"pen-hua-ce-ye-sun-xue-ju-228459","盆花册页","孙雪居","此作用淡墨写意写就，构图疏朗空灵。兰叶以中锋淡墨缓缓写出，修长舒展，如君子临风，带着清逸灵动的姿态。花瓣以淡墨晕染，清浅雅致，不见繁复刻画却尽得幽兰柔婉之态。\n\n素盆简括勾勒，纹饰轻描淡写，素雅沉静，默默托衬花草。全画以少胜多，留白恰到好处，将文人画尚简重意的特质尽显。寥寥数笔便勾勒出盆中春兰的清雅之态，暗含文人寄情草木的幽怀，笔墨秀润简约，清隽耐看，尽显简淡雅致的审美意趣。",[24,74,7,547,4041,1104,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015bd455deed7390a0e21b3c659fa439.jpg",[],{"id":46336,"slug":46337,"title":46338,"dynasty":18,"author":11473,"museum":450,"description":46339,"tags":46340,"thumbUrl":46341,"material":166,"size":166,"collection":166,"collections":46342,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,24,25,95,27,7,36,28,162,624,29,193,194,480,211,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":46344,"slug":46345,"title":46346,"dynasty":18,"author":32521,"museum":450,"description":46347,"tags":46348,"thumbUrl":46349,"material":166,"size":166,"collection":166,"collections":46350,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","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。",[23,24,25,74,27,7,28,940,32,33,163,38,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":46352,"slug":46353,"title":46354,"dynasty":18,"author":4140,"museum":450,"description":46355,"tags":46356,"thumbUrl":46357,"material":166,"size":166,"collection":166,"collections":46358,"showCount":184,"zanCount":1084,"manualWeight":46,"mainColor":47},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,25,26,7,481,38,28,193,32,29,30,33,213,535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":46360,"slug":46361,"title":46362,"dynasty":52,"author":1131,"museum":450,"description":46363,"tags":46364,"thumbUrl":46365,"material":166,"size":166,"collection":166,"collections":46366,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},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。",[281,24,25,74,7,36,28,717,34,163,6001,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbf747142db1b200e064b2ce56cf2e.jpg",[],{"id":46368,"slug":46369,"title":46370,"dynasty":52,"author":20417,"museum":450,"description":46371,"tags":46372,"thumbUrl":46373,"material":166,"size":166,"collection":166,"collections":46374,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,24,25,95,7,36,28,34,210,33,215,164,3157,1525,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":46376,"slug":46377,"title":46378,"dynasty":52,"author":581,"museum":450,"description":46379,"tags":46380,"thumbUrl":46381,"material":166,"size":166,"collection":166,"collections":46382,"showCount":184,"zanCount":1084,"manualWeight":46,"mainColor":461},228207,"han-lin-mu-yang-tu-yi-ming-228207","寒林牧羊图","此作用枯淡笔墨铺就冬日荒林野趣，老木虬枝盘曲苍劲，枯槎交错伸展，枝桠间漫着清寂萧寒之气。寒林以浓淡墨色层叠排布，晕染出悠远静谧的林野纵深，将冬日郊野的空旷萧索尽数铺开。下方缓坡错落起伏，羊群或垂首啮草，或缓步闲游，为冷寂林野晕开细碎生机。整体笔墨简劲苍润，以留白衬出郊野清阔空寂的氛围，于萧寒之中暗蕴悠然意趣，尽显简远萧散的林下幽情。",[24,28,7,36,95,717,3796,34,10414,33,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef393f39116b943b3c6158679749db8.jpg",[],{"id":46384,"slug":46385,"title":32297,"dynasty":205,"author":3839,"museum":450,"description":46386,"tags":46387,"thumbUrl":46388,"material":166,"size":166,"collection":166,"collections":46389,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},227985,"yin-yan-fei-pu-tu-jiang-can-227985","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[23,24,25,281,95,28,36,3177,8472,33,34,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":46391,"slug":46392,"title":46393,"dynasty":205,"author":581,"museum":450,"description":46394,"tags":46395,"thumbUrl":46396,"material":166,"size":166,"collection":166,"collections":46397,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[23,24,25,7,27,28,518,74,36,194,33,30,59,164,211,3371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":46399,"slug":46400,"title":46401,"dynasty":205,"author":581,"museum":450,"description":46402,"tags":46403,"thumbUrl":46404,"material":166,"size":166,"collection":166,"collections":46405,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},227861,"dou-que-tu-ye-yi-ming-227861","斗雀图页","《斗雀图页》宋代画家佚名创作的一幅绢本设色画。\n本幅无款识。\n鉴藏印钤“真赏”、“庞莱臣珍藏宋元真迹”、“珍秘”、“宜尔子孙”、“丹诚”、“都尉耿信公书画之章”、“信公珍赏”、“公”、“会侯珍藏”、“绍勋”。\n裱边钤“信公监定珍藏”印。\n对幅有耿昭忠题记：“黄居寀能世其家学，点染具简澹野逸之致。\n画史以黄家富贵评之，未必无议。\n千山耿信公。\n”虽题为黄居寀作，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。\n善于抓住瞬间的精彩场面来表现自然界的勃勃生机，是宋人小品的特色之一。\n本幅绘两只小雀在平坡之上嬉戏争斗，滚作一团。\n画家采用虚实结合、突出重点的画法，于雀的翅、尾翎毛只是粗写动态，头、腹毛羽更是淡染轻描。\n着力加以刻画的是雀之爪、喙和二雀相互逼视的双目。\n图中占上风之雀，左爪紧抓住对方的喙，右爪紧握对方的爪，正待欲啄，其喙却也被对方死死地抓住，形成谁也啄不得的僵持局面，颇有情趣。\n两只小雀皆羽翼大张，动感和力度在此充分体现。\n此情此景万难想象而成，当是细致观察所得。",[23,24,25,281,2446,481,7,282,8572,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75d11a386f36142cfbf9e834d6e91cc.jpg",[],{"id":46407,"slug":46408,"title":9344,"dynasty":205,"author":264,"museum":450,"description":46409,"tags":46410,"thumbUrl":46411,"material":166,"size":166,"collection":166,"collections":46412,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},227582,"xiao-jing-tu-juan-li-gong-lin-227582","李公麟，北宋著名画家，字伯时，号龙眠居士，北宋舒州(今桐城)人。其白描绘画为当时第一，《宣和画谱》第七卷评价他的作品曰：“(龙眠)尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。”\n\n《孝经》大约成书于公元前350-公元前200年，在北宋时被列入“十三经”，成为儒家经典之一。李公麟的话中加入了他对孝道的理解，作品将道德承载功用与书法功底结合，以及宋人以书法来翻译古人模拟自然的画法。",[23,281,24,25,26,547,7,193,194,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750ead0dcaa7216f7a4c885b5bc5545.jpg",[],{"id":46414,"slug":46415,"title":46416,"dynasty":174,"author":926,"museum":450,"description":46417,"tags":46418,"thumbUrl":46419,"material":166,"size":166,"collection":166,"collections":46420,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},224313,"hua-niao-ce-shi-kai-3-li-shan-224313","花鸟册十开3","这幅写意花鸟以淡墨晕染禽鸟，借浓淡变化铺陈羽毛肌理，将小雀憨然俏立的姿态勾勒得灵动鲜活。虬曲花枝以枯笔挥就，老辣苍劲的笔力尽显藤蔓野逸之态，极简笔墨却生机饱满。\n右侧题诗与画面相映成趣，诗画交融尽显文人意趣。挣脱院体工整桎梏，以随性纵逸的笔墨抒发襟怀，将寻常小景晕染出清隽雅致的格调，诗书印浑然一体，尽显肆意洒脱的文人风骨，笔简意足，尽显水墨写意的疏朗之美。",[23,24,25,74,7,75,282,80,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab6bcbfe1b99fd380c38ac8586d9a07.jpg",[],{"id":46422,"slug":46423,"title":46424,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":46425,"thumbUrl":46426,"material":314,"size":1061,"collection":166,"collections":46427,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},224209,"shu-fa-23-wu-chang-shuo-224209","书法23",[37,3074,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73568a81bc566946d76b688804a851e8.jpg",[],{"id":46429,"slug":46430,"title":33385,"dynasty":18,"author":581,"museum":450,"description":46431,"tags":46432,"thumbUrl":46433,"material":166,"size":166,"collection":166,"collections":46434,"showCount":184,"zanCount":46,"manualWeight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，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。\n传世作品有《芦洲泛艇图》轴，现藏天津市艺术博物馆；《秋溪曳杖图》轴、《无尽溪山图》轴藏上海博物馆；《携琴看山图》轴、《渔舟读书图》轴藏故宫博物院；《秋林读书图》轴藏山东省博物馆；《松下著履图》轴藏南京博物院。\n善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，小巧流水却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为“狂态邪学”。",[23,24,25,1462,7,36,193,126,5420,28,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e0f6a5a8ea215f87b0f758dfe800581.jpg","纵18.5厘米横53厘米",[],{"id":46475,"slug":46476,"title":46477,"dynasty":52,"author":9806,"museum":120,"description":46478,"tags":46479,"thumbUrl":46480,"material":1221,"size":46481,"collection":166,"collections":46482,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},221821,"ying-shui-lou-tai-tu-ye-xia-yong-221821","映水楼台图页","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。\n《石渠宝笈续编·乾清宫》著录。",[23,24,25,281,74,518,547,7,194,30,29,28,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9ebc71fe2e34aada53e92454ae807c.jpg","纵23.9厘米，横25.3厘米",[],{"id":46484,"slug":46485,"title":645,"dynasty":52,"author":46486,"museum":1346,"description":46487,"tags":46488,"thumbUrl":46489,"material":612,"size":46490,"collection":166,"collections":46491,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},221798,"shan-shui-tu-ren-kang-min-221798","任康民","［宋］汴（今河南开封）人。工界画。宣和（一一一九至一一二五）时入画院，每与贺真合作山水图轴。一日安先作横披，当中界楼阁，分布亭榭满中以困真，真止作坡岸于下，上则层峦叠嶂出于屋妙，更觉壮观，遂成名作。《画继》",[24,25,7,36,28,162,706,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12f6cee56717d7d6e8377aa930422af.jpg","23.8X21",[],{"id":46493,"slug":46494,"title":46495,"dynasty":205,"author":46496,"museum":92,"description":46497,"tags":46498,"thumbUrl":46499,"material":298,"size":46500,"collection":245,"collections":46501,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},221564,"zhi-yan-xiu-shao-fu-chi-du-zhu-xi-221564","致彦修少府尺牍","朱熹","朱熹（1130年10月18日－1200年4月23日），字元晦，又字仲晦，号晦庵，晚称晦翁。祖籍徽州府婺源县（今江西省婺源），生于南剑州尤溪（今属福建省尤溪县）。中国南宋时期理学家、思想家、哲学家、教育家、诗人。\n朱熹十九岁考中进士，曾任江西南康、福建漳州知府、浙东巡抚等职，做官清正有为，振举书院建设。官拜焕章阁侍制兼侍讲，为宋宁宗讲学。晚年遭遇庆元党禁，被列为“伪学魁首”，削官奉祠。庆元六年（1200年）逝世，享年七十一岁。后被追赠为太师、徽国公，赐谥号“文”，故世称朱文公。\n朱熹是“二程”（程颢、程颐）的三传弟子李侗的学生，与二程合称“程朱学派”。他是唯一非孔子亲传弟子而享祀孔庙，位列大成殿十二哲者。 朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。\n朱熹著述甚多，有《四书章句集注》《太极图说解》《通书解说》《周易读本》《楚辞集注》，后人辑有《朱子大全》《朱子集语象》等。其中《四书章句集注》成为钦定的教科书和科举考试的标准。",[23,1714,37,38,7,80,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0774a9b1fdd2ca37c536b5c21b232501.jpg","纵27.3厘米，横55.1厘米",[245],{"id":46503,"slug":46504,"title":46505,"dynasty":205,"author":9499,"museum":120,"description":46506,"tags":46507,"thumbUrl":46508,"material":2837,"size":46509,"collection":166,"collections":46510,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},221474,"shuang-song-tu-ge-juan-zhang-ji-zhi-221474","双松图歌卷","《双松图歌》为杜甫诗《戏为双松图歌韦偃画》，释文：\n天下幾人畫古松，畢宏已老韋偃少。絕筆長風起纖末，滿堂動色嗟神妙。兩株慘裂苔蘚皮，屈鐵交錯迴高枝。白摧朽骨龍虎死，黑入太陰雷雨垂。松根胡僧憩寂寞，龐眉皓首無住著。偏袒右肩露雙腳，葉裏松子僧前落。韋侯韋侯數相見，我有一匹好東絹，重之不減錦繡段。已令拂拭光淩亂，請公放筆爲直幹。張即之七十二歲寫，時積雨連霉，槐龍舞翠，與客小飲，醉中戲書。\n款署：“张即之七十二岁写。时积雨连霉，槐龙舞翠，与客小饮醉中戏书。”钤“张”、“张氏”、“即之”印。自识“七十二岁”，应为南宋理宗宝祐五年（1257年）书。卷前有苏东坡作古柏图，非真迹。尾纸有明洪武时陈新、夏彦良二跋。\n此卷是张即之晚年之笔。后人皆称他“以能书闻天下”，“大字古雅遒劲，细书尤俊健不凡”。此卷擘窠大字，神完气足，劲健雄肆，又时见险怪之态。张即之作为南宋著名书法家，书宗唐人，结体严谨，笔法险劲，对当时书坛影响很大，北方金人亦多效其体。\n清缪日藻《寓意录》、清内府《石渠宝笈·初编》等书著录。",[23,281,24,25,26,38,37,7,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0742ab750432300eb32e874e9ddc04d.jpg","纵.8cm，横1196cm",[],{"id":46512,"slug":46513,"title":7243,"dynasty":174,"author":7244,"museum":4012,"description":7245,"tags":46514,"thumbUrl":46518,"material":7248,"size":7249,"collection":166,"collections":46519,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":166},220708,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220708",[23,24,25,281,74,28,212,46515,5296,148,29,30,46516,7,46517],"高树","策杖行人","苍润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf36ccfeba247023e50d74a3a3b0b2d.jpg",[],{"id":46521,"slug":46522,"title":46523,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":46524,"thumbUrl":46525,"material":298,"size":19575,"collection":166,"collections":46526,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},220313,"huang-shan-tu-ce-15-hong-ren-220313","黄山图册-15",[23,24,7,74,36,28,34,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed03933e854c7b1102879a0db7235d8b.jpg",[],{"id":46528,"slug":46529,"title":46530,"dynasty":174,"author":2605,"museum":120,"description":19572,"tags":46531,"thumbUrl":46532,"material":298,"size":19575,"collection":166,"collections":46533,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":47},220298,"huang-shan-tu-ce-28-hong-ren-220298","黄山图册-28",[23,24,7,74,28,36,34,624,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0507c762bfe0f698ed4615fa06459f63.jpg",[],{"id":46535,"slug":46536,"title":46537,"dynasty":174,"author":46538,"museum":20,"description":46539,"tags":46540,"thumbUrl":46541,"material":27,"size":46542,"collection":166,"collections":46543,"showCount":184,"zanCount":46,"manualWeight":46,"mainColor":140},219802,"hua-niao-cao-chong-tu-8-sun-long-219802","花鸟草虫图-8","孙龙","此册绢本设色，共十二图，描绘荷塘鹡鴒、蓼花螳螂、水藻玄蝉、秋塘青蛙、秋草蝗虫、蜀葵、黄叶麻雀、海棠白头等内容。",[24,25,74,7,27,75,398,12021,123,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a5fdcecbf0137e7b17922047721539.jpg","纵22.9 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这幅画的风格与夏圭相似。",[24,25,74,7,27,193,28,126,147,80,36,16865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f4197b57f0834d525f742c53aa0b38e.jpg","20X20cm",[],{"id":47661,"slug":47662,"title":70,"dynasty":174,"author":739,"museum":5692,"description":10324,"tags":47663,"thumbUrl":47664,"material":40,"size":10327,"collection":166,"collections":47665,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},233945,"hua-niao-ce-hua-yan-233945",[24,25,74,27,7,75,180,77,78,1593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404f5926f037f2a7a183670d202de71c.jpg",[],{"id":47667,"slug":47668,"title":14561,"dynasty":174,"author":14526,"museum":120,"description":14562,"tags":47669,"thumbUrl":47670,"material":564,"size":14565,"collection":166,"collections":47671,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},233891,"huang-shan-tu-ce-mei-qing-233891",[24,25,74,7,27,28,36,37,80,57,162,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291696afa7319434a5c86ab9e6c655f8.jpg",[],{"id":47673,"slug":47674,"title":47675,"dynasty":52,"author":621,"museum":120,"description":47676,"tags":47677,"thumbUrl":47678,"material":964,"size":47679,"collection":166,"collections":47680,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},233885,"wu-zhu-xiu-shi-tu-zhou-ni-zan-233885","梧竹秀石图轴","图中绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。",[24,25,95,7,126,1475,180,80,38,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe669021468b32b5f44f9d6226b16a7dc.jpg","纵96厘米，横36.5厘米",[],{"id":47682,"slug":47683,"title":47684,"dynasty":18,"author":22861,"museum":120,"description":47685,"tags":47686,"thumbUrl":47688,"material":196,"size":47689,"collection":166,"collections":47690,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},233843,"bi-hu-zhu-shu-tu-zhou-shen-hao-233843","闭户著书图轴","画面苍松下篱门紧闭。窠石小溪，书屋内一人凭几挥笔著书。用笔工细严谨。自识“闭户著书多岁月，种松皆作老龙麟。安素先生，抱道高棲，日著书万言。穆如之风，真追支、许。其次公原定，逸才清骨，与予有缟紵之谊。近闻遷乔，写此代贺。癸酉中秋，朗道人颢”。钤“朗倩”白文方印等。另钤“乾隆御览之宝”等鉴藏印多方。按癸酉为崇祯六年，公元一六三三年，作者时年四十八岁。此图曾经清内府收藏。《石渠宝笈》著录。",[24,25,95,7,27,36,38,37,80,147,624,35,193,180,47687],"室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f512c1583ae2897dc676a32f26a2c32.jpg","纵96.2厘米，横40.7厘米",[],{"id":47692,"slug":47693,"title":3812,"dynasty":52,"author":21042,"museum":120,"description":21043,"tags":47694,"thumbUrl":47695,"material":10416,"size":21047,"collection":166,"collections":47696,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},233806,"zhu-shi-tu-zhou-xie-ting-zhi-233806",[24,25,95,7,27,126,706,2875,123,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7694fa9087718da61fb9135feb879d.jpg",[],{"id":47698,"slug":47699,"title":47700,"dynasty":174,"author":739,"museum":120,"description":47701,"tags":47702,"thumbUrl":47703,"material":612,"size":47704,"collection":166,"collections":47705,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},233714,"ba-bai-xia-ling-tu-zhou-hua-yan-233714","八百遐龄图轴","图中柏树高大，盘曲伸展，树上八哥飞鸣对唱，热闹非凡，树下萱花盛开，生机盎然，整幅画面寓意遐（音侠）龄长寿，具有春意喧闹的祥瑞之气。作者依据不同的物象施以不同的笔法，八哥的造型生动写实，以工写结合的笔墨刻画；柏叶细碎交叠，直接以青绿、浓墨戳点；山石方硬坚实，以浓墨大写意晕染；萱花俏丽多姿，则以没骨法表现。全图于精致处愈见其工而不失笔情墨趣；写意处用笔洒脱而不失含蓄蕴藉，显示了华喦在花鸟画方面的非凡造诣以及对各种笔墨技法娴熟的运用能力。",[24,25,95,27,481,7,75,147,282,34,76,16082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe532a914d1fd6f5c2d0cd56208aaa81a.jpg","纵211厘米，横133厘米",[],{"id":47707,"slug":47708,"title":41431,"dynasty":174,"author":377,"museum":450,"description":8750,"tags":47709,"thumbUrl":47710,"material":964,"size":8753,"collection":166,"collections":47711,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},233691,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233691",[24,7,74,133,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e224dbd84a4eb93b5effb45a3ce2c52.jpg",[],{"id":47713,"slug":47714,"title":41431,"dynasty":174,"author":377,"museum":450,"description":8750,"tags":47715,"thumbUrl":47716,"material":964,"size":8753,"collection":166,"collections":47717,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},233686,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233686",[24,25,74,7,133,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcface694a307906f45bdc6019882cf45.jpg",[],{"id":47719,"slug":47720,"title":12198,"dynasty":174,"author":5599,"museum":120,"description":12199,"tags":47721,"thumbUrl":47722,"material":564,"size":12202,"collection":166,"collections":47723,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},233452,"ren-wu-shan-shui-ce-luo-pin-233452",[24,27,7,74,193,126,3596,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ea9bf26a6d208d3f2bff266e605ad3.jpg",[],{"id":47725,"slug":47726,"title":10686,"dynasty":174,"author":657,"museum":120,"description":10687,"tags":47727,"thumbUrl":47728,"material":10691,"size":10692,"collection":166,"collections":47729,"showCount":259,"zanCount":1084,"manualWeight":46,"mainColor":47},233395,"shan-shui-ren-wu-ce-jin-nong-233395",[24,25,74,27,547,7,28,193,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　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,25,74,7,27,36,28,193,194,31,30,34,33,164,773,3246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":47787,"slug":47788,"title":47789,"dynasty":18,"author":23159,"museum":5692,"description":47790,"tags":47791,"thumbUrl":47793,"material":47794,"size":47795,"collection":166,"collections":47796,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},231590,"shi-xiang-tu-chen-xian-231590","释像图","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[23,24,25,26,547,7,193,47792,624,34,3914,1839,37,80],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","绫本设色","49.5×731.3厘米",[],{"id":47798,"slug":47799,"title":47800,"dynasty":52,"author":581,"museum":5692,"description":47801,"tags":47802,"thumbUrl":47803,"material":298,"size":166,"collection":166,"collections":47804,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},231495,"bai-miao-luo-han-tu-yi-ming-231495","白描罗汉图","此作用淡墨白描写就，古松虬曲苍劲，松针层叠如盖，晕染出幽寂出尘的林下禅境。右侧长眉罗汉安坐松下，神态恬然沉静，身旁侍者恭谨侍立，持器静候。左侧匍匐之人姿态虔诚，似在礼敬罗汉，案上供花素雅清冷，烘托出庄严平和的禅意氛围。\n\n线条清劲凝练，流转婉转，既勾勒出松皮斑驳褶皱、衣袂翩然动感，又细腻刻画出人物神情气度，将禅门安然清寂的意趣尽显。笔墨简淡却意蕴悠长，以素色绘出深邃禅林雅韵，尽显雅致清和的元人白描格调。",[24,25,3557,547,7,193,147,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b9e528a641cef044779c88475e161b.jpg",[],{"id":47806,"slug":47807,"title":47808,"dynasty":174,"author":43642,"museum":176,"description":47809,"tags":47810,"thumbUrl":47811,"material":916,"size":47812,"collection":166,"collections":47813,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[23,24,25,26,7,36,28,33,34,58,211,164,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":47815,"slug":47816,"title":47817,"dynasty":174,"author":657,"museum":450,"description":14232,"tags":47818,"thumbUrl":47819,"material":314,"size":1061,"collection":166,"collections":47820,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},230240,"qi-shu-tao-xiu-shi-qing-yi-lu-mo-ben-jin-nong-230240","漆书陶秀寔清异录（摹本）",[23,37,11566,95,6186,7,254,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0fb7392e84c663d10f1cf126c872e8.jpg",[],{"id":47822,"slug":47823,"title":47824,"dynasty":174,"author":377,"museum":450,"description":47825,"tags":47826,"thumbUrl":47827,"material":166,"size":166,"collection":166,"collections":47828,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},228993,"bai-kai-luo-han-tu-81-shi-tao-228993","百开罗汉图81","此作以水墨绘就两位罗汉立身奔涌浪涛之中，背景是冷峻苍劲的崖壁。作者以淋漓墨色晕染翻涌水浪，细密线条勾勒罗汉衣袍纹饰，一动一静对比强烈。浪涛汹涌激荡，罗汉却神态静穆安然，于激流中泰然自处，尽显禅心澄澈。干湿浓淡的墨色皴擦出岩壁的厚重质感，工细的衣纹与写意山水形成鲜明反差，烘托出罗汉静定超脱的出世之态，将禅宗于喧嚣中守持本心的意涵融于笔底，笔情墨趣间尽显空灵悠远的禅境。",[24,25,74,7,3557,193,34,350,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f980403a2ac64c265f5de8dbb005cb3.jpg",[],{"id":47830,"slug":47831,"title":36517,"dynasty":18,"author":16199,"museum":450,"description":26218,"tags":47832,"thumbUrl":47833,"material":314,"size":1061,"collection":166,"collections":47834,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},228899,"shan-shui-tu-shan-mian-qian-gu-228899",[281,24,25,1462,7,27,36,28,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fe0f246adff8469cb479bfc8b1f0cf.jpg",[],{"id":47836,"slug":47837,"title":47838,"dynasty":52,"author":581,"museum":450,"description":47839,"tags":47840,"thumbUrl":47841,"material":166,"size":166,"collection":166,"collections":47842,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},228238,"fei-yan-tu-wan-shan-yi-ming-228238","飞燕图纨扇","此幅纨扇小品笔墨简淡却意趣盎然。虬曲的老柳占据一隅，浓墨写出苍劲老干，尽显风霜质感，柔细柳条轻曳飘拂，笔致清逸，将春柳的柔媚姿态晕染开来。枝头禽鸟各具情态，或静栖缩羽，或侧目顾盼，寥寥数笔便点染出灵动生机。空中飞燕振翅穿掠，墨色浓淡变化间，将疾飞之姿精妙定格。\n\n画面留白开阔，淡墨轻勾远坡，衬出天地空寂，把暮春时分清寂又暗含生机的氛围铺陈开来。全作用笔极简却意韵悠长，以水墨写意之法，将春日禽柳共生的雅致生机藏于尺幅之间，尽显空灵简淡的文人意趣。",[23,24,25,1462,7,282,147,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce88bcd629a6b17d680a5dd4e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三十四年（ ），禹之鼎时年49岁。\n从自题中得知画家此年寓居京师。\n此图用大写意法画 几枝，引来两只飞鸟栖息。\n树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。\n画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n自题中的“蓝田叔”指明末清初著名的山水画家 ，虽然尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。\n（1647—1716年），字尚吉，号慎斋，江都(今江苏 )人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入 。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对 、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,95,7,75,282,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935bf7d16f8ac9256d4a6e3fe14339.jpg",[],{"id":47883,"slug":47884,"title":47885,"dynasty":174,"author":13237,"museum":450,"description":47886,"tags":47887,"thumbUrl":47888,"material":166,"size":166,"collection":166,"collections":47889,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},224264,"hua-wan-hu-chao-tian-zhou-zhang-zong-cang-224264","画万笏朝天轴","群峰如笏攒立，拔地参天，以干笔皴擦勾勒山石肌理，苍浑厚重，尽显雄奇壮阔之势。山坳溪畔，林舍错落，浅滩回溪萦绕村居，杂木疏密有致，枯荣相映，晕染出江南山野的温润清宁。\n\n整幅笔墨兼具精整法度与文人雅致，皴擦点染层次分明，将峰岳的沉雄高旷与乡居的悠然意趣相融，左上题诗呼应画境，把自然山川的形神与林泉雅怀合为一体，勾勒点染间尽显山水清旷高华之态。",[24,25,95,7,36,28,34,33,787,30,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66bff8c39fbab376a96a62831c8d9ff4.jpg",[],{"id":47891,"slug":47892,"title":47893,"dynasty":174,"author":4221,"museum":92,"description":47894,"tags":47895,"thumbUrl":47896,"material":20319,"size":47897,"collection":4372,"collections":47898,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},224121,"qing-gao-zong-yu-lin-su-shi-tie-zhou-qian-long-224121","清高宗御临苏轼帖轴","本件清高宗虽以行书写苏轼〈砚铭〉，然而却不见苏轼特有的结字与丰腴的笔法，显然是出于己意之作，仍可看出乾隆传承自王羲之的书法风格。",[23,37,254,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff556acfc1627f56b921f8f01a944aefa.jpg","纵99.7cm，横32.2cm",[4372],{"id":47900,"slug":47901,"title":47902,"dynasty":205,"author":581,"museum":450,"description":47903,"tags":47904,"thumbUrl":47906,"material":166,"size":166,"collection":166,"collections":47907,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},223595,"pan-che-tu-yi-ming-223595","盘车图","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[23,281,24,25,95,481,36,7,27,28,194,34,33,193,47905,311,80],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":47909,"slug":47910,"title":47911,"dynasty":205,"author":581,"museum":120,"description":47912,"tags":47913,"thumbUrl":47914,"material":3471,"size":47915,"collection":166,"collections":47916,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},223518,"mei-xi-fang-ting-tu-yi-ming-223518","梅溪放艇图","绘一雅士放艇溪中，回首遥视远方，渔夫于 船尾曲身奋力划桨。两株老梅斜出溪岸，虬曲多姿。山间云雾 缭绕，天水一色。大山巍然横卧，小峰如刀削斧劈，笔立其 侧。作者所绘老梅虬曲多姿，以白粉点梅花，用细笔描水草和 波浪，人物衣纹简劲，工写结合。全图用笔工细劲挺，构图生 动简洁，设色淡雅清丽",[23,24,1462,7,27,28,481,31,717,180,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727d30aba9a4f0befd1f131f9c55d89f.jpg","纵24.4厘米横24.7厘米",[],{"id":47918,"slug":47919,"title":645,"dynasty":174,"author":581,"museum":92,"description":47920,"tags":47921,"thumbUrl":47922,"material":27,"size":47923,"collection":42,"collections":47924,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},223456,"shan-shui-tu-yi-ming-223456","此作用笔秀逸简淡，远近层次疏朗分明。近岸枯木虬枝错落，皴石朴拙苍劲，涧水隐于石间，暗写潺湲之态。中景扁舟一叶，幽人披氅凭舷，随波独往，水色以留白晕出烟霭空濛之境，将冬末春初的清寂弥散纸面。远景山峦轻勾淡染，与空茫水面相融，愈发衬出天地辽远。题诗与画意呼应，诗画相生，把文人寄迹林泉、避世悠游的隐逸襟怀铺陈尽致，整体气韵清冷淡远，尽显幽隽的古典山水文人意趣。",[23,24,7,36,27,37,80,28,31,193,610,147,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe496c200c21a39d397d49e0d8fbb32c1.jpg","纵23厘米 横24.8厘米",[42],{"id":47926,"slug":47927,"title":47928,"dynasty":52,"author":581,"museum":843,"description":47929,"tags":47930,"thumbUrl":47932,"material":298,"size":47933,"collection":166,"collections":47934,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},223448,"han-jiang-dai-du-tu-yi-ming-223448","寒江待渡图","这是一幅典型的、表达入仕愿望的待渡图，幅中烟岚中的台阁象征仕途，待渡人仿佛严阵以待般静立江岸，等待一只前来接引的小舟。另一种说法是：山中俨然而立的是寺观，待渡者相反是要表达出世的愿望。结合它所创作的元代，两种解释似乎都能成立。",[23,24,7,36,27,28,31,30,717,1351,47931,33,164,211,3371,24183],"渡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e77f66f7f33d72e246016b5833f6c12.jpg","30x32厘米",[],{"id":47936,"slug":47937,"title":47938,"dynasty":174,"author":2029,"museum":20,"description":9611,"tags":47939,"thumbUrl":47940,"material":1437,"size":9615,"collection":166,"collections":47941,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},222615,"shan-shui-ba-jing-5-gong-xian-222615","山水八景-5",[23,24,25,74,7,36,28,147,32,34,33,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa329c651f4d05a616990e35cfffa22.jpg",[],{"id":47943,"slug":47944,"title":47945,"dynasty":18,"author":18116,"museum":1346,"description":47946,"tags":47947,"thumbUrl":47948,"material":17335,"size":47949,"collection":166,"collections":47950,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},222546,"zeng-zhang-bao-yi-shi-juan-wang-duo-222546","赠张抱一诗卷","《王铎草书赠张抱一诗卷》的内容，是作者王铎自撰的七律诗五首，主要为赠送友人张抱一而作，并在诗歌内容上、在书法艺术中抒发、体现自己的情感。诗卷全文如下（注：原作品没有标点断句）：\n《张抱一公祖招集湖亭》：有酒沧池对烟丘，相招者谁任意游。晋人唐人曾几度，泉水溪水还同流。钟鼓此城鸣白露，戎兵何处领高秋。芦花今古依然在，羡尔无声眠野鸥。（注：第一首七律完）《登岳庙天中阁看山同友》：四围紫逻坐相望，突兀高峰划大荒。谁复凌空呼帝座，我今乘胜挹天浆。香烟古庙通灵气，石路神丘点太阳。冻草暮云无限意，汉京封禅旧山房。（注：第二首七律完）《牛首山同堪虚静原》：一樽绝巘放高歌，回首禅房忘坎坷。旦树晴分天目近，午帆气挟海风过。山吞吴楚犹新燕，寺趁齐梁只故萝。莫管星辰朽不朽，吹箫何处倚嵯峨。（注：第三首七律完）《频入》：频入长安过九衢，谁知幽梦在髭须。只今人路何从说，渐审岩居不可无。屈指箸筹赊日月，伤心戎旅满江湖。此生休外韬真处，锦瑟琪华待醍醐。（注：第四首七律完）《汴京南楼》夷门萧瑟俯晴空，万事欷献向此中。梁苑池台新萑苇，宋家艮岳老苔丛。牧人壕外时驱犊，猎骑天边晚射鸿。旧月多情依汴水，滔滔东去更朦胧。（注：第五首七律完）崇祯十五年三月夜。洪洞同邑弟王铎具草。抱翁公祖教正。\n按：《张抱一公祖招集湖亭》卷中七律五首，有三首见于《拟山园选集》（台湾学生书局）。分别是：《登岳庙天中合看山同友》，载集中七律卷九，题作《登岳庙天中阁看山感时》，原为二首，卷中所书为第一首；《频入》，载集中七律卷三，卷中所书之“待醍醐”，集中作“醉醍醐”；《汴京南楼》亦载集中七律卷三。\n另两首虽不见于集中，但是，同书五律卷三有《湛虚、静原游牛首》、《燕子矶湛虚招同静原》、《上天开岩同湛虚、静原》三首，与卷中《牛首山同湛虚、静原》—诗显然是同时之作。湛虚，即张镜心，字孝升，湛虚为号，累官至兵部尚书，是王铎的挚友。见于《拟山园选集》（台湾学生书局）及《拟山园初集》中的与张镜心有关的诗作多达五十首以上。张镜心亦曾为王铎的《拟山园初集》作序，与王铎以“年弟”相称，盛赞王铎诗文“浩乎哉如烟海，修辞之家，未之有也。”\n王铎书法的书法，到了《赠张抱一草书诗卷》时，已经摆脱了模仿的痕迹，有了主体性较强的跌宕雄逸的意态。《赠张抱一草书诗卷》亦是王铎草书长卷现可见较早的一件。《王铎草书赠张抱一诗卷》，在王铎书法的发展过程中具有十分重要的意义，从这件作品可领略王铎若干书法艺术特点。\n一个是强烈的节奏感使草书作品产生出运动力和冲击力。《王铎草书赠张抱一诗卷》中书法的点画线质表现其弹性产生运动力，运动的返急产生冲击力，在这一点上王铎成功地将力运用到书法点画的变化上，使笔在绢、绞、纸上的运动过程中产生顿挫、仰侧、奇崛、突变，使个性的张扬发挥到极致。尤其是充满着激情的用笔，如同少林武僧，有屈铁之力，挥棒生风。\n一个是前无古人的字法造势。王铎亦受时风影响，但他站在传统基础之上，破除旧有的模式，创建出一种崭新的恢弘博大的图式，充满艺术的震撼力。王铎书法的一个鲜明特点便是造势。《王铎赠张抱一行书卷》中，通篇显现出变幻莫测的感觉，字势左右叵诡，笔致老辣，章法宕逸。唐张旭狂草《古诗四帖》，如龙蛇之行，富于变幻，王铎在这一点上进一步追求草书中险绝、突变、膨胀与内敛之势，识字者，可领略触笔、行笔、运笔中的运动轨迹。\n第三是墨象万千，酣畅淋漓。中国画中有墨分五彩之说，利用墨之浓、淡、干、湿可使画面产生出无穷的变化，显现出生机勃勃的趣味。王铎从中国画中悟出用墨之道，并大胆地运用到书法创作中，从而增强了作品的视觉效果，把涨墨之法发挥到极致。《王铎赠张抱一行书卷》中，其作品的冲击力与用墨是分不开的，他书法点画的流动感也与用墨紧密相关。历史上在王铎以前的草书大家无一人用“涨墨”法，此法实乃王铎开创也，这种不同位置的参差对比，使作品在整体视觉效果上别具一格，特点鲜明。\n最后是独特笔法。王铎笔法早年受二王影响，笔势较为平和，行笔温润，他中年学米后，笔势、笔法发生了较为明显的变化。后终于成中国书法技法集大成式的开拓者。在《王铎草书赠张抱一诗卷》中，多处凸显其集大成的大家手笔，可谓将壮美之力表现到极致。在中国书法发展的这条主线上，王铎既崇尚对传统吸收，又善标新立异达到裂变之意。\n王铎为书近五十年的探索，终自成家法，成为“有明书法推第一”（吴昌硕诗句）、“于明季书坛可谓中兴之主”（沙孟海《近三百年的书学》）。他的书法对后世影响极大。清代早期的傅山受王铎书风影响之后，创博大流变之体，标立书坛。至近现代受王铎书风影响最深，写大草的书家，如林散之、沙孟海、沈鹏等书法家，都对王铎书法有深入的研究和汲取过优秀的养分。在日本等，他更是影响东瀛书坛多年。日本人对王铎的书法极其欣赏，还因此衍发成一派别，称为“明清调”。在日本关西地区甚至整个日本书坛，有“后王（王铎）胜前王（王羲之）”的说法。",[23,394,26,37,80,7,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706317ef80c72d495a33ab77cf4de37a.jpg","长469cm，高26cm",[],{"id":47952,"slug":47953,"title":47954,"dynasty":18,"author":47955,"museum":92,"description":47956,"tags":47957,"thumbUrl":47958,"material":298,"size":47959,"collection":166,"collections":47960,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},222450,"lin-wang-xi-zhi-shi-qi-tie-zhu-da-you-222450","临王羲之十七帖","朱大有","朱大友，字伯亨，号二峰，号摩诃山农。云梯朱氏十一世孙，朱凤长子。生于正德十年，幼时聪惠过人。九岁时，有客人过访，以雪梅命题，大有曰：“舞六出之，奇占百花之魁。”客人击节叹赏。稍长入泮，闻理学名家邹守益在宁国讲学，徒步从之。任职南都时，有人欲行贿拉拢关系，大有正色曰：“士正谊明道，未及事君而挟欺以往，可孚？”固却之。时择选士子入贡（即可获得做官的资格），学使欲以大有为选，大有请曰：“葛某老且贫，生不愿先之，”竟让给葛先生。嘉靖甲午年（1534）复应贡选，遇疾，五月二十五日卒，年仅30岁。妻段氏，子四，长一桂，太学生，任玉山县丞。次一松，次一柏，次一梧，廪生。万历六年（1578）五月，大有以子一松贵，诰封朱大有《赠朱一松之父进奉政大夫》，曰：\n“通今学古，弗显其身，式谷贻谋，克昌厥后，尔子服官，郡贰行矩，茂宣歆佩，廷纶益弘家祚。”朱大有，列入清代《宁国县志·儒林传》",[23,37,254,394,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287850a66f6702476ad07f74508848d7.jpg","29.2×35.9cm",[],{"id":47962,"slug":47963,"title":47964,"dynasty":18,"author":47965,"museum":92,"description":47966,"tags":47967,"thumbUrl":47968,"material":3471,"size":47969,"collection":166,"collections":47970,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},222443,"chun-shan-tu-zhou-lin-guang-222443","春山图轴","林广","溪山深邃处。临水筑榭。青松卓然高立。山坳处。春花怒放。士人于此静坐。享受着无限的春光。此图用笔方劲。以刚硬之气。画妩媚春景。亦别具一格。\n林广（明末清初），广陵人，是久居金陵的职业画家。山水、人物初学宫廷画家李在（？-1431）与蓝瑛，居金陵后，融入了金陵画派地域画风的时潮，发展出典型的金陵面目。作为职业画家，林广的绘画能力很强，金陵各种风格都有涉猎，既有类似吴宏、高岑一路的山水风格，亦有接近武丹的面目（《上元县志》版“金陵八家”即有武丹）。",[281,24,25,95,7,36,28,6483,34,33,210,35,533,193,9254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117261838ffba9ce00a6cadb6ef82d48.jpg","182.8x103.8厘米",[],{"id":47972,"slug":47973,"title":645,"dynasty":18,"author":47974,"museum":92,"description":47975,"tags":47976,"thumbUrl":47977,"material":166,"size":166,"collection":166,"collections":47978,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[23,24,25,1462,28,7,27,36,335,162,29,148,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":47980,"slug":47981,"title":47982,"dynasty":18,"author":17723,"museum":92,"description":47983,"tags":47984,"thumbUrl":47985,"material":27,"size":47986,"collection":166,"collections":47987,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},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。",[23,24,1462,7,27,28,36,127,31,729,34,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70da5f12ccbc7b5817be2e5d8f1e38e.jpg","68x68厘米",[],{"id":47989,"slug":47990,"title":47991,"dynasty":18,"author":20396,"museum":544,"description":21025,"tags":47992,"thumbUrl":47995,"material":298,"size":47996,"collection":42,"collections":47997,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":140},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像",[23,24,25,281,95,547,481,7,193,3557,624,96,480,2203,6484,47993,47994,18761],"尊者","念珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[42,222],{"id":47999,"slug":48000,"title":48001,"dynasty":18,"author":17036,"museum":92,"description":17037,"tags":48002,"thumbUrl":48003,"material":27,"size":17040,"collection":166,"collections":48004,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1",[281,24,25,26,7,36,28,33,210,34,211,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg",[],{"id":48006,"slug":48007,"title":48008,"dynasty":18,"author":19,"museum":20,"description":11435,"tags":48009,"thumbUrl":48010,"material":3471,"size":11439,"collection":166,"collections":48011,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},222097,"liang-jiang-ming-sheng-tu-ce-9-shen-zhou-222097","两江名胜图册9",[23,24,25,74,7,27,518,28,194,29,30,32,3246,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c117a53f6aab2a924fb2e8282cc44.jpg",[],{"id":48013,"slug":48014,"title":48015,"dynasty":18,"author":17321,"museum":770,"description":48016,"tags":48017,"thumbUrl":48018,"material":298,"size":48019,"collection":245,"collections":48020,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},222058,"guo-pu-you-xian-shi-zhang-rui-tu-222058","郭璞游仙诗","此为张瑞图草书节录晋代郭璞的《游仙诗》之三首及梁简文帝萧纲《仙客诗》，文字与原诗略有出入。",[23,281,24,25,26,37,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b2fc238586d292dcccf947ab9fbf9.jpg","纵28厘米，横540厘米",[245],{"id":48022,"slug":48023,"title":2806,"dynasty":18,"author":15313,"museum":20,"description":15314,"tags":48024,"thumbUrl":48025,"material":298,"size":15317,"collection":166,"collections":48026,"showCount":259,"zanCount":46,"manualWeight":46,"mainColor":47},221928,"za-hua-ce-guo-xu-221928",[23,281,24,25,7,547,123,193,717,6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（资料转自上海博物馆网站）\u2028 余前年恩移清颍，道出许昌，前途小阻，留西湖之别馆者几一月。常与韩持国、范景仁泛舟啸咏，使人顿忘去国流离之恨也。韩公德性温厚，风度高雅，固已可爱。范公虽老而精神不衰，议论纯正，白须红面，动辄醺酣。时余有所赋咏，公即取红莲叶命笔疾书，初不经思，佳辞丽句，顷刻而成，坐客莫不惊叹也。比闻朝庭就除端明殿学士以宠之，因思方今进任老成，如公者再起之，亦足以厚风俗耳。\u2028 颍昌湖上。余有赠诸公诗，其略曰：“清影十分月，暗香千柄莲。不知从此别，高会复何年？”韩公诗曰：“浩歌轻白雪，密意得青莲。诗就西桥月，留为好事传。”西蜀公云：“惯乘霄汉雀，翻说淤泥莲。可惜玉台处，等闲闲几年。”盖公不喜释氏，故有是句，亦可一笑也。\u2028 小雨初晴回晚照，金翠楼台倒影芙蓉沼。杨柳垂垂风袅袅，嫩荷无数青钿小，似此园林无限好，流落归来到了心情少。坐到黄昏人悄悄，更应添得朱颜老。右蝶恋花。余旧不饮酒，近年辄能饮，故多醉中所书耳。\n本卷分三段，首段记述了作者在去清颍途中受阻，与韩维（持国）、范镇（景仁）泛舟于西湖啸咏之事；中段与末段分别为三公在颍昌湖上诗作及王诜和蝶恋花词一阙。《宋史》记载，韩维在宋哲宗刚登基时上表推荐范镇，因为范在宋神宗时于建储有功，于是拜范为端明殿学士兼侍读，即文中所称“比闻朝廷就除端明殿学士以宠之”。由此可知，该帖应书于1086年。“余前年恩移清颍”中的“前年”是指1084年。其时韩、范二人亦居于许昌，颍昌湖即文中所称西湖，位于许昌的西北，所以，三人可以相遇于西湖游宴赋诗。该卷虽系以诗词和友有伤感流连之意，但下笔痛快淋漓，结体紧实，笔多横放，锋芒毕露，独具风貌。《吴氏书画记》卷六将此卷误称为黄庭坚书，至曹溶跋方为纠正。之后，《式古堂书画汇考》卷一二、《墨缘汇观》续录、《石渠宝笈续编淳化轩》、《壮陶阁书画录》、《三虞堂书画目》等均改为王诜书。",[23,25,26,38,37,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ae0a2cd0effd3a16a39257bcac83f5.jpg","31.3×271.9 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1865 -1949)字厔泉，号铁夫，别署天和逸人，斋名净念楼。湖南衡阳人。 早年从苍崖法师、沈咏荪学画 。应李瑞清聘，曾任教于两江优级师范学堂图画手工科 。民国初年居北京，曾任教于国立北平艺术专科学校 。晚年寓沪卖画为生 。长于山水，兼作花卉 。与萧逊并称为北京二萧 。作品有《碧海青天图》《溪山无尽图》《山居图》等 。",[24,25,95,7,28,254,212,8472,30,194,33,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62a7fe3e02728d888882ee1773d23ff.jpg",[],{"id":48636,"slug":48637,"title":35993,"dynasty":174,"author":31331,"museum":450,"description":48638,"tags":48639,"thumbUrl":48640,"material":314,"size":1061,"collection":166,"collections":48641,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},287727,"shan-shui-fang-gu-ce-fang-shi-shu-287727","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。",[24,25,74,7,28,29,30,32,34,33,80,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8502a46d703fc1ee83d18e35b85691cd.jpg",[],{"id":48643,"slug":48644,"title":48645,"dynasty":205,"author":581,"museum":92,"description":48646,"tags":48647,"thumbUrl":48648,"material":314,"size":48649,"collection":166,"collections":48650,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":140},287645,"zhu-lin-qing-hua-yi-ming-287645","竹林清话","此作用繁茂修竹铺陈画面主体，双钩墨笔写就竿叶劲挺秀拔，层层叠叠掩映出幽谧林下天地。两位高士对坐晤谈，衣纹简练舒展，神色悠然自在，小童垂手侍立一旁，神态恭谨安闲，将文人雅集的萧散之态尽显无余。画面虚实相生，沉郁古雅的绢色衬出林间清寂，设色淡逸简净，晕染出宋代文人简淡冲和的林下之风，把超脱尘俗的雅集闲情融在婆娑竹影之中，尽显古典雅致的文人意趣。",[281,24,25,95,27,7,193,126,180,4143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad085f071face0d2df057319392f5ecd.jpg","106.5x42.7",[],{"id":48652,"slug":48653,"title":48654,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":48655,"thumbUrl":48656,"material":314,"size":1061,"collection":166,"collections":48657,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":140},287405,"dong-xuan-zai-shan-shui-tu-dong-qi-chang-287405","董玄宰山水图",[23,24,494,7,717,12385,164,3054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf6d43c47d7ac013037de6945b150e1.jpg",[],{"id":48659,"slug":48660,"title":48661,"dynasty":18,"author":581,"museum":450,"description":48662,"tags":48663,"thumbUrl":48664,"material":314,"size":1061,"collection":166,"collections":48665,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},287340,"fang-li-gong-lin-shi-liu-luo-han-tu-yi-ming-287340","仿李公麟十六罗汉图","此作为白描长卷，以淡墨勾勒晕染，将山水丘壑与罗汉群像相融铺展。\n\n开篇题识后，烟波水岸渐入山林，罗汉与众侍者错落排布。人物神态各殊，或趺坐禅思，或执杖徐行，衣袂线条清劲圆润，尽得行云流水的古雅笔意，复刻出李公麟白描的隽秀韵致。山水以淡墨皴擦写就，层峦叠嶂间古木扶苏，云雾漫漤于崖谷之间，烘托出幽寂出尘的禅林之境。\n\n整卷气脉贯通，人物与山水呼应合宜，将罗汉清修的超脱意趣，与林泉雅境浑然相融，尽显明代仿古白描的精妙功底，沉静禅韵漫溢卷间。",[23,281,24,26,547,7,193,3557,11616,254,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593803aadfe9432e1d644fbab419c044.jpg",[],{"id":48667,"slug":48668,"title":48669,"dynasty":52,"author":621,"museum":450,"description":7434,"tags":48670,"thumbUrl":48671,"material":314,"size":1061,"collection":166,"collections":48672,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":921},287306,"lin-xi-qing-yin-tu-juan-ni-zan-287306","林溪清隐图卷",[23,24,281,26,25,7,38,37,126,28,80,11639,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c9a683588fa53ede3255dbac057270.jpg",[],{"id":48674,"slug":48675,"title":48676,"dynasty":174,"author":581,"museum":450,"description":48677,"tags":48678,"thumbUrl":48683,"material":314,"size":1061,"collection":166,"collections":48684,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},266267,"ming-huang-se-zhi-jing-sha-xiu-pin-yue-wan-zi-di-shui-mo-he-hua-wen-dan-chang-yi-yi-ming-266267","明黄色直径纱绣品月万字地水墨荷花纹单氅衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[13874,8052,48679,395,7,48680,48681,48682],"刺绣","万字纹","绣品","氅衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa02b97dc0a3f2116d28df20dfaa0947.jpg",[],{"id":48686,"slug":48687,"title":48688,"dynasty":174,"author":48689,"museum":450,"description":48690,"tags":48691,"thumbUrl":48692,"material":298,"size":166,"collection":245,"collections":48693,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},241295,"wu-lv-zhou-ren-zhong-zhou-241295","五律轴","任仲周","落笔雄健苍劲，线条枯湿浓淡富于层次变化，行气连贯舒展。整幅纵势绵延，字间牵丝映带自然，将律诗意境与笔意相融。\n\n用笔重落轻提，浑厚中见灵动，狂放不失法度，收放自如尽显文人雅韵。诗中幽寂春思随笔墨铺陈开来，苔阶烟柳的清寂之境跃然纸上，笔墨节律呼应诗意跌宕，把候花期的怅惘藏在笔锋疾缓之中，是书与诗的绝佳合璧，笔墨间浸透着沉静雅致的文人意趣。",[95,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d7d39aa99ead82fab341e2ed4e006f.jpg",[245],{"id":48695,"slug":48696,"title":48697,"dynasty":18,"author":48698,"museum":450,"description":48699,"tags":48700,"thumbUrl":48701,"material":298,"size":166,"collection":245,"collections":48702,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":140},241215,"shan-ju-wu-lv-shi-zhou-jiang-feng-yuan-241215","山居五律诗轴","姜逢元","浙江 万历四十一年癸丑进士，累迁国子司业，曾任太子保，充日讲官，官至礼部尚书。时魏忠贤擅政，纂三朝要典，假阉竖之权，役 崇祯初，累官礼部尚书，与枚十者九，寻乞归。逢元善于书法，博采众长自出已意，尤擅于行、草，世人多宝重。着有《禹贡详节》和《宗伯公集选》。",[24,25,37,95,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5901359265b98980c30a07749e322840.jpg",[245],{"id":48704,"slug":48705,"title":48706,"dynasty":18,"author":28547,"museum":450,"description":28548,"tags":48707,"thumbUrl":48708,"material":314,"size":1061,"collection":166,"collections":48709,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},241004,"zhi-luo-feng-zha-juan-wang-shou-ren-241004","致罗峰札卷",[23,281,24,25,26,7,38,3074,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88979f0060eb58657f91f1b367c1d40f.jpg",[],{"id":48711,"slug":48712,"title":48713,"dynasty":174,"author":16702,"museum":450,"description":42414,"tags":48714,"thumbUrl":48715,"material":314,"size":1061,"collection":166,"collections":48716,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},240984,"zhi-huang-yi-xiao-song-zha-xi-gang-240984","致(黄易)小松札",[37,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93fef9ac62fcdb78efd90004efbb8e3.jpg",[],{"id":48718,"slug":48719,"title":48720,"dynasty":174,"author":32025,"museum":450,"description":32026,"tags":48721,"thumbUrl":48722,"material":298,"size":166,"collection":42,"collections":48723,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},240886,"lu-tang-yao-he-shi-ju-ye-qi-zhi-jia-240886","录唐姚合诗句页",[24,25,74,7,28,335,162,1442,36,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd420e1227963466a348e450bf9d57d90.jpg",[42],{"id":48725,"slug":48726,"title":48727,"dynasty":18,"author":48728,"museum":450,"description":48729,"tags":48730,"thumbUrl":48731,"material":298,"size":166,"collection":245,"collections":48732,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 兄弟二人均为进士；均为官清正廉洁，世称“天下清绝，顾问顾阙”；均为当时著名的理学家，并称“二顾”",[23,38,37,26,7,80,395,26858,350,2223,2925,940,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg",[245],{"id":48734,"slug":48735,"title":48736,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":48737,"thumbUrl":48738,"material":314,"size":1061,"collection":166,"collections":48739,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},240496,"wu-chang-shuo-lin-shi-gu-wen-zhou-wu-chang-shuo-240496","吴昌硕临石鼓文轴",[37,3074,254,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971c026c7c3ff4c8af0992a74475ed80.jpg",[],{"id":48741,"slug":48742,"title":48743,"dynasty":174,"author":3928,"museum":450,"description":48744,"tags":48745,"thumbUrl":48746,"material":314,"size":1061,"collection":166,"collections":48747,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},240428,"si-ti-shu-lin-bei-ping-zhao-zhi-qian-240428","四体书临碑屏","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[37,254,3074,6186,242,38,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40210c999f1f822e95b642f197823213.jpg",[],{"id":48749,"slug":48750,"title":48751,"dynasty":174,"author":175,"museum":450,"description":7322,"tags":48752,"thumbUrl":48753,"material":314,"size":1061,"collection":166,"collections":48754,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},240415,"ti-hua-gao-ce-yun-shou-ping-240415","题画稿册",[24,25,74,38,80,179,75,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9415120a293fd2616460e625cdcc022.jpg",[],{"id":48756,"slug":48757,"title":48758,"dynasty":174,"author":377,"museum":120,"description":40911,"tags":48759,"thumbUrl":48761,"material":166,"size":166,"collection":245,"collections":48762,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},240037,"yuan-ji-jin-shan-liu-yun-ting-chang-he-yun-shi-ye-shi-tao-240037","原济金山留云亭唱和韵诗页",[25,37,10153,38,394,7,298,80,40293,29347,16340,48760,16339],"毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea08cb353e3a80880d6cb515cd68110.jpg",[245],{"id":48764,"slug":48765,"title":48766,"dynasty":205,"author":581,"museum":450,"description":48767,"tags":48768,"thumbUrl":48769,"material":166,"size":166,"collection":245,"collections":48770,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},239679,"wu-kuan-xing-pan-gu-xu-juan-yi-ming-239679","无款行盘谷序卷","通篇以行草挥就，笔势欹正相生，牵丝映带灵动自然，尽显宋人尚意书风的疏放意趣。笔墨燥润相济，提转顿挫间将文辞意涵与书家性情相融，通篇气息浑融连贯，把《盘谷序》的文气挥洒得淋漓尽致。\n\n卷身遍钤朱红鉴藏印玺，与墨色书迹交相辉映，历代题跋环列其间，织就厚重递藏脉络。疏密排布得宜，既有肆意挥洒的疏朗，亦不失点画精到的谨严，尽显宋代行书抒情达意的文人风骨，是兼具书法艺术价值与流传考据价值的佳作。",[23,24,25,26,38,37,7,28,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cef04be1b92ec6142891fe4070e31d1.jpg",[245],{"id":48772,"slug":48773,"title":48774,"dynasty":52,"author":48775,"museum":120,"description":48776,"tags":48777,"thumbUrl":48778,"material":298,"size":48779,"collection":245,"collections":48780,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},239676,"ji-chen-tie-ye-yu-ji-239676","即辰帖页","虞集","释文（略）\n\n据《元史·虞集传》：“文宗崩，集在告，欲谋南还，弗果。幼君（宁宗）崩，大臣将立妥欢帖陆尔太子（惠宗），用至大故事，召诸老臣赴上都议政，集在召列。（马）祖常使人告之曰：‘御史有言，乃谢病归临川。’”此帖中提到姑苏、惠泉（惠泉在无锡），可知此时虞集已经谢病南归。帖中又说：“方今龙飞御天”，应指惠宗即位事，与文献所述时间亦合。由此推断，此帖当书于惠宗即位之后，是虞集的晚年作品。\n陶宗仪在《书史会要》中对虞集的书法有很高的评价，认为：“集真、行、草、篆皆有法度，古隶为当代第一。”《即辰帖》为楷体，兼有行书笔意。书法精道、淳古、苍劲，波澜老成，有碑版之状。\n《铁网珊瑚·卷五》、《平生壮观·卷四》等书著录。",[23,37,25,38,858,298,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f7ae574ec2261810c44d0220845d3f.jpg","纵32.3厘米，横93.2厘米",[245],{"id":48782,"slug":48783,"title":48784,"dynasty":52,"author":239,"museum":450,"description":40949,"tags":48785,"thumbUrl":48786,"material":166,"size":166,"collection":245,"collections":48787,"showCount":372,"zanCount":1084,"manualWeight":46,"mainColor":47},239669,"za-shu-si-tie-juan-zhao-meng-fu-239669","杂书四帖卷",[23,281,24,25,26,38,7,27,28,162,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105971cba05216f4482cfe7d6dfe6465.jpg",[245],{"id":48789,"slug":48790,"title":48791,"dynasty":18,"author":28951,"museum":450,"description":34041,"tags":48792,"thumbUrl":48796,"material":166,"size":166,"collection":4372,"collections":48797,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},239631,"huang-dao-zhou-xiao-jing-ce-huang-dao-zhou-239631","黄道周孝经册",[23,37,4956,242,74,7,298,25,40293,48793,18,17630,2446,48794,48795],"儒家","工整","经典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ea3f5205a326ac20e377674fcb541e.jpg",[4372],{"id":48799,"slug":48800,"title":48801,"dynasty":52,"author":48802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《书.舜典》：“帝曰：‘契(Xiè)，百姓不亲，五品不逊，汝作司徒，敬敷五教，在宽。’” 《诗.商颂.玄鸟》：“天命玄鸟，降而生商。”《史记.殷本纪》：“殷契(Xiè)，母曰简狄，有娀氏之女，为帝喾次妃。三人行浴，见玄鸟堕其卵，简狄取吞之，因孕生契(Xiè)。”",[1462,24,281,25,7,28,212,148,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db2960a2de25a616e7f1a70b076637a.jpg",[],{"id":49099,"slug":49100,"title":41142,"dynasty":18,"author":49101,"museum":450,"description":49102,"tags":49103,"thumbUrl":49104,"material":314,"size":1061,"collection":166,"collections":49105,"showCount":372,"zanCount":1084,"manualWeight":46,"mainColor":47},236365,"shan-shui-shan-wang-sui-236365","王璲","王璲（？-1425），字汝正，以字行，号青城山人，明代遂宁（今四川遂宁）人，著名书法家。永乐（1403-1424）初官翰林检讨，直内阁，仁宗时下狱死，赠太子宾客，谥文靖。工时文，小楷、行书法晋人，皆雄秀。亦能画。",[24,1462,7,36,28,34,33,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b83b02098d89180142687163acf38e8.jpg",[],{"id":49107,"slug":49108,"title":49109,"dynasty":5382,"author":49110,"museum":450,"description":49111,"tags":49112,"thumbUrl":49113,"material":166,"size":166,"collection":42,"collections":49114,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},236333,"ma-shi-ying-shan-shui-chi-du-he-zhuang-zhou-ruan-da-cheng-236333","马士英山水尺牍合装轴","阮大铖","马士英（约1591～1646），字瑶草，贵州贵阳人，明末大臣，官至内阁首辅，相传本姓李，过继马氏，祖籍广西梧州。明万历己未（1619年）成进士，授南京户部主事，后历官严州、河南、大同知府、庐凤总督等职。甲申变后，马士英与南京兵部尚书史可法、南京户部尚书高弘图等拥立福王朱由崧为帝，是为弘光帝。因“拥兵迎福王于江上”有功，升任东阁大学士兼兵部尚书，都察院右副都御史，成为南明明弘光政权首辅，人称“马阁老”。后国事不济，拥立福王朱由崧登基，抵抗清兵入侵，最终殉国而死，但世人对其死因存疑，在清代，被后人所责骂。\n夏允彝、夏完淳父子《幸存录》对其持论公允。有《永城纪略》（含《永牍》）及部分诗文、书画作品传世。",[24,25,95,7,36,28,147,180,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cfd45a1fae363e79f9e55bf504aa31.jpg",[42,222,245],{"id":49116,"slug":49117,"title":34284,"dynasty":18,"author":49118,"museum":450,"description":49119,"tags":49120,"thumbUrl":49121,"material":314,"size":1061,"collection":166,"collections":49122,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},236299,"shan-shui-shan-ye-shen-zhao-236299","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》。",[1462,7,28,624,34,194,36,27,33,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe20f475312efbe08d55fc6ffa4bae3.jpg",[],{"id":49124,"slug":49125,"title":49126,"dynasty":18,"author":581,"museum":450,"description":49127,"tags":49128,"thumbUrl":49129,"material":166,"size":166,"collection":166,"collections":49130,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},236025,"dong-qi-chang-lin-he-jing-shi-yi-tu-zhou-yi-ming-236025","董其昌林和靖诗意图轴","此作以两段平远式铺展山水，清寂淡远。以干笔淡墨绘就，笔法松秀温润，山峦以披麻皴轻施皴擦，林木萧疏错落，茅舍板桥散缀烟林之间，将幽居孤高的隐逸意趣融在淡远丘壑之中。\n画面留白得当，虚实相生，淡墨轻岚晕染出空濛的林下清光，呼应题中诗意。诗书画印合为一体，尽显文人画的雅逸风神，以简淡之形写清旷之境，寄寓着慕恋林泉的林下襟怀。",[24,25,95,7,36,28,162,29,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeafd6d200536b0595a755c13a51b14c.jpg",[],{"id":49132,"slug":49133,"title":2189,"dynasty":174,"author":739,"museum":450,"description":45304,"tags":49134,"thumbUrl":49135,"material":314,"size":1061,"collection":166,"collections":49136,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},236006,"hua-hui-tu-ce-hua-yan-236006",[24,25,74,27,7,75,180,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79dd8d7c95f679d4f0f7cad234d7109e.jpg",[],{"id":49138,"slug":49139,"title":23386,"dynasty":174,"author":581,"museum":450,"description":49140,"tags":49141,"thumbUrl":49142,"material":166,"size":166,"collection":166,"collections":49143,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},235988,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235988","此作用取景偏于一隅，以留白衬出山居空寂清远之境。淡墨晕染崖坡，线条简括勾勒出山棱起伏，浓墨点染林木，苍枝虬曲苍劲，古意盎然。屋舍依山就势隐于林麓之间，藏露相宜，暗合山林幽居的隐逸意趣。\n\n水墨层次清浅柔润，以简驭繁，寥寥数笔便将山野间静穆淡远的栖居之美铺展开来，笔简而意足，尽显文人画简淡悠远的禅意，将林泉高致的雅趣藏于尺幅之间。",[24,25,7,74,28,194,33,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074292d24ab8ac03e1959ef1a4e3328a.jpg",[],{"id":49145,"slug":49146,"title":157,"dynasty":18,"author":13639,"museum":450,"description":49147,"tags":49148,"thumbUrl":49149,"material":166,"size":166,"collection":166,"collections":49150,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},235970,"shan-shui-ce-cheng-jia-sui-235970","此作以淡墨晕染江天冬色，近岸枯木槎桠、疏枝无叶，萧寒之气扑面而来。江心一舟独泛，远山轻描如黛，融于空濛烟水间，留白尽揽江天一色的空寂清冷。\n\n左侧行书秀雅清劲，诗句与画境浑然相融，将寄情山湖的幽怀藏于字间。笔触简淡松灵，不事雕琢，以极简之形写极深之境，把江野荒寒澄澈，与文人萧散闲愁融为一体，尽显幽淡冷逸的林下之风。",[24,25,74,7,38,80,28,31,147,717,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7df33560b51c033851173362bcb8ea5.jpg",[],{"id":49152,"slug":49153,"title":1567,"dynasty":174,"author":749,"museum":450,"description":49154,"tags":49155,"thumbUrl":49156,"material":166,"size":166,"collection":166,"collections":49157,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},235877,"shan-shui-zhou-wang-yuan-qi-235877","此作用笔苍劲老辣，以干笔反复皴擦堆叠，追踵元人笔意，山峦层叠错落，龙脉绵连，兼具高远、深远之致。丘壑间林木苍郁，溪湾萦回，山居亭台掩映其间，氤氲出萧散淡远的幽居意趣。\n\n墨色干湿浓淡相间，于浑厚华滋中见松秀清润，尽显沉雄苍莽的山水气象。右上角题诗与绘境呼应，诗画相融，更添文人雅韵，将山林静穆之美与笔墨意趣合而为一，尽显静雅高逸的文人画格。",[24,25,95,7,36,28,33,34,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadc04a3c59c5ca62697b560597d2092e.jpg",[],{"id":49159,"slug":49160,"title":14874,"dynasty":18,"author":14875,"museum":450,"descript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[2]\n他是明末清初著名诗人，与钱谦益、龚鼎孳并称“江左三大家”，又为娄东诗派开创者。长于七言歌行，初学“长庆体”，后自成新吟，后人称之为“梅村体”。",[24,1462,28,36,7,335,162,35,30,381,49171],"近林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc92477073469b42ac6c7ee701b34fa5.jpg",[],{"id":49175,"slug":49176,"title":49177,"dynasty":18,"author":29748,"museum":450,"description":49178,"tags":49179,"thumbUrl":49180,"material":166,"size":166,"collection":166,"collections":49181,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},235696,"gu-mu-xiu-huang-tu-zhou-yang-ming-shi-235696","古木修篁图轴","此作用笔清逸简淡，枯笔写出古木躯干，皴擦结合尽显虬曲苍劲，浓墨点苔更添岁月沧桑，缠绕藤蔓令幽寂野趣顿生。旁侧修篁挺秀，中锋挥写竹叶错落有致，与古木刚柔相济。湖石以淡墨勾勒皴擦，线条简括却见嶙峋质感，和木竹相映成趣。\n\n右上角题字清雅隽秀，书画相融无间，整体萧散空灵，尽显文人画悠然出尘的意境，寄寓着文人幽栖林泉、静悟禅机的襟怀。",[24,7,123,36,2637,126,480,2875,95,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6985e6ff713d0856313e172b7d0d7a.jpg",[],{"id":49183,"slug":49184,"title":11366,"dynasty":18,"author":14875,"museum":450,"description":49185,"tags":49186,"thumbUrl":49187,"material":166,"size":166,"collection":166,"collections":49188,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},235692,"shan-shui-hua-hui-ce-xiang-sheng-mo-235692","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。",[24,74,7,36,28,180,147,193,34,164,4667,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281a62a3bf0e75586f28c2598162aca0.jpg",[],{"id":49190,"slug":49191,"title":49192,"dynasty":174,"author":581,"museum":450,"description":49193,"tags":49194,"thumbUrl":49195,"material":166,"size":166,"collection":166,"collections":49196,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},235675,"mei-qing-bai-long-tan-tu-zhou-yi-ming-235675","梅清白龙潭图轴","此作以危崖飞瀑为骨，苍松虬枝为魂。高远构图铺展层叠山势，老松古干敷色褐金，松针攒簇如墨团，奇崛苍劲，扎根崖壁间尽显傲岸生机。白龙潭飞瀑破壁而出，从层岩间奔涌倾泻，水雾蒸腾漫上山谷，晕染出氤氲空濛的清幽意境。\n\n右下角崖顶立红衣高士，凭栏观瀑，渺小身影衬出山峦空阔辽远，暗合观照山水、澄怀味道的文人心境。笔墨苍润兼具，以水墨晕染流云雾气，勾勒皴擦写尽山石肌理，题诗佐景，将出世之思融于丘壑之间，尽显山水间的超尘禅趣。",[24,25,95,7,27,28,210,624,193,211,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f8912653273167c09890b0c1d1fcc.jpg",[],{"id":49198,"slug":49199,"title":376,"dynasty":174,"author":6172,"museum":450,"description":49200,"tags":49201,"thumbUrl":49202,"material":166,"size":166,"collection":166,"collections":49203,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},235642,"shan-shui-tu-ce-wu-li-235642","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。",[24,7,36,74,28,180,147,282,164,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815175b8d890959771f6894df9caddb9.jpg",[],{"id":49205,"slug":49206,"title":5598,"dynasty":174,"author":49207,"museum":450,"description":49208,"tags":49209,"thumbUrl":49210,"material":166,"size":166,"collection":83,"collections":49211,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},235566,"hua-hui-ce-fan-ting-zhen-235566","范廷镇","此作以枯淡水墨绘就梅石，左侧顽石晕染出厚重质感，苔痕暗藏生机，细草柔蔓斜出，中和石之嶙峋冷硬；右侧老梅枝干虬曲苍劲，花苞圆浑饱满，墨色枯润相济，尽显古梅傲雪之姿。\n\n书画相融无间，题诗借旧语寄慨，以梅石抒怀，将幽独清高的文人襟怀寄寓在朴拙笔墨中。整体简淡萧疏，刚柔相衬，以画言情，风骨凛然，尽显诗画相生的雅致意趣，朴拙之中见清逸，余韵悠长。",[24,25,74,7,180,76,79,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408c8a09ac4f62a1af0ad8c556f2968f.jpg",[83],{"id":49213,"slug":49214,"title":49215,"dynasty":18,"author":24699,"museum":450,"description":49216,"tags":49217,"thumbUrl":49218,"material":166,"size":166,"collection":166,"collections":49219,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 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空濛悠远的禅意天地。枯笔勾勒的崖边瘦松枝桠疏朗，伴着淡墨晕开的空寂山水，烘托出幽阒沉静的氛围。达摩身披宽袍静坐石上，身形简括却尽显静定肃穆，侍立的沙弥神态恭谨，愈发衬得画面寂廖安宁。整幅画以少胜多，舍去繁缛细节，用萧散澹远的笔墨传递出禅家清寂玄远的意趣，将面壁的枯坐修行化为极具氛围感的视觉图景，尽显水墨禅画以形写神的精妙。",[23,281,24,25,95,7,547,3557,193,180,717,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e177f7ca701ef04d64427f39085162b.jpg",[],{"id":49615,"slug":49616,"title":49617,"dynasty":205,"author":581,"museum":450,"description":49618,"tags":49619,"thumbUrl":49620,"material":166,"size":166,"collection":166,"collections":49621,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[23,281,24,25,26,547,7,193,33,480,941,6485,48566,37,38,3074,80,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],{"id":49623,"slug":49624,"title":49625,"dynasty":205,"author":607,"museum":450,"description":49626,"tags":49627,"thumbUrl":49631,"material":166,"size":166,"collection":166,"collections":49632,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,24,25,26,38,80,37,7,27,193,596,2283,23702,24032,547,28,49628,49629,49630,17630,61,481,123],"农事场景","传统服饰","古文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":49634,"slug":49635,"title":49636,"dynasty":205,"author":6572,"museum":92,"description":49637,"tags":49638,"thumbUrl":49639,"material":166,"size":166,"collection":166,"collections":49640,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},227592,"jing-zhou-tie-huang-ting-jian-227592","荊州帖","《荆州帖》，纸本，行书，亦称《动静帖》、《致公蕴知县宣德执事尺牍》，30.4×43.5cm，现藏台北故宫博物院。\n\n公元1095年（绍圣二年）三月，黄庭坚在荆州登船离行前，以小行楷书与公蕴知县道珍重。该幅字势欹侧，结体开张，具其书风特色，所书笔法沉稳，惟笔画中之顿挫起伏较少，与大行书略有差别。此牍曾入宋元秘府，后并入《三希堂法帖》。",[37,25,38,80,858,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5615ef47c334626dd2da3323d409de86.jpg",[],{"id":49642,"slug":49643,"title":49644,"dynasty":174,"author":15894,"museum":450,"description":49645,"tags":49646,"thumbUrl":49647,"material":166,"size":166,"collection":166,"collections":49648,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":47},224535,"fang-ni-qu-lin-shan-shui-zhu-chang-224535","仿倪去林山水","此作用笔简净松灵，取法倪氏平远意趣，绘就萧疏清旷的深秋丘壑。近岸枯木疏槎清瘦劲挺，枝桠寥寥，带着深秋荒寒之气。远山以淡墨轻扫勾勒，轮廓柔和简淡，留白水面悠悠延展，将空寂意境铺陈开来，林麓石畔的隐舍萧然出尘，不见烟火气。全幅笔墨淡逸清润，不作繁复皴染，以极简形制传递静穆萧散的文人雅韵，将倪画天真幽淡的冷寂气质得韵传神，尽写郊野秋意的疏朗空荒，藏着对枯淡美学的精准追摹与悠远体悟。",[23,24,7,36,254,95,28,610,147,180,30,33,212,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b10416c0f2ccf154ddc3b890e53df8.jpg",[],{"id":49650,"slug":49651,"title":49652,"dynasty":174,"author":32025,"museum":450,"description":49653,"tags":49654,"thumbUrl":49655,"material":166,"size":166,"collection":222,"collections":49656,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":140},224534,"fang-dong-yuan-bi-yi-tu-zhou-qi-zhi-jia-224534","仿董源笔意图轴","此作用笔苍简老辣，以淡墨皴擦写高远山峦，浓墨苔点提点山形，尽显山石苍古厚重。近坡古松虬曲、杂木错落，笔致写意随性。水畔茅舍中二人对坐，将山居雅晤的幽寂之趣藏于林泉间。\n\n画作师法前人却自出机杼，以简淡笔墨晕染出空濛悠远的意境，将文人寄情山水、追慕林泉高致的隐逸襟怀融在尺幅间，萧散清逸的格调尽显文人画的意趣风神，于简淡之中见出深秀雅致。",[23,24,25,95,7,254,36,28,34,33,35,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4cb4ed98632dc4ebd5a427f409fd.jpg",[222],{"id":49658,"slug":49659,"title":49660,"dynasty":174,"author":5090,"museum":450,"description":49661,"tags":49662,"thumbUrl":49663,"material":166,"size":166,"collection":166,"collections":49664,"showCount":372,"zanCount":46,"manualWeight":46,"mainColor":140},224451,"xia-shan-yan-yu-tu-wang-hui-224451","夏山烟雨图","清王翚款夏山烟雨图轴是重庆中国三峡博物馆收藏的绘画。\n质地:纸 藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,24,281,547,7,193,28,19341,50409,3914,282,33,30,11172,80,2446],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],{"id":50413,"slug":50414,"title":50415,"dynasty":18,"author":50416,"museum":450,"description":50417,"tags":50418,"thumbUrl":50419,"material":314,"size":1061,"collection":166,"collections":50420,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},287945,"yan-shi-shui-xian-tu-zhou-lu-tian-ru-287945","岩石水仙图轴","卢天如","此作用淡墨写意落笔，兰叶以中锋写就，舒展挺劲，交叠错落间尽显柔韧生机。水仙花瓣以淡墨轻勾晕染，清雅秀润，细碎花序点缀其间，幽淡雅韵扑面而来。右侧岩石以枯淡侧锋皴擦，不取精细形貌，独取荒朴沉静之态，与水仙灵秀相映成趣。浅笔点染地面细草，极简笔墨便铺就清寂幽境。\n\n整体笔墨简淡秀雅，不事浓艳，以写意之姿托举出水仙的清逸高洁，寥寥数笔便勾勒出幽淡出尘之境，尽显水墨写意的含蓄雅致，将水仙冰肌玉骨的品性描摹得恰如其分。",[23,24,7,95,75,132,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01abbc0500f8034b968960ab0eb92e70.jpg",[],{"id":50422,"slug":50423,"title":50424,"dynasty":52,"author":581,"museum":450,"description":15467,"tags":50425,"thumbUrl":50427,"material":314,"size":1061,"collection":166,"collections":50428,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},287760,"dong-ya-tu-mu-tu-yi-ming-287760","冬鸦秃木图",[24,7,11297,809,282,28,50426,3054],"荒郊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bed51ad511447d3f429b3f77844600c.jpg",[],{"id":50430,"slug":50431,"title":50432,"dynasty":52,"author":12875,"museum":450,"description":42212,"tags":50433,"thumbUrl":50434,"material":314,"size":1061,"collection":166,"collections":50435,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},287671,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhang-yu-287671","仿郑虔林亭秋爽图",[281,24,7,28,254,32,194,30,34,147,31,193,6001,4143,80,37,7919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9620ea01bc9dcbc4a772c93920f5a2.jpg",[],{"id":50437,"slug":50438,"title":50439,"dynasty":52,"author":239,"museum":450,"description":30408,"tags":50440,"thumbUrl":50441,"material":314,"size":1061,"collection":166,"collections":50442,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},287666,"hua-ma-zhao-meng-fu-287666","画马",[24,25,95,312,453,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a1db87a9fd9fa10d9a5ba021cfd3b0.jpg",[],{"id":50444,"slug":50445,"title":50446,"dynasty":52,"author":581,"museum":92,"description":39526,"tags":50447,"thumbUrl":50449,"material":98,"size":50450,"collection":166,"collections":50451,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},287581,"qing-shan-zhu-ge-zhou-yi-ming-287581","青山竹阁轴",[24,281,25,95,7,494,23124,535,50448,29,12529,37,36],"竹阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c3adc48962b9a348f961633ca44b36.jpg","71.9x28.4",[],{"id":50453,"slug":50454,"title":50455,"dynasty":174,"author":5090,"museum":92,"description":17929,"tags":50456,"thumbUrl":50457,"material":40,"size":50458,"collection":166,"collections":50459,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},287446,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-wang-hui-287446","仿李营丘江干七树图",[281,24,25,7,28,254,80,37,147,610,30,31,212,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff309a0ed55d56fb2162e84b4c23405c5.jpg","96.4x54.6",[],{"id":50461,"slug":50462,"title":50463,"dynasty":174,"author":3195,"museum":450,"description":11102,"tags":50464,"thumbUrl":50465,"material":314,"size":1061,"collection":166,"collections":50466,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},287438,"fang-zi-jiu-shan-shui-wang-jian-287438","仿子久山水",[23,1462,24,25,28,7,254,36,212,33,35,31,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06055f87cd31c4518322ae50a39d4b51.jpg",[],{"id":50468,"slug":50469,"title":50470,"dynasty":18,"author":2851,"museum":450,"description":8920,"tags":50471,"thumbUrl":50472,"material":314,"size":1061,"collection":166,"collections":50473,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},283777,"chun-shu-shuang-que-tu-tang-yin-283777","椿树双雀图",[24,281,75,282,717,7,27,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6be4eac2e2e2d00b56654f9399ec35.jpg",[],{"id":50475,"slug":50476,"title":50477,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":50478,"thumbUrl":50479,"material":314,"size":1061,"collection":166,"collections":50480,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},283745,"shu-hua-he-bi-juan-dong-qi-chang-283745","书画合壁卷",[23,281,24,25,26,7,37,38,28,212,1776,3664,211,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9730d590d7dfec6d881d41f1b0e097.jpg",[],{"id":50482,"slug":50483,"title":50484,"dynasty":52,"author":581,"museum":450,"description":50485,"tags":50486,"thumbUrl":50487,"materia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而吴怀清《天生先生年谱》康熙三年条有注云：“康熙六年，总督某索赂不应，为所劾，落职归。”总督，实指当时山陕总督 依此说，王显祚之落职，非贪婪之故，而实受栽赃陷害。",[37,95,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a363e2dd3389051b69e740c43975a7d.jpg","纵180厘米，横62厘米",[245],{"id":50558,"slug":50559,"title":50560,"dynasty":18,"author":50561,"museum":120,"description":50562,"tags":50563,"thumbUrl":50564,"material":298,"size":50565,"collection":245,"collections":50566,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},240390,"lin-da-ling-tie-zhou-xing-dong-240390","临大令帖轴","邢侗","邢侗（1551-1612），字子願，號知吾，自號啖面生、方山道民，晚號來禽濟源山主、世尊稱來禽夫子。\n臨邑（山東德州）人，明代書法家、畫家。\n明萬曆二年進士，官至陝西太僕寺少卿。善畫，能詩文，工書，書法為海內外所珍視。與董其昌、米萬鍾、張瑞圖並稱“晚明四大家”並位列其首，與董其昌並稱“北邢南董”。\n邢侗詩則出入李、杜、王、岑，“高古典雅，每每工而拙用之”。五七言律宗唐，古風追漢魏，如《平倭歌》等，頗有“建安風骨”。於鱗之後，子願代興，堪為一代詞宗。晉江友人黃克纘説：“餘時與（子願）唱和，每詩筒至，輙私念：‘此中有佳句’，如尹媫妤望見邢夫人，自痛其不如也”。子願有詩五百餘首，亦收入全集。\n其於繪事，“偶作意寫卷石、莎草、長松、修竹，遊戲點綴，羅羅見其清淑，大抵仿叔明、元章筆意。”不以丹青為長，不過略以自適，卻也落落大方。不過他對繪事的欣賞和理解，還是表明了他的修養品位的，在他對一些名畫的題跋中不難看出。如《題趙子昂墨竹》、《題沈石田畫》等。而其《題沈周花果》説：“畫以三筆五筆得其神者佳。雖筆筆工整、敷彩濃麗，即得其妙，神亦難至。”寫意花鳥畫到了明代，即為水墨寫意大發展時期，崇尚秀雅，強調“士氣”、“書卷氣”，屬文人畫體系。“三筆五筆得其神”，是否可以説在理論上開了“八大山人”的先河呢？邢侗一生之於詩文書畫，畫是着力少了些，但可以説少而不低。\n邢侗博採眾長，遍臨魏、唐、宋諸大家，其臨池之美，以鍾、索、二王為主，尤好右軍書，而得右軍神髓。他自己説：“與右軍書坐卧幾三十年，始克入化。”明周之士《遊鶴堂墨藪》説：“近代邢子願書，精研二王，筆法恆彷彿《十七貼》筆意；即其卷素所書，跡多述王帖，可謂極意臨摹者矣。宋、齊而下，書法衰颯，魏晉風軌掃地者，已非旦夕之故，乃公（侗）獨裒然闢除陋習，追跡逸少，無論其精旨謂何，即其矢志，則已超人一等矣。”\n邢侗行草、篆隸，各臻其妙，而以行草見長；晚年尤精章草。當時與董其昌並稱“南董北邢”，又與米萬鍾，張瑞圖並稱“邢張米董”。但藝術創造力遠不足與董其昌、張瑞圖、黃道周相比。邢侗的長處，即在於他臨古極肖，他的名作多是臨作。他工於諸體，尤其工草書，由於泥古未化古，缺少個性的顯彰。他對晚明末流書法的狂怪無法度十分反感，他的法古是對這些末流書法的警示，其書法史價值也在於此。傳世書跡有《臨王羲之帖》、《論書冊》、《古詩卷》、《臨晉人帖》等。除故宮博物院外，今倫敦博物館，日本、東南亞諸國皆存其書跡。",[24,25,95,7,254,80,394,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a266b423f33da1daefa6f4209a229.jpg","175.5×25.4厘米",[245],{"id":50568,"slug":50569,"title":50570,"dynasty":174,"author":50571,"museum":450,"description":50572,"tags":50573,"thumbUrl":50574,"material":314,"size":1061,"collection":166,"collections":50575,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},240320,"bei-cha-xing-ye-shen-ji-240320","焙茶行页","沈楫","沈楫［清］字蓉洲，号东山，嘉定（今属上海市）人。画法赵孟頫。",[25,74,38,37,80,13883,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3021a03c586aa24a14da470a55984e.jpg",[],{"id":50577,"slug":50578,"title":50579,"dynasty":174,"author":926,"museum":450,"description":45282,"tags":50580,"thumbUrl":50581,"material":314,"size":1061,"collection":166,"collections":50582,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},240289,"li-shan-shi-zhou-li-shan-240289","李鱓诗轴",[24,25,95,38,37,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308b3c2debc85a55603b171bd6907627.jpg",[],{"id":50584,"slug":50585,"title":50586,"dynasty":174,"author":50587,"museum":450,"description":50588,"tags":50589,"thumbUrl":50590,"material":166,"size":166,"collection":245,"collections":50591,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},240022,"lin-tang-tai-zong-shi-zhi-tie-ping-zhou-dai-wang-lun-240022","临唐太宗使至帖屏轴","戴王纶","戴王纶，字经碧，号一斋，直隶沧州（今河北沧县）人。其父戴明说为明崇祯四年进士，官至户部尚书。戴王纶为顺治五年（1648年）戊子科顺天乡试第五名举人，顺治十二年（1655年）中一甲第二名进士（榜眼），授翰林院编修。官至江西粮道。康熙十八年（1679年）举博学鸿词科。工诗、书，善于画兰。",[37,38,254,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b7e2ca2c826c74211a9ec0588bd13c.jpg",[245],{"id":50593,"slug":50594,"title":36115,"dynasty":174,"author":4256,"museum":450,"description":50595,"tags":50596,"thumbUrl":50597,"material":166,"size":166,"collection":245,"collections":50598,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},239947,"qi-yan-lian-lu-hui-239947","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）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加太平军工作，功名之路永绝。从刘德六游，习花果、翎毛，有出兰之誉。尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤吴大瀓，相与谈艺，大悦，纵观吴之所藏，上窥唐、宋，下樵元、明，艺事大进。旋客吴幕，得游三湘，辽东名胜。所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工汉隶，旁参魏晋六朝，遒劲而具有金石气。尝作衡山记游图八幅，认为生平杰作，谓可媲美黄易《访碑图》。\n光绪二十二年（1896）张之洞任江督，集海内名画家补绘元王恽所进《承华事略》，以总其事。图中衣冠、彝器悉准历代制度。中年归苏州，潜心绘事，考订金石文字，垂三十年。为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹评画中九友“以吴江陆廉夫得名最早，山水学四王，渲染尤能逼真。”",[37,6187,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4306a6678d4afb150d8aef509e5d84.jpg",[245],{"id":50600,"slug":50601,"title":50602,"dynasty":4342,"author":581,"museum":120,"description":50603,"tags":50604,"thumbUrl":50605,"material":32964,"size":50606,"collection":245,"collections":50607,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},239654,"tang-ren-fa-hua-jing-xuan-zan-juan-yi-ming-239654","唐人法华经玄赞卷","此卷界乌丝栏，首尾皆缺，书者不明。书写内容为《法华经玄赞》，这是唐代玄奘法师的弟子窥基（632—682年）撰述的一部阐说《妙法莲华经》教义的专著。\n唐人写经多为楷书，草书者极为罕见。此卷行气均匀，风格典雅，字形虽小，但使转精妙，法度俨然，今草之中略带章草韵味，可与隋人《出师颂》及孙过庭《书谱》互参，应为初唐高手所写。\n鉴藏印有“罗振玉印”、“康生看过”等。",[23,37,4956,242,26,3557,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7734eecceae894ca27d2b35a2f04cb94.jpg","纵28.4厘米，横373.2厘米",[245],{"id":50609,"slug":50610,"title":26949,"dynasty":174,"author":26950,"museum":450,"description":50611,"tags":50612,"thumbUrl":50613,"material":166,"size":166,"collection":166,"collections":50614,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},239539,"fang-gu-ji-you-tu-ce-huang-yi-239539","此作用淡墨白描写村居小景，右侧老干虬结，层叶扶苏，掩映三两茅舍，舍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lun-gui-qu-lai-ci-shu-hua-ce-zhang-rui-tu-235014","乐志论归去来辞书画册","该书画册为纸本，共11页，书及款7。页，墨笔画4页。\n题签：张二水书画合璧精品，渔隐题签。印文：骏叔。\n绘画部分题识：（一）白毫庵，瑞图作。印文：无画氏。（二）白毫庵，图。印文：张瑞图印。（三）白毫庵，图。印文：瑞图。（四）白毫庵，图。印文：瑞图。每页均有题句，其中两页录《归去来辞》句，其书分别为行书《乐志论》及“果亭山人瑞图”款；行书“归去来辞”。\n该作主要是以元代大画家黄公望的画法画出的，骨格苍劲，点染清逸，用笔颇有灵气，画面上山石、树木、楼阁、村舍皆刻划严谨，画境富于古意。其画皆山水，用笔秀逸，各有意境，颇得生机。\n第一幅绘雾松图，用的都是黄公望画法，第二幅溪桥雾霁图，画树法与王铎相仿，第三幅溪岸图，中锋行笔，超凡脱俗，落墨沉重，凛然生气，第四幅雪山寒松图，以偏锋笔力，劲健横撑，耸肩方折，风骨摇醉，恰似 他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[24,25,74,7,28,32,33,30,36,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":51221,"slug":51222,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":17929,"tags":51223,"thumbUrl":51224,"material":314,"size":1061,"collection":166,"collections":51225,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234963,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234963",[24,25,74,7,36,254,28,162,29,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c2256c7c79abd27570bee507128938.jpg",[],{"id":51227,"slug":51228,"title":10777,"dynasty":174,"author":5090,"museum":450,"description":17929,"tags":51229,"thumbUrl":51230,"material":314,"size":1061,"collection":166,"collections":51231,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234961,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234961",[24,25,7,36,3217,74,28,33,34,29,30,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc97e93ee3df5c5120d255db227d823f.jpg",[],{"id":51233,"slug":51234,"title":157,"dynasty":18,"author":28386,"museum":450,"description":51235,"tags":51236,"thumbUrl":51237,"material":166,"size":166,"collection":166,"collections":51238,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234872,"shan-shui-ce-zhao-pu-234872","此作以水墨写意绘就空山春景，远山以淡墨披麻皴轻施晕染，似笼着薄雾轻烟，将山野空濛之态悄然铺展。近岸古木盘曲、修篁挺立，苔点错落点缀坡石，寥寥数笔便勾勒出林泉幽寂之致。\n\n左侧题字笔意疏朗秀逸，墨色浓淡层次分明，诗画相映成趣。整幅没有浓丽设色，纯以水墨写尽春日丘壑的澹远空灵，将文人寄情山水的林下风流藏于尺幅之间，淡而愈浓，简而弥长，尽显文人画以情入画、诗画相融的雅致意韵。",[24,25,74,38,7,28,180,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07946324d8ab4adf4a14156f7fcd3b5.jpg",[],{"id":51240,"slug":51241,"title":27778,"dynasty":174,"author":51242,"museum":450,"description":51243,"tags":51244,"thumbUrl":51245,"material":314,"size":1061,"collection":166,"collections":51246,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234841,"shan-shui-ye-gu-fu-zhen-234841","顾符稹","一作符桢，清代画家。初名稹，字瑟如，后名符稹，字松崖，号小痴，江苏兴化人。能诗、工书、善画，山水、人物远学李昭道，善以勾染作画，近学赵孟頫，以清丽著称。所作笔法工致严谨，细入毫发，树石细笔写生，颇具气势。家贫寒，以卖画自给，故临摹托古者颇多。",[24,7,27,74,36,28,147,29,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeabedbed4db47e76e2c7fe2dd580518.jpg",[],{"id":51248,"slug":51249,"title":42730,"dynasty":174,"author":6172,"museum":120,"description":42731,"tags":51250,"thumbUrl":51251,"material":166,"size":166,"collection":166,"collections":51252,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234821,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234821",[24,25,74,7,28,31,30,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d8c7036a760a53b283794514f30a12.jpg",[],{"id":51254,"slug":51255,"title":5598,"dynasty":174,"author":45954,"museum":450,"description":45955,"tags":51256,"thumbUrl":51257,"material":314,"size":1061,"collection":166,"collections":51258,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234778,"hua-hui-ce-wang-lu-234778",[24,25,74,7,75,134,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1cc923a47fe9c54ae5ae40b582ba50.jpg",[],{"id":51260,"slug":51261,"title":14561,"dynasty":174,"author":27658,"museum":120,"description":27659,"tags":51262,"thumbUrl":51263,"material":564,"size":166,"collection":166,"collections":51264,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234766,"huang-shan-tu-ce-jiang-zhu-234766",[24,25,74,7,36,37,38,80,28,180,30,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a104026573d.jpg",[],{"id":51266,"slug":51267,"title":51268,"dynasty":174,"author":581,"museum":450,"description":51269,"tags":51270,"thumbUrl":51271,"material":314,"size":1061,"collection":166,"collections":51272,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234706,"gu-yun-wu-zhu-gao-shi-shan-mian-yi-ming-234706","顾沄梧竹高士扇面","此作以扇面为卷，绘就林泉幽居之景。浅淡笔墨晕染出水色空濛，茅亭临波，高士凭栏闲坐，似在静赏烟水林峦。梧竹葱茏伴山石朴拙，墨色清润秀雅，将山林的幽寂之气铺陈开来。\n题识小字错落排布，诗画相映，把文人寄情丘山、静享闲逸的心境尽数藏于尺幅之间。构图疏密相宜，亭台人物虽小巧却情态悠然，衬以苍茂竹木与朦胧水色，将江南林泉的清寂雅致融于咫尺扇面，尽显萧散出尘的文人意趣，以简淡笔墨勾勒出隐逸林下的悠然意境，尽显画中寄情林泉的悠远韵致。",[1462,7,27,123,193,1475,126,32,180,28,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb882582c71de5a9c47181782de4dcba1.jpg",[],{"id":51274,"slug":51275,"title":51276,"dynasty":18,"author":44454,"museum":450,"description":51277,"tags":51278,"thumbUrl":51279,"material":166,"size":166,"collection":166,"collections":51280,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234682,"shan-shui-dan-ye-wan-shou-qi-234682","山水单页","万寿祺（1603年－1652年），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍江西南昌，曾祖辈迁至江苏徐州。 [1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[9254,7,547,36,13071,80,28,624,193,34,164,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],{"id":51282,"slug":51283,"title":10031,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":51284,"thumbUrl":51285,"material":166,"size":166,"collection":166,"collections":51286,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234650,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234650",[24,25,74,547,7,28,194,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6ae281bab731ccb23526b7cc5efbf0.jpg",[],{"id":51288,"slug":51289,"title":157,"dynasty":174,"author":9682,"museum":450,"description":32172,"tags":51290,"thumbUrl":51291,"material":166,"size":166,"collection":166,"collections":51292,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234644,"shan-shui-ce-cha-shi-biao-234644",[24,25,74,7,38,28,162,32,29,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9d06e411b9b13d70f95bc92270295.jpg",[],{"id":51294,"slug":51295,"title":157,"dynasty":174,"author":9682,"museum":450,"description":32172,"tags":51296,"thumbUrl":51297,"material":166,"size":166,"collection":166,"collections":51298,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234642,"shan-shui-ce-cha-shi-biao-234642",[24,25,74,7,38,37,28,162,34,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd571a94f7c6223027c110d269704e0.jpg",[],{"id":51300,"slug":51301,"title":45995,"dynasty":174,"author":46004,"museum":450,"description":46005,"tags":51302,"thumbUrl":51303,"material":166,"size":166,"collection":166,"collections":51304,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234613,"shan-shui-wan-shan-zhang-zhi-wan-234613",[24,25,281,1462,7,36,28,29,30,210,33,213,126,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a8ec8604d5c6b10775e960b4391e4e.jpg",[],{"id":51306,"slug":51307,"title":51308,"dynasty":174,"author":51309,"museum":450,"description":51310,"tags":51311,"thumbUrl":51312,"material":166,"size":166,"collection":166,"collections":51313,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234592,"yu-tang-xian-pin-wan-shan-wu-guan-dai-234592","玉堂仙品纨扇","吴观岱","吴观岱近现代（1862―1929）名宗泰，又字念康，40岁改字观岱；号觚庐、洁翁，晚号江南布衣。生于清同治元年(1862年)，无锡人。\n吴观岱，初名宗泰，字念康，号洁翁，别号有小 梅花庵主、鱼陆散人、溪山画隐、觚饮道人等，江苏无锡人。工书善画，山水人物兼妙，尤擅画梅。为“江南四吴”之一。",[24,25,1462,7,125,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fdec221d18c1cd0e462b77dfba71b24.jpg",[],{"id":51315,"slug":51316,"title":51317,"dynasty":18,"author":11809,"museum":450,"description":27072,"tags":51318,"thumbUrl":51319,"material":166,"size":166,"collection":166,"collections":51320,"showCount":524,"zanCount":1084,"manualWeight":46,"mainColor":140},234566,"qian-gu-shan-shui-shan-qian-gu-234566","钱榖山水扇",[24,25,1462,7,36,28,29,33,34,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029b8b5681dd97bfa0a51a03620ac928.jpg",[],{"id":51322,"slug":51323,"title":51324,"dynasty":174,"author":51325,"museum":120,"description":51326,"tags":51327,"thumbUrl":51328,"material":166,"size":166,"collection":166,"collections":51329,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234548,"mao-die-tu-zhou-chen-chong-guang-234548","耄耋图轴","陈崇光","陈崇光（1838—1896）原名召，字崇光，后改字若木、栎生，号纯道人，江苏扬州人。初为雕花工，后为虞蟾弟子。\n二十岁前曾参加太平天国革命，随虞蟾同在天京（今南京）绘制壁画。太平天国失败后回扬州，从洪福祥至各地画土地庙。曾客寓皖中蒯氏家，多见宋元名家真迹，力追古人，画艺锐进。工花鸟、人物、草虫、山水，尤长双钩花卉，为当时扬州大家。光绪十三年（1887）黄宾虹曾在扬州从其学花鸟画，受其影响至深，推崇其“极合古法，沉雄浑厚”。吴昌硕赞其“笔古法严，妙意从草篆中流出”。工诗，有一沤山馆选集。卒年五十八。\n传世作品有同治九年（1870）作《松鼠图》轴，著录于《中国书画家印鉴款识》；《麦间野雉图》等现藏扬州市博物馆；《花卉翎毛四条屏》图录于《中国书画报》。工诗，著有《一沤山馆选集》。",[24,25,95,7,27,123,1015,3996,363,453,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F515aa50ab8e4688023a4fbb689ba2916.jpg",[],{"id":51331,"slug":51332,"title":51333,"dynasty":174,"author":5090,"museum":120,"description":51334,"tags":51335,"thumbUrl":51336,"material":6280,"size":51337,"collection":166,"collections":51338,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","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。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[24,25,281,95,7,36,28,126,32,31,34,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":51340,"slug":51341,"title":51342,"dynasty":174,"author":581,"museum":450,"description":51343,"tags":51344,"thumbUrl":51345,"material":166,"size":166,"collection":166,"collections":51346,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234485,"qing-jiang-zuo-wen-xin-ji-ce-zou-zhe-shan-shui-ce-ye-yi-ming-234485","清江左文心集册-邹喆山水册页","明末清初，金陵特殊的政治、经济、文化地位，使其集聚了一大批画家，用龚贤的话来说：“今日画家以江南最盛，江南十郡以首郡为盛，郡中著名者且数十辈，但能吮笔者岂止千人？”① 江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[24,7,27,36,74,28,34,33,148,1974,212,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceffa03dc34c80a37f79d6bb2778e258.jpg",[],{"id":51348,"slug":51349,"title":51350,"dynasty":174,"author":44271,"museum":120,"description":44272,"tags":51351,"thumbUrl":51352,"material":166,"size":166,"collection":166,"collections":51353,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234464,"zhu-shi-qiu-mu-tie-luo-shen-zhen-lin-234464","竹石秋木贴落",[24,25,7,547,36,126,706,147,180,28,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a82ab16ca030e25d29957577dca4f05.jpg",[],{"id":51355,"slug":51356,"title":20131,"dynasty":174,"author":189,"museum":120,"description":51357,"tags":51358,"thumbUrl":51359,"material":537,"size":166,"collection":166,"collections":51360,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234323,"shan-shui-ren-wu-tu-ce-huang-shen-234323","黄慎，我国清代杰出书画家，福建宁化人，初名盛，字恭寿，恭懋，号瘿瓢子，别号东海布衣，“扬州八怪”之一。黄慎以人物画最为突出，也擅山水、花鸟。他的人物画多以神仙故事为题材，初学上官周，以工笔画居多，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，气象雄伟。黄慎的草书，学自“二王”，更有怀素的笔意。\n“笔一枝，墨一斗，兴酣笔跃墨亦走。笔有神，墨无痕，山重水复蛇龙奔”。所形容的状态与意境，用来形容黄慎的书风十分贴切，疏景横斜，苍藤盘结，具有“字中有画”之趣。\n此外，他的花鸟画宗法徐渭，笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。他虽“不以山水名”，但大幅和小景都各尽其妙，潇洒有致。",[24,7,547,193,80,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5263bc7ea04db8193900e7a1fb7a8c3.jpg",[],{"id":51362,"slug":51363,"title":70,"dynasty":174,"author":739,"museum":5692,"description":35218,"tags":51364,"thumbUrl":51365,"material":537,"size":10327,"collection":166,"collections":51366,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},234315,"hua-niao-ce-hua-yan-234315",[281,24,25,74,7,27,75,180,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a71eb4272a0601ceda8e081d8be8f.jpg",[],{"id":51368,"slug":51369,"title":51370,"dynasty":18,"author":51371,"museum":120,"description":51372,"tags":51373,"thumbUrl":51374,"material":537,"size":51375,"collection":166,"collections":51376,"showCount":524,"zanCount":1084,"manualWeight":46,"mainColor":47},234255,"lian-hua-lao-tu-juan-zhou-guan-234255","莲花落图卷","周官","周官，今江苏苏州人，生卒年不想，大约生活在明中期，善画人物，精于白描。画中后面的那个人个子较高，目盲，背着琵琶，由前面一人用一根细杆牵引；前面那个人正回顾后者，他身上搭着布包，屈腰前行。\n莲花落是一种流传于民间的说唱曲艺艺术。表演者位一人或多人，自说自唱，用以伴奏的乐器称为“七件子”，即右手执两片大竹板，左手执五片小竹板。莲花落，一作莲花乐，源于唐、五代时的“散花月”，最早位僧侣募化时所唱的宣传佛教教义的警世歌曲，宋代开始流行于民间，盛行于明清，大多为盲人表演。",[23,24,25,26,547,7,193,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c1d952ce2747d5d22f310a8a0a1e7a.jpg","纵22厘米 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「林屋洞」、「消夏湾」、「柳毅井」三开。",[24,25,74,7,180,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af1756d9dc8632822fc96b005a2036.jpg",[],{"id":51490,"slug":51491,"title":157,"dynasty":52,"author":1131,"museum":120,"description":21464,"tags":51492,"thumbUrl":51493,"material":564,"size":21467,"collection":166,"collections":51494,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},233173,"shan-shui-ce-cao-zhi-bai-233173",[24,25,74,7,36,28,624,34,2283,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b101776022611c4f83a7a7affa75b39.jpg",[],{"id":51496,"slug":51497,"title":51498,"dynasty":18,"author":19,"museum":120,"description":25782,"tags":51499,"thumbUrl":51500,"material":11042,"size":25785,"collection":166,"collections":51501,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},233137,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xin-guo-tu-ye-shen-zhou-233137","明人西山胜景合壁册-新郭图页",[24,25,74,7,28,29,30,35,33,38,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f3bdabed4bfe76d9c471868a7a47b2.jpg",[],{"id":51503,"slug":51504,"title":51505,"dynasty":18,"author":796,"museum":120,"description":25782,"tags":51506,"thumbUrl":51507,"material":11042,"size":25785,"collection":166,"collections":51508,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},233135,"ming-ren-xi-shan-sheng-jing-he-bi-ce-zi-wei-cun-ye-chen-chun-233135","明人西山胜景合壁册-紫薇村页",[24,25,74,7,38,28,194,33,480,1524,507,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29457c5afef79185ae2c06064d9f37a5.jpg",[],{"id":51510,"slug":51511,"title":51512,"dynasty":174,"author":12042,"museum":450,"description":49456,"tags":51513,"thumbUrl":51514,"material":298,"size":166,"collection":166,"collections":51515,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},232682,"shu-fa-jing-xin-zi-pian-hong-yi-fa-shi-232682","书法镜心字片",[23,37,38,80,2138,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154017fbfcfd27fad10c3f3d930f62f.jpg",[],{"id":51517,"slug":51518,"title":51519,"dynasty":5382,"author":51520,"museum":450,"description":51521,"tags":51522,"thumbUrl":51524,"material":314,"size":1061,"collection":166,"collections":51525,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},231625,"shi-ting-shi-dai-shan-yue-song-lin-tu-shou-ye-yuan-xin-231625","室町时代 山岳松林图","狩野元信","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,25,7,27,36,28,335,624,51523,670],"山岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cae223afb7683f359816c689e347ba.jpg",[],{"id":51527,"slug":51528,"title":51529,"dynasty":174,"author":5090,"museum":92,"description":51530,"tags":51531,"thumbUrl":51532,"material":284,"size":51533,"collection":166,"collections":51534,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[281,24,25,254,36,7,27,28,4347,34,33,268,993,717,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":51536,"slug":51537,"title":31703,"dynasty":174,"author":31340,"museum":450,"description":51538,"tags":51539,"thumbUrl":51541,"material":166,"size":166,"collection":166,"collections":51542,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,24,7,36,95,28,96,35,29,30,31,34,33,533,51540],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":51544,"slug":51545,"title":36517,"dynasty":18,"author":17741,"museum":450,"description":51546,"tags":51547,"thumbUrl":51548,"material":314,"size":1061,"collection":166,"collections":51549,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},230929,"shan-shui-tu-shan-mian-wang-wen-230929","王闿（kǎi）运（1833—1916），晚清经学家、文学家。字壬秋，又字壬父，号湘绮，世称湘绮先生。咸丰二年（1852）举人，曾任肃顺家庭教师，后入曾国藩幕府。1880年入川，主持成都尊经书院。后主讲于长沙思贤讲舍、衡州船山书院、南昌高等学堂。授翰林院检讨，加侍读衔。辛亥革命后任清史馆馆长。著有《湘绮楼诗集、文集、日记》等。",[24,25,1462,7,36,28,147,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0c458d558107f65a6614c148f4e979.jpg",[],{"id":51551,"slug":51552,"title":2484,"dynasty":174,"author":51553,"museum":450,"description":51554,"tags":51555,"thumbUrl":51556,"material":166,"size":166,"collection":166,"collections":51557,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},230914,"fang-gu-shan-shui-tu-cheng-geng-lu-230914","程庚鹭","此作用淡墨晕染山峦，留白铺陈出空濛水汽，层叠峰峦尽显高远之致，干笔皴擦勾勒山石肌理，湿墨晕染晕出山岚氤氲。崖间村居错落，石阶蜿蜒通幽，点染出林下幽居的闲淡意趣。\n右上角题跋笔墨隽秀，与山水笔墨相映成趣，诗画交融。整体兼具萧散简远的文人意韵，将林泉高致寄于尺幅，观之如临空山幽境，俗虑尽销。",[24,7,36,3217,28,335,350,210,33,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8830d376ba0de9a0803b19592cb0df.jpg",[],{"id":51559,"slug":51560,"title":37637,"dynasty":174,"author":189,"museum":450,"description":51561,"tags":51562,"thumbUrl":51563,"material":166,"size":166,"collection":166,"collections":51564,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},230888,"hua-hui-tu-huang-shen-230888","此作以书入画，笔墨淋漓放旷。起首牡丹以淡墨晕瓣、浓墨点苔，脱尽艳俗，尽显清妍雍容。转而绘荷与水仙，老辣纵逸的笔法勾花叶枯荣俯仰，以枯湿浓淡尽显花木生姿，删繁就简，形神兼得。\n\n通卷穿插狂草题诗，书法与绘事相融无间，笔势奇崛跌宕，笔墨风神互通，将诗书画印合一的文人意趣尽致挥洒，一扫拘谨匠气。纵横挥洒间，花木清雅与狂放文心浑然一体，处处皆是超逸不羁的意气，尽显疏野纵宕的大写意气度，把文人画的洒脱风骨寄寓于一花一叶之中。",[23,24,25,26,7,38,394,37,80,75,128,129,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff735c9e73f19409ab108e9dd0254b44d.jpg",[],{"id":51566,"slug":51567,"title":51568,"dynasty":5382,"author":581,"museum":450,"description":51569,"tags":51570,"thumbUrl":51571,"material":314,"size":1061,"collection":166,"collections":51572,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},230550,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-2-yi-ming-230550","明清古画动物山水粉本图卷-2","以淡设色铺陈林泉雅境，枯梅虬枝缀着寒花，古拙清癯。坡石间流泉蜿蜒，晕染出空山幽寂的氛围。两位高士策杖缓行，衣袂轻扬，神态悠然，似正寻幽揽胜。\n笔墨清劲秀逸，山石以淡墨皴擦，晕出空濛温润的山林气韵，草木敷色清雅，粉白梅花点活了冬末春初的清灵意趣。将林下高致融于山水小景，淡而有味，简中见雅，尽显文人寄情林泉、避世寻幽的隐逸意趣。",[23,24,26,27,7,481,36,28,193,2816,34,33,126,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4df883e88673fe6cdff89b7a09a8c.jpg",[],{"id":51574,"slug":51575,"title":51576,"dynasty":5382,"author":10170,"museum":450,"description":10171,"tags":51577,"thumbUrl":51578,"material":314,"size":1061,"collection":166,"collections":51579,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）",[23,24,25,281,95,36,7,27,28,335,162,213,268,164,10975,533,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":51581,"slug":51582,"title":51583,"dynasty":174,"author":12042,"museum":450,"description":51584,"tags":51585,"thumbUrl":51586,"material":314,"size":1061,"collection":166,"collections":51587,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":921},230262,"xing-shu-ping-hong-yi-fa-shi-230262","行书屏","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。",[23,25,37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b95c1c2c8e73c2f6380e9891c18569.jpg",[],{"id":51589,"slug":51590,"title":51591,"dynasty":174,"author":657,"museum":450,"description":51592,"tags":51593,"thumbUrl":51594,"material":166,"size":166,"collection":166,"collections":51595,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},230244,"ba-kai-jin-nong-230244","八开","《兰石八开（之一）》是罗聘创作的一幅纸本水墨设色画。\n兰石八开，构思布局、笔墨意趣各有特色。\n一幅“春兰如美人，不采羞自献”，画根植于崖壁上三丛兰花，用墨浓淡相宜，长叶以撇法出之，轻盈摇曳，偃仰有姿。\n一幅“寄君青兰花，惠好庶不绝”，画带根兰花两枝，淡墨点花，薄而润，所谓授人兰花，手有余香。\n一幅“山无一春草，谷有千年兰”，画幽谷兰花，长叶循势纷披，格调清雅秀逸。\n另一幅白描兰花与墨石，“用瞿睿夫勾勒法”所画，别有韵味。\n本册为邓拓捐赠给中国美术馆作品，各图均钤有邓拓收藏印。\n罗聘（17—1799），字遯夫，号两峰，又号花之寺僧、衣云道人等，祖籍安徽歙县，寓居扬州，为金农入室弟子，曾游历越、楚、齐、豫、燕、赵，并三次到北京。\n受金农赞赏，多为其代笔。\n好学无倦，才艺出众，所画题材广泛，兼擅人物、鬼神、佛像、山水、花叶、梅竹，既继承师法，又不拘泥师法，笔调奇特，构思新颖。\n曾因能画鬼而轰动当时，吸引了袁枚、姚鼐、钱大昕、翁方纲等人为之题咏。\n秦祖永推崇其作品为“神品”，评价说：“笔情古逸，思致渊雅，深得冬心神髓。\n墨梅兰竹，均极高妙，古趣盎然；人物佛像，尤奇而不诡于正，真高流逸墨，非寻常画史所能窥其涯者也。\n”他和妻子方婉贞、儿子允绍、允瓒都善画梅，时人称为“罗家梅派”，画法影响了近代的吴昌硕、齐白石。\n著有《香叶草堂集》。",[24,25,74,7,1853,4718,363,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636c7e7ebbabcadea44ca8496db485fe.jpg",[],{"id":51597,"slug":51598,"title":51599,"dynasty":174,"author":51600,"museum":450,"description":51601,"tags":51602,"thumbUrl":51603,"material":166,"size":166,"collection":166,"collections":51604,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,24,25,95,7,36,28,5329,29,30,33,34,35,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":51606,"slug":51607,"title":51608,"dynasty":174,"author":377,"museum":450,"description":51609,"tags":51610,"thumbUrl":51611,"material":166,"size":166,"collection":166,"collections":51612,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},228990,"bai-kai-luo-han-tu-21-shi-tao-228990","百开罗汉图21","《石涛大士百页罗汉画册》是 于21年出版的图书。\n石涛（164—177），原名朱若极，又名原济，一作元济。\n别号大涤子、清湘老人、苦瓜和尚、瞎尊者、石道人、痴纯、若极等，朱元璋侄子朱文正子靖江王朱守谦十世孙。\n生于明崇祯十三年（164）。\n①顺治二年（1645）夏，清军攻入南京，福王朱由菘等为清军所擒。\n黄道周、郑芝龙等拥立唐王朱聿键在福州称帝，石涛的父亲朱亨嘉也在桂林自称监国。\n广西巡抚瞿式耜因为朱亨嘉非皇室嫡系，没有资格称帝，暗中遣人报唐王朱聿键，朱聿键遣军攻之，朱亨嘉为其所俘，执至福州，囚禁而死。\n石涛当时年仅5岁，由内宫太监携带逃亡，遁入佛门，太监法号喝涛，朱若极法号石涛，二人以师兄弟相称。\n朱若极遂以石涛知名于世。\n石涛幼年聪颖，喜读书。\n既通晓佛典，复好诗文，并喜爱书画，十余岁时即描摹兰草花卉，小有所成。\n未成人，随师兄喝涛北上，游历荆楚岳阳、武昌一带。\n丁酉年春，复由荆楚云游江浙。\n这一时期，是石涛初学书画的时期。\n于前人书法独喜颜真卿，而没有随着当时风气学习董其昌。\n康熙丁未（1667），石涛至宣城。\n在之后的十多年中，石涛以宣城为中心，往返于宣城、太平和黄山之间，并多次游历黄山。\n得黄山烟云变幻之助，画境日进。\n当时所与游者，有著名画家梅清，曹冠五、半山和尚、黄燕思、梅庚、施闰章、江注、吴震伯等。\n诸人既以诗文相酬唱，复以画艺相切磋。\n而梅清对石涛的影响尤其巨大。\n三游黄山，更对石涛的山水绘画产生了巨大影响。\n石涛这一时期留下的绘画作品如藏于日本泉屋博古馆的《黄山八胜图》、北京故宫博物院所藏的《黄山图》21帧等，就带有明显的新安画派风格，清秀淡雅，多用淡墨枯笔，许多画面可以与黄山风景相对应。\n因此石涛曾题画云：“黄山是我师，我是黄山友。\n心期万类中，黄峰无不有。\n” 除了山水画成就外，石涛同样精于人物绘画，其传世作品经常穿插人物形象。\n石涛勤于摹古，主要师法对象有宋代画家李公麟和米芾等，并留下一些带有浓厚古风的作品。\n《石涛大士百页罗汉图册》就是这一时期的代表作。",[24,25,74,7,547,3557,193,147,194,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d6691bef27d77f387063553b249a7f.jpg",[],{"id":51614,"slug":51615,"title":51616,"dynasty":174,"author":5846,"museum":450,"description":51617,"tags":51618,"thumbUrl":51620,"material":166,"size":166,"collection":166,"collections":51621,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},228947,"qing-sha-ji-ying-tu-zhou-bian-shou-min-228947","晴沙集影图轴","《边寿民晴沙集影图轴》是清代边寿民创作的一幅画。\n此图是边寿民画芦雁的代表作。\n图上仅绘芦苇丛边二雁，悠闲宁静，姿态生动自然。\n用笔洗练娴熟，墨色深浅把握自如，反映了画家长期与雁朝夕相对，观察入微，从而达到了“自与心会，画与神契”的意境。\n本幅自题：“晴沙集影，淮海边寿民。\n”钤“颐公”白文印、“寿民”白文印。",[23,24,7,123,95,1004,6504,51619,350],"沙滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a00d913eb5abd9abc798528abcda85b.jpg",[],{"id":51623,"slug":51624,"title":51625,"dynasty":18,"author":51626,"museum":450,"description":51627,"tags":51628,"thumbUrl":51629,"material":166,"size":166,"collection":166,"collections":51630,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,24,25,2446,27,7,38,80,37,28,335,831,162,35,15560,36,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":51632,"slug":51633,"title":51634,"dynasty":18,"author":32521,"museum":450,"description":51635,"tags":51636,"thumbUrl":51637,"material":166,"size":166,"collection":166,"collections":51638,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,24,25,74,27,7,38,28,1035,29,30,193,35,33,2925,5582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],{"id":51640,"slug":51641,"title":51642,"dynasty":52,"author":581,"museum":450,"description":51643,"tags":51644,"thumbUrl":51646,"material":166,"size":166,"collection":166,"collections":51647,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},228214,"du-hai-tu-ye-yi-ming-228214","渡海图页","此作以极简构局营造出清寂空灵的禅意。画面左侧，仙人安卧枯槎之上，随波缓行，神情悠然自适，将乘槎渡海的古雅意趣融于尺幅。淡墨轻勾细波，晕染出辽远空茫的海面，大片留白代以海天辽旷，不着一字而尽得风流，暗合元代尚简尚意的文人审美。笔致清简含蓄，枯槎的苍古与仙人的闲逸相映，将寄迹天地、物我两忘的隐逸之思藏于淡远意境中，静穆悠远的出世之趣扑面而来。",[23,24,25,2446,7,27,193,51645,455,31],"海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87321fda6d77770c6e633cb609e50cc8.jpg",[],{"id":51649,"slug":51650,"title":51651,"dynasty":205,"author":7550,"museum":450,"description":51652,"tags":51653,"thumbUrl":51654,"material":166,"size":166,"collection":166,"collections":51655,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},228169,"xi-cheng-tu-juan-qiao-zhong-chang-228169","西成图卷","这擘窠大字笔力雄强苍劲，中锋行笔尽显厚重质感，墨色枯润互见，焦墨的沉凝与飞白的疏朗交织，尽显老辣朴拙的笔意。“西”字端稳周正，收束内敛，“成”字欹侧跌宕，肆意开张，一动一静间暗合尚意的书法风神。\n\n将秋收的沉实喜悦寄于笔墨，寥寥两字气象浑穆，把丰年的安稳厚重藏于笔锋起落之间，尽显功底与文人笔下的质朴意趣。",[281,24,25,26,38,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c7089484860a26da93e367d54fd451.jpg",[],{"id":51657,"slug":51658,"title":51659,"dynasty":205,"author":581,"museum":450,"description":51660,"tags":51661,"thumbUrl":51662,"material":166,"size":166,"collection":166,"collections":51663,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},227877,"liu-yin-zui-gui-tu-ye-yi-ming-227877","柳荫醉归图页","淡墨晕染出朦胧暮色，岸旁垂柳虬曲柔条拂垂，晕染出郊野空寂慵懒的氛围。画面里二人踉跄前行，袒胸老者脚步虚浮、眉眼惺忪，同伴侧身相挽，将酒后酣醉的神态描摹得鲜活传神。衣纹以简练折线勾勒，灵动写意，袒露的胸腹更添随性不羁之感。细笔点染的苔石杂草，衬出初夏郊野的闲散意趣。\n\n整幅小品以小见大，将市井酒徒的闲散意趣刻画入微，于淡墨轻岚间尽显宋人雅致的日常烟火，把酒后踉跄相依的鲜活模样定格，是极具生活意趣的风俗佳作。",[23,281,24,25,1462,7,27,547,193,1853,162,30,6939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07731deb8fe6e8511dbfea680bcab0c.jpg",[],{"id":51665,"slug":51666,"title":51667,"dynasty":205,"author":581,"museum":450,"description":51668,"tags":51669,"thumbUrl":51670,"material":166,"size":166,"collection":166,"collections":51671,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},227870,"song-xi-fang-ting-tu-yi-ming-227870","松溪放艇图","近岸危石之上老松虬曲蟠郁，旁生枯木寒枝，晕染出深秋荒寂之态。远山以斧劈皴简括勾勒，隐现于淡墨烟霭之中，将江面衬得愈发空阔辽远。水面之上扁舟随波缓行，渔翁垂竿静坐，天地间只剩水波漾开的清寂。\n\n全幅以水墨晕染江南水滨的空濛氤氲，落笔苍劲老辣，皴擦利落，以小景写尽江湖林泉的幽远萧散。将隐士寄情烟波、与世无争的隐逸襟怀融于尺幅间，淡远空灵，尽显宋人山水小品以小见大的精妙，余韵悠长。",[23,24,25,3335,1462,7,27,28,36,624,215,31,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94dd824de3650215297d3eba319e3578.jpg",[],{"id":51673,"slug":51674,"title":5006,"dynasty":174,"author":6172,"museum":450,"description":51675,"tags":51676,"thumbUrl":51677,"material":166,"size":166,"collection":166,"collections":51678,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},224489,"fang-gu-shan-shui-ce-wu-li-224489","此作用墨苍润清逸，远景山峦以浓淡墨色层叠晕染，峰岫间留白作云气，晕出山影空濛悠远的层次感。近渚汀岸以干笔淡墨勾勒，间以浓墨点苔写林木，简笔轻描村居茅舍，错落隐于烟树之间。\n\n整幅构图疏密相宜，以留白衬出水乡的空阔静穆，干湿互用的笔墨带着松秀苍劲的质感，将江南水畔林泉栖居的闲淡意趣铺展开来，萧散静谧的古韵漫溢其间，仿若引人身临这山水幽居，共赴隐逸悠然的林下之境。",[281,24,25,74,7,36,28,29,30,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753cd9e04c73c33b73d3d06de173f862.jpg",[],{"id":51680,"slug":51681,"title":51682,"dynasty":174,"author":5090,"museum":450,"description":51683,"tags":51684,"thumbUrl":51685,"material":166,"size":166,"collection":166,"collections":51686,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":140},224456,"shan-chuang-feng-xue-tu-wang-hui-224456","山窗封雪图","此作用高远、平远之法铺展冬山雪景，上部危崖积雪，枯笔勾勒石骨，以皴擦带出嶙峋肌理，留白晕染厚雪，尽现山巅清寒孤峭。中层林木萧疏，焦墨写出虬曲枝桠，寒意里更见笔力苍劲。下部溪岸错落村居，雪覆茅檐，静卧于素色天地间，冷寂之中暗涌脉脉烟火暖意。\n\n全幅水墨晕染层次雅致，将北派山水的雄浑苍劲与南宗笔墨的秀润柔和相融，把冬雪封山的空寂辽远与村居安谧完美揉合，于尺幅间铺展冬日山野的清寂诗意。",[23,24,7,28,36,95,4347,213,717,35,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7e2bf5fe9351a53cbd0f3cab14c970.jpg",[],{"id":51688,"slug":51689,"title":645,"dynasty":174,"author":491,"museum":450,"description":51690,"tags":51691,"thumbUrl":51692,"material":314,"size":1061,"collection":166,"collections":51693,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},224436,"shan-shui-tu-wang-shi-min-224436","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,24,1462,7,28,36,33,268,57,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88dd2455359266ee4edecf48f9ce10fd.jpg",[],{"id":51695,"slug":51696,"title":28,"dynasty":174,"author":25372,"museum":450,"description":51697,"tags":51698,"thumbUrl":51699,"material":166,"size":166,"collection":166,"collections":51700,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},224435,"shan-shui-wang-yu-224435","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[23,24,25,28,95,27,7,36,34,33,35,164,4569,624,59,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":51702,"slug":51703,"title":51704,"dynasty":174,"author":749,"museum":450,"description":51705,"tags":51706,"thumbUrl":51707,"material":166,"size":166,"collection":166,"collections":51708,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","仿黄子久晴峦霁翠卷","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,25,26,7,36,28,212,33,35,32,215,29,213,1525,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":51710,"slug":51711,"title":51712,"dynasty":174,"author":40894,"museum":450,"description":51713,"tags":51714,"thumbUrl":51715,"material":314,"size":1061,"collection":166,"collections":51716,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":921},224360,"qing-yong-xing-fu-shuo-ba-ji-xiang-jing-ce-ai-xin-jue-luo-yong-xing-224360","清永瑆佛说八吉祥经册","《佛说八吉祥经》乃佛教经典，内容述说东方八佛之名号（即“八吉祥”），以及持诵此诸佛名号和此经之功德利益。",[23,25,3557,74,37,4956,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700314aef392bbe1b78d5ae30d511efc.jpg",[],{"id":51718,"slug":51719,"title":51720,"dynasty":174,"author":926,"museum":450,"description":51721,"tags":51722,"thumbUrl":51723,"material":166,"size":166,"collection":166,"collections":51724,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},224330,"hua-niao-shi-er-kai-8-li-shan-224330","花鸟十二开8","以留白作冷月，淡墨晕开清寒夜雾，似将月色融在水波之中。三尾游鱼姿态灵动，逆水穿波，浓淡墨色晕出鳞光肌理，简笔勾勒却生机尽显。题诗与画境相映，把秋江月夜的清寂氛围铺陈开来。笔意纵逸随性，极简构图勾勒空濛冷寂的秋夜氛围，淡墨轻岚间尽显写意之妙，将秋江月夜的清宁与游鱼野趣相融，寥寥数笔便将文人画的幽隽禅意藏在水墨之间，尽显闲适自在的画中真意。",[23,24,25,74,7,1114,940,397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80fc7263cffe35761818ab68354a95e.jpg",[],{"id":51726,"slug":51727,"title":51728,"dynasty":174,"author":926,"museum":450,"description":51729,"tags":51730,"thumbUrl":51731,"material":166,"size":166,"collection":166,"collections":51732,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},224326,"hua-niao-shi-er-kai-4-li-shan-224326","花鸟十二开4","此作以紫藤栖禽入画，错落布置藤蔓花枝，枯藤蜿蜒承托禽鸟，疏密相生。禽鸟以淡赭晕染翎羽，笔触松灵，将茸毛蓬松质感尽显，朱喙圆目，神采机敏生动。紫藤花色清雅柔淡，紫花白蕊垂悬，墨色枝蔓苍劲写意，尽显花木舒展之姿。画面右侧题诗相伴，诗画相融，尽显文人写意的萧散野趣。笔意简逸却神完气足，将花鸟天然野逸之态生动勾勒，淡冶疏朗间尽显写意花鸟的韵致悠长。",[23,24,25,74,123,27,7,75,282,3880,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98fe5b0a0d5e0edbe0f54985d9a40440.jpg",[],{"id":51734,"slug":51735,"title":645,"dynasty":174,"author":13237,"museum":450,"description":51736,"tags":51737,"thumbUrl":51738,"material":166,"size":166,"collection":166,"collections":51739,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":47},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用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，以一注冰雪之韵，写出了他简远萧疏，枯淡清逸的特有风格。",[281,24,25,74,38,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580a21f2475ced61f129c3785046374e.jpg","纵24.4厘米，横20.1",[919],{"id":51859,"slug":51860,"title":7243,"dynasty":174,"author":7244,"museum":4012,"description":7245,"tags":51861,"thumbUrl":51862,"material":7248,"size":7249,"collection":166,"collections":51863,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":166},220703,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220703",[23,24,25,281,28,7,27,74,33,34,35,211,36,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5814fa3e46d38ecce71bf3ffe0d290d3.jpg",[],{"id":51865,"slug":51866,"title":51867,"dynasty":52,"author":51868,"museum":4012,"description":51869,"tags":51870,"thumbUrl":51871,"material":17673,"size":51872,"collection":166,"collections":51873,"showCount":524,"zanCount":46,"manualWeight":46,"mainColor":166},220659,"wu-lin-sheng-ji-bai-ting-220659","武林胜集","白珽","《武林胜集》诗卷为元人白珽、张楧、邓文原、有在、仇远、张坰、鲜于枢、俞伯奇等于至元二十四年（1287）十二月二日杭州雅聚时之作，兼有诗歌与书法之妙。据卷前白珽序文所记，是日适逢大雪，众人借此而聚，拆北宋盛次仲「飞入园林总是春」句为韵，各赋五言诗。除张坰外，共得七首而录，遂有此卷。其引首有明人篆书「武林胜集」四字，「武林」旧指杭州。是篇序文及诸人诗作，于清人鲍廷博、鲍士恭父子所刊刻的白珽《湛渊遗稿》中有辑录，却将「武林胜集」误作「武陵胜集」。\n\n白珽，字廷玉，号湛渊；仇远，字仁近，号山村。二人由宋入元后长隐不仕，又因同籍钱塘（今浙江杭州），并以诗文闻名，人称「仇白」。 《书史会要》称白珽「德望清重，书学米元章」、仇远「好古博雅，楷书学欧」。此诗卷上，二人书迹正契此评。除「仇白」外，是次雅集中的邓文原与鲜于枢更是元代与赵孟俯齐名的书法大家。鲜于枢，字伯机，号困学民、虎林隐吏等，渔阳（今天津蓟县）人，官至太常寺典簿，工诗擅画精鉴，楷、草书尤为称绝，中岁居西溪而与杭州艺文圈中人物交酬频多。邓文原，字善之，人谓素履先生，绵州（今四川绵阳）人，父徙钱塘，自少即负学名，诗文、书画兼擅，章草成就最受赞誉，曾官国子监祭酒、翰林侍讲学士。张楧，字仲实，号菊存，为南宋「中兴四将」之一张俊五世孙、醇儒牟巘婿。因张俊五世祖由凤翔（今陕西凤翔）迁秦州成纪（今甘肃天水），故张楧有一方印为「西秦张楧」。巧合的是，卷中代仇远录诗的张坰亦是西秦人士，不知二人是否为同宗兄弟。至于有在和俞伯奇二人则殊乏史载，难以稽考。\n\n《武林胜集》诗卷汇集元代多位大家名手的诗文书法，其中如白珽、张瑛、有在等人的书迹传世罕见，弥足珍贵。此卷也校实了历来《四库全书》《元诗纪事》等对于此雅集记载的「武陵」之误。武陵位于湖南，于浙江的武林实有天壤之别。宋元易代，世局丕变，杭州作为两朝艺文活动中心仍是文人荟萃、艺事纷频。此诗卷也从另一角度，展现了其时杭州及寓杭文人、书家、遗民、官员风雅酬唱的一面。",[281,24,25,26,38,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ea8f609e0ce0a0cde73e21e1aa456.jpg","画心：22.2 × 170.05 厘米（8 3\u002F4 × 66 15\u002F16 英寸） 画心：22.2 × 279.3 厘米（8 3\u002F4 × 109 15\u002F16 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，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[25,37,38,74,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5830a7f383b30854898ed12ea4d2c6.jpg",[245],{"id":52785,"slug":52786,"title":52787,"dynasty":174,"author":17552,"museum":450,"description":52788,"tags":52789,"thumbUrl":52790,"material":314,"size":1061,"collection":166,"collections":52791,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},240677,"jia-lian-shi-juan-liu-ru-shi-240677","嘉莲诗卷","柳如是（1618年～1664年），本名杨爱，字如是，又称河东君，因读宋朝辛弃疾《贺新郎》中：“我见青山多妩媚，料青山见我应如是”，故自号如是。浙江嘉兴人。与马湘兰、卞玉京、李香君、董小宛、顾横波、寇白门、陈圆圆同称“秦淮八艳”。后嫁有“学贯天人”、“当代文章伯”之称的明朝大才子钱谦益为侧室。明末清初女诗人。",[23,37,26,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ddec1fe22944a9f7fb0ef4e23c2227.jpg",[],{"id":52793,"slug":52794,"title":52795,"dynasty":174,"author":18116,"museum":450,"description":39465,"tags":52796,"thumbUrl":52797,"material":314,"size":1061,"collection":166,"collections":52798,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},240504,"wang-duo-e-mei-shan-ji-you-shi-juan-wang-duo-240504","王铎峨嵋山记游诗卷",[23,37,38,394,26,80,7,335,350,454,33582,706,127,125,126,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb42eaa858f60f4db13931247b16798.jpg",[],{"id":52800,"slug":52801,"title":52802,"dynasty":174,"author":1100,"museum":450,"description":4703,"tags":52803,"thumbUrl":52804,"material":298,"size":166,"collection":245,"collections":52805,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},240493,"wu-chang-shuo-shi-zhou-wu-chang-shuo-240493","吴昌硕诗轴",[37,95,38,3074,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce394c6dee22fe283439c8f89aaf021.jpg",[245],{"id":52807,"slug":52808,"title":52809,"dynasty":174,"author":31340,"museum":450,"description":46277,"tags":52810,"thumbUrl":52811,"material":314,"size":1061,"collection":166,"collections":52812,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},240464,"shi-ce-fang-zhou-cheng-sui-240464","诗册方轴",[174,24,25,74,7,38,80,28,147,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2677ddb3b16b2e9d41e3393f65c7e12a.jpg",[],{"id":52814,"slug":52815,"title":52816,"dynasty":174,"author":39501,"museum":450,"description":39502,"tags":52817,"thumbUrl":52818,"material":314,"size":1061,"collection":166,"collections":52819,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},240339,"ge-jia-shou-zha-juan-liu-yong-240339","各家手札卷",[37,38,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d98709abc63ef82e4e099321d618fc5.jpg",[],{"id":52821,"slug":52822,"title":52823,"dynasty":18,"author":4131,"museum":450,"description":52824,"tags":52825,"thumbUrl":52827,"material":298,"size":52828,"collection":42,"collections":52829,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},240245,"wu-lv-shi-zhou-chen-hong-shou-240245","五律诗轴","释文：\n“剪落入城市，拙岁隐者伦。亲朋虽传舌，景物最伤神。老病锦官府，还山愧野人。往来轻似叶，幸不厌清员。洪绶似玄濬道盟兄正之，二十余年不见，重为作书乐甚。”\n款钤“陈洪绶印”、“章侯氏”印2方。\n本轴书五言律诗一首，从落款处称僧人玄濬为“道盟兄”，可知此诗是陈洪绶晚年为僧时所作。\n陈洪绶的书法与绘画均显现共同而鲜明的特色，即奇异、怪诞。此轴书法结构修长，字形呈欹峭之势，用笔紧密而细腻，简洁而质朴，姿态夸张，富于变化，线条潇洒俊健，颇有风姿，表现了作者独特的书风。",[25,95,37,38,7,80,335,52826],"市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24d443d8c38b222178f604a0751cdec.jpg","纵141厘米，横57.5厘米",[42],{"id":52831,"slug":52832,"title":52833,"dynasty":174,"author":5748,"museum":120,"description":11526,"tags":52834,"thumbUrl":52835,"material":166,"size":166,"collection":245,"collections":52836,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},240040,"shi-can-ye-kun-can-240040","诗残页",[25,37,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e39f5ac315cea2303be48a247bf23f.jpg",[245],{"id":52838,"slug":52839,"title":52840,"dynasty":18,"author":15378,"museum":120,"description":15379,"tags":52841,"thumbUrl":52842,"material":166,"size":166,"collection":245,"collections":52843,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},240031,"shu-shi-juan-mo-shi-long-240031","书诗卷",[23,37,38,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75343ed660bed2800471ba4bf595fabc.jpg",[245],{"id":52845,"slug":52846,"title":52847,"dynasty":174,"author":52848,"museum":120,"description":52849,"tags":52850,"thumbUrl":52851,"material":166,"size":166,"collection":245,"collections":52852,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},239980,"cha-si-ji-lin-sheng-jiao-xu-juan-cha-si-ji-239980","查嗣基临圣教序卷","查嗣基","此临作笔势洞精，苍森古逸，卷后有查士标、沈珩题跋。",[23,37,254,38,26,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37149cefa48a657291b99d79c59f9f1a.jpg",[245],{"id":52854,"slug":52855,"title":52856,"dynasty":174,"author":52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，字仲冶，一字柳门，其故乡四川遂宁城西有船山，因以为号。因善画猿，亦自号“蜀山老猿”。清四川潼川州遂宁县黑柏沟（今属遂宁市蓬溪县）人 。清代诗人、诗论家、书画家。\n张问陶于乾隆五十五年（1790年）进士及第，曾任翰林院检讨、江南道监察御史、吏部郎中。后出任山东莱州知府，后辞官寓居苏州虎邱山塘。晚年遨游大江南北，嘉庆十九年（1814）三月初四日，病卒于苏州寓所，享年五十一岁。\n张问陶撰有《船山诗草》，存诗3500余首。其诗天才横溢，与袁枚、赵翼合称清代“性灵派三大家”，与彭端淑、李调元合称“清代蜀中三才子”， 被誉为“青莲再世”、“少陵复出”、清代“蜀中诗人之冠”。",[25,37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484968d3445b0ccbbfc46e2523cafa2f.jpg",[245],{"id":52863,"slug":52864,"title":34040,"dynasty":18,"author":52865,"museum":450,"description":52866,"tags":52867,"thumbUrl":52868,"material":166,"size":166,"collection":245,"collections":52869,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},239912,"shi-zhou-gu-qi-yuan-239912","顾起元","顾起元（1565年～1628年），应天府江宁（今南京）人，明代官员、金石家、书法家。字太初，一作璘初、瞒初，号遁园居士。万历二十六年进士，官至吏部左侍郎，兼翰林院侍读学。乞退后，筑遁园，闭门潜心著述。朝廷曾七次诏命为相，均婉辞之，卒谥文庄。著有《金陵古金石考》《客座赘语》《说略》等。",[25,37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9477840cc14d7a0d0a1a3f1f4e4791e.jpg",[245],{"id":52871,"slug":52872,"title":52873,"dynasty":174,"author":52874,"museum":450,"description":52875,"tags":52876,"thumbUrl":52877,"material":314,"size":1061,"collection":166,"collections":52878,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},239766,"shu-hong-li-ping-xi-yu-gong-chen-xiang-zan-xu-ce-peng-yuan-rui-239766","书弘历平西域功臣像赞序册","彭元瑞","彭元瑞（1731—1803），字掌仍，一字辑五，号芸楣（一作云楣），江西南昌人，清代大臣、学者，楹联名家。乾隆二十二年进士，改庶吉士，授编修，官至工部尚书、协办大学士。元瑞博学强记，时有令誉。纪昀为《四库全书》总纂官时，彭元瑞是十个副总裁之一。与蒋士铨合称“江右两名士”。",[174,242,37,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49bc5ba8aea1104f3bdc16276993777.jpg",[],{"id":52880,"slug":52881,"title":52882,"dynasty":205,"author":10814,"museum":450,"description":52883,"tags":52884,"thumbUrl":52885,"material":166,"size":166,"collection":166,"collections":52886,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},239662,"zi-shu-shi-juan-lin-bu-239662","自书诗卷","这件行书诗卷清劲瘦硬，萧散淡远，恰如其主梅妻鹤子的隐士襟怀。用笔瘦挺而具弹性，提按顿挫间尽显灵动，牵丝映带自然圆融，字势错落顾盼生情。宽绰行距铺展出从容疏朗的章法，褪去尘俗烟火气，满卷皆是林下清风。\n\n诗文与笔墨互为表里，将湖山行吟、赏梅观鹤的幽隐心境藏在每一处笔锋辗转间，把孤高疏淡的隐士意趣融于笔底，是宋尚意书法的绝佳注脚，书文俱佳，尽显宋代文人清雅脱俗的精神底色。",[23,281,24,25,37,26,38,7,80,125,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26372b075a6a47c8f0af2b3403e1bb9e.jpg",[],{"id":52888,"slug":52889,"title":52890,"dynasty":52,"author":52891,"museum":120,"description":52892,"tags":52893,"thumbUrl":52897,"material":298,"size":52898,"collection":245,"collections":52899,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},239622,"gong-su-jiao-shou-tie-ye-gong-su-239622","龚璛教授帖页","龚璛","释文：\n记事拜复钱翼之教授足下，客袁州龚璛敬封。璛记事拜复翼之教授足下。小婿子行来，重为手帖，深慰岑寂。近作见教，如对笑谈。序文甚欲云云，喧嚣倥偬，实无一毫佳思，容少间尝应命，非推调也。《荔枝谱》留与小孙习之。令郎笔仗如此，可谓撞过烟楼。碧潭回，拈纸奉复。拔暇未觅挂漏，且希昭恕，兹不具。璛再拜。\n鉴藏印有项元汴、安岐、谭敬、赵叔彦、张爰等印23方，半印5方。本幅右下有明代项元汴用《千字文》编的号码“集字号”，左下方有“甲二”字样。\n此帖中“钱翼之”为钱良佑。“子行”是吾衍的字。吾衍为太末（今浙江龙游）人，居杭州，精于篆学，是龚璛之婿。“令郎”指钱氏之子逵。《荔枝谱》为宋朝蔡襄撰。《教授帖》中称“留与小孙习之”，或是蔡氏手书墨迹，待考。此帖上款称钱氏为“教授”（即教谕），可知应书于元至大年间（1308-1311年）钱氏为吴县教谕时。当时龚璛年约40余岁，应为其中年之笔。\n此帖书法运笔流畅自然，连贯潇洒，下笔强劲而有力度，可以看出龚璛很善于运用笔锋。书法表现古澹清和，不失晋人法度。\n《墨缘汇观·法书卷下》、《三虞堂书画目》著录。",[37,38,7,80,298,52894,52895,17630,52896],"元代书法","毛笔书写","行书技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976bf4b8303c2810fea72c4762be40c2.jpg","28cm，横38.4cm",[245],{"id":52901,"slug":52902,"title":52903,"dynasty":52,"author":52904,"museum":120,"description":52905,"tags":52906,"thumbUrl":52907,"material":20319,"size":52908,"collection":245,"collections":52909,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},239620,"yuan-jue-ya-tan-tie-ye-yuan-jue-239620","袁桷雅谭帖页","袁桷","释文：\n桷比者终日获接雅谭，继即探伺，且有假书之请。迺闻风帆趁潮，将促运米舟以还，繇是不果。兹审珮音琅然，方持螯高詠，视吾徒如逐臭。妙墨相遇，惜不能与玉柱惠文相聚耳。二碑岂立谈可了，明当聚首。不具。桷再拜。\n本幅有鉴藏印“安仪周家珍藏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”、“赵叔彦”等12方，半印2方。\n此帖为应酬信札，故信笔书写，无拘无束，章法自然得体，用笔结字颇有法度，提按转折，刻意精致，具有米芾沉着痛快，欹侧奇险之笔势。\n《墨缘汇观·法书卷》、《三虞堂书画目》两书著录。",[37,38,858,80,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45bb2338bc357d31534407d9d4f71206.jpg","纵28.3厘米, 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，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,25,1462,27,7,36,29,30,35,33,1035,33581,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":53103,"slug":53104,"title":53105,"dynasty":18,"author":53106,"museum":450,"description":53107,"tags":53108,"thumbUrl":53109,"material":314,"size":1061,"collection":166,"collections":53110,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},237074,"mo-bi-zhu-lan-shan-xiang-de-xin-237074","墨笔竹兰扇","项德新","项德新（约1563—？）明代画家。字复初、又新，浙江嘉兴人，项元汴的三儿子，工山水，得荆关法，尤其擅长写生。 作品流传极少，有人得其片纸，珍如拱璧。",[24,25,1462,7,126,133,37,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f6b181f99b7774ac392a39807b244b.jpg",[],{"id":53112,"slug":53113,"title":53114,"dynasty":174,"author":53115,"museum":450,"description":53116,"tags":53117,"thumbUrl":53118,"material":314,"size":1061,"collection":166,"collections":53119,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},237070,"mo-mei-shan-huang-zhang-237070","墨梅扇","黄章","老干虬曲苍劲，枯涩笔墨刻尽风霜，枝桠舒展错落，花苞疏密点缀相宜。以浓淡墨色区分枝干与花萼，淡墨晕染花瓣，清隽雅致尽显寒梅疏朗清癯之态，自带孤高清气。\n\n右侧题款小字娟秀，朱印点睛，书画相映成趣。将文人雅致融于咫尺扇面，把梅花凌霜傲雪的品格寄于笔端，极简笔墨勾勒出盎然生机，寥寥数笔便将冬梅清逸出尘的风骨尽显无遗，方寸之间，尽揽暗香浮动的清冷诗意，尽显文人寄情花木的写意意趣。",[24,25,1462,7,125,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c4dd3b878b9f666b3714efe0597ef.jpg",[],{"id":53121,"slug":53122,"title":23361,"dynasty":174,"author":23362,"museum":450,"description":53123,"tags":53124,"thumbUrl":53125,"material":298,"size":166,"collection":166,"collections":53126,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},237069,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237069","此作用笔简淡松灵，以浅绛轻敷山水。层峦温润苍秀，林木枯荣交错，村居隐于林麓，板桥横溪渡水，疏密相宜间铺展出清寂淡远的山居胜境。干笔皴擦摹写山石肌理，枯木枝桠苍劲老辣，尽显山野清旷之态。\n\n左侧行书题识与山水合璧，笔墨萧散简逸，将寄情林泉的隐逸诗意融于尺幅之中，尽显幽居林下、观物寄兴的文人雅怀，是文人画诗书画意相融的典型之作。",[24,25,74,7,36,28,29,32,33,34,194,37,80,30,268,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3408920150f75610ff68e341a6566a69.jpg",[],{"id":53128,"slug":53129,"title":23361,"dynasty":174,"author":23362,"museum":450,"description":53130,"tags":53131,"thumbUrl":53132,"material":298,"size":166,"collection":166,"collections":53133,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},237067,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237067","此作是诗画合璧的文人小品。右侧绘就山居秋景，浅赭轻青晕出山峦，云气空濛漫于峰头，苍松挺拔、杂木错落，清溪隐石，茅庐藏于林泉深处，笔墨简淡秀雅，晕染出幽寂清远的林下意趣。\n左侧行书题诗，笔致清脱俊逸，诗境呼应画中林泉高致，将文人心底幽怀与眼前山景相融。整体淡远萧疏，恬和安宁，尽显旧时文人士大夫寄情山水、醉心丘壑的清雅襟怀。",[24,25,74,7,27,38,36,28,127,34,33,164,454,533,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac8eb1b21b8fbbe8a918bde273bfbc2.jpg",[],{"id":53135,"slug":53136,"title":157,"dynasty":18,"author":38486,"museum":450,"description":53137,"tags":53138,"thumbUrl":53139,"material":166,"size":166,"collection":166,"collections":53140,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236929,"shan-shui-ce-qin-mao-de-236929","此作以淡墨写就平远之境，近坡古松虬曲错落，茅庐幽栖于林木间，野意自生。山峦以干笔轻皴，施淡墨晕染肌理，衬出山石朴拙质感。远景以留白衬出烟波浩渺，远山只作淡墨虚写，留白尽得水意空濛。\n\n书画合璧相映成趣，笔墨简淡秀润，摒弃繁复刻画，以极简意趣勾勒林泉幽致，将文人幽栖林下、寄情山水的襟怀融于尺幅之间，尽显静穆淡远的出世雅韵，藏着画者寄情林泉的隐逸心绪。",[24,25,74,7,36,38,28,335,162,35,164,3157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6798e239385714ccb8825c45b27d4d05.jpg",[],{"id":53142,"slug":53143,"title":157,"dynasty":18,"author":11038,"museum":120,"description":11039,"tags":53144,"thumbUrl":53145,"material":11042,"size":11043,"collection":166,"collections":53146,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236908,"shan-shui-ce-song-xu-236908",[24,25,74,7,27,36,28,210,29,30,33,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f50c72816fffe8cbf23304031d9beb.jpg",[],{"id":53148,"slug":53149,"title":34284,"dynasty":174,"author":33849,"museum":450,"description":53150,"tags":53151,"thumbUrl":53152,"material":314,"size":1061,"collection":166,"collections":53153,"showCount":616,"zanCount":1084,"manualWeight":46,"mainColor":47},236874,"shan-shui-shan-ye-wan-shang-lin-236874","字殿卿，号辋冈，江西分宜（分宜城郊辋冈人）拔贡生。清朝画家，曾任清宫画院待诏，专事书画。上遴年少失父，家境清寒。从小聪颖好学，酷爱王维诗画，终日练习作画，画一幅画，就写一首诗。“诗、画、行、草”，均“细筋入骨”。",[24,1462,7,27,36,28,162,624,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba64749bd8f1082d037d2a12b1c5bb8.jpg",[],{"id":53155,"slug":53156,"title":157,"dynasty":174,"author":749,"museum":450,"description":53157,"tags":53158,"thumbUrl":53159,"material":166,"size":166,"collection":166,"collections":53160,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236870,"shan-shui-ce-wang-yuan-qi-236870","此帧取平远章法，近岸陂陀之上杂木扶苏，茅舍隐于树荫间，漾出幽寂村居之致。水面开阔空明，留白尽现湖光清旷。远山以干笔淡墨皴擦，山峦平缓舒展，苔点疏简萧散。\n\n画作师法元人萧散意趣，以渴笔淡墨层层积染，笔墨苍润松秀，在清空格调中融入浑朴醇厚的质感。题字朱印点缀提亮画面，整幅气息静穆淡远，于简淡中见苍劲，枯涩中含温润，观之如临林泉，尘俗尽涤，尽显文人画以意驭笔的雅致格调。",[24,25,74,7,36,28,126,162,1442,164,4569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3c9c6dc81a288f4e46e612797932fe.jpg",[],{"id":53162,"slug":53163,"title":157,"dynasty":174,"author":749,"museum":450,"description":25077,"tags":53164,"thumbUrl":53165,"material":314,"size":1061,"collection":166,"collections":53166,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236860,"shan-shui-ce-wang-yuan-qi-236860",[24,25,74,7,27,36,28,162,706,32,2283,164,4569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633eb9f8b4163d37394a1a0247798738.jpg",[],{"id":53168,"slug":53169,"title":157,"dynasty":174,"author":739,"museum":450,"description":45304,"tags":53170,"thumbUrl":53172,"material":314,"size":1061,"collection":166,"collections":53173,"showCount":616,"zanCount":46,"manualWeigh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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,25,95,7,27,28,33,34,29,30,193,80,36,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[42,222],{"id":53267,"slug":53268,"title":34284,"dynasty":174,"author":53269,"museum":450,"description":53270,"tags":53271,"thumbUrl":53272,"material":314,"size":1061,"collection":166,"collections":53273,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236376,"shan-shui-shan-ye-wang-ze-236376","王泽","王泽（？－？），浙江临安人，明朝政治人物。进士出身。\n王泽曾于万历年间接替赖嘉谟任邵武府知府一职，万历年间由岳钟英接任。",[24,25,1462,7,28,36,335,162,350,164,3157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef36f243b6f7752b786cafb501caa1ec.jpg",[],{"id":53275,"slug":53276,"title":53277,"dynasty":174,"author":53278,"museum":450,"description":53279,"tags":53280,"thumbUrl":53281,"material":314,"size":1061,"collection":166,"collections":53282,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[24,25,1462,7,28,624,96,2816,2748,268,33,34,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":53284,"slug":53285,"title":5006,"dynasty":174,"author":53286,"museum":450,"description":53287,"tags":53288,"thumbUrl":53289,"material":166,"size":166,"collection":42,"collections":53290,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236356,"fang-gu-shan-shui-ce-hu-jie-236356","胡节","胡节，字竹君，号井农，娄东（江苏太仓）人。山水师王翚，笔墨超逸，骨格秀整，虽严守师规，一种超尘拔俗之趣，耕烟（王翚）不能不放其出一头地。兼长杂卉。",[24,25,74,7,36,254,28,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e6c24fba7d0ae7b5b43ca45dbdb68.jpg",[42,64],{"id":53292,"slug":53293,"title":5598,"dynasty":174,"author":703,"museum":120,"description":25699,"tags":53294,"thumbUrl":53295,"material":564,"size":25702,"collection":166,"collections":53296,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236314,"hua-hui-ce-wang-shi-shen-236314",[24,25,74,7,125,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F270d7050c40df99455d3a285ab924491.jpg",[],{"id":53298,"slug":53299,"title":53300,"dynasty":18,"author":4131,"museum":450,"description":27524,"tags":53301,"thumbUrl":53302,"material":314,"size":1061,"collection":166,"collections":53303,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236190,"hua-zhu-mei-hong-li-shu-shi-cheng-shan-chen-hong-shou-236190","画竹梅弘历书诗成扇",[24,25,1462,126,125,37,7,27,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21843d8b6020ed0e211a8a2725c828be.jpg",[],{"id":53305,"slug":53306,"title":157,"dynasty":174,"author":35248,"museum":450,"description":53307,"tags":53308,"thumbUrl":53309,"material":166,"size":166,"collection":166,"collections":53310,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236081,"shan-shui-ce-shen-zong-jing-236081","此作以虚实相生之法铺陈景致，右侧危崖壁立，苍劲皴笔尽显山石肌理，崖下林木错落，浅红点染枝头晕开萧疏秋意，临水茅舍静立，暗合山居幽趣。左侧留白尽写湖光浩渺，远山澹澹浮沉于烟波间，汀渚佳木错落点缀。\n\n笔致松秀简淡，墨色清润层次分明，以淡赭轻敷秋意，将江畔山居的安寂静穆铺展眼前，尽显文人山水空远幽寂的意趣，藏着寄情林泉、超然物外的隐逸襟怀。",[24,25,281,74,27,7,36,28,34,33,35,164,4569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a1ec9339eb075e97e0895732289911.jpg",[],{"id":53312,"slug":53313,"title":157,"dynasty":174,"author":35248,"museum":450,"description":53314,"tags":53315,"thumbUrl":53316,"material":166,"size":166,"collection":166,"collections":53317,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},236079,"shan-shui-ce-shen-zong-jing-236079","此作用笔苍秀温润，近景虬松挺峙，松针层叠如翠盖，坡岸缀苔点石，野意横生。山溪潺湲，板桥轻架，勾连起幽谧的山居意趣。中密林掩映茅庐数间，隐于深翠，暗合幽栖避世之雅。远景危峰峭拔，以干笔皴擦、淡墨晕染山石，将山峦浑朴苍厚的质感晕染开来。\n\n整体设色清和，淡赭铺底衬出山林温润气色。构图疏密相宜，近景幽致与远景浑融相映，铺展出林泉间静穆清寂的氛围，尽显寄情丘壑的文人雅趣，将林下幽居的闲淡意致娓娓道来。",[24,25,281,74,7,27,36,28,335,162,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ae9af8aa5ff3b0f6caa53597504d00.jpg",[],{"id":53319,"slug":53320,"title":10777,"dynasty":174,"author":581,"museum":450,"description":53321,"tags":53322,"thumbUrl":53323,"material":166,"size":166,"collection":166,"collections":53324,"showCount":616,"zanCount":1084,"manualWeight":46,"mainColor":47},236065,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236065","此作以淡墨晕染出清寂空濛的山居意趣。远景山峦以披麻皴写就，墨色由浓及淡铺展出层叠高远之势，天际留白隐现远汀归帆，将山野寥廓铺陈开来。中近景茂林环伺村居，石径随溪涧蜿蜒，林木枯荣交错，苍润兼具，藏着幽居山野的安然闲逸。\n\n右上角题跋朱印与画面相映，诗画相融。笔法秀逸温婉，墨色层次淡雅清和，未以泼墨造势，全以轻墨晕染烘托出江南冬末的萧寒清润，将文人山水疏淡静雅的意趣藏在留白与笔墨间，悠悠古意漫溢，尽显沉静淡远的山居诗意。",[24,25,74,7,36,28,30,162,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2bfd48f1008a0136a610b1e86f01286.jpg",[],{"id":53326,"slug":53327,"title":53328,"dynasty":18,"author":24371,"museum":450,"description":53329,"tags":53330,"thumbUrl":53331,"material":166,"size":166,"collection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横25．6厘米",[],{"id":53532,"slug":53533,"title":157,"dynasty":18,"author":28386,"museum":450,"description":53534,"tags":53535,"thumbUrl":53536,"material":166,"size":166,"collection":166,"collections":53537,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234871,"shan-shui-ce-zhao-pu-234871","此作用笔枯淡简远，近岸老木虬枝槎枒错落，间杂丛树幽石，对岸危崖层叠，以干笔勾勒皴擦山石，尽显嶙峋硬朗之态，林麓烟霭隐现，意境空疏冷寂。\n左侧题咏与画境相契，以顽石自喻尽显文人孤高淡远的林下襟怀。整体以极简笔墨营造出萧散简逸的文人意趣，淡墨轻岚间藏着静穆澹泊的精神世界，诗画合璧，尽显传统文人画诗境与画境交融的雅致韵致。",[24,25,74,7,28,34,33,210,164,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f22d9caf6819b527380e04973e855.jpg",[],{"id":53539,"slug":53540,"title":53541,"dynasty":18,"author":24666,"museum":450,"description":47542,"tags":53542,"thumbUrl":53543,"material":314,"size":1061,"collection":166,"collections":53544,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234833,"song-xi-dai-du-shan-wei-zhi-ke-234833","松溪待渡扇",[24,1462,7,36,28,127,215,31,193,268,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F025fddfa334256eac6ef042260ea8a83.jpg",[],{"id":53546,"slug":53547,"title":53548,"dynasty":18,"author":7182,"museum":120,"description":45946,"tags":53549,"thumbUrl":53550,"material":564,"size":45949,"collection":166,"collections":53551,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234810,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-chen-chun-yan-dang-cun-tu-ye-wen-jia-234810","吴门诸家寿袁方斋三绝册-陈淳雁荡村图页",[24,25,74,27,28,282,180,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec40a5cc6d9e80da78bcc30d423a643.jpg",[],{"id":53553,"slug":53554,"title":157,"dynasty":174,"author":15930,"museum":120,"description":53555,"tags":53556,"thumbUrl":53557,"material":166,"size":166,"collection":166,"collections":53558,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234797,"shan-shui-ce-dong-bang-da-234797","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,7,36,74,28,33,480,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2cbd2f9a840d4ee8c3bb84f2bf2aad.jpg",[],{"id":53560,"slug":53561,"title":14561,"dynasty":174,"author":27658,"museum":120,"description":27659,"tags":53562,"thumbUrl":53563,"material":564,"size":166,"collection":166,"collections":53564,"showCount":616,"zanCount":1084,"manualWeight":46,"mainColor":47},234764,"huang-shan-tu-ce-jiang-zhu-234764",[24,25,74,547,7,28,34,33,6881,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d4c6cd51f6b34db21d2b508f7f395.jpg",[],{"id":53566,"slug":53567,"title":5006,"dynasty":174,"author":5090,"museum":450,"description":27666,"tags":53568,"thumbUrl":53569,"material":537,"size":27669,"collection":166,"collections":53570,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234714,"fang-gu-shan-shui-ce-wang-hui-234714",[24,7,36,3217,74,28,210,33,96,1442,164,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49868da8cf21daec366c99bda4056446.jpg",[],{"id":53572,"slug":53573,"title":41142,"dynasty":18,"author":39861,"museum":450,"description":39862,"tags":53574,"thumbUrl":53575,"material":314,"size":1061,"collection":166,"collections":53576,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234711,"shan-shui-shan-wei-zhi-huang-234711",[1462,24,7,36,28,335,33,624,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7a56bc5709249a5c06448448396f8a.jpg",[],{"id":53578,"slug":53579,"title":34284,"dynasty":18,"author":11473,"museum":450,"description":33156,"tags":53580,"thumbUrl":53581,"material":166,"size":166,"collection":166,"collections":53582,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234673,"shan-shui-shan-ye-lan-ying-234673",[24,25,1462,7,36,28,624,31,34,193,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3900dc596aa5e27092d92131c0b7be8f.jpg",[],{"id":53584,"slug":53585,"title":10031,"dynasty":174,"author":377,"museum":450,"description":2232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画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,74,7,36,28,34,33,80,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0762a3eec0a65f59d303bfcfc56d44.jpg","纵48.1cm，横32.4cm",[],{"id":53638,"slug":53639,"title":376,"dynasty":174,"author":739,"museum":5692,"description":53640,"tags":53641,"thumbUrl":53642,"material":196,"size":53643,"collection":166,"collections":53644,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234299,"shan-shui-tu-ce-hua-yan-234299","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[24,25,74,7,36,28,180,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d4d6b1b1d3c0b3e8b1f9bfb2fbe25.jpg","31.2x44.7cm",[],{"id":53646,"slug":53647,"title":53648,"dynasty":18,"author":1788,"museum":120,"description":53649,"tags":53650,"thumbUrl":53651,"material":612,"size":53652,"collection":166,"collections":53653,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":921},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,24,25,26,7,27,38,37,28,33,29,30,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":53655,"slug":53656,"title":53657,"dynasty":174,"author":53658,"museum":450,"description":53659,"tags":53660,"thumbUrl":53661,"material":166,"size":166,"collection":166,"collections":53662,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234218,"gu-shan-tan-mei-juan-fei-dan-xu-234218","孤山探梅卷","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[23,24,25,26,7,27,481,38,242,37,28,125,32,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3be1175cb06f441b1110bd428095b.jpg",[],{"id":53664,"slug":53665,"title":53666,"dynasty":18,"author":1788,"museum":120,"description":53667,"tags":53668,"thumbUrl":53669,"material":564,"size":53670,"collection":166,"collections":53671,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234156,"san-you-tu-wen-zheng-ming-234156","三友图","此手卷画兰、菊、竹三段，各有文氏亲笔题咏。用笔写意，简率之中见生动秀逸之致，墨色清润淡雅，显示了诗、书、画结合的笔墨境界。中国传统文化以拟人化的手法，通过褒扬兰、菊、竹的自然属性而歌颂或表彰文人的道德品质，体现了中国花卉画的特殊功能。\n壬寅为明嘉靖二十一年（1542年），文徵明时年73岁。",[23,24,25,26,7,38,37,1153,123,126,133,134,480,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51a77fcfc66d27d311c294bfae0f646.jpg","纵26.1厘米，横475.5厘米",[],{"id":53673,"slug":53674,"title":53675,"dynasty":18,"author":20396,"museum":120,"description":53676,"tags":53677,"thumbUrl":53678,"material":564,"size":166,"collection":166,"collections":53679,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","云白山青图卷","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,24,26,7,28,36,57,211,33,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":53681,"slug":53682,"title":53683,"dynasty":18,"author":2872,"museum":120,"description":18950,"tags":53684,"thumbUrl":53685,"material":298,"size":166,"collection":166,"collections":53686,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},234125,"gu-mu-ming-jiu-tu-juan-yao-shou-234125","古木鸣鸠图卷",[23,24,25,26,7,38,37,80,75,2637,282,96,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93404907185c0eca0bfabab4c0d12d59.jpg",[],{"id":53688,"slug":53689,"title":157,"dynasty":174,"author":2029,"museum":120,"description":13662,"tags":53690,"thumbUrl":53691,"material":964,"size":13666,"collection":166,"collections":53692,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":140},233979,"shan-shui-ce-gong-xian-233979",[24,25,281,74,7,36,28,33,34,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c506e1dd94b12399f4ff8f6e1f1702.jpg",[],{"id":53694,"slug":53695,"title":157,"dynasty":174,"author":2029,"museum":120,"description":13662,"tags":53696,"thumbUrl":53697,"material":964,"size":13666,"collection":166,"collections":53698,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},233974,"shan-shui-ce-gong-xian-233974",[24,25,7,74,28,36,162,706,1442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64310292f88a83a0135ec9a111518a6.jpg",[],{"id":53700,"slug":53701,"title":157,"dynasty":174,"author":2029,"museum":120,"description":13662,"tags":53702,"thumbUrl":53703,"material":964,"size":13666,"collection":166,"collections":53704,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},233973,"shan-shui-ce-gong-xian-233973",[24,7,36,74,28,180,33,163,32,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7c4e867cb34626de1215535caa7f51.jpg",[],{"id":53706,"slug":53707,"title":53708,"dynasty":52,"author":53709,"museum":120,"description":53710,"tags":53711,"thumbUrl":53712,"material":27013,"size":53713,"collection":166,"collections":53714,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":140},233962,"cao-chong-ye-zang-xiang-qing-233962","草虫页","臧祥卿","本幅墨笔，未见著录。\n臧良（生卒年不详），字祥卿，钱塘（今杭州）人。善画花竹翎毛，风格师法王渊。",[24,74,547,481,4154,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c4ce5c5006a48501bcb25ae4c892b8.jpg","纵18.6cm，横22.5cm",[],{"id":53716,"slug":53717,"title":157,"dynasty":174,"author":21853,"museum":120,"description":53718,"tags":53719,"thumbUrl":53720,"material":3471,"size":53721,"collection":83,"collections":53722,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},233812,"shan-shui-ce-fu-shan-233812","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,25,74,38,37,7,28,519,162,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7207aa4714a6c40bb3a6c5365c536f07.jpg","纵36.5厘米，横37厘米",[83,42],{"id":53724,"slug":53725,"title":157,"dynasty":18,"author":1836,"museum":120,"description":7443,"tags":53726,"thumbUrl":53727,"material":564,"size":2973,"collection":166,"collections":53728,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},233801,"shan-shui-ce-dong-qi-chang-233801",[24,25,74,7,36,335,162,717,127,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50182159ae20d4f8f94ae49233c0d9d2.jpg",[],{"id":53730,"slug":53731,"title":17936,"dynasty":18,"author":18116,"museum":20,"description":53732,"tags":53733,"thumbUrl":53735,"material":811,"size":53736,"collection":166,"collections":53737,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},233678,"hua-hui-juan-wang-duo-233678","本幅墨笔，前隔水伊念曾题答，本幅有张囗、戴明说观款，后纸叶恭绰题记。钤“曾藏嵩山草堂”，“墨卿”，“慎得”等藏印。\n王铎（1592—1652年），字觉斯，号嵩樵、烟潭渔叟、痴仙道人等，孟津（今洛阳孟津县）人。明天启二年（1622年）进士，累官礼部尚书、东阁大学士。工诗文，能绘画。书法师钟繇、二王、颜真卿、米芾，尤得力于《淳化阁帖》，既浸淫于古法又有所创新。其书诸体悉备，最擅行、草书，笔法纵逸流畅，风格雄健险峻，是清初书法大家。刻有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、人屋、道朗等，汉族，江西南昌人。\n他是明太祖朱元璋第十七子朱权的九世孙，本是皇家世孙。明亡后削发为僧，成了亡命之徒，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少，还提了一首诗‘’墨点无多，泪点多‘’来抒发自己对满清王朝的憎恨。\n八大山人是我国明末清初书画双绝的艺术大师。在他的一生中，创作了大量“怪伟豪雄、淋漓奇古、苍劲圆”的作品，使之成为中国画史上的一颗璀璨的巨星，其独特的艺术风格，也熠熠在世界艺坛。八大山人的花鸟画、山水画、书法艺术所取得的成就，近三百年来，影响着一代又一代的杰出艺术家",[24,25,74,7,36,28,147,335,706,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff808906f8c483b68e4a5e764e6a7cedd.jpg",[],{"id":53845,"slug":53846,"title":53847,"dynasty":174,"author":739,"museum":450,"description":53848,"tags":53849,"thumbUrl":53850,"material":298,"size":53851,"collection":166,"collections":53852,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},231937,"xie-jin-ren-shi-yi-hua-ce-14-zhen-hua-yan-231937","写晋人诗意画册14帧","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[23,24,25,74,27,7,193,180,126,162,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30afb35e63e0280c3daa8a0cb5eff010.jpg","43x52cm",[],{"id":53854,"slug":53855,"title":53856,"dynasty":5382,"author":32574,"museum":450,"description":41616,"tags":53857,"thumbUrl":53858,"material":314,"size":1061,"collection":166,"collections":53859,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":37828},231696,"mei-ya-tu-ce-yun-gu-deng-yan-231696","梅鸦图册",[24,25,74,7,75,125,13674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a1098047058a72e5549af7fed7a8ac.jpg",[],{"id":53861,"slug":53862,"title":53863,"dynasty":5382,"author":53864,"museum":450,"description":53865,"tags":53866,"thumbUrl":53867,"material":314,"size":1061,"collection":166,"collections":53868,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},231674,"hu-shan-xiao-jing-tu-tian-you-song-xi-231674","湖山小景图","天游松溪","此作用上下分段的别致构图，上部行书题文与下部山水呼应成趣。近景危崖兀立，古松虬枝横斜，崖畔隐见古刹飞檐；右下汀洲之上楼阁错落，板桥连岸，渔舟系于浅渚，尽是江南水乡的悠然意态。远景烟水浩渺，峰峦浮沉在暖赭晕染的暮色间，水天相融晕出黄昏的柔暖朦胧。\n\n笔墨秀雅空灵，淡赭水墨晕染天色，山峦以简括斧劈皴带出硬朗骨相，苍松劲挺见风神，烟波轻笼见淡远。书画合璧，题文叙湖山雅事，画中藏林泉高致，将日暮湖游的清旷襟怀晕在纸间，尽显江南暮色的温软诗意，抒写出文人心中的山水闲逸之趣。",[23,24,25,95,7,27,28,194,29,30,31,32,180,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965469d075c6f7df24eb35b019b91297.jpg",[],{"id":53870,"slug":53871,"title":53872,"dynasty":5382,"author":53873,"museum":450,"description":53874,"tags":53875,"thumbUrl":53876,"material":314,"size":1061,"collection":166,"collections":53877,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},231626,"he-tu-xia-hui-he-ge-juan-ben-a-mi-guang-yue-231626","鹤图下绘和歌卷","本阿弥光悦","此作以长卷铺陈，群鹤错落满卷，水墨淡笔晕染出仙鹤清癯灵动的身姿，或振翅唳空，或梳羽伫立，百态悠然。浅褐旧痕晕开在素纸之上，晕染出经年沉淀的温润质感。\n\n书法与绘鹤交织共生，笔意清简疏朗，将和歌风雅与绘鹤的幽玄禅意相融，舒展悠长的尺幅里，藏着侘寂闲雅的古典意趣，淡墨轻色勾勒出清寂出尘的东方意境，尽显雅致悠远的和风之美。",[23,281,24,25,26,7,38,282,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271140e49cbac0d36129fe323eb65f23.jpg",[],{"id":53879,"slug":53880,"title":53881,"dynasty":5382,"author":51520,"museum":450,"description":51521,"tags":53882,"thumbUrl":53883,"material":314,"size":1061,"collection":166,"collections":53884,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},231621,"shi-ting-shi-dai-zu-shi-xiang-yan-ji-zhu-tu-zhou-shou-ye-yuan-xin-231621","室町时代 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破墨山水图",[23,24,281,95,34808,7,36,25,38,37,80,28,31,162,335,350,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":53893,"slug":53894,"title":53895,"dynasty":52,"author":581,"museum":450,"description":53896,"tags":53897,"thumbUrl":53898,"material":166,"size":166,"collection":166,"collections":53899,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":140},231498,"fang-yan-ci-ping-qiu-shan-yan-ai-tu-yi-ming-231498","仿阎次平秋山烟霭图","作品采用水墨绘淡墨远山，烟霭朦朦，若隐若现。下部作山坡秋树，山坡处用笔勾出染色，画树枝用劲硬笔法，但整幅画面以水墨渲染为主，以墨色的浓淡分出层次，有“岚顶柔和”的风格，近乎秀润清真。",[24,7,28,254,36,624,335,6082,35,6001,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb15a715752a8a2d45a46006977cceaf.jpg",[],{"id":53901,"slug":53902,"title":53903,"dynasty":174,"author":53904,"museum":450,"description":53905,"tags":53906,"thumbUrl":53907,"material":166,"size":166,"collection":166,"collections":53908,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":921},231364,"shen-qiu-cheng-gan-tu-wang-gai-231364","深秋撑杆图","王盖","淡墨晕开深秋清寂，寒林虬枝交错，将萧索疏朗铺满卷间。轻烟漫过林梢，晕出朦胧天际，把湿冷秋意揉进了空气里。\n\n溪上架起板桥，扁舟穿桥缓行，撑杆人垂敛神态，任流水载着小舟漫溯，隔绝了尘嚣。岸畔枯木杂丛错落，淡赭融着墨色，衬得秋水愈发清浅空阔。\n\n全作用色素净浅淡，不着浓艳，却将晚秋的沉静通透铺陈尽致。动舟与静林相映，萧索秋景晕开松弛安闲，清冷底色里藏着悠然禅意，把晚秋闲静况味细细诉尽。",[23,24,7,27,28,29,31,610,147,36,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d19d2061c64f9ac3e394db5d4f57b8.jpg",[],{"id":53910,"slug":53911,"title":4545,"dynasty":18,"author":11203,"museum":450,"description":14021,"tags":53912,"thumbUrl":53913,"material":314,"size":1061,"collection":166,"collections":53914,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},230991,"yu-le-tu-zhou-chen-230991",[24,25,28,729,481,36,7,27,31,468,30,29,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d5492e12e7ca9101bce747991b1ada.jpg",[],{"id":53916,"slug":53917,"title":580,"dynasty":18,"author":53918,"museum":450,"description":53919,"tags":53920,"thumbUrl":53921,"material":314,"size":1061,"collection":166,"collections":53922,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},230926,"zhu-shi-tu-feng-ke-shi-230926","冯可实","此作用泥金扇面为底，以写意法绘湖石，皴擦之间尽显朴拙苍劲。石畔新篁疏朗错落，竹叶俯仰欹侧，墨色浓淡层叠，尽显清翠舒展之姿。数只春燕掠飞于竹石之间，为幽寂小景添上灵动生气。左侧题以行书，笔致率意洒脱，与画面浑然相融，书画合璧尽显文人雅趣。整幅笔墨简逸随性，以寥寥笔意勾勒出林泉闲居的幽澹意境，将尘外闲思寄于尺幅扇面之中，尽显写意小品的雅致情致。",[24,25,1462,7,126,706,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1485b46c8b893c3699de9f0da56a44.jpg",[],{"id":53924,"slug":53925,"title":53926,"dynasty":174,"author":47166,"museum":450,"description":53927,"tags":53928,"thumbUrl":53929,"material":166,"size":166,"collection":166,"collections":53930,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":140},230860,"lin-wang-xi-zhi-shu-dou-tie-zhang-zhao-230860","临王羲之蜀都帖","此作用笔雄健酣畅，提按转合间尽显流转灵动，既恪守原帖使转精熟的草法要义，又融入自身劲爽刚健的笔性特质。牵丝映带之间行气贯通，通篇字势欹正相生，错落有致。\n\n墨色枯润互见，浓墨处厚重沉稳，枯笔处筋骨毕现，将原尺牍的萧散雅韵，化作更具张力的笔墨节奏。临帖却不拘泥于形，师古又能自出机杼，将尺牍的随性自然，以饱满笔力演绎出舒展磅礴的庙堂气象，让古帖意蕴焕然新生，尽显草书奔放而不失法度的意趣。",[24,25,95,254,38,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec530e4987f559489814dbbe4501b02.jpg",[],{"id":53932,"slug":53933,"title":53934,"dynasty":174,"author":53935,"museum":450,"description":53936,"tags":53937,"thumbUrl":53938,"material":166,"size":166,"collection":166,"collections":53939,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":140},230221,"shan-shui-shi-yi-ce-6-kai-wu-chao-230221","山水诗意册6开","吴焯","此作截取山隅一隅写幽林泉石之景。危崖层叠嶙峋，飞泉穿漱乱石，清越泉声隐然纸上。古松盘根错节扎根崖壁，干枝虬曲苍劲，湿墨点染的松针葱郁灵动，尽显老柏岁寒之姿。\n笔墨简淡清逸，干皴擦写出山石肌理，淡墨晕染留白摹出空濛云气，右上角远林轻描淡绘，衬出山景空寂悠远。左侧题诗落款，书画相融，文气雅致。\n整幅小品以小景见丘壑，萧散静穆，将林泉幽寂与诗意禅思相融，尽显文人山水的写意旨趣，藏着林下幽居的澹然意绪。",[24,25,74,7,27,28,180,147,30,213,624,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3ba4841e3c3f6f755400e7e0f5c4bf.jpg",[],{"id":53941,"slug":53942,"title":31581,"dynasty":174,"author":491,"museum":450,"description":32764,"tags":53943,"thumbUrl":53944,"material":314,"size":1061,"collection":166,"collections":53945,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},230179,"shan-shui-shi-kai-wang-shi-min-230179",[24,25,74,28,36,7,80,37,38,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9913ea809a69d5f1c043447649bdf2.jpg",[],{"id":53947,"slug":53948,"title":28627,"dynasty":174,"author":819,"museum":450,"description":53949,"tags":53950,"thumbUrl":53951,"material":166,"size":166,"collection":166,"collections":53952,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},230142,"huang-shan-ba-jing-tu-ce-zheng-ban-qiao-230142","这幅小楷题跋清劲秀雅，结体端稳间带着疏朗意趣，笔画瘦硬匀净，既有晋唐小楷的古雅法度，又融入独有的散逸风骨。\n\n笔墨随着文思缓缓铺展，忆述画坛旧事时文墨相生相融，将文人雅怀藏进每一处笔墨细节。全无狂怪恣肆，反倒尽显静定冲淡的书卷气，是其书法中少见的敛藏之作。文思与笔情精妙融合，字里行间晕开平和悠然的文人本色，成为画册点睛的文墨双璧。",[24,25,74,7,36,28,180,147,32,29,30,282,2925,311,126,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a215794450c842f2731c67ae4bfaf1.jpg",[],{"id":53954,"slug":53955,"title":53956,"dynasty":18,"author":51080,"museum":450,"description":53957,"tags":53958,"thumbUrl":53959,"material":166,"size":166,"collection":166,"collections":53960,"sho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》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[23,24,25,95,7,36,28,193,312,194,31,717,5431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],{"id":53978,"slug":53979,"title":53980,"dynasty":52,"author":10102,"museum":450,"description":53981,"tags":53982,"thumbUrl":53983,"material":314,"size":1061,"collection":166,"collections":53984,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},228268,"teng-wang-ge-tu-wei-ba-tang-di-228268","滕王阁图-尾跋","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）。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年（1329）应诏在南京龙翔寺绘制画壁，至顺四年（1333）第二次北上大都，奉诏在宫廷作画，晚年返乡埋头读书作画，生活较凄苦。",[24,25,37,38,518,7,27,28,194,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f5f43a1f68f280907f5479996eaa37.jpg",[],{"id":53986,"slug":53987,"title":53988,"dynasty":52,"author":12875,"museum":450,"description":53989,"tags":53990,"thumbUrl":53991,"material":166,"size":166,"collection":166,"collections":53992,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[23,24,25,26,547,7,27,193,28,33,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":53994,"slug":53995,"title":53996,"dynasty":52,"author":581,"museum":450,"description":53997,"tags":53998,"thumbUrl":53999,"material":166,"size":166,"collection":166,"collections":54000,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":921},228228,"xing-lv-tu-ye-yi-ming-228228","行旅图页","此作用笔简淡苍润，以水墨晕染出江南水岸的清寂之境。左畔危崖耸峙，古松斜出探向江面，崖腰古亭半掩，山道上旅人缓步徐行，衬出林泉丘壑的悠远空阔。汀洲上虬松错落，枝干古拙有姿，与崖岸松色遥相呼应。江面淡墨轻描，远帆与渔舟错落波上，寥寥笔意铺展水天空濛。\n\n整幅简而不空，淡而有味，以极简笔墨勾勒出山水行旅的幽闲意趣，尽显萧散淡远的文人意韵，将林泉高致与江湖野趣融于尺幅间，藏着幽寂闲淡的山水真味。",[23,24,7,28,36,74,193,194,31,282,34,30,80,1385,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46616df25f9b51e1b52cfac683349316.jpg",[],{"id":54002,"slug":54003,"title":54004,"dynasty":52,"author":581,"museum":450,"description":54005,"tags":54006,"thumbUrl":54007,"material":166,"size":166,"collection":166,"collections":54008,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":140},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,24,7,36,95,25,281,28,324,162,29,30,454,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":54010,"slug":54011,"title":54012,"dynasty":205,"author":581,"museum":450,"description":54013,"tags":54014,"thumbUrl":54015,"material":166,"size":166,"collection":166,"collections":54016,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":140},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,24,281,1462,481,7,27,717,282,12289,7585,180,18844,4468,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":54018,"slug":54019,"title":54020,"dynasty":205,"author":581,"museum":450,"description":54021,"tags":54022,"thumbUrl":54026,"material":166,"size":166,"collection":166,"collections":54027,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},227886,"shui-cun-yan-ai-tu-yi-ming-227886","水村烟霭图","这幅小品以淡墨晕染出烟霭笼罩的水村晨色，浅赭铺陈的远山隐在氤氲雾气里，和浩渺水面晕融成一片空濛。近岸松林错落，茅舍悄然栖于林下，仿佛还浸在拂晓的湿意中。\n\n画家以极简的笔触轻皴淡染，留白处皆是流动的水雾，将江南水乡的清寂温柔晕开。没有繁复勾勒，只借墨色浓淡铺就幽远意境，似将水村清晨的恬然凝在绢素之上，仿佛能闻见湿润的水汽，静听水波轻漾，尽显山水简淡清远的意趣，将人拉入这安谧空阔的悠然之中。",[23,281,24,1462,7,27,28,670,14321,24029,54023,1463,54024,54025,36],"水雾","安谧","清远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b44eb01cfd8f0d4d2d18c15bf08eed.jpg",[],{"id":54029,"slug":54030,"title":54031,"dynasty":4342,"author":581,"museum":450,"description":54032,"tags":54033,"thumbUrl":54037,"material":314,"size":1061,"collection":166,"collections":54038,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},227102,"shuang-qin-xian-wen-jing-1-yi-ming-227102","双禽衔纹镜-1","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[16751,7,54034,54035,54036,4718,78,76],"纹饰","镜","铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24025c0bc1a329afc98cb076a2b505cf.jpg",[],{"id":54040,"slug":54041,"title":28,"dynasty":174,"author":43133,"museum":450,"description":54042,"tags":54043,"thumbUrl":54044,"material":166,"size":166,"collection":166,"collections":54045,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},224406,"shan-shui-wang-xue-hao-224406","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[23,24,25,7,36,38,95,28,34,33,96,282,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":54047,"slug":54048,"title":54049,"dynasty":174,"author":749,"museum":450,"description":54050,"tags":54051,"thumbUrl":54053,"material":166,"size":166,"collection":166,"collections":54054,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},224398,"xia-shan-xin-ji-tu-juan-wang-yuan-qi-224398","夏山新霁图卷","此作用笔苍浑老辣，以高远之势立主峰于画面中央，层岩皴擦间兼具披麻皴的松灵与解索皴的遒劲，将夏山的浑厚肌理尽数铺展。留白处晕染汀洲水泽，虚实相映里，尽显新霁后的空润明净。\n\n林木穿插错落，点叶苍劲灵动，或浓或淡的墨色晕染出晴日照彻后的鲜润翠色，林麓间的村居隐于茂树之下，添了几分悠然野趣。整体气息秀润沉雄，既有元人山水的萧散松灵，又自具醇厚静穆的意蕴，将初晴夏山的空明雅致融于笔墨开合之间。",[24,26,494,7,36,893,54052,34,1776,1384,40468,11596,27622,12610],"解索皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601a1fd4574bcc15ec15daea92f0dd66.jpg",[],{"id":54056,"slug":54057,"title":54058,"dynasty":174,"author":926,"museum":450,"description":54059,"tags":54060,"thumbUrl":54061,"material":166,"size":166,"collection":166,"collections":54062,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},224331,"hua-niao-shi-er-kai-9-li-shan-224331","花鸟十二开9","淡墨晕染出松鼠身形，蓬松皮毛的质感呼之欲出，尖吻微张，长尾轻扬，攀附松枝之上，警觉灵动的神态跃然纸面。苍松以焦墨挥写，浓墨点簇松针，老辣笔力勾勒出虬曲枝干，尽显苍古拙朴的风骨。左侧行书题字与画面相得益彰，笔墨枯润相生，尽显写意随性野趣。整幅作品以简驭繁，笔情纵逸，将文人写意的酣畅与林间生机相融，寥寥数笔便定格住松间嬉游的悠然意趣，尽显写意花鸟的动人神韵。",[23,24,25,74,7,123,453,3325,624,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523b8f0015029b872e9adff78fa964b0.jpg",[],{"id":54064,"slug":54065,"title":54066,"dynasty":174,"author":926,"museum":450,"description":54067,"tags":54068,"thumbUrl":54069,"material":166,"size":166,"collection":166,"collections":54070,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},224329,"hua-niao-shi-er-kai-7-li-shan-224329","花鸟十二开7","此作以水墨写意绘就仲夏小景，右侧柳根苍润，柔条轻垂，两只夏蝉攀附枝梢，焦墨提点蝉翼纹理，薄透如生，似将振翅长鸣，淡墨晕染柳丝清柔，浓淡间尽显灵动意趣。\n左侧题书笔意纵放跌宕，诗画相融，将暑日柳荫鸣蝉的慵懒闲逸铺陈开来。以简驭繁，不拘成法，寥寥数笔便捕捉住夏日常景的清寂意韵，笔墨带着疏放不羁的文人风骨，把寻常小景升华为清雅脱俗的逸趣之境，尽显写意花鸟的随性雅趣。",[23,24,25,74,7,123,37,80,75,1191,2203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdecf83e6c448966e31e45e4eb25c111f.jpg",[],{"id":54072,"slug":54073,"title":54074,"dynasty":174,"author":9682,"museum":450,"description":54075,"tags":54076,"thumbUrl":54077,"material":166,"size":166,"collection":166,"collections":54078,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},224256,"xian-lou-gao-zhi-cha-shi-biao-224256","仙楼高峙","此作用淡渴墨勾勒崖壁轮廓，皴擦简率松秀，寥寥数笔便绘出山石清峭之态。坡岸与丛木以写意点染，虚实相生间，晕染出幽寂空濛的山境。左侧行书笔致萧散飘逸，笔墨舒展随性，与画中简淡意境相融，文气悠悠。\n\n整体脱去尘俗，以极简的笔墨铺陈出清旷出尘的林下仙境，尽显新安画派笔简意赅、气韵荒寒的特质，观之如临幽林高阁，心神也随之沉静，沉醉于这份水墨疏淡里的幽远禅意。",[23,24,25,74,7,36,38,80,28,194,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7674da97971c55f319361c3f120ebd48.jpg",[],{"id":54080,"slug":54081,"title":54082,"dynasty":5382,"author":581,"museum":450,"description":54083,"tags":54084,"thumbUrl":54085,"material":166,"size":166,"collection":166,"collections":54086,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},223898,"mo-hua-zhu-zi-xiang-yi-ming-223898","墨画朱子像","此作以淡墨白描写就，细劲墨线勾勒衣袍，线条简练却贴合身形，将宽袍的古朴垂坠质感尽显。对人物面容描摹入微，眼角纹路、鬓边褶皱皆细致刻画，传神烘托出主人公温和沉静的儒雅风骨，尽显大儒的沉稳气度。旁侧题字清雅端方，与画像相得益彰。整幅画面底色古雅泛黄，晕染出厚重的岁月质感，无过多修饰，以极简笔墨承载内敛意蕴，尽显传统肖像画写实传神的特质，将东方古典美学的含蓄沉静融入其中。",[281,24,25,74,547,7,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff358068395cf5685346f594ef45313bd.jpg",[],{"id":54088,"slug":54089,"title":54090,"dynasty":52,"author":581,"museum":120,"description":54091,"tags":54092,"thumbUrl":54093,"material":196,"size":54094,"collection":166,"collections":54095,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":140},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 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此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[23,24,7,36,95,28,993,210,787,33,34,30,193,215,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],{"id":54097,"slug":54098,"title":11913,"dynasty":174,"author":581,"museum":450,"description":54099,"tags":54100,"thumbUrl":54101,"material":7,"size":54102,"collection":166,"collections":54103,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},223417,"ying-xi-tu-yi-ming-223417","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,24,25,7,193,11918,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a1bf3e927f98f47d7ccc65ef6a0cb2.jpg","11×21cm",[],{"id":54105,"slug":54106,"title":54107,"dynasty":18,"author":581,"museum":450,"description":54108,"tags":54109,"thumbUrl":54110,"material":298,"size":54111,"collection":166,"collections":54112,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[23,24,25,26,7,38,28,29,30,31,32,33,381,507,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],{"id":54114,"slug":54115,"title":54116,"dynasty":174,"author":26093,"museum":92,"description":54117,"tags":54118,"thumbUrl":54119,"material":166,"size":54120,"collection":166,"collections":54121,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},222690,"xie-yu-tian-ci-yi-zhou-qian-zai-222690","写玉田词意轴","钱载（1708—1793），字坤一，号萚石，又号匏尊，晚号万松居士、百幅老人，秀水（今浙江嘉兴）人，清朝官吏、诗人、书画家。乾隆十七年进士，改庶吉士，散馆授编修，后授内阁学士兼礼部侍郎，上书房行走，《四库全书》总纂，山东学政。官至二品，而家道清贫，晚年卖画为生。\n工诗文精画，善水墨，尤工兰竹，著有《石斋诗文集》。诗宗北宋大文豪黄庭坚，为乾嘉年间“秀水派”的代表诗人。\n雍正十年，副榜贡生，举博学鸿词、举经学，就试皆未入选。乾隆十七年，成进士，改庶吉士，授编修。七迁内阁学士，直上书房。四十一年，督山东学政。四十五年，命祭告陕西、四川岳渎及帝王陵寝。寻擢礼部侍郎，充江南乡试考官，举顾问为第一，四书文纯用排偶，上以乖文体，命议处。吕氏春秋尧葬谷林，史记不书其地。乾隆元年，以山东巡抚岳濬奏，自东平改祀濮州。\n四十一年，大理寺卿尹嘉铨疏言当在平阳，下部议驳。载督学山东，谒濮州尧陵，自四川还道平阳，得尧陵州东北；及江南典试归，又至东平求旧时所祭尧陵，参互考订，以为在平阳者是。史记汤、武皆未著葬地，盖都於是葬於是则不书，尧亦其例。因疏请釐定。下大学士、九卿议驳，载奏辨；复议，仍寝不行。上谕曰：“经生论古，反覆辨证，原所不禁。但既陈之奏牍，并经廷臣集议，即不当再执成见。载斥吕不韦门下客浮说，不韦即不足取，亦尚不可以人废言。况其门下客所著书，所谓‘悬之国门，不易一字’，岂能谓不足为据？其时去古未远，或尚有所承述。乃欲在数千年后虚揣翻驳，有是理乎？载本晚达，且其事只是考古，是以不加深问。若遇朝廷政治，亦似此哓哓不已，朕必重治其罪。”命传旨申饬。载疏累数千言，语有未明，复为自注，时谓非章奏体，上亦未深诘也。四十八年，休致。五十八年，卒，年八十有五。\n金德瑛论诗宗黄庭坚，谓当辞必己出，不主故常。载初与订交，晚登第，乃为门下门生；诗亦宗庭坚，险入横出，崭然成一家。同县王又曾、万光泰辈相与唱酬，号秀水派。载又为陈群族孙，从陈群母陈受画法，苍秀高劲，亦如其诗。",[23,24,25,95,7,180,133,2875,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f89cdd4b6dd65bf8c960069e65899b.jpg","137.7x68.4",[],{"id":54123,"slug":54124,"title":54125,"dynasty":174,"author":9335,"museum":843,"description":18331,"tags":54126,"thumbUrl":54127,"material":3463,"size":21994,"collection":166,"collections":54128,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},222653,"zhi-hua-xi-lie-zhi-hua-wu-he-gao-qi-pei-222653","指画系列-指画·舞鹤",[23,24,25,18333,7,27,3596,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffce2b5a5b5757c376b2688da33acde95.jpg",[],{"id":54130,"slug":54131,"title":54132,"dynasty":174,"author":9335,"museum":843,"description":18331,"tags":54133,"thumbUrl":54134,"material":3463,"size":21994,"collection":166,"collections":54135,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},222649,"zhi-hua-xi-lie-zhi-hua-bai-ma-gao-qi-pei-222649","指画系列-指画·白马",[23,24,18333,7,20409,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a77b744234cff2586363df5d0d2d7e.jpg",[],{"id":54137,"slug":54138,"title":54139,"dynasty":174,"author":2029,"museum":20,"description":9611,"tags":54140,"thumbUrl":54141,"material":1437,"size":9615,"collection":166,"collections":54142,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},222613,"shan-shui-ba-jing-3-gong-xian-222613","山水八景-3",[23,24,7,13664,36,28,32,282,717,34,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d0d0a469d88f3e8e2c0ce23313a769.jpg",[],{"id":54144,"slug":54145,"title":54146,"dynasty":174,"author":2029,"museum":20,"description":9611,"tags":54147,"thumbUrl":54148,"material":1437,"size":9615,"collection":166,"collections":54149,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":47},222612,"shan-shui-ba-jing-2-gong-xian-222612","山水八景-2",[23,24,7,36,28,147,29,1442,33,1974,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41cb5c793ea90b164e87ab6b3d05d0a4.jpg",[],{"id":54151,"slug":54152,"title":54153,"dynasty":18,"author":18116,"museum":1346,"description":21531,"tags":54154,"thumbUrl":54155,"material":298,"size":166,"collection":166,"collections":54156,"showCount":616,"zanCount":46,"manualWeight":46,"mainColor":140},222540,"bian-jing-nan-lou-shi-juan-wang-duo-222540","忭京南楼诗卷",[23,37,38,394,26,7,80,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b990a58a50b4c2546f3fdf93fe77d11.jpg",[],{"id":54158,"slug":54159,"title":54160,"dynasty":18,"author":2851,"museum":92,"description":8012,"tags":54161,"thumb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[明]字质夫，吴（今江苏苏州）人。师文嘉（一五0一―一五八三）钱谷\n为入室弟子，有出蓝之美。候懋功、朱朗之流亚。按画体元诠有金陵殳质，字质甫，工山水。是否一人，待考。《无声诗史、弇州续稿》",[24,25,74,7,36,28,147,180,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef0813ead55ecab512339201cb44a55.jpg",[],{"id":56016,"slug":56017,"title":56018,"dynasty":18,"author":7182,"museum":120,"description":45946,"tags":56019,"thumbUrl":56020,"material":564,"size":45949,"collection":166,"collections":56021,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234809,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-du-shu-tai-tu-ye-wen-jia-234809","吴门诸家寿袁方斋三绝册-读书台图页",[24,25,74,7,28,31,38,80,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ee95c8beaf1ed4ad81a72e865f6789.jpg",[],{"id":56023,"slug":56024,"title":56025,"dynasty":18,"author":581,"museum":120,"description":56026,"tags":56027,"thumbUrl":56028,"material":27013,"size":56029,"collection":166,"collections":56030,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},234772,"ming-ren-mu-niu-dan-ye-yi-ming-234772","明人牧牛单页","绘初春时节，一边无叶的树枝上红花灼灼，空中一只燕子拍翅而来；树下一头体格强壮肥牛爆了脾气，似不愿听从牧童引导，故而孩童骑在牛角上，似与壮牛一比高低，童趣十足。",[24,25,7,74,1839,453,193,126,28,180,162,39311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853a9009361ea4d001207b2469b897ea.jpg","纵23cm，横24cm",[],{"id":56032,"slug":56033,"title":14561,"dynasty":174,"author":27658,"museum":120,"description":27659,"tags":56034,"thumbUrl":56035,"material":564,"size":166,"collection":166,"collections":56036,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234765,"huang-shan-tu-ce-jiang-zhu-234765",[24,25,74,7,28,210,34,33,215,36,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf74a250f35a7dfb40b3453148928cfa.jpg",[],{"id":56038,"slug":56039,"title":5006,"dynasty":174,"author":5090,"museum":450,"description":27666,"tags":56040,"thumbUrl":56041,"material":537,"size":27669,"collection":166,"collections":56042,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234718,"fang-gu-shan-shui-ce-wang-hui-234718",[24,7,74,28,147,35,5253,164,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e29cb975f83fed9787f370f4a98f775.jpg",[],{"id":56044,"slug":56045,"title":5006,"dynasty":174,"author":5090,"museum":450,"description":27666,"tags":56046,"thumbUrl":56047,"material":537,"size":27669,"collection":166,"collections":56048,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234716,"fang-gu-shan-shui-ce-wang-hui-234716",[24,25,74,7,28,127,126,34,30,32,162,36,80,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4ad8c583772a1f582c6129c6abb9f6.jpg",[],{"id":56050,"slug":56051,"title":10031,"dynasty":174,"author":377,"museum":450,"description":2232,"tags":56052,"thumbUrl":56053,"material":166,"size":166,"collection":166,"collections":56054,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234651,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234651",[24,25,74,7,38,28,33,194,29,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3c47ff1ca092b02ce909b3e40643c4.jpg",[],{"id":56056,"slug":56057,"title":157,"dynasty":174,"author":9682,"museum":450,"description":32172,"tags":56058,"thumbUrl":56059,"material":166,"size":166,"collection":166,"collections":56060,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234641,"shan-shui-ce-cha-shi-biao-234641",[281,24,25,74,7,38,36,28,162,706,1442,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d9e861acc45aa892e05b5dca2b8d72.jpg",[],{"id":56062,"slug":56063,"title":56064,"dynasty":174,"author":56065,"museum":450,"description":56066,"tags":56067,"thumbUrl":56068,"material":166,"size":166,"collection":166,"collections":56069,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234602,"shuang-gou-zhu-wan-shan-li-yu-234602","双钩竹纨扇","李育","李育 [清]（1843―？）字梅生，甘泉（今江苏扬州）人。尝师事朱本，与李绂尘称“南北李”。\n尝师事朱本，与李绂尘称“南北李”。工人物、花鸟、杂品，其写意花卉木石，能综各家所长，脱略高浑，下笔甚捷，有心手相和色墨并施之妙。惟山水过于求脱，又不耐皴染，是以不逮古人。而小帧扇头间一为之，又复巧于布置。尝为黄小园作花鸟虫介画册二百页，换羽移宫，层出不尽，诚杰作也。未几患臂，尚闭门临管希贤画册不止。光绪三十年（1904）尝作修竹远山图，时年六十二。亦工行、草，善八分。",[24,25,1462,22171,7,126,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F344f8fe491415a39707dc4487a1ef2e8.jpg",[],{"id":56071,"slug":56072,"title":41142,"dynasty":18,"author":56073,"museum":450,"description":56074,"tags":56075,"thumbUrl":56076,"material":166,"size":166,"collection":166,"collections":56077,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},234562,"shan-shui-shan-li-zhao-heng-234562","李肇亨","李肇亨[明]字会嘉，号珂雪，又号醉鸥、爽溪钓士，后为僧，法名堂莹，住超果寺，嘉兴（今浙江嘉兴）人。日华子。工书法，摹褚。精画理，善山水，与赵左齐名，气息浑古，风韵静穆。尝以书法写葡萄尤妙。天启元年（一六二一）作研池墨雨册，顺治元年（一六四四）作溪山高隐图。工诗，著写山楼、率圃、梦余诸草。",[1462,24,7,28,624,34,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421a8e782131a3ae312d61d5f8d66fa8.jpg",[],{"id":56079,"slug":56080,"title":41142,"dynasty":18,"author":39861,"museum":450,"description":47576,"tags":56081,"thumbUrl":56082,"material":166,"size":166,"collection":166,"collections":56083,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":921},234542,"shan-shui-shan-wei-zhi-huang-234542",[24,25,1462,7,36,28,31,33,34,730,193,213,1776,164,6133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14c8d9009f51d706882f0458f6f08902.jpg",[],{"id":56085,"slug":56086,"title":157,"dynasty":174,"author":17920,"museum":120,"description":56087,"tags":56088,"thumbUrl":56089,"material":537,"size":166,"collection":166,"collections":56090,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234330,"shan-shui-ce-wang-zhi-rui-234330","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。",[24,25,74,7,28,34,33,38,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7791e4391f8e2a97f2345ce777519111.jpg",[],{"id":56092,"slug":56093,"title":157,"dynasty":174,"author":9682,"museum":120,"description":42754,"tags":56094,"thumbUrl":56095,"material":564,"size":166,"collection":166,"collections":56096,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234313,"shan-shui-ce-cha-shi-biao-234313",[74,7,38,28,193,312,147,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ead96bc1ffc5bf506f5a5e573c082.jpg",[],{"id":56098,"slug":56099,"title":56100,"dynasty":174,"author":14606,"museum":120,"description":56101,"tags":56102,"thumbUrl":56103,"material":537,"size":166,"collection":166,"collections":56104,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234301,"yu-mu-shang-xin-ce-shan-shui-ce-gao-cen-234301","娱目赏心册-山水册","盛唐诗人高适和岑参的合称，为盛唐边塞诗歌代表诗人的专称。但“高岑”并称，则始于他们的好友杜甫《寄彭州高三十五使君适、虢州岑二十七长史参三十韵》：“高岑殊缓步，沈鲍得同行。”说他们两人成名较晚，而才学堪比沈约、鲍照，原非专称\n高适、岑参的诗以“悲壮为宗”(胡应麟《诗薮》)。他们都积极进取，但长期功名失意。一再出塞谋求报国立功，对仕途坎坷和边塞生活有着深刻体验。所作主要以边塞战争、塞上风光和仕途艰难为题材，善于运用七言古诗等体裁，表现报国安边、治国安民的壮志和奋发进取的精神，或抒发怀才不遇、功业无成的悲愤。其诗意气豪迈，情辞慷慨，奇偶相生，手法多样。这是他们共同的地方。\n由于生活经历、个性、文学思想和渊源等差异，高适、岑参的诗又有重要区别。“高悲壮而厚，岑奇逸而峭”（王士禛《师友师传续录》）。高适善于反映战士和农民的疾苦，暴露现实，笔调严谨，直抒胸臆，以常语感人；岑参擅长讴歌胜利，描绘奇境，抒发豪情，寓情于景，以奇语动人。\n高、岑边塞诗成就最高。近人以“高岑”并称往往是因其边塞诗。同时，唐代边塞诗派也被称为“高岑诗派”，诗风相近的王之涣、王翰、王昌龄、崔颢、李颀等人均被列入此派。\n高适（700—765) ，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[24,25,74,7,36,38,80,28,180,32,57,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":56106,"slug":56107,"title":5598,"dynasty":18,"author":39804,"museum":450,"description":56108,"tags":56109,"thumbUrl":56110,"material":166,"size":166,"collection":166,"collections":56111,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234268,"hua-hui-ce-qi-xun-234268","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[23,24,25,74,7,38,80,76,133,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0033685bba334666ca8ac9ae54eca497.jpg",[],{"id":56113,"slug":56114,"title":22363,"dynasty":18,"author":12323,"museum":450,"description":37492,"tags":56115,"thumbUrl":56116,"material":166,"size":166,"collection":166,"collections":56117,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234222,"shan-shui-juan-sun-zhi-234222",[23,24,25,26,28,7,27,36,212,33,58,3246,35,787,6225,624,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":56119,"slug":56120,"title":22363,"dynasty":174,"author":37372,"museum":450,"description":56121,"tags":56122,"thumbUrl":56123,"material":166,"size":166,"collection":166,"collections":56124,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,24,25,26,7,36,28,33,34,35,58,164,533,10414,1386,1926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":56126,"slug":56127,"title":56128,"dynasty":174,"author":5090,"museum":120,"description":56129,"tags":56130,"thumbUrl":56131,"material":564,"size":56132,"collection":166,"collections":56133,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,25,26,7,27,28,36,38,37,31,282,30,33,3257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":56135,"slug":56136,"title":56137,"dynasty":18,"author":51071,"museum":120,"description":56138,"tags":56139,"thumbUrl":56140,"material":564,"size":166,"collection":166,"collections":56141,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234147,"xie-sheng-shu-hua-juan-wang-gu-xiang-234147","写生书画卷","王榖祥 （1501-1568），字禄之，号酉室，长洲（今江苏苏州）人。嘉靖八年（一五二九）进士，官吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不坠羲之献之之风，篆籀八体及摹印，并臻妙品。卒年六十八。",[23,24,25,26,7,1852,38,80,125,128,129,131,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea5c2be707b2e0f8af30540e90fe00f.jpg",[],{"id":56143,"slug":56144,"title":56145,"dynasty":18,"author":49271,"museum":120,"description":56146,"tags":56147,"thumbUrl":56148,"material":298,"size":166,"collection":166,"collections":56149,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,24,25,26,38,27,481,7,28,194,29,30,32,126,162,35,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":56151,"slug":56152,"title":56153,"dynasty":18,"author":11473,"museum":120,"description":56154,"tags":56155,"thumbUrl":56156,"material":29766,"size":29767,"collection":166,"collections":56157,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234051,"jia-shu-qing-yun-tu-shan-lan-ying-234051","嘉树晴云图扇","蓝瑛的扇面《嘉树晴云图》，画的是山石丘壑间，古松盘桓，白云缭绕，二隐士临溪席地而憩，坐而论道。整个扇面幽静清远，洒脱自然。我国古代文人讲究“达则兼济天下，穷则独善其身”，归隐山林则成为了官场失意的士大夫避世的理想与归宿。\n《嘉树晴云图》画中的隐士坐而论道的“避世”情境，适应了我国古代文人涉、忘、出而皆备的心理需求，因此深得人们喜爱。",[24,25,1462,7,27,28,193,33,454,34,36,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddd331fc0e7be4e9b5165c7795b3bd.jpg",[],{"id":56159,"slug":56160,"title":56161,"dynasty":205,"author":581,"museum":120,"description":56162,"tags":56163,"thumbUrl":56165,"material":3471,"size":56166,"collection":166,"collections":56167,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234017,"liu-xi-diao-ting-tu-ye-yi-ming-234017","柳溪钓艇图页","此图原载《历代名笔集胜册》第一册。图画溪江岸柳，土坡茅舍，溪中一渔翁戴草笠穿蓑衣垂钓。远处山影一抹，景物疏朗，意趣无穷。作者用花青、石绿画丛树和柳页，白粉点柳花，赭脱减笔画茅舍。设色清丽丰富，层次分明。构图采用局部取景法。用笔简练秀逸，几脱画院习气。此图旧题签马远画，但究其画风与马远无相似之处，故改为无名氏作。画中钤有“真赏”、“宜尔子孙”、“信公珍赏”、“会侯珍藏”、“都尉耿信公书画之章”等藏印多方。曾经清人耿昭忠收藏，《虚斋名画录》著录。",[24,25,2446,7,27,28,1035,215,31,164,785,56164,481,729,2043,6739,36],"水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b0db537c474e6e93fd4294004a01a7.jpg","纵23、横24.5厘米",[],{"id":56169,"slug":56170,"title":56171,"dynasty":205,"author":581,"museum":120,"description":56172,"tags":56173,"thumbUrl":56174,"material":834,"size":56175,"collection":166,"collections":56176,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 经启功、徐邦达、刘九庵等鉴定，为南宋绘画精品。",[24,25,1462,481,7,8796,1035,6711,312,193,28,33,7389,215,15168,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F889481f88712cc838b8760e3fbc15223.jpg","23.5×25.6cm",[],{"id":56178,"slug":56179,"title":157,"dynasty":174,"author":2029,"museum":120,"description":13662,"tags":56180,"thumbUrl":56181,"material":964,"size":13666,"collection":166,"collections":56182,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},233985,"shan-shui-ce-gong-xian-233985",[24,25,74,7,36,28,147,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2995c0eb3905a2fdf9ba282f37e9e2cc.jpg",[],{"id":56184,"slug":56185,"title":157,"dynasty":174,"author":2029,"museum":120,"description":13662,"tags":56186,"thumbUrl":56187,"material":964,"size":13666,"collection":166,"collections":56188,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},233984,"shan-shui-ce-gong-xian-233984",[24,281,25,74,7,36,28,162,32,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f29f18b9b87227933839758e1c857f.jpg",[],{"id":56190,"slug":56191,"title":157,"dynasty":174,"author":2029,"museum":120,"description":13662,"tags":56192,"thumbUrl":56193,"material":964,"size":13666,"collection":166,"collections":56194,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},233977,"shan-shui-ce-gong-xian-233977",[24,7,36,74,28,29,194,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14796f4039bf7b11eabbba7851e775e8.jpg",[],{"id":56196,"slug":56197,"title":14561,"dynasty":174,"author":14526,"museum":120,"description":14562,"tags":56198,"thumbUrl":56199,"material":564,"size":14565,"collection":166,"collections":56200,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},233889,"huang-shan-tu-ce-mei-qing-233889",[24,7,28,74,36,335,624,32,211,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5662b96905e1fb069fb3633b5122a2dd.jpg",[],{"id":56202,"slug":56203,"title":56204,"dynasty":18,"author":2851,"museum":120,"description":56205,"tags":56206,"thumbUrl":56207,"material":6136,"size":56208,"collection":166,"collections":56209,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[24,25,26,7,27,38,37,36,28,193,33,96,35,480,6485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纵30.7厘米 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人之徒欤？”足可见其在当时影响之大。然郭忠恕画作传世稀少，仅以《雪霁江行图》可信为真迹。此图画法明显受到李成影响，山石用卷云皴石如云动，树法为蟹爪、鹿角枝。郭忠恕与李成是同一时期各具风格的大家，画史记载其画师法李思训和王维。这明显都与本画的面貌不符，因此可以断定本画并非郭忠恕所作，故作者改为佚名较为恰当。",[24,7,27,36,28,194,33,213,40216,2446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb80b27f3b5858bf14b3ca2219a3a837.jpg","24x25.1厘米",[],{"id":56281,"slug":56282,"title":56283,"dynasty":174,"author":56284,"museum":450,"description":56285,"tags":56286,"thumbUrl":56287,"material":166,"size":166,"collection":166,"collections":56288,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},232820,"xi-jin-chun-feng-shu-fa-wang-shi-hong-232820","西禁春风 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山水图屏风-第一屏",[23,24,25,7,36,28,162,624,268,180,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959bfd52b542f4f8e07d6bd3acfd9022.jpg",[],{"id":56394,"slug":56395,"title":56396,"dynasty":174,"author":56397,"museum":450,"description":56398,"tags":56399,"thumbUrl":56400,"material":166,"size":166,"collection":166,"collections":56401,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},230291,"lin-lu-bao-shan-hua-ce-li-shan-230291","临陆包山画册","李善","这幅小品设色清雅柔润，淡赭晕染豆荚，将饱满绵密的肌理尽显，淡蓝铺陈叶片，墨线细勾叶脉，枯笔写就的枝蔓苍劲灵动。蝈蝈工细写实，翅脉纤毫毕现，触须轻颤欲动，将秋虫的鲜活之态凝于纸面，写意的花果与工致的草虫相映成趣。\n\n题诗与画面呼应，诗书印相融晕染出文人雅趣。画师将秋日篱边小景的生机尽数铺展，既有写生的真切生动，又不失写意的淡朴雅致，寥寥笔墨间揽尽清秋闲情，尽显传统花鸟小品的隽永意韵。",[24,25,254,27,7,75,19080,367,366,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3038fe2fed241b071c06cc83341136e1.jpg",[],{"id":56403,"slug":56404,"title":1462,"dynasty":174,"author":56405,"museum":450,"description":56406,"tags":56407,"thumbUrl":56408,"material":166,"size":166,"collection":166,"collections":56409,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},230165,"shan-mian-lin-xing-230165","林行","此作用淡赭晕染山峦，以短披麻皴勾勒山石肌理，厚重朴拙间见温润质感。留白作溪云环萦，虚实相映，让山水生出空濛灵秀之态。\n左侧板桥之上，三两策杖行人徐行，为幽寂山水添上鲜活烟火气；右侧竹篁深秀间茅舍隐现，暗合山居幽栖之趣。\n笔墨舒缓柔和，不见剑拔弩张的锋芒，将江南林麓的清寂安闲铺展开来，动静相融间，把文人心中林下幽居的悠然诗意，藏在淡墨轻岚之中。",[24,25,1462,7,36,28,335,706,162,126,29,30,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e978dfc087b2b735d0da2f091cf4fad.jpg",[],{"id":56411,"slug":56412,"title":56413,"dynasty":174,"author":15930,"museum":450,"description":56414,"tags":56415,"thumbUrl":56416,"material":166,"size":166,"collection":166,"collections":56417,"showCount":445,"zanCount":1084,"manualWeight":46,"mainColor":47},228964,"mo-miao-zhu-lin-si-ce-dong-bang-da-228964","墨妙珠林（巳）册","此作左诗右画，书画合璧。白描山水以淡墨写尽仙仓岩幽境，层峦叠嶂皴法清隽，林麓萧疏错落，清溪萦回于谷中，山坳茅舍隐现，简淡笔墨晕染出静穆空寂的山居意趣。\n\n左侧行书题诗笔致温润秀逸，结体舒展雅致，诗句咏叹山中丰饶自在，与画境相互生发。整幅以素淡之韵，将林泉高致融于方寸间，尽显文人山水清和散澹的雅怀，藏静穆淡远的山水诗意于笔墨之中，是文人书画小品的佳制。",[24,25,74,7,28,335,350,32,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b8290b9dc65f14bc553c5723165ae6.jpg",[],{"id":56419,"slug":56420,"title":157,"dynasty":174,"author":9335,"museum":450,"description":56421,"tags":56422,"thumbUrl":56423,"material":166,"size":166,"collection":166,"collections":56424,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},228926,"shan-shui-ce-gao-qi-pei-228926","以指代笔，水墨写意。淡墨晕染出空濛烟岚，远山隐绰在暮雨薄雾之间，浑茫幽寂。近处以浓墨挥斫危崖，苍劲古木虬曲斜生，枝叶以焦墨点簇，朴拙老辣。临水村居简笔勾廓，素净雅致，静卧于溪岸之侧，流露出山野幽居的闲淡意趣。\n\n题诗与画境呼应，将春日迟暮、静听暮雨的萧散心境融于笔墨。整幅画面虚实相生，简淡空灵，以极简的笔墨勾勒出清远空寂的山居之境，尽显文人画简远疏淡的审美意趣。",[24,7,74,28,35,33,213,211,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0b4398013bfd218a1a58a5ceb209d.jpg",[],{"id":56426,"slug":56427,"title":56428,"dynasty":18,"author":9621,"museum":450,"description":56429,"tags":56430,"thumbUrl":56431,"material":166,"size":166,"collection":166,"collections":56432,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},228399,"chi-bi-sheng-you-tu-juan-zhu-yun-ming-228399","赤壁胜游图卷","开卷是平远江景，淡墨晕染汀渚林峦，茅庐隐于烟霭疏树之间，清寂萧散，暗合夜游的幽旷意韵。后段行书铺陈全篇，开篇浓墨榜书造势，笔力沉厚雄奇，随后行笔渐趋舒展灵动，提按藏枯涩润秀之变，行气绵密贯通，将泛舟叩舷、酾酒临江的旷达心境，藏于笔锋流转之中。\n\n书画合璧，文辞、笔墨与画意融为一体，把夜游赤壁的浩渺襟怀，化作纸上烟岚与笔底波澜，尽显萧散狂逸的文人意趣，是书画互衬的精妙之作。",[23,24,25,26,7,38,37,28,31,33,80,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b52125cd618b3e7941437626cd79b.jpg",[],{"id":56434,"slug":56435,"title":56436,"dynasty":18,"author":56437,"museum":450,"description":56438,"tags":56439,"thumbUrl":56440,"material":166,"size":166,"collection":166,"collections":56441,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},228396,"hua-niu-tu-juan-zhang-jun-du-228396","画牛图卷","张君度","此卷以水墨晕染群牛，情态鲜活灵动。或抵角相搏、野性尽显，或信步缓行、憨态可掬，或卧地慵憩、悠然自得，搭配随性牵引的牧童，将乡野牧歌的闲逸日常铺陈开来。\n\n笔墨极简却形神兼备，淡墨晕出蓬松皮毛，浓墨勾勒犄角蹄足，寥寥数笔便将水牛的厚重朴拙尽显。题跋书法与绘事相映，诗画合璧，文心与画趣交融。构图疏密张弛有度，从群聚到散走过渡自然，将田园间的悠然意韵缓缓铺展，尽显文人写意的抒情特质，是兼具写生传神与寄兴抒怀的佳作。",[23,24,25,26,7,481,1839,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456e6af9b7a3092979091028a8aeb964.jpg",[],{"id":56443,"slug":56444,"title":56445,"dynasty":18,"author":18116,"museum":92,"description":56446,"tags":56447,"thumbUrl":56448,"material":284,"size":56449,"collection":166,"collections":56450,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},228339,"zeng-zheng-gong-du-shi-wang-duo-228339","赠郑公度诗","金山顶鸿飞阁。秋山晚更青，垂老探玄冥。 漠漠朝多雨，苍苍夜降灵。 菊醑无客醉，萧韵与猿听。 辗转怀萧爽，银河展幔亭。 告大次寒阳山趣 懒人山是与，长夏触心光。 已见碧桃实，空思紫草芳。 辑书蛇性善，抚轸鹤音凉。 劝汝勤鞅掌，白头养石房。 上烟欲行 何道能留汝，生涯正未穷。 围城榆鼓稻，花风叶雨戎。 漕自江淮转，人才邹鲁通。 片帆安可问，海气远天空。 阳山郊 浞浞寻香岫，傍傍过水门。 江帆（安何）所事，村柳自无喧。 客况空高埠，莺音似故园。 不闻何处去，悦悟在岩根。 石惠召自浒墅入大石山。登象鼻诸峰。 牢落江湖客，偏将梵服寻。 苟非同采药，不易有幽心。 蔚荟消诸霭，琴书閟一岑。 足音无亦好，蚓食保芳林。 崇祯皇帝十六载，寓孟庄山志园灯下，书狂作数首，公度郑词丈正之。 孟津王铎年五十二岁笔",[23,37,394,38,26,7,80,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e866cd7553ecb789aa57fe9c56edd66.jpg","每开纵28.3公分,横36公分",[],{"id":56452,"slug":56453,"title":56454,"dynasty":18,"author":9621,"museum":450,"description":56455,"tags":56456,"thumbUrl":56457,"material":314,"size":1061,"collection":166,"collections":56458,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},228332,"bei-guo-fang-you-shi-zhu-yun-ming-228332","北郭访友诗","祝允明（1460—1526年），字希哲，号枝山，因手生六指，故自号枝指生，长洲（今江苏苏州）人。公元1492年（明弘治五年）举人，1514年（正德九年）授广东惠州府兴宁县知县，后转任南京应天府通判，故后世又称之为“祝京兆”。《明史》有传。工诗文书法，才华横溢，与唐寅、文徵明、徐祯卿并称“吴中四才子”。",[25,37,394,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3baa5efbf07025f768025a035a16ae.jpg",[],{"id":56460,"slug":56461,"title":56462,"dynasty":52,"author":581,"museum":450,"description":56463,"tags":56464,"thumbUrl":56465,"material":166,"size":166,"collection":166,"collections":56466,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},228222,"qiu-lin-shan-zhuang-tu-ye-er-yi-ming-228222","秋林山庄图页二","此画以淡墨写就秋山幽居之景。萧疏枯木虬曲伸展，枝桠棱棱尽染清秋寥落之意，旁生细竹添得几分柔雅生机。山石以简笔勾勒，皴擦浅淡风骨清癯，崖畔栈道蜿蜒，板桥通连幽处茅舍，藏着山居闲逸。远景江天空阔，远山一抹轻晕，留白尽衬荒寒淡远。\n\n笔墨松秀简净，无过多繁饰，以简淡之形托出幽寂清远的林下意趣，将幽居山野的恬然与秋林清寂相融，尽显寄情林泉的文人雅怀，淡而韵长，简中见味。",[23,24,7,28,74,547,36,610,147,126,180,29,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c54853a4977f83f600f2b3a3909c5df.jpg",[],{"id":56468,"slug":56469,"title":56470,"dynasty":52,"author":581,"museum":450,"description":56471,"tags":56472,"thumbUrl":56473,"material":166,"size":166,"collection":166,"collections":56474,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},228211,"fang-mu-tu-yi-ming-228211","放牧图","以浓墨点染左侧垂柳，苍润枝叶随性舒展，余下大片淡墨留白铺就水泽，晕染出空濛悠然的郊野暮色。\n\n两头水牛一静一动，一者卧于水间，牧童伏背酣眠，恬然自适；一者垂首浅滩饮水，姿态松弛憨拙。全作以水墨写意，舍去繁缛刻画，以留白烘托萧散悠远的意境，将乡野放牧的日常闲趣，融于简淡笔墨之中，尽显平淡天真的隐逸意趣，把田园野趣与尚简重情的审美完美契合，尽显小品画的灵动生机与悠远情致。",[23,281,24,25,7,481,1839,162,350,7389,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa8ce8aadda59dc845081b49d325826.jpg",[],{"id":56476,"slug":56477,"title":56478,"dynasty":52,"author":56479,"museum":450,"description":56480,"tags":56481,"thumbUrl":56482,"material":166,"size":166,"collection":166,"collections":56483,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},228178,"zhi-chen-zhi-shu-zha-liu-ji-yi-228178","致陈植书札","刘继益","这帧手札行书随性疏朗，带着元代文人特有的散逸意趣。书写毫无刻意雕琢之感，起笔灵动率意，收笔朴拙厚重，枯湿浓淡随兴生发，字势顾盼有情，牵丝映带间尽显书写时松弛自然的心境。\n\n作为日常尺牍，笔墨随着心绪流转，将家常絮语落于笔端，亲昵真挚的思绪藏在笔墨细节之中。纸面带着岁月晕染的痕迹，为这件小品更添古雅质感，既承载着尺牍的温度，也尽显元代行书简淡萧散的美学品格，是文人以书寄情的典型佳作。",[23,37,38,7,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1967c732a38e778625d4b69409578904.jpg",[],{"id":56485,"slug":56486,"title":56487,"dynasty":205,"author":581,"museum":450,"description":56488,"tags":56489,"thumbUrl":56490,"material":166,"size":166,"collection":166,"collections":56491,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},227874,"liu-tang-xun-ju-tu-yi-ming-227874","柳塘寻句图","画面以淡墨晕开江南水滨的烟霭，近处柳林浓荫偃伏，柔条垂覆浅汀，水面浮着点点菱荇，漾着清寂的闲意。远山以轻毫扫出轮廓，融在空蒙水雾之中，恍若化入淡远烟岚。汀渚一隅隐着渔舟，似有幽人独伫，将寻句的幽谧心境沉在湖光柳色里。\n\n全幅以留白造境，笔墨简淡却意蕴悠长，将林泉雅意收在尺幅之间，尽显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[23,24,25,281,27,7,481,28,1035,6711,128,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":56493,"slug":56494,"title":56495,"dynasty":205,"author":581,"museum":450,"description":56496,"tags":56497,"thumbUrl":56498,"material":166,"size":166,"collection":166,"collections":56499,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[23,24,25,1714,74,1462,7,27,395,396,398,2021,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":56501,"slug":56502,"title":56503,"dynasty":205,"author":581,"museum":450,"description":56504,"tags":56505,"thumbUrl":56506,"material":166,"size":166,"collection":166,"collections":56507,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,24,25,74,1462,7,27,481,28,32,480,33,193,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":56509,"slug":56510,"title":56511,"dynasty":18,"author":56512,"museum":450,"description":56513,"tags":56514,"thumbUrl":56515,"material":166,"size":166,"collection":166,"collections":56516,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},224562,"shu-hua-ce-ye-27-xiao-yun-cong-wang-shi-zhen-224562","《书画册页》-27","萧云从 王士祯","近景苍松虬曲古拙，苔痕覆于顽石，执杖行人徐行溪桥，柴扉轻掩，僮仆静候于竹篱茅舍侧，修篁环绕更添幽寂。飞瀑穿谷蜿蜒而下，层叠山峦以朴拙皴法写就，山石棱角间点染丹色，暗合秋意。\n整幅画作以元人笔意写林泉幽居，笔墨简淡松秀，淡赭轻施衬出山野清秋之致。题字清雅隽秀，与山水笔墨相映成趣，将文人寄情丘壑的雅逸襟怀融于尺幅之中，把山野幽居的静穆恬然尽数铺陈，尽显淡远清寂的林下之风。",[24,25,74,27,7,36,28,193,194,30,34,127,1853,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17b3a9e13051ba3c52fdb0d84755f1c.jpg",[],{"id":56518,"slug":56519,"title":56520,"dynasty":174,"author":5090,"museum":450,"description":56521,"tags":56522,"thumbUrl":56523,"material":166,"size":166,"collection":166,"collections":56524,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[23,24,25,95,7,36,127,1853,32,29,30,180,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":56526,"slug":56527,"title":56528,"dynasty":174,"author":749,"museum":450,"description":56529,"tags":56530,"thumbUrl":56531,"material":166,"size":166,"collection":166,"collections":56532,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[24,25,95,7,36,80,37,38,28,335,33,35,58,213,624,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":56534,"slug":56535,"title":56536,"dynasty":174,"author":2737,"museum":450,"description":56537,"tags":56538,"thumbUrl":56539,"material":166,"size":166,"collection":166,"collections":56540,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},224335,"shi-gu-qi-niu-tu-zhou-yang-jin-224335","石谷骑牛图轴","浅设色绘就水滨春野，水牛信步徐行，背脊上的宽袍老者斜倚安坐，斗笠覆顶，垂目敛神，一派萧散恬然。\n\n水牛造型朴拙写实，晕染细腻还原皮毛质感，人物衣纹简练秀雅，淡赭敷色清润柔和。通幅布景极简，只以柔线勾勒浅草坡岸，留白尽显空濛野趣。搭配多段题诗，书画合璧，将文人逸隐林泉、不慕荣利的襟怀融于笔墨间，简淡天真，尽显出世幽怀，是以画寄意的文人画佳构。",[23,24,25,95,7,193,1839,37,38,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86733bb6975257e03883c9a818dc1e29.jpg",[],{"id":56542,"slug":56543,"title":56544,"dynasty":174,"author":926,"museum":450,"description":56545,"tags":56546,"thumbUrl":56547,"material":166,"size":166,"collection":166,"collections":56548,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},224325,"hua-niao-shi-er-kai-3-li-shan-224325","花鸟十二开3","此作以淡墨晕染雀鸟翎羽，绒毛细密质感尽显，小雀侧首凝神，灵动野趣跃然纸上。竹枝以浓淡墨色挥写，叶片俯仰错落，笔致纵逸萧散，尽显清劲风骨。诗书与绘事相融，题字欹斜错落，文气萦绕画面。整作笔简意赅，将花鸟生趣与文人幽思揉合，以意写形不拘成法，墨色干湿互衬，寥寥数笔便勾勒出江乡小景的幽寂意韵，尽显随性疏朗的文人画风骨。",[23,24,25,74,7,27,75,126,77,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476aad52c5f6bd95cc590c2a2bb64743.jpg",[],{"id":56550,"slug":56551,"title":56552,"dynasty":174,"author":926,"museum":450,"description":56553,"tags":56554,"thumbUrl":56555,"material":166,"size":166,"collection":166,"collections":56556,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},224302,"hua-hui-shi-er-kai-3-li-shan-224302","花卉十二开3","此作以淡赭挥写竹杆，枯涩灵动间尽显苍劲挺拔之态，墨色浓淡晕染牵牛花瓣，蓝紫清妍鲜活，翠色叶片交叠错落，将朝颜娇柔生机尽数铺陈。\n\n行书题字欹侧跌宕，笔意率性不羁，与画作写意野趣相得益彰，诗书合璧尽显文人随性酣畅。整幅以简驭繁，脱略形似而神完气足，将篱间牵牛绕竹的夏日清趣揽于尺幅之间。笔底带着鲜活生机，尽显不拘成法、师法自然的写意精神，寥寥数笔便勾勒出花草疏野雅致，淡冶中见风骨，寻常小景溢出悠然林下之致。",[23,24,25,74,27,7,75,76,551,367,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b41f8a92c4e3e7a9a030332fa62736.jpg",[],{"id":56558,"slug":56559,"title":56560,"dynasty":174,"author":21853,"museum":450,"description":56561,"tags":56562,"thumbUrl":56563,"material":166,"size":166,"collection":166,"collections":56564,"showCount":445,"zanCount":1084,"manualWeight":46,"mainColor":47},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[23,24,25,7,36,74,28,33,34,35,164,6133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":56566,"slug":56567,"title":56568,"dynasty":174,"author":47166,"museum":450,"description":56569,"tags":56570,"thumbUrl":56571,"material":166,"size":166,"collection":166,"collections":56572,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},224155,"hua-shan-mei-hua-ce-zhang-zhao-224155","画扇梅花册","上幅行书圆劲秀逸，笔墨温润舒展，词句咏梅寄怀，文思与笔意相得益彰，自带清雅书卷气。下幅墨梅以淡墨写枝，浓墨点花，清瘦枝桠错落舒展，寒梅数朵绰约含香，不着艳色却尽得冰清之姿。留白空寂悠远，尽显文人画以意取胜的韵致。\n\n双扇合璧，书画相映，将爱梅赏梅的雅趣融于尺幅之间，以简约笔墨勾勒花木品格，暗合文人心性，尽显冲淡闲和的林下之风，是意趣隽永的文人抒情小品。",[23,24,25,1462,74,125,37,38,80,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda413448615adeaf8857bb9601f5a07.jpg",[],{"id":56574,"slug":56575,"title":56576,"dynasty":205,"author":581,"museum":120,"description":56577,"tags":56578,"thumbUrl":56580,"material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“素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[23,24,25,95,7,27,36,28,147,1442,193,33,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b414ad5d3ac5d537b5cf0676affa9d4.jpg","纵83.2厘米横37.5厘米",[],{"id":56602,"slug":56603,"title":56604,"dynasty":174,"author":22552,"museum":450,"description":22553,"tags":56605,"thumbUrl":56607,"material":298,"size":22556,"collection":166,"collections":56608,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},223127,"shu-hua-ce-ye-sheng-gui-zhuang-223127","《书画册页》-胜",[23,37,74,7,38,80,56606,25],"洒金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8abe8c8c332531c7135d828bfdb4ef0.jpg",[],{"id":56610,"slug":56611,"title":56612,"dynasty":174,"author":26688,"museum":120,"description":56613,"tags":56614,"thumbUrl":56615,"material":61,"size":56616,"collection":166,"collections":56617,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},223099,"fang-fan-kuan-shan-shui-zhou-tang-dai-223099","仿范宽山水轴","此画作者采用全景似的构图，使近、中，远景层次分明，中心突出。\n远景山峦重叠，主峰矗立，气势雄伟，山巅间烟云缭绕，云气弥漫，似浮起润泽的雾气；中景峰峦对峙，林木丛生，烟锁山腰，山坳中树木茂密，层次分明，满而不塞，两座秀丽的楼阁屋宇隐显于烟光浮动之中，寂静的山林更增添了幽邃之感。近处为坡石丛林，两坡石间高架有一座木桥，两山峡谷间溪水直流而下，汇聚于溪水之中，左侧溪水边，座落着几间房舍，掩映在浓密的丛树荫底",[23,24,25,95,28,254,36,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe688d58fa90bd041577c62dc09e8dbba.jpg","155.3x74.4",[],{"id":56619,"slug":56620,"title":56621,"dynasty":174,"author":9335,"museum":843,"description":18331,"tags":56622,"thumbUrl":56623,"material":3463,"size":21994,"collection":166,"collections":56624,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222656,"zhi-hua-xi-lie-zhi-hua-qi-feng-gao-qi-pei-222656","指画系列-指画·齐峰",[23,24,25,18333,7,10905],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb349cd1f36f10023c8e91641daed33.jpg",[],{"id":56626,"slug":56627,"title":56628,"dynasty":174,"author":9335,"museum":843,"description":18331,"tags":56629,"thumbUrl":56630,"material":3463,"size":21994,"collection":166,"collections":56631,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222652,"zhi-hua-xi-lie-zhi-hua-zhu-xi-gao-qi-pei-222652","指画系列-指画·竹溪",[23,18333,7,126,215,33,10414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde50c2552559fadc928067e60eecddd0.jpg",[],{"id":56633,"slug":56634,"title":56635,"dynasty":174,"author":9335,"museum":843,"description":18331,"tags":56636,"thumbUrl":56637,"material":3463,"size":21994,"collection":166,"collections":56638,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222650,"zhi-hua-xi-lie-zhi-hua-bai-lu-gao-qi-pei-222650","指画系列-指画·白鹭",[23,24,25,18333,7,11594,282,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ac7296b9da2dfb2f4c6c22e8d5602.jpg",[],{"id":56640,"slug":56641,"title":56642,"dynasty":174,"author":9335,"museum":843,"description":18331,"tags":56643,"thumbUrl":56645,"material":3463,"size":21994,"collection":166,"collections":56646,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222648,"zhi-hua-xi-lie-zhi-hua-ju-gao-qi-pei-222648","指画系列-指画·橘",[23,24,25,18333,7,74,56644],"橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fee651e58835cf503e11cca698a871d.jpg",[],{"id":56648,"slug":56649,"title":56650,"dynasty":18,"author":18116,"museum":544,"description":56651,"tags":56652,"thumbUrl":56655,"material":298,"size":56656,"collection":166,"collections":56657,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},222535,"zi-shu-shi-hu-wu-shou-juan-wang-duo-222535","自书石湖五首卷","释文：石湖 物心流水会，草外即平皋。怀土佳兵厌，占云挟雨高。学狂希羽客，引笑佐溪毛。幽影皆为象，前滩响莫涛。瓜州大慈庵夏望 吾择慈庵寂，焚香起正心。杖因江稻植，山在寺门寻。楚越中区抱，金焦大壑深。紫天开素气，鸦路意阴阴。 贺九山村已遇枇杷熟，频过碌石园。远柯兼瀑影，古凸自柴门。骨傲仍多性，兰衰尚有根。昌阳飞半腹，石穴共寒温。 问牧斋拂水山崖 欲履虞山迳，还赊六尺筇。思君偕寤语，似共万溪松。桂酒留华榭，天门落古镛。可知头尽皓，更得扰玄龙。 丙戌五月朔，王铎书。",[23,37,38,26,7,80,28,5799,5646,9819,2192,282,215,56653,20483,23372,3685,941,56654],"石穴","诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb46539435de274822f16f672ccbf5c3.jpg","27X253cm",[],{"id":56659,"slug":56660,"title":56661,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":56662,"thumbUrl":56663,"material":298,"size":18718,"collection":166,"collections":56664,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222501,"shang-bo-hua-ji-xuan-36-9-zhang-lu-222501","上博画集选36-9",[23,24,25,193,7,27,547,13874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8bdd19ebf787e0172e83cd5b587679d.jpg",[],{"id":56666,"slug":56667,"title":56668,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":56669,"thumbUrl":56670,"material":298,"size":18718,"collection":166,"collections":56671,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222496,"shang-bo-hua-ji-xuan-36-4-zhang-lu-222496","上博画集选36-4",[23,24,25,193,7,27,211,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b3ddf3801c9f41e459db4b14eb5bd3.jpg",[],{"id":56673,"slug":56674,"title":56675,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":56676,"thumbUrl":56677,"material":298,"size":18718,"collection":166,"collections":56678,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222494,"shang-bo-hua-ji-xuan-36-2-zhang-lu-222494","上博画集选36-2",[23,24,7,27,28,36,57,624,2925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F377dfdee156b7a0ee7585d9c2cafa0bd.jpg",[],{"id":56680,"slug":56681,"title":56682,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":56683,"thumbUrl":56684,"material":298,"size":18718,"collection":166,"collections":56685,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222490,"shang-bo-hua-ji-xuan-36-15-zhang-lu-222490","上博画集选36-15",[23,24,25,193,547,7,13874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff620b07258232240976480f60ec2d678.jpg",[],{"id":56687,"slug":56688,"title":56689,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":56690,"thumbUrl":56691,"material":298,"size":18718,"collection":166,"collections":56692,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222486,"shang-bo-hua-ji-xuan-36-11-zhang-lu-222486","上博画集选36-11",[23,24,7,193,180,547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a62954a41ceae894e408b7beb8054bd.jpg",[],{"id":56694,"slug":56695,"title":56696,"dynasty":18,"author":9621,"museum":92,"description":56697,"tags":56698,"thumbUrl":56699,"material":298,"size":56700,"collection":166,"collections":56701,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222468,"he-tao-yin-jiu-shi-ce-zhu-yun-ming-222468","和陶饮酒诗册","诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。\n祝允明(1460-1526)，字希哲，因右手有枝生手指，故自号枝山。世称祝京兆，长洲(今江苏吴县)人，自幼聪慧过人。弘治五年(1429)中举，后久试不第。正德九年(1514)，授为广东兴宁县知县，嘉靖元年(1522)，转任为应天(今南京)府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内，与唐寅意气相投，遭际与共。与唐寅、文徵明、徐祯卿并称吴中四才子。与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追二王。草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。\n《名山藏》云:允明书出入晋魏，晚益奇纵，为国朝第一。\n清代朱和羹《临池心解》云:祝京兆大草深得右军神理，而时露伧气;小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。\n代表作有《太湖诗卷》、《箜篌引》、《赤壁赋》等。所书六体书诗赋卷、草书杜甫诗卷、古诗十九首、草书唐人诗卷及草书诗翰卷等皆为传世墨宝。\n诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。册中一段章草，祝允明以流畅行书笔意融合楷书与章草，克服明初章草的生硬突兀感。用笔则是沉稳俐落，结体疏密有致，字形变化错落，行气摇曳，为明代章草之佳作，惜未有全彩清晰图。",[23,37,25,74,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a4f5a38575721f4d66c46de5f7072f.jpg","17.3×10.3厘米",[],{"id":56703,"slug":56704,"title":56705,"dynasty":18,"author":2851,"museum":450,"description":56706,"tags":56707,"thumbUrl":56708,"material":298,"size":56709,"collection":166,"collections":56710,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222349,"man-xing-mo-ji-quan-juan-tang-yin-222349","漫兴墨迹全卷","唐寅不仅善诗文，尤善丹表，山水、人物、仕女、花鸟、竹木无不精工，可以说其书的名为画名所掩。他所以能取得如此成就，与他所处环境有关，苏州多收藏家、裱画店，为他提供了观摩学习机会，他又与当时的名画家周臣、沈石田、王鏊、文徵明等人交往，在这种浓郁的文化氛围中再加上他的聪敏才智，造就了一代画家在艺术上的成功。唐寅变精于书法，其书上溯亚唐，尤得益于赵孟用笔之法，点画温润妍雅，结字微带欹侧之势，虽有薄弱之评，但字里行间，却洋溢着一种超轶的书卷之气，本册所载《唐寅温兴墨迹》是其为友人所书的自作温兴诗，通卷千余字一气呵成，用笔精到细腻，体势向右欹侧，富有生动姿态，如高雅之士，闲庭信步于阆苑林木之间，十分耐人寻味，卷后末署书写年月，但从其淡雅自然的笔调之中当为其晚年所书，唐寅传世真变甚少，除《落花诗册》外，《漫兴》便是其主要的代表作品，今影印出版，以飨广大书法爱好者。",[23,37,38,26,27535,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7db8ea62f9571bed4949f49979c87fb.jpg","36.8x422厘米",[],{"id":56712,"slug":56713,"title":51780,"dynasty":18,"author":10282,"museum":450,"description":23047,"tags":56714,"thumbUrl":56715,"material":166,"size":56716,"collection":166,"collections":56717,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222246,"shu-shan-ye-wang-chong-222246",[23,1462,38,37,18,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041c00af70a1617f37fc92d5b937f0c4.jpg","19×54cm",[],{"id":56719,"slug":56720,"title":56721,"dynasty":18,"author":56722,"museum":92,"description":56723,"tags":56724,"thumbUrl":56727,"material":166,"size":56728,"collection":166,"collections":56729,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222240,"shui-cheng-tu-qian-gu-zhang-fu-222240","水程图","钱谷 张复","钱谷，[明]（一五○八至？）一作（一五○八至一五七二）字叔宝，自号悬罄室，吴县（今江苏苏州）人。少孤贫，失学，迨壮始知读书。\n家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便学心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔於艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物字藏有万历六年（一五七八）客金陵王氏修行馆作兰竹卷，时年七十一。《冯元成集、肯史·文徵明传、列朝诗集小传、苏州府志、明画录、无声诗史、明史·艺文志》\n朱彝尊《列朝诗传》：钱谷字叔宝，少孤贫，游文侍诏门下，日取架上书读之。以其余力点染水墨，得沈氏之法。晚葺故庐，读书其中。闻有异书，虽病必强起，匍匐请观。手自抄写，几於充栋，穷日夜校勘，至老不衰。钱谷手抄之书，一丝不苟，为后来藏家所重。陆心源皕宋楼曾藏有钱氏抄本《会稽掇英集》，后有文震孟跋说：《会稽掇英集》皆集唐宋名贤时文，宇内流传绝少，是其早岁所抄，无一惰笔，乃从宋刻本而录者，为世珍重可知矣。钱谷家贫，故文徵明为题室名悬罄就是空无所有的意思。文震孟《姑苏名贤小记》：叔宝先生不为家，家逾贫。先太史过而题其室曰'悬罄'。先生笑曰：'吾志哉！'而其嗜读日益甚。收录古文金石书几数千卷。\n看到文徵明收藏的典籍罗列，顿生羡慕之心，遂有志于藏书。先后购求及手录古籍至几万卷，闻有异书，虽病必强起借观，手自抄写，校雠至子夜不辍。所录古文、金石书近万卷，皆为当时佳本秘籍。建藏书室有“悬罄室”，由文徵明为其命名并题写匾额。老屋三间，藏书充栋。所藏多人间罕见版本。刘凤作有《悬罄室集》。又命名多处藏书、藏画室名如“十友斋”、“意远轩”、“红木轩”、“梦雉斋”等。藏书印有“句吴逸民”、“三吴漫士”、“吴越王子孙”、“中吴钱氏收藏印”、“钱谷手抄”、“百计寻书志亦迂，爱护不异隋侯珠。有假不还遭神诛，子孙不宝真其愚”、“钱氏叔宝”、“悬罄室”等。喜刻书，刻印有唐、宋秘籍众多，数千卷近百种。编有《续吴都文粹》、《静观室三苏文选》等，著有《三国类抄》、《隐逸集》、《南北史摭言》、《长洲志》、《吴中人物志》、《悬罄室杂录》、《悬罄室诗》、《苏州三刺史诗》等。子钱允治，亦酷喜藏书。 [1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[24,7,74,28,58,56725,12529,56726,5297,33,282,518],"城镇","城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],{"id":56731,"slug":56732,"title":56733,"dynasty":18,"author":1788,"museum":450,"description":56734,"tags":56735,"thumbUrl":56736,"material":166,"size":56737,"collection":166,"collections":56738,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},222024,"wan-shan-ji-yu-wen-zheng-ming-222024","万山积玉","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[24,25,74,7,27,28,57,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c6206d5ccf2ea4aa660b1242fc9714.jpg","32x39.2",[],{"id":56740,"slug":56741,"title":56742,"dynasty":18,"author":56743,"museum":92,"description":56744,"tags":56745,"thumbUrl":56746,"material":298,"size":56747,"collection":166,"collections":56748,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},221943,"ci-han-ce-wang-xi-jue-221943","词翰册","王锡爵","王锡爵(1534-1611)，字元驭，号荆石，南直隶苏州府太仓州(今江苏太仓)人。嘉靖四十一年会试名列第一（会元），廷试名列第二（榜眼）。万历二十一年（1593年）为内阁首辅。谥号文肃，著有《王文肃公全集》55卷。在任期间发生日本侵朝事件，力主出兵。子王衡万历二十九年（1601年）进士及第第二名，被时人誉为“父子榜眼”。孙王时敏、玄孙王原祁皆为清初画坛宗师，太仓王氏家族为明清两代著名的簪缨世家。\n王锡爵笔法秀颖，依稀有翡翠兰苕状，著名的书法家董其昌称他深于书。书尤深于唐碑。晚年犹悬碑刻满四壁，特不欲以书名耳。小楷清整秀劲，大可径寸者尤骨重脉和。",[24,25,74,38,7,1853,55102,4817,128,940,350,28891],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b219e55a1dfdd43dcd80315f7a707a0.jpg","本幅26.1x14.4公分",[],{"id":56750,"slug":56751,"title":2806,"dynasty":18,"author":15313,"museum":20,"description":15314,"tags":56752,"thumbUrl":56753,"material":298,"size":15317,"collection":166,"collections":56754,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},221932,"za-hua-ce-guo-xu-221932",[23,24,25,281,74,7,123,1839,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9205455fc7afbb5d7e63de117b17c09.jpg",[],{"id":56756,"slug":56757,"title":56758,"dynasty":52,"author":56759,"museum":1346,"description":56760,"tags":56761,"thumbUrl":56762,"material":298,"size":56763,"collection":166,"collections":56764,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},221799,"yu-wu-yin-yuan-hui-shi-feng-zi-zhen-221799","与无隐元晦诗","冯子振","此为冯子振亲自挥毫赠与日本僧人无隐元晦的书迹，内容为冯子振的三首七言绝句。无隐元晦为日本丰前人，于延庆一年（西元1308年）渡元，在中峰明本处修行，于嘉历元年（西元1326年）返回日本，并成为京都建仁寺的住持。除了本件之外，尚有其他冯子振写与无隐元晦的书迹传世，由此可知冯子振十分重视无隐元晦。",[23,37,38,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8503410725a0e02dafd7e29714ef6e.jpg","纵32.7cm 横102.4cm",[],{"id":56766,"slug":56767,"title":56768,"dynasty":52,"author":8400,"museum":92,"description":56769,"tags":56770,"thumbUrl":56771,"material":457,"size":56772,"collection":166,"collections":56773,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":140},221717,"hua-yuan-zhou-yan-hui-221717","画猿轴","此幅画挂岩老树，上着两猿，一猿抱干，一猿挂枝，树下画细腰蜂十四尾。两猿弄蜂，作好事而又畏缩之状；树枝挂猿，着重直垂而下，有低昂不定之势。画笔老辣，揣拟传神。另猿猴二字常连用，蜂与猴又和“封侯”谐音，故旧画中往往取此吉祥意义为题作画。\n悬崖树上，二猿攀爬。一只抱着树干，一只挂在枝梢，树枝因负重而下垂，犹有低昂摇摆之态。右下方有一蜂群，两猿目视，既惊又喜的表情，仿佛若现，意态甚是生动。中国画中常绘有猿猴（hou）和蜂（feng）的作品，目的在取“封侯”（feng hou）谐音，用为祝贺升官晋爵的表征，深富吉祥喜庆的寓意",[23,24,95,7,14191,3443,25410,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151198714c161d81cfe5e9c962e09bb.jpg","131.8x67公分",[],{"id":56775,"slug":56776,"title":56777,"dynasty":18,"author":1836,"museum":120,"description":8036,"tags":56778,"thumbUrl":56779,"material":1843,"size":2973,"collection":166,"collections":56780,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":47},220917,"shan-shui-ce-11-dong-qi-chang-220917","山水册11",[23,24,25,74,38,7,28,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f7e360c2e666043ede851a0559fc83e.jpg",[],{"id":56782,"slug":56783,"title":56784,"dynasty":174,"author":56785,"museum":4012,"description":56786,"tags":56787,"thumbUrl":56788,"material":1242,"size":56789,"collection":166,"collections":56790,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":166},220756,"shan-xia-chu-quan-tu-su-ren-shan-220756","山下出泉图","苏仁山","此作用笔清劲洗练，纯以白描淡墨写尽丘壑林泉。奇峭山石层叠错落，以勾勒皴擦带出嶙峋肌理，不着艳色却尽显山石清刚之态。山间古松斜逸虬曲，错落排布，为冷寂山景添几分清拔气韵。\n\n画面疏密相衬，高远山势间藏出深远意境，流泉隐于谷中，汀洲人家三两点缀，衬出林泉幽寂之致。整体萧散淡远，将文人隐逸的清冷意趣融于笔墨间，极简笔触晕染出超脱世俗的静穆氛围，尽显水墨留白的悠远意韵。",[23,24,7,494,36,335,30,33,180,1975,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178e99fe3c7ea1e6c456cc9ec449bd94.jpg","349 × 137.5 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露随性自然的艺术风神。",[7,75,125,1104,394,95,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8568af8fd23b91258a52569c2b929c90.jpg",[83],"d1c2a8",{"id":57499,"slug":57500,"title":57501,"dynasty":174,"author":418,"museum":20,"description":57502,"tags":57503,"thumbUrl":57504,"material":166,"size":166,"collection":222,"collections":57505,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":57506},201575,"chun-lu-tu-zhou-zhu-da-201575","椿鹿图轴","画面中鹿昂首向上，似与虬曲椿树相呼应。水墨写意之法，椿干以浓墨挥写，苍劲老辣；鹿身淡墨晕染，线条简括却形神毕肖，眼神清冷中藏孤峭。底部孤石寥寥几笔，更衬出空寂之境。整作笔墨简练却意蕴深沉，尽显遗民画家的孤傲心境与艺术造诣。",[24,25,7,95,453,180,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb44987a834af87f1597bbde598ae92.jpg",[222],"cec0ac",{"id":57508,"slug":57509,"title":57510,"dynasty":18,"author":15388,"museum":20,"description":57511,"tags":57512,"thumbUrl":57513,"material":166,"size":166,"collection":42,"collections":57514,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":57515},201534,"feng-lin-yue-shang-tu-zhou-shao-mi-201534","风林月上图轴","淡墨晕染出朦胧月色，风拂林叶轻摇，山石以简淡皴法勾勒，纹理疏朗。树下孤石旁，似有幽人对月凝思，意境清寂悠远。笔墨简练却含韵致，林木萧疏中见生机，月色朦胧里藏静穆，尽显文人画空灵淡远之趣，于简淡中蕴藉深致，引人入胜。",[24,7,28,147,180,940,36,95,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9e76f6b5a8de6e5fd83a32616456c2.jpg",[42],"b49d83",{"id":57517,"slug":57518,"title":18664,"dynasty":174,"author":2605,"museum":20,"description":57519,"tags":57520,"thumbUrl":57521,"material":166,"size":166,"collection":42,"collections":57522,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":57523},201470,"lin-quan-chun-mu-tu-zhou-hong-ren-201470","画面清寂悠远，山石以干笔淡墨勾勒，线条挺劲方折，皴擦简洁却见骨力。孤石旁枝桠疏展，山巅林木簇生；岩间小亭隐现，似藏幽人逸趣。春暮的宁静漫溢其间，意境空灵淡远，尽显山水之清旷，流露超尘脱俗的雅致与对自然的深挚体悟。",[24,7,28,36,34,32,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66bb8d03c3ea066d560362a963c85f1.jpg",[42],"b3aba3",{"id":57525,"slug":57526,"title":57527,"dynasty":18,"author":11203,"museum":20,"description":57528,"tags":57529,"thumbUrl":57530,"material":166,"size":166,"collection":42,"collections":57531,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":57532},201434,"yi-zhu-tu-zhou-zhou-chen-201434","怡竹图轴","画面右侧虬松倚石而生，枝干盘曲如铁，松针攒簇似墨，笔力苍劲。山间茅舍半隐于林麓，窗棂通透，隐约可见雅士凭栏，与竹石相伴，怡然自适。远景以淡墨晕染，山峦朦胧，留白处见悠远。山石运用斧劈皴，线条刚健利落；松枝勾勒精细，墨色浓淡相宜。融院体画的严谨与文人画的逸韵于一体，传递出清雅淡远的林泉之趣，尽显明代文人对自然栖居的诗意追求。",[24,95,7,28,36,624,34,27856,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf689e9f9ba9c340abfc7f8819b62b8c.jpg",[42],"5f4f38",{"id":57534,"slug":57535,"title":57536,"dynasty":18,"author":19,"museum":20,"description":57537,"tags":57538,"thumbUrl":57539,"material":166,"size":166,"collection":42,"collections":57540,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":39235},201414,"xi-shan-ji-you-tu-juan-shen-zhou-201414","西山纪游图卷","此卷以水墨绘就，山峦起伏层叠，笔墨苍劲浑厚，尽显吴门画派文人山水的雅致。峰峦用披麻皴皴染结合，山石纹理毕现；林木以浓淡墨点染，枝繁叶茂间生机流动。山间亭台隐约，小桥跨溪，流水蜿蜒，孤舟泊岸，景致清幽淡远，似将西山游历之趣凝于尺幅。笔墨随景变幻，重墨点苔增韵，轻笔写水传情，虚实相生中，寄寓画家寄情山水的闲适心境与对自然的深切眷恋。",[281,24,25,26,7,28,36,32,29,30,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc80221d1ed6e43fc1ca88026028b0e45.jpg",[42],{"id":57542,"slug":57543,"title":57544,"dynasty":52,"author":239,"museum":20,"description":57545,"tags":57546,"thumbUrl":57547,"material":166,"size":166,"collection":222,"collections":57548,"showCount":445,"zanCount":46,"manualWeight":46,"mainColor":57549},201391,"lan-zhu-shi-tu-juan-zhao-meng-fu-201391","兰竹石图卷","这幅作品将书法与绘画熔于一炉，尽显“书画同源”之妙。兰叶以草书笔意挥写，线条婉转中藏劲健，如惊风飘举；竹枝取行书撇捺之态，挺劲利落，似晴雪坠枝。孤石用淡墨皴擦，笔墨朴拙厚重，与兰竹的灵动形成刚柔相济的韵律。画面不重色彩，纯以水墨生发，墨色浓淡干湿变化丰富，兰的清雅、竹的气节、石的沉稳浑然一体，传递出文人雅士的高洁情怀与超逸心境。每一笔皆见书法功底，每一处皆含笔墨情趣，是元代文人画的典范之作。",[24,25,26,7,180,133,126,38,36,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f90cc98f593fda6d922cf157917812.jpg",[222],"a89888",{"id":57551,"slug":57552,"title":57553,"dynasty":205,"author":581,"museum":92,"description":57554,"tags":57555,"thumbUrl":57556,"material":218,"size":57557,"collection":166,"collections":57558,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},290996,"min-shan-qing-xue-tu-yi-ming-290996","岷山晴雪图","画中描绘四川岷山的雪景",[24,281,494,7,36,4347,5646,832,993,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d65a573c337ed5135a38e662fa81b7.jpg","115.1x100.7cm",[],{"id":57560,"slug":57561,"title":57562,"dynasty":18,"author":15313,"museum":92,"description":57563,"tags":57564,"thumbUrl":57565,"material":314,"size":1061,"collection":166,"collections":57566,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},290969,"dong-shan-xie-ji-tu-zhou-guo-xu-290969","东山携妓图轴","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。",[281,24,95,7,547,193,636,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd29a6636a34bf364a33faca445077a.jpg",[],{"id":57568,"slug":57569,"title":57570,"dynasty":52,"author":239,"museum":450,"description":30408,"tags":57571,"thumbUrl":57572,"material":314,"size":1061,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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[13874,8052,57696,7,1476,57697],"缂丝","对襟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e603d51aa711a641aa6d79a41351422.jpg",[],{"id":57701,"slug":57702,"title":57703,"dynasty":174,"author":581,"museum":450,"description":57704,"tags":57705,"thumbUrl":57709,"material":314,"size":1061,"collection":166,"collections":57710,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},264517,"shui-mo-hua-jin-duan-di-zhi-jin-he-hua-mu-dan-wen-tao-yi-ming-264517","水墨花锦缎地织金荷花牡丹纹绦","经线提花锦的组织结构和纹样都十分复杂，舞人动物纹锦的纹样横贯全幅，充分反映了当时已有了先进的提花织造技术。精美的刺绣品共有17种纹样，构图大，讲究对称、平衡，色彩配合恰当，给人以端庄典雅、富丽堂皇的美感。纹样内容充满神话色彩，鲜明地反映了楚文化的浪漫主义特色。墓中出土的衣袍为直据，是当时贵族中最流行的一种服式。这批先秦织物的出土，为深入研究我国古代纺织史提供了珍贵的实物资料。",[8052,57706,57707,395,129,57708,54034,7],"绦带","织金","锦缎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e29e16def18ccc7f45a3c54a3a6a26b.jpg",[],{"id":57712,"slug":57713,"title":57714,"dynasty":174,"author":819,"museum":450,"description":6343,"tags":57715,"thumbUrl":57716,"material":314,"size":1061,"collection":166,"collections":57717,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},241466,"lu-jiu-zuo-jia-shu-er-ze-juan-zheng-ban-qiao-241466","“录旧作家书二则”卷",[37,38,26,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd181e0ffb53ebbea9b9084459f1149.jpg",[],{"id":57719,"slug":57720,"title":57721,"dynasty":18,"author":581,"museum":450,"description":57722,"tags":57723,"thumbUrl":57724,"material":314,"size":1061,"collection":166,"collections":57725,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},241450,"wang-duo-wu-lv-guo-tong-lu-xian-shi-zhou-yi-ming-241450","王铎五律过桐庐县诗轴","此作用笔纵逸雄健，行书间裹挟草书跌宕气势。起笔沉凝，字形欹侧相生，随文势舒张，枯湿浓淡变幻自然，焦墨处老辣苍劲，润笔时圆厚饱满。\n\n章法三列排布，字距疏密错落，行气如奔涌长河，将漫游的旷达襟怀寄寓线条。笔势擒纵提按间尽显豪放意趣，线条盘旋缠绕却不失法度，把文人诗意与书法风骨相融，尽显笔法功力与书家胸臆，是极具抒情性的书法佳构。",[9254,37,38,95,7,80,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b852dadc43c4d580a42ca4772f4ab3.jpg",[],{"id":57727,"slug":57728,"title":57729,"dynasty":174,"author":57730,"museum":450,"description":57731,"tags":57732,"thumbUrl":57733,"material":298,"size":166,"collection":245,"collections":57734,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},241261,"lun-tie-zhou-tao-shu-241261","论帖轴","陶澍","陶澍（1779年－1839年），字子霖，号云汀，自称桃花渔者，印心石屋主人，晚岁自称髯樵。湖南安化县人，清朝政治家、文学家、诗人，身后追封太子太保，谥文毅。\n乾隆四十四年（1779年），陶澍生于安化县边远农村，从小就打柴、放牛、捕鱼，过着贫困的生活。陶澍自幼就以神童著称，聪颖机敏，长于记忆，善于理解，家中藏书丰富，熟读经史子集，并且博览了野史、笔记、方志、族谱、小说等杂书。\n嘉庆五年（1800年）乡试中举。嘉庆七年（1802年）进士，选翰林院庶吉士。\n嘉庆十年（1805年），陶澍的父亲去世，他守孝回归故里，期间曾主讲湖南澧县澧阳书院。道光元年（1821年），四川总督蒋攸铦奏称陶澍治行为四川第一，擢山西按察使，又调福建按察使，同年十月擢安徽布政使。道光十年（1830年），累官至两江总督至1835年，兼江苏巡抚、两淮盐政。整顿河工、漕务、吏治，将纲盐法改为票盐法，扭转盐务的弊端。\n一生为官清廉，自题“要半文不值一文，莫道人无知者，一事须了一部，如此心乃安然。”史称“胸怀无城府，待人表里如一”，缴年养廉银1000两，裁盐政衙门浮费16万余两。曾多次将自己的俸银全部救济了灾民，在鸦片战争前夕（道光十九年）逝世，谥文毅。",[10153,37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1327295efe18bb4dd867d689417c1d9c.jpg",[245],{"id":57736,"slug":57737,"title":45432,"dynasty":174,"author":819,"museum":450,"description":6343,"tags":57738,"thumbUrl":57739,"material":314,"size":1061,"collection":166,"collections":57740,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},241147,"qi-lv-shi-zhou-zheng-ban-qiao-241147",[10153,37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d2eb102d6126a8ae3eeb9b72ecadc7.jpg",[],{"id":57742,"slug":57743,"title":52823,"dynasty":174,"author":57744,"museum":92,"description":57745,"tags":57746,"thumbUrl":57747,"material":57748,"size":57749,"collection":245,"collections":57750,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},241083,"wu-lv-shi-zhou-mi-han-wen-241083","米汉雯","明太仆米万锺孙。顺治十八年（一六六一）进士，康熙十八年（一六七九）举鸿博，改编修，官侍讲学士。山水气势浩瀚，笔意苍劲，书、画俱仿米芾，颇得家法，时呼小米，尤工篆刻。康熙三十一年（一六九二）尝题王翚朴园图。著《漫园》、《存始》诸集。",[95,38,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19823613922bc31d2a321f4ef7d1fc3f.jpg","绢本行书","133x62.7",[245],{"id":57752,"slug":57753,"title":57754,"dynasty":52,"author":57755,"museum":450,"description":57756,"tags":57757,"thumbUrl":57758,"material":314,"size":1061,"collection":166,"collections":57759,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":921},240935,"zhao-meng-pan-miao-fa-lian-hua-jing-ce-juan-wu-zhao-you-chen-240935","赵孟頖，妙法莲花经册卷五","赵由宸","赵由宸，字明仲，号云石道人，居歸安縣崇禮鄉建德里。孟頫五兄孟頖之子。",[25,74,3557,4956,242,7,8047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf5c3b122e9d4e026bd58a8c480b162.jpg",[],{"id":57761,"slug":57762,"title":57763,"dynasty":18,"author":57764,"museum":450,"description":57765,"tags":57766,"thumbUrl":57767,"material":298,"size":166,"collection":245,"collections":57768,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},240859,"wu-jue-yi-shou-zhou-wang-heng-240859","五绝一首轴","王衡","王衡（1562年10月6日―1609年3月4日），生于嘉靖四十一年九月九日，卒于万历三十七年正月二十九日。字辰玉，号缑山、别署蘅芜室主人，南直隶苏州府太仓州（今江苏太仓）人。 [1] 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。\n王衡著有《缑山集》等，同时他又是明代南剧的名家，编写有《郁轮袍》、《真傀儡》、《没奈何》等杂剧名篇。\n明嘉靖四十年（1561年），王衡出生于官宦家庭。其父王锡爵为万历年间的大学士、内阁首辅，其母为朱氏。王衡从小聪颖过人，又好学博记，尤好古文诗歌，且得名师教导，并从同乡同姓的大文豪王世贞处学习诗文，故《列朝诗集小传》就称他“学殖益富，能诗善书，散华落藻，名动海内”。\n万历五年（1577年），发生的张居正夺情事件，更是让少年王衡在当时名满天下。陈继儒在《太史辰玉集叙》中道：“初江陵夺情，文肃公争丧次，救吴、赵两太史，祸叵测。辰玉和《归去来辞》以招之。文肃公持以谓人曰：吾不归，将无为孺子所笑。辰玉方十四，名动京师已。”钱谦益《列朝诗集小传》丁集下《王编修衡》也说王衡“年十四，作《和归去来辞》，以讽江陵，馆阁中争相传写”",[24,25,37,95,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f12e510091fd33196201b5b77b9ff86.jpg",[245],{"id":57770,"slug":57771,"title":57772,"dynasty":18,"author":9621,"museum":120,"description":57773,"tags":57774,"thumbUrl":57775,"material":57776,"size":166,"collection":245,"collections":57777,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":921},240702,"wu-kuan-she-zhi-qu-juan-zhu-yun-ming-240702","无款射雉曲卷","祝允明(1460-1526)，字希哲，长洲人。允明生而枝指，故自号枝山，又号枝指生。五岁作径尺字，九岁能诗，稍长，博览群集，文章有奇气，当筵疾书，思若涌泉。尤工书法，名动海内。",[23,281,24,25,26,37,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30610b9a344def6651e5496722c2d9f.jpg","行草",[245],{"id":57779,"slug":57780,"title":37179,"dynasty":174,"author":26950,"museum":450,"description":26984,"tags":57781,"thumbUrl":57782,"material":314,"size":1061,"collection":166,"collections":57783,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},240674,"wu-yan-lian-huang-yi-240674",[281,24,25,37,6187,6186,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37e73b821180e1431802b5b6da2867c.jpg",[],{"id":57785,"slug":57786,"title":57787,"dynasty":174,"author":47166,"museum":120,"description":57788,"tags":57789,"thumbUrl":57790,"material":20319,"size":57791,"collection":245,"collections":57792,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},240611,"zhang-zhao-qi-lv-shi-zhou-zhang-zhao-240611","张照七律诗轴","释文：\n安石榴花开最迟，绛裘深树出幽菲。吾庐想见无限好，客子倦游何不归。坐上一尊虽得满，古来四事巧相违。今人却忆湖边寺，垂柳阴阴昼揜扉。张照。\n下钤“张照之印”、“瀛海仙琴”印2方。引首钤“既醉轩”印。无鉴藏印。\n此书行笔圆转流畅，墨色浓润，偶出枯笔于牵丝回绕处，愈觉神采飞扬。张照的书法融董其昌疏朗闲逸的布白和颜真卿淳厚敦朴的笔致于一体，从而呈现出别具特色的自家风貌。",[37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a4c692de130a0182986bfaed5d19fc.jpg","纵143.7厘米，横54.8厘米",[245],{"id":57794,"slug":57795,"title":57796,"dynasty":174,"author":57797,"museum":450,"description":57798,"tags":57799,"thumbUrl":57800,"material":314,"size":1061,"collection":245,"collections":57801,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},240519,"shi-ti-huang-shan-tu-ce-yao-wen-yan-240519","诗题黄山图册","姚文焱","清代，字彦昭，江南桐城人。著有《楚游诗》。",[25,74,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ea1a82afbcb77c5872149522945e8.jpg",[245],{"id":57803,"slug":57804,"title":57805,"dynasty":18,"author":57806,"museum":450,"description":57807,"tags":57808,"thumbUrl":57809,"material":314,"size":1061,"collection":166,"collections":57810,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},240127,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240127","行题宋八家书跋页","许乃普","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。",[25,37,38,7,2446,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feba4f3c35d065ebd5c4bdf8945af96.jpg",[],{"id":57812,"slug":57813,"title":57814,"dynasty":18,"author":57815,"museum":450,"description":57816,"tags":57817,"thumbUrl":57818,"material":298,"size":166,"collection":245,"collections":57819,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},240122,"ceng-ti-nan-fu-ti-bi-shi-ye-wei-shu-240122","曾题南阜题壁诗页","囗淑","题壁诗始于两汉，盛于唐宋。汉代以后，题壁者代不乏人。南北朝 唐代，题壁诗骤然大增，开始形成一种风气。宋代题壁之风方兴未艾，举凡邮亭、驿墙、寺壁等处多所题咏，叫人目不暇接。",[24,25,38,7,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc006c3d52dd04e84a83844fbf6e40075.jpg",[245],{"id":57821,"slug":57822,"title":57823,"dynasty":174,"author":4506,"museum":120,"description":57824,"tags":57825,"thumbUrl":57826,"material":20319,"size":57827,"collection":245,"collections":57828,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},240041,"xing-shu-shi-he-chao-240041","行书诗","释文：\n官舍回深巷，频来识苑墙。缓吟春草秀，静语晚卮香。沙柳初藏鹊，溪云复满堂。似东发尊兄。何焯。\n款署：“似东发尊兄。何焯。”钤“何焯之印”白文印、“无勇”朱文印。\n本幅录明蔡羽五律诗《张膳部席上》的前六句，诗载钱谦益《列朝诗集》丙集卷十。书法笔力劲健，布局舒阔明朗，为何焯大字行书佳作。",[37,38,95,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecf7b508a1eb8826c26265b63b4f7a4c.jpg","纵117.8厘米，横60.3厘米",[245],{"id":57830,"slug":57831,"title":34040,"dynasty":174,"author":45464,"museum":120,"description":57832,"tags":57833,"thumbUrl":57834,"material":57835,"size":57836,"collection":245,"collections":57837,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239993,"shi-zhou-liang-yan-239993","梁巘，字闻山，一作文山，号松斋。安徽亳州人，工书法，真书、行书皆长，尤擅草书。梁巘作书勤奋，以苦为乐。至今，在亳州、太和、凤阳、寿县一带还流传着“无梁不成家，无梁不为富”的说法。可见梁巘书法的影响力之大。",[37,38,95,7,80,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9335ecfd5f31db164c60147004c97.jpg","纸本行书","117×56.5cm",[245],{"id":57839,"slug":57840,"title":55169,"dynasty":174,"author":57841,"museum":120,"description":57842,"tags":57843,"thumbUrl":57844,"material":20319,"size":57845,"collection":245,"collections":57846,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239984,"qi-jue-shi-zhou-chen-yi-xi-239984","陈奕禧","陈奕禧书取法晋人，功力精湛，加之学养深厚，故小楷精稳，大字沉着浑融，风度优雅。清人王士祯评陈奕禧书品时称“只为胸中多几百卷书耳”，道出了陈香泉书法的魅力所在。此作线条圆活，章法疏朗宽绰，姿致俊逸遒媚，字里行间浸透出陈奕禧这位文人书家的绰然风雅。",[10153,37,38,95,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19bbbfcbfabee82c87a2a23faaa7d697.jpg","纵129.5厘米，横50.2厘米",[245],{"id":57848,"slug":57849,"title":57850,"dynasty":174,"author":47166,"museum":450,"description":57851,"tags":57852,"thumbUrl":57853,"material":166,"size":166,"collection":245,"collections":57854,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},239884,"zhang-zhao-shu-su-shi-juan-zhang-zhao-239884","张照书苏诗卷","张照（1691～1745），字得天，号泾南，亦号天瓶居士，江南娄县人。康熙四十八年进士。清藏书家、书法家、戏曲家、书画目录整理者。\n康熙四十八年（公元1709年）进士，改庶吉士。雍正十一年（公元1733年）官刑部尚书，以预修《大清会典》，书成，加一级。十三年，为抚定苗疆大臣，无功，革职拿问，谕靳。寻赦之，命在武英殿修书处行走。乾隆七年，历官至刑部尚书，供奉内廷。九年十二月，丁父忧，奔丧至徐州，卒于途中。谥文敏。乾隆时大书法家，常为乾隆皇帝代笔，擅长行楷书，是书“馆阁体”能手。性地高明，深通释典，诗多禅语。书法初从董其昌入手，继乃出入颜、米，天骨开张，气魄浑厚。兼能画兰，间写墨梅，疏花细蕊，极其秀雅。尝作白描大士像，寥寥数笔，而法相自佳。著天瓶斋书画题跋、得天居士集，刻有天瓶斋帖。卒年五十五。",[23,37,38,26,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff210504616148f59ecb9b03dbd7a8ae9.jpg",[245],{"id":57856,"slug":57857,"title":57858,"dynasty":18,"author":57859,"museum":450,"description":57860,"tags":57861,"thumbUrl":57862,"material":166,"size":166,"collection":245,"collections":57863,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239807,"shi-ye-yuan-jiong-239807","诗页","袁褧","袁褧，明藏书家、刻书家，字尚之，号谢湖，别号中皋子、谢湖居士，吴郡（今江苏苏州）人，书法与米芾，与文征明齐名。",[25,37,38,7,80,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3a270e8015162a38b2d3cf5a3e9e03.jpg",[245],{"id":57865,"slug":57866,"title":57867,"dynasty":174,"author":418,"museum":120,"description":57868,"tags":57869,"thumbUrl":57870,"material":298,"size":57871,"collection":166,"collections":57872,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239609,"shi-san-zha-ce-zhu-da-239609","十三札册","朱耷(1626-约1705)，明末清初画家，中国画一代宗师。本名由桵，字雪个，号八大山人、个山 、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[37,38,74,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264c5282b6d15bbd7c3e92463eb4b2f0.jpg","纵24.6cm，横15.1cm",[],{"id":57874,"slug":57875,"title":26949,"dynasty":174,"author":26950,"museum":450,"description":57876,"tags":57877,"thumbUrl":57878,"material":166,"size":166,"collection":166,"collections":57879,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239538,"fang-gu-ji-you-tu-ce-huang-yi-239538","此作用笔简淡清润，右侧以水墨晕染村居小景，矮屋茅舍错落，枯树疏枝苍劲，三两村人往来檐下，日常鲜活的乡居意趣扑面而来。左侧题长款书法，笔墨朴拙古雅，书画合璧，相映成趣。全画以留白铺就空寂萧散的意境，将访古归游的悠然心境寄寓在寻常村陌景致中，平淡天真间尽显文人画诗、书、意相融的雅韵，藏着清寂淡远的古意，把闲逸疏朗的情志融在浅淡笔墨里。",[24,25,74,7,38,193,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe161ab7ed58100d20e62f97d0f1a0260.jpg",[],{"id":57881,"slug":57882,"title":21099,"dynasty":174,"author":41103,"museum":450,"description":52914,"tags":57883,"thumbUrl":57884,"material":314,"size":1061,"collection":166,"collections":57885,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239497,"shan-shui-ce-9-shang-guan-zhou-239497",[24,25,74,7,36,28,32,162,34,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f3940e8b4c4611c44b62e84bf89322.jpg",[],{"id":57887,"slug":57888,"title":57889,"dynasty":174,"author":57890,"museum":450,"description":57891,"tags":57892,"thumbUrl":57893,"material":314,"size":1061,"collection":166,"collections":57894,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239472,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-zhu-ce-ye-zhao-xiu-lan-239472","清初十四家书画集锦册-竹册页","赵岫兰","此作用水墨写就兰竹拳石，兰花柔茎舒展、花瓣轻绽，自有绰约风姿；兰叶劲挺修长，中锋挥写间尽显飘逸灵动之态。拳石以淡墨晕染，略作勾勒，朴拙简淡，下方竹叶偃仰交错，笔墨简括却神完气足。\n\n右侧行书笔墨纵逸，墨色浓淡富于变化，笔势连贯洒脱。书画合璧，文与画相生，尽显文人寄情草木的幽隐襟怀，将兰竹君子的清逸风骨融于纸面，寥寥数笔却意韵悠长，浸透着以物明志的传统文人审美意趣，是清代文人雅致书画小品的典型之作。",[24,25,74,7,133,126,180,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c07be911e74f05bd3c041cb09d501a.jpg",[],{"id":57896,"slug":57897,"title":57898,"dynasty":174,"author":57899,"museum":450,"description":57900,"tags":57901,"thumbUrl":57902,"material":314,"size":1061,"collection":166,"collections":57903,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239464,"ming-qing-zhu-jia-ji-jin-ce-shan-shui-ye-cheng-shi-tong-239464","明清诸家集锦册-山水页","程士桐","此作为水墨山水小品，以大片留白铺就浩渺江面，尽显水天寥廓之意。近岸苇草轻曳，线条简劲疏朗，墨色枯淡间带着秋意萧疏。扁舟静浮江上，舟头老翁垂竿闲坐，神态悠然，将寄迹江湖的散淡隐逸之心藏于画中。\n\n远景山峦以淡墨轻染，略作勾勒便晕出山峦汀洲的朦胧之态，与江面相融，晕染出空濛淡远的烟水气象。全作笔墨清简淡远，不着浓彩，以简淡枯涩的笔意写就荒寒闲逸的秋江之景，把文人寄情山水、超然物外的雅趣藏于方寸之间，淡而有味，简中见韵。",[24,25,281,7,74,28,31,282,1004,193,730,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d76d97f70943be63ba7b864ceb2294.jpg",[],{"id":57905,"slug":57906,"title":22394,"dynasty":174,"author":749,"museum":450,"description":57907,"tags":57908,"thumbUrl":57909,"material":166,"size":166,"collection":166,"collections":57910,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239462,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-yuan-qi-239462","此作用笔苍劲老辣，以干笔积墨反复皴擦，山峦层叠间尽显丘壑幽深。高远山势裹挟飞泉垂落，平远水畔山居错落，林木扶苏掩映村居，咫尺画幅铺展出萧散淡远的山居清景。墨色干湿浓淡相济，苍润浑厚间带着元人山水的简淡意趣，却又自具沉雄苍莽的厚重质感，将江南山水的温润灵秀与文人画的书卷静气相融，笔底元气淋漓，于细碎皴染中见整饬章法，静穆雅致中藏着自然生机，尽显正统山水画的隽永风神。",[281,24,25,74,7,36,28,335,706,162,126,35,215,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb1160b0f5169ea7571f4877751466b.jpg",[],{"id":57912,"slug":57913,"title":19376,"dynasty":174,"author":11792,"museum":450,"description":19377,"tags":57914,"thumbUrl":57915,"material":314,"size":1061,"collection":166,"collections":57916,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},239405,"hua-niao-tu-ce-ma-yuan-yu-239405",[24,25,74,7,38,80,125,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf22855b5490b2c9110b13dfa58b31ca.jpg",[],{"id":57918,"slug":57919,"title":157,"dynasty":174,"author":28403,"museum":450,"description":50638,"tags":57920,"thumbUrl":57921,"material":314,"size":1061,"collection":166,"collections":57922,"showCount":387,"zanCount":46,"man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\n\n画面疏密得宜，简淡间静穆禅韵尽显。笔致温婉内敛，将世外僧者的幽居之景铺陈开来，既有文人画的清雅意趣，又饱含宗教题材特有的空灵氛围感，观之便如临清寂山境，俗尘尽涤。",[24,1462,27,193,3557,213,33,18,11616,58178,7,481],"降龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7481e8347c83f9ab8503a4d74d87b8.jpg",[],{"id":58182,"slug":58183,"title":58184,"dynasty":18,"author":581,"museum":450,"description":58185,"tags":58186,"thumbUrl":58188,"material":314,"size":1061,"collection":166,"collections":58189,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},237531,"zhang-fu-wan-he-song-yin-shan-yi-ming-237531","张復万壑松荫扇","此作截取山坳松林一角，高远、深远之境兼具，层叠崖壁间青松蔚然成林，主干挺拔虬劲，松针攒簇细密，笔墨苍劲古拙，尽显苍郁清隽的松间意态。\n\n栈道隐于松岩缝隙，山居错落崖畔，淡赭晕染山石，墨色干湿相济，勾勒皴擦间尽显山石嶙峋质感。整体意境清寂幽深，笔墨间浸润着文人寄情林泉的雅逸意趣，尽显古雅隽永的山水风韵。",[24,25,1462,28,624,213,58187,33,193,7,27,36],"山壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd8af200639c52851f97536a92023368.jpg",[],{"id":58191,"slug":58192,"title":376,"dynasty":174,"author":34180,"museum":450,"description":34181,"tags":58193,"thumbUrl":58194,"material":314,"size":1061,"collection":166,"collections":58195,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},237486,"shan-shui-tu-ce-yao-song-237486",[24,25,74,394,7,36,28,162,34,32,324,7489,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2736daa6a5070b4358b8996e1e8055c.jpg",[],{"id":58197,"slug":58198,"title":58199,"dynasty":174,"author":58200,"museum":450,"description":58201,"tags":58202,"thumbUrl":58203,"material":314,"size":1061,"collection":83,"collections":58204,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},237471,"shan-shui-hua-shi-ce-wang-han-237471","山水花石册","王翰","王翰（公元687年~726年），字子羽，并州晋阳（今山西太原市）人，唐代边塞诗人。与王昌龄同时期，王翰这样一个有才气的诗人，其集不传。其诗载于《全唐诗》的，仅有14首。登进士第，举直言极谏，调昌乐尉。复举超拔群类，召为秘书正字。擢通事舍人、驾部员外。出为汝州长史，改仙州别驾。",[24,25,74,7,38,80,147,180,282,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d681f86ea612ef4254f2f5adcb54420.jpg",[83,42],{"id":58206,"slug":58207,"title":41142,"dynasty":18,"author":58208,"museum":450,"description":58209,"tags":58210,"thumbUrl":58211,"material":314,"size":1061,"collection":166,"collections":58212,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},237406,"shan-shui-shan-chen-xun-237406","陈勋","陈勋，明，闽县（今福州）人。万历二十九年（一六零一）进士，除南武学教授，历南京工、户部主事，榷广陵关。",[24,1462,7,36,28,147,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df6e016dac264e90240fbf2af8cc92.jpg",[],{"id":58214,"slug":58215,"title":70,"dynasty":174,"author":58216,"museum":450,"description":58217,"tags":58218,"thumbUrl":58219,"material":298,"size":166,"collection":166,"collections":58220,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},237350,"hua-niao-ce-wang-gang-237350","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[24,25,74,7,27,75,1114,128,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835f3c8cd063a7f6c8ff4d98f10ae1e4.jpg",[],{"id":58222,"slug":58223,"title":31321,"dynasty":18,"author":31322,"museum":450,"description":31323,"tags":58224,"thumbUrl":58225,"material":314,"size":1061,"collection":166,"collections":58226,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},237273,"zhi-hua-ce-chen-dao-237273",[24,25,74,7,38,80,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b537ae60f59ac4b134f83d2388dec37.jpg",[],{"id":58228,"slug":58229,"title":22860,"dynasty":18,"author":22861,"museum":20,"description":22862,"tags":58230,"thumbUrl":58231,"material":196,"size":22865,"collection":166,"collections":58232,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},237268,"shen-hao-shan-shui-tu-ce-shen-hao-237268",[24,25,74,7,36,28,162,706,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27bfe4674dcca93b5ef4e74b7ea0dad9.jpg",[],{"id":58234,"slug":58235,"title":22860,"dynasty":18,"author":22861,"museum":20,"description":22862,"tags":58236,"thumbUrl":58237,"material":196,"size":22865,"collection":166,"collections":58238,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},237263,"shen-hao-shan-shui-tu-ce-shen-hao-237263",[24,25,74,7,36,28,194,33,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931745eb9581949f6e9e4591ded41f6.jpg",[],{"id":58240,"slug":58241,"title":21388,"dynasty":174,"author":9682,"museum":450,"description":58242,"tags":58243,"thumbUrl":58244,"material":166,"size":166,"collection":166,"collections":58245,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},237243,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237243","此作以大片留白铺陈空寂澹远意境，以极简水墨勾勒丘壑意趣。古木苍劲老干嶙峋，枯笔皴擦晕染出岁月斑驳，新发枝叶以湿墨点簇，枯润相生间漾出清浅生机。坡石以淡墨晕写，线条简括清逸，寥寥数笔便晕染出山石朴拙之态，旁生幽竹清瘦挺拔，与古木相映成趣。\n\n笔墨疏淡松秀，尽显萧散简远的文人意趣，将山野幽居的林下清趣凝于尺幅间，观之便如身临幽寂林泉，涤荡俗尘，静穆淡远的林下风致扑面而来。",[24,7,74,2637,126,706,147,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873ff1ff70cc1b675c9b03040c355974.jpg",[],{"id":58247,"slug":58248,"title":21388,"dynasty":174,"author":9682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林下之风，将寒夜灯下的幽闲淡远意蕴藏于尺幅之间。",[281,24,25,74,7,36,28,210,32,162,126,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a98e86ecf81b6a859d443cfea31890.jpg",[],{"id":58835,"slug":58836,"title":157,"dynasty":18,"author":18021,"museum":450,"description":58837,"tags":58838,"thumbUrl":58840,"material":166,"size":166,"collection":166,"collections":58841,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},235153,"shan-shui-ce-li-liu-fang-235153","此作用笔简淡清逸，以水墨晕染出山水襟怀。近坡淡墨轻铺，竹枝萧疏摇曳，笔致清瘦隽雅。中处长松亭亭如盖，浓墨点染松针，枯淡勾勒树干，高低错落间见出苍劲古拙。远山以淡墨轻扫而过，留白衬出烟岚空濛。\n\n通篇墨色层次分明，浓淡相依，糅合出萧散出尘的幽远意境，暗含文人澹泊襟怀。题款与画面浑然相融，笔墨间不见烟火尘嚣，只余林泉高致，将山居幽寂的清冷意趣尽数铺陈。",[24,281,25,7,58839,36,2446,123,28,33,96,34,10414,211],"淡墨渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda4d66caabfd57aa2897466192206d8.jpg",[],{"id":58843,"slug":58844,"title":157,"dynasty":18,"author":18021,"museum":450,"description":58845,"tags":58846,"thumbUrl":58847,"material":166,"size":166,"collection":166,"collections":58848,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},235152,"shan-shui-ce-li-liu-fang-235152","此作用笔苍润秀雅，以水墨晕染仿拟前贤笔意。山峦以披麻皴淡写，墨色虚实相生，似笼着轻烟薄雾，将丘壑的苍浑藏在柔婉层次中。清劲的棕榈成林，衬出茅舍的幽寂，溪岸缓坡以淡墨扫就，不着一笔多余刻画，尽显萧散疏朗。整幅以简驭繁，无刻意修饰，复刻元人闲淡野逸的林下意趣，又融入自身疏朗笔致，将江南山居的清寂安谧藏在笔墨间，观之恍若身临幽林，暂忘尘嚣，尽显寄情林泉的文人风雅。",[7,36,74,123,28,96,324,34,33,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f35c1896ed7d0cb7e275c6c8dc3dc9.jpg",[],{"id":58850,"slug":58851,"title":157,"dynasty":18,"author":18021,"museum":450,"description":58852,"tags":58853,"thumbUrl":58854,"material":166,"size":166,"collection":166,"collections":58855,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},235151,"shan-shui-ce-li-liu-fang-235151","此作以淡墨渴笔写山林幽境，危壁飞瀑从云崖间倾泻而下，苍松扎根峭岩，枯木虬枝斜探出画面，野意横生。\n桥上幽人凭栏静立，观瀑听涛，身影安闲自在，将飞瀑之动与观者之静相映成趣。墨色干湿互用，山石以侧锋皴擦，留白烘托出空寂萧疏的林下意境。笔意松灵兼具筋骨，简淡中藏沉厚，尽得元人山水遗韵又自具风神，把文人寄情丘壑、静悟山水的幽怀藏于尺幅间，是小品山水里的绝佳妙制。",[281,24,25,74,7,36,123,28,29,30,210,33,193,34,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddf9e8578717e69fdd14861a45946dc.jpg",[],{"id":58857,"slug":58858,"title":49262,"dynasty":174,"author":5090,"museum":450,"description":58859,"tags":58860,"thumbUrl":58861,"material":166,"size":166,"collection":166,"collections":58862,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},235103,"huai-yin-tu-ce-wang-hui-235103","此帧以淡墨写就林泉幽隐之境，柔垂柳丝牵起清寂氛围，崖畔幽草簌簌，右侧老槐伴修竹错落而立。笔墨苍秀松灵，山石以淡墨轻皴，不重具象形貌，只取丘壑简淡之致。留白铺陈出空阔疏朗的林下天地，将文人耽幽守寂的襟怀藏在浅淡墨色间。\n\n题款墨痕雅致，与画面浑然相融，笔致松脱空灵，全是随心挥洒的闲适意态，无刻意刻画，仅以逸笔勾勒出山野幽居的清寒澹泊，尽显静穆萧散的林下风流，把寄情林泉的雅趣尽数铺陈开来，是文人写意山水以意驭笔的佳制。",[24,25,74,7,36,126,1853,180,2875,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f4d949a1291f30492ce464c1c9df96.jpg",[],{"id":58864,"slug":58865,"title":33104,"dynasty":174,"author":7295,"museum":450,"description":58866,"tags":58867,"thumbUrl":58868,"material":166,"size":166,"collection":166,"collections":58869,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},235100,"zheng-min-shan-shui-ce-zheng-min-235100","此作以枯笔淡墨写危崖栈道，山石轮廓简约空灵，崖边古木虬曲苍劲，几位行旅缓步山径，为清寂的山水晕开几分灵动暖意。笔墨简淡疏朗，尽显萧疏淡远的荒寒意趣，是新安画派简逸清泠的典型风貌。\n\n左侧题跋笔力苍劲，书法与山水呼应相合，文气融于画意，让整幅小品兼具笔墨意趣与文人雅韵，淡而不寡，简而有神，将山水的幽寂清冷与文人情致相融，余韵悠长。",[24,25,74,7,36,37,38,28,193,147,180,532,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0534891de7a684db29a99a1dcb16ff93.jpg",[],{"id":58871,"slug":58872,"title":33104,"dynasty":174,"author":7295,"museum":450,"description":58873,"tags":58874,"thumbUrl":58875,"material":166,"size":166,"collection":166,"collections":58876,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},235098,"zheng-min-shan-shui-ce-zheng-min-235098","此作用淡墨写江岸山居，巉岩错落间寒林虬生，坡脚碎石缀着浅滩幽草，山坳茅庐隐于林木深处，幽寂绝尘。江心一叶扁舟随波缓行，寥寥数笔便铺展出江空水阔的萧散意趣。\n\n左页行书题诗与画面呼应，笔意清隽温雅，诗画交融，尽显寄情林泉、神游万古的襟怀。整体笔墨简淡松灵，不事雕琢，以少胜多，将山野幽居的静谧与放浪江湖的悠逸融为一体，氤氲着清冷出尘的林下之风，尽显简逸清疏的山水意韵。",[24,25,74,7,28,31,33,34,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539445d32f11568dc61ead79b8778135.jpg",[],{"id":58878,"slug":58879,"title":33104,"dynasty":174,"author":7295,"museum":450,"description":58880,"tags":58881,"thumbUrl":58882,"material":166,"size":166,"collection":166,"collections":58883,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},235093,"zheng-min-shan-shui-ce-zheng-min-235093","此作用笔疏简秀逸，近景危崖兀立，崖畔林木萧疏，村居错落隐于岩岫之间，浅滩碎石点缀寒水。远景山峦以淡墨晕染，清润朦胧，晕出空濛幽寂的秋山气象，尽显静穆冷逸之致。\n左侧题诗笔致清劲雅致，诗书与山水相映，文气盎然，将简淡荒寒的意趣融于尺幅，寄寓着画者幽居林泉、澄怀观道的隐逸襟怀。",[24,25,74,7,36,38,28,34,33,35,215,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a75d571f91415e97b378185d3b979a.jpg",[],{"id":58885,"slug":58886,"title":376,"dynasty":174,"author":739,"museum":450,"description":58887,"tags":58888,"thumbUrl":58889,"material":166,"size":166,"collection":166,"collections":58890,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},235077,"shan-shui-tu-ce-hua-yan-235077","此作淡墨写江岸山居，近渚古木盘曲苍劲，茅庐隐于林樾，静听江澜絮语。远山以枯笔轻皴，淡晕烟岚，晕染出空濛淡远之境，满幅幽寂萧散。左侧行书题诗笔致清逸隽秀，诗画相映，将林泉高致的文人心境托举而出。简淡尺幅中藏静穆生机，把幽居林下、寄情烟霞的雅逸襟怀融于笔墨间，尽显中式山水留白意趣，是文人诗画相融的绝佳范本。",[24,25,74,7,36,38,28,32,33,34],"http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鸠杖、寿杖、锡杖、玉杖、棁杖等等。\n最寻常的杖材，当是竹、藤、木。\n如竹杖，文人喜好用斑竹；斑竹有雅意，也叫湘妃竹，名字还有个美丽的故事。晋代张华《博物志》载：尧之二女，舜之二妃，曰湘夫人，帝崩，二妃啼，以涕挥竹，竹尽斑。\n斑竹为杖，自有渊源。白居易说：闲携斑竹杖，徐曳黄麻屦。元明时代的戏曲《荆钗记·启媒》里亦有：软红泥踏青时候，试蹑青鞋，慢拖斑竹，去寻良友。\n斑竹上的星星点点如星河，且每根竹材的星点大有不同，这些恐怕都是文人喜爱斑竹杖的原因。毕竟在传统的审美情趣里，常以新奇为美。\n以奇为美的追求，更能体现在藤杖的身上。\n关于藤杖的形容就有藤枝、老藤、枯藤、瘦藤、古藤、乌藤、青藤、红藤、朱藤、赤藤等，文人追求奇美，藤条的生长能更奇巧，因而极为适宜作为藤杖。\n譬如清初画圣王翚画像，即手持一枝奇怪的藤木杖，其杖头藤条宛延辗转，奇妙非常。古天一曾释出一件奇藤杖，与王翚的持杖对比，有异曲同工之妙。\n这些都是文人追求清奇的结果。\n他们热衷于奇辟之物。清新而奇妙的藤杖，在视觉上，从不同的角度观之，情趣迥异，可谓有“横看成岭侧成峰，远近高低各不同”的审美意味。\n换言之，古代文人寻求独特的杖，就像寻求一件文房、一件古董一样；他们不仅把杖当成工具，还把杖看作是文具。\n按理杖为老人所用，然而像苏轼、陆游、辛弃疾，在中青年时期即已杖在手中，可见杖与年龄并非天然相关。策杖，主要还是显示闲畅心境和作为一种生活习惯。",[24,7,36,28,193,33,30,34,533,147,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35474947d506ba3f20faf7c4c1b8f5a.jpg",[],{"id":59013,"slug":59014,"title":50960,"dynasty":174,"author":50961,"museum":120,"description":50962,"tags":59015,"thumbUrl":59016,"material":537,"size":166,"collection":166,"collections":59017,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},234311,"sun-shan-shui-ce-wang-ji-234311",[24,25,74,7,28,147,29,193,180,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e749d71188004706e7a09094515a226.jpg",[],{"id":59019,"slug":59020,"title":38526,"dynasty":174,"author":5090,"museum":120,"description":19190,"tags":59021,"thumbUrl":59022,"material":564,"size":166,"collection":166,"collections":59023,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},234291,"ni-qian-ren-shi-yi-ce-wang-hui-234291",[281,24,25,74,7,36,28,33,29,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8eb828c42482c449e4eba12f66b9271.jpg",[],{"id":59025,"slug":59026,"title":59027,"dynasty":18,"author":7726,"museum":450,"description":38300,"tags":59028,"thumbUrl":59029,"material":166,"size":166,"collection":166,"collections":59030,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},234223,"du-qiong-meng-xuan-tang-tu-juan-du-qiong-234223","杜琼梦萱堂图卷",[23,24,25,26,7,28,36,37,38,80,32,33,212,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b3528e3fa7f667927b9d355b3593ba.jpg",[],{"id":59032,"slug":59033,"title":59034,"dynasty":174,"author":26950,"museum":120,"description":59035,"tags":59036,"thumbUrl":59037,"material":298,"size":166,"collection":166,"collections":59038,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},234140,"shi-shu-hua-he-juan-huang-yi-234140","诗书画合卷","故宫博物院藏有黄易的一纸《诗书画合卷》，在《诗书画合卷》中黄易分别临习了王羲之的《黄庭经》和《东方朔画像赞》。此二作虽为临习作品，黄易却对原作进行了大胆改变，这种改变可以说是以钟繇来冲破“二王”。首先，他临王羲之楷书中带有些许钟繇的字势特点。他将王羲之楷书结体的纵向取势变为横向取势，并在某些笔画上参入隶书笔意，特别是捺画夸张和舒展得更为明显，以隶书的波挑来调节楷书的板滞。其次，黄易改王羲之楷书的疏朗宽阔为茂密紧凑，不管是行距还是字距都远小于原作，使章法更为葱郁。再次，此作在略微增加线条厚度的同时，又增加了不少起笔和收笔的出锋，这就使作品厚重之中更具有灵动感和活泼的情趣。",[23,24,25,26,37,7,36,28,162,706,268,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2594a0466d2bc6670524a74ac93c1c2d.jpg",[],{"id":59040,"slug":59041,"title":157,"dynasty":174,"author":24403,"museum":5354,"description":24404,"tags":59042,"thumbUrl":59043,"material":166,"size":166,"collection":166,"collections":59044,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},234103,"shan-shui-ce-wang-gai-234103",[24,25,74,7,27,28,282,610,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e926f8a7aebfe76f961f15d344372e0.jpg",[],{"id":59046,"slug":59047,"title":48548,"dynasty":52,"author":581,"museum":120,"description":59048,"tags":59049,"thumbUrl":59050,"material":1221,"size":59051,"collection":166,"collections":59052,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},234040,"jiang-shan-lou-ge-tu-zhou-yi-ming-234040","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。",[24,281,95,518,7,28,194,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a02320e28f52f9c2292c5be0e2ea1.jpg","纵162厘米，横92.5厘米",[],{"id":59054,"slug":59055,"title":23932,"dynasty":205,"author":2688,"museum":120,"description":23933,"tags":59056,"thumbUrl":59057,"material":3471,"size":23936,"collection":166,"collections":59058,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},233997,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233997",[281,24,25,547,7,481,36,34,33,282,147,79,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg",[],{"id":59060,"slug":59061,"title":157,"dynasty":174,"author":2029,"museum":120,"description":13662,"tags":59062,"thumbUrl":59063,"material":964,"size":13666,"collection":166,"collections":59064,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},233986,"shan-shui-ce-gong-xian-233986",[24,25,281,74,7,28,36,147,34,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4aae08324cd0f960517dcbc1d914c6.jpg",[],{"id":59066,"slug":59067,"title":43100,"dynasty":52,"author":8400,"museum":120,"description":59068,"tags":59069,"thumbUrl":59070,"material":10405,"size":59071,"collection":166,"collections":59072,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":461},233965,"li-xian-xiang-zhou-yan-hui-233965","李仙即李铁拐，是“八仙”之一，八仙的故事在民间流传甚广。据明彭大翼《山堂肆考》云：“拐仙姓李，有足疾，西王母点化升仙，封东华教主，授以铁杖一根。”另《古今图书集成·神异典》中云：“李铁拐或云隋时峡人，名洪水，小字拐儿，又名铁拐，常行丐于市，人皆贱之。后以铁杖掷空，化为龙，乘龙而去。”铁拐李尽管外貌丑陋，却法力高超，富有人情味，深得人们的钟爱，是元明清画家们喜画的题材。\n图中的李仙盘腿拄杖，坐于大石上。他披发浓须，袒胸赤足，蹙眉斜目。其身后山崖竞秀，瀑布高悬，云雾缥缈，崖下藤枝盘绕。画中人物神情不同凡俗，背景的描绘更衬托出了铁拐李的仙人之气。",[24,95,193,3557,7,27,210,34,48868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91220011e41ccdfe64584e22b2472e31.jpg","纵146.5厘米，横72.5厘米",[],{"id":59074,"slug":59075,"title":39069,"dynasty":52,"author":39070,"museum":120,"description":59076,"tags":59077,"thumbUrl":59078,"material":3471,"size":59079,"collection":166,"collections":59080,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},233893,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-233893","陆行直字季道吴江（今江苏吴江）人。洪武中（公元1368—1398年）以人才授翰林典籍。善书诗画清劲为人所称。小传见《画史会要》、《珊瑚網》等书。 此图画巨大的湖石一堵屹立画面正中旁边梧桐和柏树冲天而立。笔墨清劲构图平中寓险为陆行直传世名作。画右自题词一首：「侯虫凄段人语西风岸月落沙平流水漫 驚见芦花来雁。可憐瘦损兰趁多情因为卿卿只有一枝梧页不知多少秋声。」后识「友人张叔夏赠余之作也余不能记忆于至治元年仲夏二十四日戏作碧梧苍石与冶仙西 窗夜坐因语及此转瞬二十一载今卿卿叔夏皆成故人恍然如隔世事遂书于卷首以记一时之感慨云。季道陆行直题。」钤「致和斋」、「陆季道氏」二印右下又题词一首 款「陆行直重题」。本幅有元刘则□、页衡、冶仙、曹仲达、卫达辰等十四家题记诗塘有明刘稽、周鼎题识裱边有谢希曾跋语。钤明项子京等收藏印多方。《汪氏珊 瑚網》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。",[24,25,95,7,36,38,37,180,147,1475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a0d56a3607216b38f91cd9c8d213f8.jpg","纵107cm，横53.2cm",[],{"id":59082,"slug":59083,"title":14561,"dynasty":174,"author":14526,"museum":120,"description":14562,"tags":59084,"thumbUrl":59085,"material":564,"size":14565,"collection":166,"collections":59086,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},233888,"huang-shan-tu-ce-mei-qing-233888",[24,25,74,7,36,28,57,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec9fa4dd3f6caed9c2d2fd3a330b8439.jpg",[],{"id":59088,"slug":59089,"title":51422,"dynasty":18,"author":50877,"museum":120,"description":51423,"tags":59090,"thumbUrl":59091,"material":298,"size":166,"collection":166,"collections":59092,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},233853,"shi-hua-he-bi-ce-zhou-yong-233853",[24,25,74,7,27,193,147,34,672,164,80,36,40094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1575daded0dd84731ed33873af0a13d2.jpg",[],{"id":59094,"slug":59095,"title":14561,"dynasty":174,"author":14526,"museum":120,"description":14562,"tags":59096,"thumbUrl":59097,"material":564,"size":14565,"collection":166,"collections":59098,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},233441,"huang-shan-tu-ce-mei-qing-233441",[24,25,74,7,27,28,34,194,33,164,36,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcad87ebd9140b2f96032cf30f420971.jpg",[],{"id":59100,"slug":59101,"title":14561,"dynasty":174,"author":14526,"museum":120,"description":14562,"tags":59102,"thumbUrl":59103,"material":564,"size":14565,"collection":166,"collections":59104,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},233432,"huang-shan-tu-ce-mei-qing-233432",[24,7,36,74,80,28,212,180,32,282,311,126,162,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3248ca9a22b55ef40d212ff75967d3.jpg",[],{"id":59106,"slug":59107,"title":38814,"dynasty":18,"author":38815,"museum":450,"description":38816,"tags":59108,"thumbUrl":59109,"material":166,"size":166,"collection":166,"collections":59110,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},233364,"shi-zhu-zhai-pu-ce-hu-ri-cong-233364",[24,25,74,7,27,126,180,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2ea7355e35027e3c415f8d313c469.jpg",[],{"id":59112,"slug":59113,"title":25166,"dynasty":174,"author":14921,"museum":120,"description":25167,"tags":59114,"thumbUrl":59115,"material":166,"size":166,"collection":166,"collections":59116,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},233231,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-liu-yu-233231",[24,25,281,74,7,36,28,32,147,34,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd79e322948a0d5f2ab1ad1c41afc92.jpg",[],{"id":59118,"slug":59119,"title":157,"dynasty":52,"author":1131,"museum":120,"description":21464,"tags":59120,"thumbUrl":59121,"material":564,"size":21467,"collection":166,"collections":59122,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},233175,"shan-shui-ce-cao-zhi-bai-233175",[24,7,36,74,38,37,28,335,350,33,213,164,211,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1665cd980e58c01dcfcbc88ae1e167d9.jpg",[],{"id":59124,"slug":59125,"title":56254,"dynasty":174,"author":749,"museum":120,"description":56255,"tags":59126,"thumbUrl":59127,"material":10691,"size":56258,"collection":166,"collections":59128,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},233165,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233165",[24,25,74,7,27,36,80,28,34,33,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1f70d967f351069bf5cfca45a740c8.jpg",[],{"id":59130,"slug":59131,"title":59132,"dynasty":205,"author":581,"museum":120,"description":59133,"tags":59134,"thumbUrl":59135,"material":612,"size":59136,"collection":166,"collections":59137,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},233023,"pan-che-tu-zhou-yi-ming-233023","盘车图轴","图中装满货物的牛车正在艰难地向山上行进，货物已将车架压得有些变形。一只小狗出现在车轮旁，一边高声呼叫着通知客人的到来，一边左右奔跑，似欲助牛车一臂之力，画家将小狗热情急切的心态表露无遗，亲切动人。",[24,281,95,7,36,28,34,33,47905,35,6790,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2182ca4fbc80c097427b56f3f9351c89.jpg","纵109厘米，横49.5厘米",[],{"id":59139,"slug":59140,"title":59141,"dynasty":174,"author":749,"museum":593,"description":59142,"tags":59143,"thumbUrl":59145,"material":298,"size":59146,"collection":166,"collections":59147,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[281,24,25,95,7,36,38,37,80,28,57,33,624,96,34,211,59144],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg","80.4x43.5cm",[],{"id":59149,"slug":59150,"title":59151,"dynasty":52,"author":581,"museum":593,"description":59152,"tags":59153,"thumbUrl":59154,"material":298,"size":59155,"collection":166,"collections":59156,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},231888,"lu-ye-da-mo-tu-yi-ming-231888","芦叶达摩图","亲近佛道的人，除了兴趣，往往都有自救的动机和解脱的渴望——他们对心中迷乱挣扎有着更真切的体会和更迫切的出离愿望。但常听人问起如何才能心不乱、到底应该如何去修等问题，先圣经典对此讲说甚多而明明白白，为什么还有这么普遍的困惑呢？除了法门太多而无从抉择的原因，更多的恐怕还是很多法门都太高妙，自己找不到实在的下手处。\n法门的选择上，先圣早已明言：“佛说一切法，为治一切心；若无一切心，何须一切法”、“一门深入，即可成就”。一切法门都是为适应众生不同根机的方便，实相和本源皆在言外法下，纠结于名相或盯在高低优劣，都是不解乃至大违圣意。正确的路子，是依自己适合的而抉择，然后笃定地做下去便是。\n无从下手则是实实在在的难处，强求不了。到底有没有既深契高妙又可真正下手的法门？我能想到的最好的答案是菩提达摩的32字心法，记载于《景德传灯录》中。\n达摩是禅宗西天第二十八祖，东土初祖。他的名号在中国可谓无人不知无人不晓，他的教法了解的却恐怕不多。禅宗的发展是向着越来越玄妙、越来越难以把握去的，因为祖师们觉得一切把握都等同于妄，非得透一切名相而直契本源不可，只是其中超妙非利根而不得入。禅宗是否一向如此呢？不是的，至少不完全是——在达摩祖师的时代，教法上不仅有着禅宗一贯的宗旨，下手上也是朴实直接的。这点其实一直到六祖慧能也还保留着，我们看《坛经》中的接引，也都是实实在在的。\n32字心法的内容是：“外息诸缘，内心无喘。心如墙壁，可以入道。明佛心宗，等无差误。行解相应，名之曰祖。”它有两个重大处，一是不是孤立提出，而是在达摩祖师总结的入道二门——理入和行入的基础上提出来的。行入又包括四行，是入道的四个可以真正下手处，称之为“四行观”，“其余诸行，悉入此中”。二是理入与行入之间，还暗含一大玄机，乃一切法门的总纲所在，可称根本心法，却少为人注意。\n只是这理入的玄机，非详知四行而不得解。所以达摩虽将理入安立在行入之前，并大有如此安排的深意，却需要先从四个可以真正下手处说起。",[23,24,95,3557,193,547,7,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa936cbcd0ef7ed62fe770ec635c672.jpg","175×38.5厘米",[],{"id":59158,"slug":59159,"title":59160,"dynasty":5382,"author":40090,"museum":450,"description":40091,"tags":59161,"thumbUrl":59162,"material":314,"size":1061,"collection":166,"collections":59163,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},231784,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-ren-wu-hua-niao-juan-he-guo-xiao-zhai-231784","明清日本古画粉本-山水人物花鸟卷",[23,26,7,27,75,193,28,624,77,80,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c9387e6fc8f6e0c9a6f5a890366f80.jpg",[],{"id":59165,"slug":59166,"title":59167,"dynasty":5382,"author":41607,"museum":450,"description":59168,"tags":59169,"thumbUrl":59171,"material":166,"size":166,"collection":166,"collections":59172,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},231672,"lu-ao-qi-sheng-tu-juan-chi-da-ya-231672","陆奥奇胜图卷","此作用淡墨晕染铺陈平远山水，汀渚山峦随卷舒展，留白托出氤氲水汽，空濛幽寂。点染的林木村居朴拙灵动，将胜景的清旷雅致尽数铺展。\n卷中配行书题跋，笔墨萧散率性，纪游文辞与山水意境相融相生，尽显文人雅趣。整卷以极简水墨，晕开东方山水的禅意侘寂，把漫游揽胜的闲情藏在尺幅长卷里，淡远空灵，是诗书画一体的文人佳构。",[23,59170,1153,7,27,26,36,37,80,28,335,350,31,282,32,33,194,211,29],"南画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f2e4305253da5ba56be20454445e88.jpg",[],{"id":59174,"slug":59175,"title":59176,"dynasty":5382,"author":51520,"museum":450,"description":51521,"tags":59177,"thumbUrl":59178,"material":314,"size":1061,"collection":166,"collections":59179,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},231622,"shi-ting-shi-dai-zu-shi-da-man-song-da-zhi-tu-zhou-shou-ye-yuan-xin-231622","室町时代 祖师大满送大智图轴",[23,24,25,95,7,27,28,193,31,29,30,33,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410f5a3214a93e64d7edcf5771d2a8b.jpg",[],{"id":59181,"slug":59182,"title":59183,"dynasty":5382,"author":581,"museum":450,"description":59184,"tags":59185,"thumbUrl":59186,"material":61,"size":59187,"collection":166,"collections":59188,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},231575,"guan-pu-na-liang-tu-yi-ming-231575","观瀑纳凉图","此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,24,25,95,7,27,28,210,624,34,36,1442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e3988e8251adabd7d2b3ba7cab365a.jpg","纵24cm，横24.9cm",[],{"id":59190,"slug":59191,"title":13262,"dynasty":174,"author":926,"museum":450,"description":59192,"tags":59193,"thumbUrl":59194,"material":61,"size":166,"collection":166,"collections":59195,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},231573,"hua-hui-shi-er-kai-li-shan-231573","李鱓（shàn），清康熙二十五年（1686）生，乾隆二十一年（1756）卒。字宗扬，号复堂，别号懊道人、墨磨人，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，扬州八怪之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。",[24,7,27,75,74,11594,1004,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ffad346df645f21757cf8ef14b4cb7.jpg",[],{"id":59197,"slug":59198,"title":13830,"dynasty":18,"author":581,"museum":450,"description":59199,"tags":59200,"thumbUrl":59203,"material":61,"size":37622,"collection":166,"collections":59204,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},231547,"dong-xue-shan-jing-tu-yi-ming-231547","它的白雪皑皑不是冰冷峻峭，却是高雅与逍遥。",[23,24,7,28,993,4347,624,34,193,59201,59202,95],"高雅","逍遥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dfb2c05c90dc6fbecb022d86227e2b9.jpg",[],{"id":59206,"slug":59207,"title":59208,"dynasty":52,"author":581,"museum":450,"description":59209,"tags":59210,"thumbUrl":59212,"material":166,"size":166,"collection":166,"collections":59213,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":921},231038,"su-shu-yi-ming-231038","粟鼠","此作用水墨写意写就，枯槎苍劲朴拙，栗枝舒展间，墨色浓淡晕染出叶片柔润舒展之态，栗果饱满写实，尽显秋实野趣。\n\n两只粟鼠是画中灵动焦点，淡墨晕出绒毛发肤，一笔扫就蓬松长尾，细笔勾勒爪牙眉眼，一只捧食凝神，憨态可掬，一只俯身探看，灵动俏皮。画面留白疏朗萧散，以极简笔墨铺陈出秋日林间的闲散意趣，将山野小景的生机与简淡清逸的意韵相融，尽显水墨花鸟的雅致野逸之美。",[23,281,24,25,95,7,481,36,453,3326,147,367,59211],"粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca36ef3cadb6f575e61c0b0a7414e33.jpg",[],{"id":59215,"slug":59216,"title":376,"dynasty":174,"author":6250,"museum":450,"description":59217,"tags":59218,"thumbUrl":59219,"material":166,"size":166,"collection":166,"collections":59220,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},230917,"shan-shui-tu-ce-he-yi-230917","此作用笔简净萧散，以干淡笔墨铺陈丘林野趣。近岸巨石皴擦苍劲，双木虬曲错落，枝叶点染疏朗，暗含生趣。水畔茅庐隐于浅坡，野意自生。远景山峦以淡墨晕染留白，虚写水光天色，虚实相生间烘托出林泉幽寂之致。\n题诗与画面相映成趣，文气雅致，取法元人山水意韵，寄寓幽居丘壑、寄情林泉的出世襟怀，简淡笔墨里藏着静穆悠长的林下高致。",[24,25,74,7,36,28,34,33,324,164,3157,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f41a79372429712d774f2e0b1e78d5.jpg",[],{"id":59222,"slug":59223,"title":59224,"dynasty":174,"author":59225,"museum":450,"description":59226,"tags":59227,"thumbUrl":59228,"material":166,"size":166,"collection":166,"collections":59229,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},230879,"qiu-jiang-wan-du-ye-yao-zhong-bao-230879","秋江晚渡页","姚钟葆","淡墨晕开烟水空蒙，江畔秋树斜出，赭色点染丹黄，将晚秋霜色尽揽枝梢。垂条轻曳，晕出松弛疏淡的野趣。\n\n扁舟泊于浅渚，舟上幽人兀坐，隐入澄澈江天，不着一笔写愁，却将秋江岑寂全然铺陈。留白处尽是悠悠晚意，仿佛可闻欸乃橹声，随晚风漫过江心。\n\n笔墨简淡清灵，以少胜多，把羁旅闲愁化作静穆秋意，文题与淡墨秋景相融，晕开独有的空濛诗意，尽显幽远萧散的林下风致。",[24,7,27,74,36,31,193,282,162,942,2925,28641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398701c4b5e7ea6c7f53c677cdf4ea49.jpg",[],{"id":59231,"slug":59232,"title":157,"dynasty":174,"author":43575,"museum":450,"description":59233,"tags":59234,"thumbUrl":59235,"material":166,"size":166,"collection":166,"collections":59236,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},230255,"shan-shui-ce-wang-su-230255","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[24,25,74,7,27,31,1035,1004,1442,30,282,1926,2283,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":59238,"slug":59239,"title":157,"dynasty":174,"author":59240,"museum":450,"description":59241,"tags":59242,"thumbUrl":59243,"material":166,"size":166,"collection":166,"collections":59244,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},230151,"shan-shui-ce-liu-yu-230151","刘宇","此幅以深山古刹为景，淡墨勾皴山石，盘桓石阶如练，在陡崖间蜿蜒穿梭，串起山脚村居与山巅梵宇。苍松错落布于崖畔坡头，古拙苍劲，晕染出山林清寂高远的氛围。\n\n画家以墨色浓淡区分阴阳向背，笔意萧散秀雅，舍去繁复皴法，却将山峦险峻幽深铺陈尽致。画面以留白晕出山峦空灵之气，淡绘山居古刹的幽寂禅意，带着文人画的简淡余韵，寄寓静穆出尘的山林雅趣，将出世栖隐的悠然意趣藏于简淡笔墨之中。",[24,25,7,74,36,28,335,194,624,5912,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e204ecbc005648e2a467048d918209.jpg",[],{"id":59246,"slug":59247,"title":18341,"dynasty":174,"author":749,"museum":450,"description":59248,"tags":59249,"thumbUrl":59250,"material":166,"size":166,"collection":166,"collections":59251,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},229030,"shan-shui-ce-ye-wang-yuan-qi-229030","此作以干渴焦墨反复皴擦堆叠山峦，笔力苍劲老辣，层层铺陈出浑厚华滋的质感，尽显山水苍莽深秀之态。近岸汀渚错落，虬曲杂木丛生，简笔点染枝叶，意态萧疏古雅。山坳间村舍隐于林木烟岚，晕开幽居野逸的闲趣。\n\n远景山峦逶迤，墨色由浓转淡，虚实相生间晕染出空濛悠远的意境。以书法意趣入画，笔墨裹挟沉静书卷气，层层皴染尽显山川厚重雄浑，将自然苍朴与文人意趣相融，静穆里藏着蓬勃生机，尽显传统山水的笔墨风骨与幽深远阔的林下襟怀。",[281,24,25,74,7,36,28,34,33,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad840bb8afc0736f39b85cebaefd8955.jpg",[],{"id":59253,"slug":59254,"title":59255,"dynasty":174,"author":59256,"museum":450,"description":59257,"tags":59258,"thumbUrl":59259,"material":166,"size":166,"collection":166,"collections":59260,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},228974,"si-ji-shan-shui-ping-ming-jian-228974","四季山水屏","明俭","此作用浅绛写就冬山雪景，以大面积留白与淡墨晕染表现峰峦积雪，浓墨勾勒崖壁轮廓，将冰雪覆山的清寒孤高尽显无余。\n\n枯松劲柏层叠错落，枝桠利落苍郁，暗写雪压枝头的沉凝质感。山坳间古寺浮屠隐于林木中，朱红屋舍素白雪景相映，冷寂里晕开一抹烟火暖意。溪谷浅滩以白代雪，水坝板桥藏于雪色间，于静谧中暗涌生机。\n\n整画仿戴进雪岭笔意，兼得浙派山水刚劲构图，又融入禅意冲淡萧散的气韵，将冬日空山的冷寂与古刹温煦相融，尽显雪后山林清旷安闲之境，笔墨清雅意趣悠长。",[23,24,25,95,7,27,28,194,33,34,519,831,29,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":59262,"slug":59263,"title":59264,"dynasty":18,"author":581,"museum":450,"description":59265,"tags":59266,"thumbUrl":59267,"material":166,"size":166,"collection":166,"collections":59268,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},228814,"xing-lv-tu-yi-ming-228814","行旅图","此作以淡墨晕染出江南暮野水畔之景。柔柳垂丝错落于画面边角，晕开朦胧氤氲的暮色氛围。郊野水泽间，行骑缓行，驮队紧随，简笔勾勒的旅人神态松弛，带着日暮赶路的闲淡倦意。远景中山丘村舍隐于墨色晕染间，虚实相生，将乡野暮色的清寂淡远尽数铺陈。整作笔墨简淡苍润，以简驭繁，留白处尽显空濛诗意，把羁旅暮归的悠然况味融于水乡烟霭之中，尽显小品山水的雅致意趣，于古旧绢色间晕开静谧悠远的古典意境。",[24,1462,7,27,193,312,162,28,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21df2211d26e0597c4692d204c60fc5e.jpg",[],{"id":59270,"slug":59271,"title":59272,"dynasty":18,"author":36106,"museum":450,"description":59273,"tags":59274,"thumbUrl":59275,"material":166,"size":166,"collection":166,"collections":59276,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},228766,"liu-hua-tu-ni-yuan-lu-228766","六花图","此作为诗画合璧长卷，水墨花卉写意挥洒，墨色干湿浓淡变幻自然。牡丹、寒梅等花木虬枝苍劲，花瓣晕染淋漓，笔底带着疏朗桀骜的生气，将草木风骨跃然纸上。\n\n配题行书笔力奇崛雄健，结体欹侧跌宕，与画意相得益彰，诗文与绘事交织，融画境、文心、笔情为一体。\n笔底藏着晚明文人的疏狂耿介，将写意精神抒发尽致，是诗书画印合一的文人佳构，尽显磊落襟怀与不俗格调。",[23,24,25,26,7,38,80,125,133,128,129,132,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065af1defdfd694ae2722cb69a9abca8.jpg",[],{"id":59278,"slug":59279,"title":26178,"dynasty":18,"author":9621,"museum":450,"description":59280,"tags":59281,"thumbUrl":59282,"material":166,"size":166,"collection":166,"collections":59283,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,281,24,25,26,38,37,7,27,28,31,33,30,29,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":59285,"slug":59286,"title":42713,"dynasty":18,"author":17741,"museum":450,"description":59287,"tags":59288,"thumbUrl":59289,"material":166,"size":166,"collection":166,"collections":59290,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},228337,"yin-bao-jie-shan-tu-zhou-wang-wen-228337","《隐宝界山图》是明朝王问所作名画，此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生于1949年购于广州。\n1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。\n画心左上自题：“宝界山，余读易庐在焉。\n嘉靖戊申始得辞岭南之命，寄傲其间，静志远交，可以寡过矣。\n诗曰：荒山雨雪暮寒时，碧树临湖橘柚垂。\n归棹复寻渔径入，幽居更向谷云移。\n鲈如张翰思偏早，酒为渊明酿已迟。\n木石久谙麇鹿性，野人相见莫相疑。\n仲山王问写并书。\n”钤“王问之印”、“进士”等印。\n据此图题跋，可知所画是王问在嘉靖戊申年（二十七年，1548年）隐居无锡宝界山读书时的情景，为画家5岁时所作。\n鉴赏印钤“石渠宝笈”、“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等印。\n画幅右下钤“无事对青山”白方印，左下钤“闲溪陈氏玉阶珍藏”朱长方印。\n画中所绘当为宝界山实景。\n筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。\n画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。\n用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。\n王问之作传世不多，得此盛年鼎绝作品实为不易。",[23,24,95,28,7,36,194,31,30,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8002608845fa1f1fb6a6f63a76f2c409.jpg",[],{"id":59292,"slug":59293,"title":59294,"dynasty":52,"author":581,"museum":450,"description":59295,"tags":59296,"thumbUrl":59298,"material":166,"size":166,"collection":166,"collections":59299,"showCount":387,"zanCount":1084,"manualWeight":46,"mainColor":140},228236,"xue-shan-yun-lv-tu-yi-ming-228236","雪山运驴图","整幅画作以萧寒冬日为底色，虬劲枯木扎根嶙峋坡石，枝干尽脱，带着凌冽的荒寒之气。淡墨晕染出山峦积雪，将冬日山野的厚重冷寂铺展开来，边角山石奇崛错落，勾勒出空阔辽远的天地。\n\n中景处的运驴队伍缓步而行，为清寂的雪野晕开一丝烟火暖意，动静相映，让冷肃山水多了几分行路意趣。笔墨苍简老辣，干笔勾勒山石肌理，淡墨铺陈积雪留白的空灵，将苍逸简淡的意趣融于其中，把冬日山野的空寂萧寒与行路的市井意趣相融，清冷中带着鲜活生气，尽显小品山水的精妙意韵，将冬日荒岭的清寒意境烘托得淋漓尽致。",[23,24,494,59297,7,4347,809,6002,3902,14320,1548,1463,9307,5781],"小品画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114c3794a49fbc91897e8c3e82f12c09.jpg",[],{"id":59301,"slug":59302,"title":59303,"dynasty":52,"author":581,"museum":450,"description":59304,"tags":59305,"thumbUrl":59306,"material":314,"size":1061,"collection":166,"collections":59307,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},228233,"da-mo-xiang-yi-ming-228233","达摩像","达摩，是中国禅宗的初祖。他生于南印度，婆罗门族，出家后倾心大乘佛法。梁·普通年中（520～526，一说南朝宋末），他自印度航海来到广州，从这里北行至魏，到处以禅法教人。据说他在洛阳看见永宁寺宝塔建筑的精美，自言年已一五0岁，历游各国都不曾见过，于是‘口唱南无，合掌连日’（《洛阳伽蓝记》卷一）。",[23,281,24,25,95,3557,547,7,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F896744299faea52caf62dceaf7edaa23.jpg",[],{"id":59309,"slug":59310,"title":59311,"dynasty":52,"author":581,"museum":450,"description":59312,"tags":59313,"thumbUrl":59314,"material":166,"size":166,"collection":166,"collections":59315,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":140},228221,"qiu-lin-shan-zhuang-tu-ye-yi-ming-228221","秋林山庄图页","此作用笔简淡松秀，以干笔皴擦辅以淡墨晕染，绘就秋日山林逸致。远山空灵虚蒙，主峰浑厚苍劲，带着沉静古拙之气。近岸林木错落，墨色浓淡相宜，枯荣交织间晕开清寂秋意。山居隐于林麓深处，石阶蜿蜒探入其间，藏着避世闲雅的意趣。浅滩碎石错落，缓流无声，野趣横生。\n\n整幅画以萧散之韵勾勒山水，摒弃繁饰，将秋日山野的幽寂与山居恬逸融为一体，尽显文人画尚意境、重简淡的风骨，观之便如踏入清秋林泉，山风裹木叶轻响漫过周身，浸满心间出世的安宁。",[23,24,7,27,36,74,28,147,34,194,1523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u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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。",[59374,7,75,282,7852],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053df89da58ec73bf2824b8735fa286d.jpg",[],{"id":59378,"slug":59379,"title":59380,"dynasty":18,"author":56512,"museum":450,"description":59381,"tags":59382,"thumbUrl":59383,"material":166,"size":166,"collection":166,"collections":59384,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},224558,"shu-hua-ce-ye-23-xiao-yun-cong-wang-shi-zhen-224558","《书画册页》-23","此作用笔清隽秀逸，以刀削般奇崛林立的峰林为骨，以留白晕染出漫谷云气，将山居轻揽其中。屋舍雅致，有人闲坐凭栏，尽显幽居林下的悠然意趣，左下角浮屠松石点缀，更添古雅沉静。\n设色糅合浅绛与青绿，淡雅柔和，勾勒简练却苍劲奇峭，将山水灵秀与文人遁世之思相融。尺幅间淡远空灵，悠悠古韵漫溢，尽显超然出尘的林下之风，将山水之美与文人心底的丘壑悄然铺展。",[24,74,27,7,518,36,193,194,34,33,17094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac4216ea4ffef16e9d20f2e0892fc054.jpg",[],{"id":59386,"slug":59387,"title":59388,"dynasty":18,"author":56512,"museum":450,"description":59389,"tags":59390,"thumbUrl":59391,"material":166,"size":166,"collection":166,"collections":59392,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},224556,"shu-hua-ce-ye-21-xiao-yun-cong-wang-shi-zhen-224556","《书画册页》-21","此作以淡墨写尽林泉幽致，危崖壁立留白萦雾，虚摹山岚空濛。几株古松虬曲苍劲，松针攒簇尽显老硬风神，枯笔勾勒山石肌理，皴染极简，却将崖壁厚重苍朴之意托出。滩渚扁舟之上，隐士垂纶独钓，与幽寂山水浑然相融。追摹李成笔意，以简淡清润的笔墨，复刻宋人山水中静穆淡远的意境，将林下幽闲的隐逸之思藏于尺幅之间，通篇萧散出尘，尽显山林高致。",[281,24,25,74,7,27,36,28,193,624,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffcf411dec0de24fd38c2c62f6835e2.jpg",[],{"id":59394,"slug":59395,"title":59396,"dynasty":174,"author":5090,"museum":450,"description":59397,"tags":59398,"thumbUrl":59403,"material":166,"size":166,"collection":166,"collections":59404,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},224472,"liang-chang-shan-guan-tu-zhou-wang-hui-224472","良常山馆图轴","此作用笔精谨秀润，以巍峨主峰撑起画面骨架，山石以披麻皴层层皴染，尽显苍劲浑厚，崖壁高耸险峻，尽显自然雄奇之态。山谷间林木蓊郁，屋舍幽藏于林麓之间，溪涧蜿蜒穿流于乱石浅滩，烘托出世外幽居的静谧闲雅。\n\n画作兼得北宋山水的雄浑格局与元人笔墨的秀逸温润，将山野林泉的朴茂生机与文人幽居的雅趣相融，于规整中见灵动，笔墨间尽抒山水清旷之美，尽显正统山水画的雅致意韵。",[23,24,281,95,494,7,893,34,4667,2477,1776,148,8717,59399,27853,7314,59400,3393,59401,59402,3394],"乱石","闲雅","秀逸","清旷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcfa06a3c8190e72183fd3cb7d83.jpg",[],{"id":59406,"slug":59407,"title":59408,"dynasty":174,"author":5090,"museum":450,"description":59409,"tags":59410,"thumbUrl":59411,"material":166,"size":166,"collection":166,"collections":59412,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},224466,"wan-feng-ji-yu-wang-hui-224466","万峰积玉","以水墨晕染层叠峰峦，素雪覆裹山巅，留白与淡墨交织出寒冽空寂的冬日林泉。枯木萧疏错落，枝桠凝霜覆雪，愈发衬出山野清旷辽远。\n\n运笔兼具苍劲与秀润，勾勒山峦简约空灵，淡墨皴擦晕出积雪的厚重，细笔摹画木梢萧寒之态，将冬日山野的冷逸出尘尽数铺展。边角题诗相伴印信，诗画相融，把万峰积素、空谷幽寂的冬日意境定格卷上，既有雪景山水的清寒之美，又携文人雅韵，尽显雪景山水的隽永格调。",[23,281,24,7,28,993,809,80,37,36,57431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba9d8c4472c4dc665491c07f3c820fd.jpg",[],{"id":59414,"slug":59415,"title":59416,"dynasty":174,"author":749,"museum":450,"description":59417,"tags":59418,"thumbUrl":59420,"material":166,"size":166,"collection":166,"collections":59421,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},224396,"shan-jian-lin-lu-wang-yuan-qi-224396","山磵林庐","此作用笔沉厚老辣，以干笔积墨层层皴擦，山石苍润浑厚，草木华滋清隽。取景紧凑却丘壑幽深，巨岩洞天藏山光，飞瀑落溪撞碎林麓静谧，蜿蜒山径隐于苍林，板桥轻架溪上，暗合山居幽趣。\n\n画面融宋元古意与清时文心，将江南秋山的秀润与沉雄揉为一体，笔底晕开幽寂山居的雅兴，藏林下隐逸的文人情致于皴染点苔之间，整体气息浑朴雅致，尽显文人山水画的从容格调。",[23,24,25,7,27,36,74,28,335,213,210,30,29,33,5487,59419,80,1524],"庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ab1978204110c84f6a7f7d85c76ce.jpg",[],{"id":59423,"slug":59424,"title":59425,"dynasty":174,"author":926,"museum":450,"description":59426,"tags":59427,"thumbUrl":59428,"material":166,"size":166,"collection":166,"collections":59429,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},224327,"hua-niao-shi-er-kai-5-li-shan-224327","花鸟十二开5","画面中两燕俯仰相和，墨色浓淡晕染出羽翼蓬松肌理，灵动宛然如生。左侧芦草花枝以枯湿变化的水墨绘就，笔意纵逸简括，萧疏野趣尽显。右侧题诗与画境呼应，诗书画印相融，尽显文人写意的随性疏朗。作者以洒脱放逸的笔墨，将秋日汀洲间燕子流连的闲趣铺陈开来，以极简的水墨语言传递出悠然澹远的雅致情调，借花鸟抒怀，尽显扬州画派以画言情的写意风骨。",[23,24,25,74,7,123,75,133,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9de359a80a9cd10bd7bab4fcb4d4f7.jpg",[],{"id":59431,"slug":59432,"title":59433,"dynasty":174,"author":21853,"museum":450,"description":59434,"tags":59435,"thumbUrl":59436,"material":166,"size":166,"collection":166,"collections":59437,"showCount":387,"zanCount":46,"manualWeight":46,"mainColor":47},224282,"shan-shui-hua-hui-ce-shi-liu-fu-shan-224282","山水花卉冊(十六)","此作以淡墨晕染铺就清寂夜色，远山如笼薄纱，隐在月色之下，峰顶残雪凝着夜的清寒。近旁老树虬曲苍劲，疏枝错落，将荒寒之意晕开田亩间。\n\n三两茅舍围以篱栅，隐约的烟火气揉碎在清寂里，更衬郊野空阔。江畔独行身影缓步徐行，把孑然意趣融进夜色。\n\n全作用笔松秀简淡，设色浅雅无华，以极简笔墨铺陈出悠远空寂的意境，将冬夜荒村的冷逸幽然娓娓道来，尽显文人画简淡天真的意趣，藏着画者寄情林泉、静守幽独的襟怀。",[23,24,25,74,7,28,147,940,34,148,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf90a61c1ff07591699375f901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待问（1603-1645），字存我。明松江府华亭县人。崇祯十六年（1643年）进士，授中书舍人。工文章，精书法。书法笔力遒劲，字体秀逸，行书可与董其昌媲美。松江博物馆藏有手迹行书诗轴。著有《玉裕堂存稿》。\n顺治二年（1645年），清兵下江南。与同郡沈犹龙、陈子龙、夏允彝、徐孚远等起义抗清，迁母于乡，身任守东门之职。八月初三日，清兵用计袭取西门，城破。见大势已无可挽回，乃从东门下来。有百户挽住说：“您读烂《四书》，今天将怎样？”待问说：“为臣死忠，这是常事，我不过想和家人作最后诀别罢了。”百户说：“您能这样，我先断头以待。”就拔刀自刎而死。待问凭尸而哭。仓卒抵家，少妾换衣涕泣，众人都劝逃走。他笑着说：“死，是我分内之事。且不死，将何以对待那位百户呢？”于是引绳自缢。气未绝而被俘。劝降不屈，慷慨就义。临死，犹告清将不可残杀民众。\n松江民众怀念他，尊为府城隍，塑像为祀。诞辰为阴历七月十四日，府城隍庙例有盛大庙会，松江城厢人民并有夜间吃豆浆的风俗，都是纪念他的。",[9254,95,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506f22b629759451d56b0de7a10078f0.jpg",[245],{"id":61095,"slug":61096,"title":61097,"dynasty":174,"author":61098,"museum":450,"description":61099,"tags":61100,"thumbUrl":61101,"material":298,"size":166,"collection":245,"collections":61102,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},240300,"chen-yu-fang-shi-tie-zhou-chen-yu-fang-240300","陈玉方诗帖轴","陈玉方","此作为行书论书诗，用笔提按顿挫分明，线条粗细跌宕，兼具沉实厚重与秀逸灵动。起笔恭谨端凝，随文势渐次舒展，牵丝映带自然圆融，尽显书写时的流畅意趣。\n\n章法疏密相宜，纵有行而字间呼吸得当，落款小字清雅恭谨，与正文形成虚实对比。墨色干湿浓淡错落，枯笔见筋骨力道，润笔显腴润质感，将书法技法体悟化入笔底。以笔墨书书论，文与艺相融，清逸朴雅间尽显文人书卷气，是清代帖学风貌的典型体现。",[37,25,95,38,858,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdfff3f577e4ef218e2bc604098ad544.jpg",[245],{"id":61104,"slug":61105,"title":34040,"dynasty":174,"author":61106,"museum":450,"description":61107,"tags":61108,"thumbUrl":61109,"material":166,"size":166,"collection":245,"collections":61110,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},240183,"shi-zhou-sun-shi-jie-240183","孙世杰","此作用笔纵逸苍劲，以中锋立骨、侧锋取势，提按顿挫间尽显老辣雄奇。章法错落跌宕，字势欹侧相生，墨色浓枯变幻自然，重墨处浑穆淋漓，枯笔飞白间尽显苍茫意趣。\n整幅以行草书写就自作诗篇，笔墨与文辞相得益彰，既有北碑的雄强浑朴，又不失帖学的灵动流转，将郁勃豪迈的意气寄寓于点画之间，尽显清初行草书尚势的典型风尚，尽显书家不俗的胸襟与扎实笔力，是极具个性风貌的书法佳构。",[37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba6ffce4540c25f4e4241c2da97e86a.jpg",[245],{"id":61112,"slug":61113,"title":61114,"dynasty":174,"author":61115,"museum":450,"description":61116,"tags":61117,"thumbUrl":61118,"material":450,"size":166,"collection":245,"collections":61119,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},240170,"si-jia-shou-zha-juan-sun-cheng-ze-240170","四家手札卷","孙承泽","孙承泽（1593-1676），字耳北，一作耳伯，号北海，又号退谷，一号退谷逸叟、退谷老人、退翁、退道人，山东益都人，世隶顺天府上林苑（今河北大兴）。明末清初政治家、收藏家。明崇祯四年（1631）中进士。官至刑科给事中。先投降李自成大顺政权，清顺治元年（1644）又投降清朝，历任吏科给事中、太常寺卿、大理寺卿、兵部侍郎、吏部右侍郎等职。富收藏，精鉴别书、画。著有《春明梦余录》《天府广记》《庚子消夏记》《九州山水考》《溯洄集》《研山斋集》等四十余种，多传于世。卒年八十五。其故宅即今后孙公园25号，寓号“研山堂”，内有“万卷楼”。入“贰臣传”。",[23,37,26,38,394,80,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5519d9af27330914d2e823572b129f.jpg",[245],{"id":61121,"slug":61122,"title":52756,"dynasty":174,"author":34051,"museum":450,"description":32391,"tags":61123,"thumbUrl":61124,"material":314,"size":1061,"collection":166,"collections":61125,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},240150,"shi-juan-yong-rong-240150",[23,24,25,26,38,37,80,7,27,481,36,335,350,33582,2925,180,32,282,610,147,75,134,125,126,133,128,129,131,130,132,1015,1114,30,54035,363,2875,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":61127,"slug":61128,"title":57858,"dynasty":18,"author":61129,"museum":450,"description":61130,"tags":61131,"thumbUrl":61132,"material":298,"size":166,"collection":245,"collections":61133,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},240118,"shi-ye-fa-kun-hou-240118","法坤厚","字南峯，号黄棠，别号白石山人。\n若真（一六一三至一六九六）曾孙，胶州贡生。善画，得若真不传之秘。《山左诗续抄》",[9254,37,38,7,298,74,1777,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab758464cc484e02e98853ea6167de6.jpg",[245],{"id":61135,"slug":61136,"title":61137,"dynasty":18,"author":9621,"museum":450,"description":61138,"tags":61139,"thumbUrl":61140,"material":298,"size":166,"collection":245,"collections":61141,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},240065,"gu-shi-shi-jiu-shou-juan-zhu-yun-ming-240065","古诗十九首卷","祝允明(1460-1526) 字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[23,281,24,25,26,7,80,37,394,38,858,1437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[245],{"id":61143,"slug":61144,"title":61145,"dynasty":18,"author":61146,"museum":120,"description":61147,"tags":61148,"thumbUrl":61150,"material":298,"size":61151,"collection":245,"collections":61152,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},240024,"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[23,37,26,38,254,80,7,1437,395,1853,33581,2315,61149,350,363,335,33582,454,180],"浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[245],{"id":61154,"slug":61155,"title":57858,"dynasty":18,"author":61156,"museum":450,"description":61157,"tags":61158,"thumbUrl":61159,"material":166,"size":166,"collection":245,"collections":61160,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},240007,"shi-ye-zhao-shi-xian-240007","赵世显","赵世显，字仁甫，侯官人。万历癸未进士。\n世显风度秀整，其为诗一意盛唐而已。初任池州司李，左迁稍起为梁山令。复转别驾，以母老不赴。自负才名，郁郁不得志，杜门却轨，以文、酒娱日，达官罕识其面也。所著有《芝园稿》。其同年举有郑日休，字廷德，能诗文，官终惠州司李。",[37,38,7,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5938d878c15dc0239a99ad47afab2e26.jpg",[245],{"id":61162,"slug":61163,"title":61164,"dynasty":18,"author":581,"museum":450,"description":61165,"tags":61166,"thumbUrl":61167,"material":166,"size":166,"collection":245,"collections":61168,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},240000,"dan-gu-gui-qu-lai-ci-ye-yi-ming-240000","澹古归去来辞页","此作用笔灵动温润，牵丝映带自然妥帖，字势顾盼相生，尽显典型的明代行书风貌。起收笔遒劲不失秀雅，点画粗细变化富有韵律，将陶潜辞中散淡隐逸的林下之风融于笔墨。\n\n通篇布局匀整和谐，行气连贯从容，不见刻意狂放，将归园田居的释然快意藏于笔墨节奏之中。笔墨间闲适安和，文辞意趣与书法技法相融，尽显传统文人书法的清雅书卷气，是颇具意致的行书佳制。",[9254,37,38,298,7,127,134,2223,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60a3634479f719cca678a6bca8ff6d7.jpg",[245],{"id":61170,"slug":61171,"title":61172,"dynasty":18,"author":61173,"museum":450,"description":61174,"tags":61175,"thumbUrl":61176,"material":166,"size":166,"collection":245,"collections":61177,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239890,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239890","明代名人，申时行等墨宝","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[37,38,26,7,25,8047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fbbe7667dd57131d3c4f62400f5f7a.jpg",[245],{"id":61179,"slug":61180,"title":61181,"dynasty":205,"author":581,"museum":450,"description":61182,"tags":61183,"thumbUrl":61184,"material":166,"size":166,"collection":245,"collections":61185,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239717,"song-xian-yi-han-ce-wang-sheng-qiu-shen-tie-yi-ming-239717","宋贤遗翰册-王升秋深帖","此作用笔纵逸洒脱，以行草写就，牵丝映带自然圆融，尽显尚意风神。点画间提按顿挫节奏明快，墨色枯湿浓淡交叠，粗细线条相映成趣。\n章法疏朗错落，字势开合自如，通篇气息流转浑融，将尺牍里的惦念之意藏入笔墨。随性挥洒间不失沉稳法度，萧散雅致的笔意里，暗合着文人间日常酬答的悠悠情思，把寻常牵挂化作纸上动人韵致。",[37,38,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f9574ade223ffd2ff0d1f826e970b9.jpg",[245],{"id":61187,"slug":61188,"title":157,"dynasty":18,"author":37339,"museum":450,"description":61189,"tags":61190,"thumbUrl":61191,"material":166,"size":166,"collection":166,"collections":61192,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239545,"shan-shui-ce-ye-xiang-rong-239545","此作淡墨轻施，浅绛设色，尽显清润简雅。近岸茅舍依坡而建，疏木枝干虬曲褪去繁叶，愈显苍劲古拙，衬出山居幽寂。中林错落，隐见山桥通幽，引目光渐入山林深处。远景松涛簇拥，半露楼阁，烟岚轻笼，将山境晕染得空濛悠远。画面虚实相生，留白映出山林静穆清旷，笔墨间浸透着文人画的闲淡意趣，把幽栖林泉的隐逸心境铺陈开来，观之恍若踏入这世外丘壑，静享山野间的恬然雅韵。",[24,74,7,27,28,624,35,34,33,164,533,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660baabc7465be653011c7eee6aa69bf.jpg",[],{"id":61194,"slug":61195,"title":26949,"dynasty":174,"author":26950,"museum":450,"description":26984,"tags":61196,"thumbUrl":61197,"material":314,"size":1061,"collection":166,"collections":61198,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239534,"fang-gu-ji-you-tu-ce-huang-yi-239534",[24,7,28,74,36,37,80,32,35,33,34,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3dc0466975068a1080e129da46a211.jpg",[],{"id":61200,"slug":61201,"title":26949,"dynasty":174,"author":26950,"museum":450,"description":26984,"tags":61202,"thumbUrl":61203,"material":314,"size":1061,"collection":166,"collections":61204,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239531,"fang-gu-ji-you-tu-ce-huang-yi-239531",[24,281,25,74,7,547,193,147,28,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924c1247898f08ee7257df85283e7639.jpg",[],{"id":61206,"slug":61207,"title":157,"dynasty":174,"author":28403,"museum":450,"description":61208,"tags":61209,"thumbUrl":61210,"material":166,"size":166,"collection":166,"collections":61211,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239364,"shan-shui-ce-wang-san-xi-239364","此帧以淡墨晕染远山，将谷中氤氲雾气铺陈开来，左上飞瀑垂落，碎玉落入寒潭，随波漾开清浅留白，摹写出平湖空寂。近景虬曲矮树斜生石畔，墨色点染的花叶与身旁幽竹交映，石隙细流潺潺汇入清溪。\n\n配题诗以笔补画境，将林樾阴浓、山光浸溪的幽寂尽数托出，整体笔墨秀润清雅，于尺幅间铺展出世外林泉的静穆禅意，观之如临其境，似能呼吸到谷中清润山风，将山水间的闲澹空明悄然藏于笔墨方寸中。",[24,25,74,7,27,28,126,30,180,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af868a5a5bb3d88f883d36b6aacae40.jpg",[],{"id":61213,"slug":61214,"title":157,"dynasty":174,"author":28403,"museum":450,"description":61215,"tags":61216,"thumbUrl":61217,"material":166,"size":166,"collection":166,"collections":61218,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239362,"shan-shui-ce-wang-san-xi-239362","此作取景分两重溪山，上部峡谷溪流宛转，矶渚错落排布，淡墨晕染山石，线条松秀灵动，间杂几株清瘦林木，幽寂空阔之意扑面而来。下半段以险峻崖嶂为主体，双松虬曲扎根危石，古拙苍劲，姿态奇崛。下方汀岸平缓，茅舍隐现一角，与上部深远山水形成疏密对照。\n\n全作用浅绛淡设色，笔墨简淡秀雅，意境清远冷寂，尽显文人画萧散淡远之致，将江南溪山的清旷之美，以极简笔墨勾勒晕染，淡而不薄，简中见雅，寄寓着画者林泉高致的隐逸襟怀。",[24,7,36,74,28,7489,33,730,7378,282,30,180,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d082822abb6054ae8bb023d4baaba3.jpg",[],{"id":61220,"slug":61221,"title":157,"dynasty":174,"author":9682,"museum":450,"description":17512,"tags":61222,"thumbUrl":61223,"material":314,"size":1061,"collection":166,"collections":61224,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239332,"shan-shui-ce-cha-shi-biao-239332",[24,25,74,7,38,36,28,717,212,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74458d219673175ee12b1e558e6fc03e.jpg",[],{"id":61226,"slug":61227,"title":376,"dynasty":18,"author":3243,"museum":450,"description":41036,"tags":61228,"thumbUrl":61229,"material":314,"size":1061,"collection":166,"collections":61230,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239321,"shan-shui-tu-ce-zhang-hong-239321",[24,25,74,7,36,28,180,147,610,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd2edef713a7351041f53ee6949307.jpg",[],{"id":61232,"slug":61233,"title":45529,"dynasty":174,"author":581,"museum":450,"description":61234,"tags":61235,"thumbUrl":61236,"material":166,"size":166,"collection":166,"collections":61237,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239273,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239273","此作用指为笔，水墨晕染芭蕉阔叶，浓淡干湿间尽显蕉叶向背层次，墨色苍润兼具，带着生拙朴厚的天然意趣，毫无毛笔雕琢的刻意感。旁侧新竹清瘦挺拔，枝叶舒展灵动，与芭蕉形成疏密开合的视觉对照。画面留白疏朗空灵，衬出幽寂闲适的林下意境。\n题诗呼应画境，将酒醒听蕉雨、伴鹤沐清风的隐逸闲思融于笔墨间，把夏日蕉竹的清雅禅意写尽，尽显文人水墨小品的雅致情致。",[24,25,74,18333,7,75,126,421,80],"https:\u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:61297,"dynasty":174,"author":52857,"museum":450,"description":61298,"tags":61299,"thumbUrl":61300,"material":166,"size":166,"collection":166,"collections":61301,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239152,"ku-mu-ju-yuan-tu-zhou-zhang-wen-tao-239152","枯木踞猿图轴","以焦墨挥写枯松老干，皴擦间尽显枝干虬曲苍劲的古拙质感，寥寥淡粉点缀枝梢新芽，暗递残冬将醒的清浅生机。灵猿踞于枝上，淡赭晕染躯体，简笔勾勒出它蜷伏凝神的慵懒模样，茸毛质感呼之欲出，神态宛然。\n整幅画面极简空灵，以少胜多，水墨写意兼具苍劲与秀雅，将山林幽寂之境与灵猿沉静之态相融，淡远疏朗的禅意漫溢纸面，尽显文人写意小品的精妙，闲淡野逸的林下意趣跃然绢素。",[24,25,95,7,27,809,453,14191,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb654efd67d54d758eda1b6c39dc0231.jpg",[],{"id":61303,"slug":61304,"title":43999,"dynasty":174,"author":13237,"museum":450,"description":61305,"tags":61306,"thumbUrl":61307,"material":166,"size":166,"collection":166,"collections":61308,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239135,"shan-shui-he-hui-ce-zhang-zong-cang-239135","此作用笔枯淡清劲，以细碎排线勾勒水波，层层叠叠间铺展出缓流浅滩的柔缓水态。左下角汀渚以焦墨点染丛草，苍朴野逸，右上角矶石以淡墨晕出轮廓，留白衬出苔痕斑驳。\n\n全幅摒弃重彩繁皴，以极简笔墨营造江渚幽寂之境，无喧嚣物象，只留水波漱石的清旷野趣，将水畔荒寒静谧的氛围尽数铺陈，尽显文人山水萧散冷逸的雅韵，于平淡疏朗间，写尽林下水边的悠然意趣。",[24,25,74,7,36,28,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84401a2343027df5773770f569ee993d.jpg",[],{"id":61310,"slug":61311,"title":43999,"dynasty":174,"author":13237,"museum":450,"description":61312,"tags":61313,"thumbUrl":61314,"material":166,"size":166,"collection":166,"collections":61315,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239134,"shan-shui-he-hui-ce-zhang-zong-cang-239134","此作截取早春山居一隅，枯木虬枝蟠屈于溪畔，几枝红梅绽出嫩蕊，将浅春暖意揉入萧寒底色。临水村舍幽藏其间，暗合隐逸闲情。远山以淡墨轻晕，留白作流云烟霭，虚实相生晕染出空濛淡远之境。\n\n笔墨苍润相济，山石皴擦朴拙沉厚，花枝点染雅致清妍，淡设色衬出江南早春温润底色，将幽居的清寂安闲缓缓铺陈，尽显文人山水萧散淡远的诗意。",[24,25,74,7,27,28,125,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb87142567f41ad31d795f1f99d41e6.jpg",[],{"id":61317,"slug":61318,"title":61319,"dynasty":174,"author":28315,"museum":450,"description":28316,"tags":61320,"thumbUrl":61321,"material":314,"size":1061,"collection":166,"collections":61322,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239107,"hua-hui-ce-4-yu-sheng-239107","花卉册4",[24,7,74,75,395,1916],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8394a0e279552837367e29acfb2467.jpg",[],{"id":61324,"slug":61325,"title":61326,"dynasty":174,"author":61327,"museum":450,"description":61328,"tags":61329,"thumbUrl":61330,"material":314,"size":1061,"collection":166,"collections":61331,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},239065,"zhu-shi-qiao-ke-wan-shan-zhang-pan-239065","竹石乔柯纨扇","张槃","张槃 （1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[24,25,1462,27,7,80,126,706,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa974325b51bdb3e105146679fc4677fa.jpg",[],{"id":61333,"slug":61334,"title":157,"dynasty":174,"author":40977,"museum":450,"description":40978,"tags":61335,"thumbUrl":61336,"material":166,"size":166,"collection":166,"collections":61337,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},239010,"shan-shui-ce-li-dong-239010",[24,25,74,27,7,28,36,34,33,211,210,32,6225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264bea25ee2616400b5c6c32e7d5ca98.jpg",[],{"id":61339,"slug":61340,"title":61341,"dynasty":18,"author":61342,"museum":450,"description":61343,"tags":61344,"thumbUrl":61345,"material":314,"size":1061,"collection":166,"collections":61346,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},238939,"dai-zong-chu-xu-tu-shan-song-hong-238939","岱宗初旭图扇","宋鸿","字鸿生，吴郡（今江苏苏州）人，侨居武进。善画山水、花鸟。",[24,25,1462,7,27,36,335,162,193,28638,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9de98881728700a8b839e65b6f099166.jpg",[],{"id":61348,"slug":61349,"title":41142,"dynasty":18,"author":61350,"museum":450,"description":61351,"tags":61352,"thumbUrl":61353,"material":314,"size":1061,"collection":166,"collections":61354,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},238938,"shan-shui-shan-zhang-yang-hao-238938","张养浩","张养浩（1270年—1329年），汉族，字希孟，号云庄，又称齐东野人，济南（今山东省济南市）人，元代著名政治家，文学家。生于元世祖至元七年（公元1270年），卒于元文宗天历二年（公元1329年）。\n一生经历了世祖、成宗、武宗、英宗、泰定帝和文宗数朝。少有才学，被荐为东平学正。历仕礼部、御史台掾属、太子文学、监察御史、官翰林侍读、右司都事、礼部侍郎、礼部尚书、中书省参知政事等。后辞官归隐，朝廷七聘不出。天历二年（1329年），关中大旱，出任陕西行台中丞。是年，积劳成疾，逝世于任上。\n元文宗至顺二年（1331年），追赠张养浩摅诚宣惠功臣、荣禄大夫、陕西等处行中书省平章政事、柱国，追封滨国公、礼部侍郎、礼部尚书、中书省参知政事，谥文忠。尊称为张文忠公。\n张养浩是元代重要的政治、文化人物，其个人品行、政事文章皆为当代及后世称扬，是元代名臣之一。与清河元明善，汶上曹元用并称为“三俊”。代表作品有《三事忠告》，散曲《山坡羊·潼关怀古》等",[9254,24,1462,7,28,33,282,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8ee047d04f9a86865071923ef918c5.jpg",[],{"id":61356,"slug":61357,"title":41142,"dynasty":18,"author":61358,"museum":450,"description":61359,"tags":61360,"thumbUrl":61361,"material":314,"size":1061,"collection":166,"collections":61362,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238936,"shan-shui-shan-yun-qi-xun-238936","恽启巽","恽启巽（1629—1686）明末清初诗文家。字符介，又字符理，号平江。武进（今常州市区）人。恽厥初孙。清康熙十二年（1673）进士，官内阁中书。朝廷在《敕封内阁中书恽启巽》里称其“温醇著誉，恪谨持躬，质有其文，撰述分劳于两制，才堪称职，丝纶贲宠于重霄”。重孝养不重科名，侍母燕尝亭榭间，网鱼斸笋献之高堂，良辰令节得欢颜，以为乐，遂不愿仕。卒葬常州政门外丰西乡三里庵（今青龙三里村）。著有《平江诗文集》、《西江游草》等。",[24,25,1462,7,36,28,335,350,162,1442,480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c41b41a851ea62605e5e7c279b33e.jpg",[],{"id":61364,"slug":61365,"title":55384,"dynasty":174,"author":581,"museum":450,"description":61366,"tags":61367,"thumbUrl":61368,"material":166,"size":166,"collection":166,"collections":61369,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238813,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238813","此作以两段取景铺展早春江村之景。上段平岸柳林如烟，柔丝垂拂春水，堤畔策驴缓行，野意悠然。下段汀渚垂柳掩映，江帆停驻，舟头闲坐之人似在低语，漫溢松弛闲适。\n\n笔触秀润清雅，柳丝细毫勾勒，晕染出笼烟含翠之姿，水面以淡墨轻晕留白，漾出空濛春水的软润质感。全幅设色浅淡明净，舍去繁复皴擦，以简淡之笔写尽融融春意，将江南早春的慵懒恬和融于尺幅，尽显寄情丘山的文人雅趣，将春日江乡的闲淡之韵缓缓铺陈。",[24,25,74,27,7,28,33,1810,193,312,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e9febcffb28fdf6aed328df824ef02.jpg",[],{"id":61371,"slug":61372,"title":32976,"dynasty":174,"author":15930,"museum":450,"description":61373,"tags":61374,"thumbUrl":61375,"material":166,"size":166,"collection":166,"collections":61376,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238745,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238745","此作以左实右虚铺陈画面，左侧山林层叠，山石以干笔皴擦出苍厚质感，古松虬枝遒劲，松下士人凭高远眺，尽显林泉雅逸之致。留白远山晕染空蒙，让画面虚实相生，意境幽寂淡远。\n\n右侧题诗与山水呼应，诗画合璧，将寻幽访胜的雅趣藏于笔墨间。笔墨苍秀清润，既有院体画的精细工整，又不失文人山水画的写意空灵，将行旅游赏的悠然意绪融于山水丘壑之间，尽显沉静内敛的古典文人审美意趣。",[24,25,74,7,36,28,33,212,193,1524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f3143fbd8f1124290c656104be3ee8a.jpg",[],{"id":61378,"slug":61379,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":61380,"tags":61381,"thumbUrl":61382,"material":166,"size":166,"collection":166,"collections":61383,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238731,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238731","此作用淡墨铺展平远江色，阔大水面分隔两岸景致，左上峰峦简淡空灵，左下城楼民居错落，尽揽市井烟火意趣，右上林麓掩映山居，漾出幽远静谧。画心扁舟待发，舟中二人对坐，暗合临水送别诗意。\n\n笔墨温润秀雅，以细腻皴擦晕染空濛江雾，将离情藏于烟波林峦间，实景风物与别绪相融，把友人惜别之际的怅惘融敛在清和山水里，诗画浑然相合，淡雅间别绪悠悠扑面而来。",[24,7,28,74,36,194,31,193,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958c072919c1eeedde6df22cf7a3e6f4.jpg",[],{"id":61385,"slug":61386,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":61387,"tags":61388,"thumbUrl":61389,"material":166,"size":166,"collection":166,"collections":61390,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238728,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238728","此作用水墨绘就秋江行旅之景，两岸层峦以干笔勾勒皴擦，线条苍劲朴拙，枯木萧疏错落在峰谷之间，尽染清寂秋意。江水蜿蜒波涌，行舟随浪浮沉，舟中士人凭舷远眺，艄公持篙摇橹，人物情态悠然自适。\n\n画作以诗配景，将乘江览胜的雅思具象化，笔意简淡清旷，把文人心底的隐逸闲情寄寓在山水行旅之间，诗画交融，尽显传统文人画的清雅格调，将题咏里的山水雅游意趣尽显纸上。",[24,25,74,7,547,36,37,80,28,31,193,30,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34364f3565e710fda0b1cedb1674b796.jpg",[],{"id":61392,"slug":61393,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":61394,"tags":61395,"thumbUrl":61396,"material":166,"size":166,"collection":166,"collections":61397,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238727,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238727","此作用平远之法铺陈景致，淡墨晕开烟水，远山以枯笔轻皴，苍润相融，尽现江天色空濛之态。左岸柳色如烟，掩映深宅，右岸苍松怪石环伺茅庐，士人凭窗静坐，似在追和诗意。\n\n笔墨清简秀雅，以画释意，将幽居寄怀的文人情思藏进一水一木之间，诗画相生，恬然静穆的林下雅趣扑面而来，尽显传统文人画诗画合璧的隽永意境。",[24,7,36,74,28,32,31,33,35,193,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ba1e2918521410f628e893afd81d73.jpg",[],{"id":61399,"slug":61400,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":61401,"tags":61402,"thumbUrl":61403,"material":166,"size":166,"collection":166,"collections":61404,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238715,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238715","此作左诗右图，诗画相生。纯以水墨白描写就，山石勾勒皴擦浑厚苍劲，层峦叠嶂间古松虬曲伸展，深谷茅舍隐现晕染出林泉幽寂之态。\n\n临崖文人衣袂飘然，凭栏纵览溪山，溪畔麋鹿驻足回眸，为幽寂丘山添了一抹灵动生机。笔墨间将诗文里栖隐丘壑、养性忘俗的意涵具象铺陈，既有北宗山水的雄峻层次，又带着南派文人画的静穆禅意，观之如踏入这方幽林丘山，共赏林下高风，尽得林泉雅趣。",[24,25,74,7,36,38,80,37,28,193,624,34,30,194,2388,33,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cf5375a37c220680a5b4422747aaa3.jpg",[],{"id":61406,"slug":61407,"title":157,"dynasty":174,"author":15930,"museum":450,"description":37263,"tags":61408,"thumbUrl":61409,"material":314,"size":1061,"collection":166,"collections":61410,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238690,"shan-shui-ce-dong-bang-da-238690",[24,25,74,7,36,28,194,33,34,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d17d6aafdb5120bc92264527079c4e.jpg",[],{"id":61412,"slug":61413,"title":61414,"dynasty":174,"author":581,"museum":450,"description":61415,"tags":61416,"thumbUrl":61422,"material":314,"size":1061,"collection":600,"collections":61423,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238622,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238622","平定台湾战图册","这幅作品以全景山水承载战事纪实，层峦叠嶂间铺展水乡战地风貌，将行军、驻营的战事情节散落排布，既有山水笔墨的章法意趣，亦还原战事的真实脉络。\n前景将校策马引兵穿行谷道，右上角城池严整列阵，细节处将军士阵列、行军队形刻画详实入微。左侧题诗与画面呼应，以图文合璧记录战事历程。以传统山水画皴染勾勒地貌，工整细致复刻战地实景，让征伐往事具象呈现，兼具历史档案价值与军事题材绘画的独特表现力。",[24,25,74,481,547,7,193,312,28,194,311,8403,61417,61418,34,33,1524,61419,61420,5781,37144,61421],"军队","堡垒","战场景象","线描","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a8e49b30110e036d279dab688753f.jpg",[600],{"id":61425,"slug":61426,"title":25029,"dynasty":174,"author":25030,"museum":450,"description":31252,"tags":61427,"thumbUrl":61428,"material":166,"size":166,"collection":166,"collections":61429,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238337,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238337",[24,25,74,7,27,126,180,2875,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef712e608a3179dbcbae8425b9d6089e.jpg",[],{"id":61431,"slug":61432,"title":25029,"dynasty":174,"author":25030,"museum":450,"description":31252,"tags":61433,"thumbUrl":61434,"material":166,"size":166,"collection":166,"collections":61435,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238336,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238336",[24,25,74,7,28,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f3060abe5a89151ad0c8ab3b1dc9a1a.jpg",[],{"id":61437,"slug":61438,"title":21370,"dynasty":174,"author":21371,"museum":120,"description":21372,"tags":61439,"thumbUrl":61440,"material":196,"size":21375,"collection":166,"collections":61441,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238297,"shi-liu-luo-han-ce-jia-quan-238297",[24,25,74,7,27,547,3557,193,33,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd75feacfac5243ce88fab7dbc8999901.jpg",[],{"id":61443,"slug":61444,"title":16509,"dynasty":174,"author":16510,"museum":450,"description":61445,"tags":61446,"thumbUrl":61447,"material":166,"size":166,"collection":166,"collections":61448,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238225,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238225","此作用笔苍浑秀润，以细腻皴擦绘层叠丘壑，云雾裹挟山峦晕染出空濛意境，古松虬曲苍劲，板桥通幽隐于林下，清寂淡远的山居之境跃然纸面。\n诗画相映成趣，题跋书法笔力隽秀，将笔墨意趣与文人情思相融，尽显静穆萧散的林下之风，把江南丘壑的幽澹之美铺陈开来，是兼具笔墨法度与文人雅韵的山水佳构。",[24,25,7,36,254,28,162,29,6790,34,74,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd0fb50a4b11b86467520a55c299439.jpg",[],{"id":61450,"slug":61451,"title":16509,"dynasty":174,"author":16510,"museum":450,"description":61452,"tags":61453,"thumbUrl":61454,"material":166,"size":166,"collection":166,"collections":61455,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},238220,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238220","此作用淡墨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，刻画细腻。\n衣纹以线条为骨，古拙而流畅。\n图中坚硬的山石以湿墨皴擦出形，秀挺的青竹以浓淡墨相衬晕染，朦胧有致。\n石与竹烘托出像主的中心位置，同时，以物托志，标示出像主高致朗逸的内在情怀。\n款署 ：“癸巳冬十一月，云柯先生属写。\n晓楼费丹旭。\n”钤“子苕”朱文印。\n鉴藏印有 “ 印”、“石雪斋秘笈印”等共4方。\n“癸巳”是道光十三年(18年)，作者时年岁。",[281,24,25,95,547,7,27,193,126,34,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae970ae071e04f94b8ee705744f033d.jpg",[],{"id":62461,"slug":62462,"title":33104,"dynasty":174,"author":7295,"museum":450,"description":62463,"tags":62464,"thumbUrl":62465,"material":166,"size":166,"collection":166,"collections":62466,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},235101,"zheng-min-shan-shui-ce-zheng-min-235101","此帧以水墨绘就水村小景，柳丝垂岸，村居隐于柔条之后，淡墨晕染出清润空濛的春日氛围。长空之上，孤舟泛于虚渺云水间，雁阵掠破岑寂，留白铺陈出悠远无尽的寥廓意境。\n\n左侧行书题诗，笔致清劲秀雅，诗画相映成趣。画风简逸疏淡，以极简笔墨勾勒江南水村的闲静之态，尽显清寂淡远的林下诗意，暗合文人林泉高致的隐逸襟怀，尽显清逸简旷的画中逸韵。",[24,25,74,7,38,28,32,282,1035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F500606c69d5eb1badf6a243aab33b20d.jpg",[],{"id":62468,"slug":62469,"title":33104,"dynasty":174,"author":7295,"museum":450,"description":62470,"tags":62471,"thumbUrl":62472,"material":166,"size":166,"collection":166,"collections":62473,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},235097,"zheng-min-shan-shui-ce-zheng-min-235097","此作用淡墨勾勒皴染山峦，简率笔致铺就出山川疏淡荒寒之态，山间苍松错落隐现，寥寥数笔便烘托出幽寂空蒙的林泉之境，尽显简淡清逸的典型风貌。\n\n左侧题笔萧散隽雅，诗文与画境两相呼应，寄寓着寄情丘壑、超尘出俗的隐逸襟怀。整幅作品以简驭繁，净洁雅素，以笔墨写尽林泉幽致，将山水静穆与文人幽怀融为一体，淡远空灵，余韵悠长，是清代文人山水画中极具代表性的清逸之作。",[24,25,74,7,36,28,180,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd385a39e368a353355424531a3bc0d.jpg",[],{"id":62475,"slug":62476,"title":376,"dynasty":174,"author":739,"museum":450,"description":62477,"tags":62478,"thumbUrl":62479,"material":166,"size":166,"collection":166,"collections":62480,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},235079,"shan-shui-tu-ce-hua-yan-235079","此作取平远小景，几株清松瘦劲挺拔，荫蔽茅舍矮篱，空庭静立，浅坡覆着细草，淡墨晕染出幽寂的秋日郊野。笔致松秀简淡，以干笔轻皴，略施淡墨晕染，全然舍去浓丽设色，只以素净笔墨勾勒出萧散清旷的意境。左侧题诗与画境相合，诗画共生，将幽居的闲静隐逸融入山水之间。整体无繁复铺陈，于极简布景中尽显文人画淡泊清远的意趣，淡而有味，简中见深，把寄情丘壑的隐逸心境铺陈在尺幅之中，是意韵悠长的山水小品佳作。",[24,25,74,7,547,28,33,1442,34,33715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8b2b5a55526836adfcf20b9553f596.jpg",[],{"id":62482,"slug":62483,"title":376,"dynasty":174,"author":739,"museum":450,"description":62484,"tags":62485,"thumbUrl":62486,"material":166,"size":166,"collection":166,"collections":62487,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},235078,"shan-shui-tu-ce-hua-yan-235078","此作以淡墨写意山水，远山以枯笔皴擦晕染，留白营造出空濛烟岚，流云似萦于峰岫之间。近岸浅渚点缀疏草，清寂雅致。扁舟横波，渔翁独棹，静逸清冷的氛围扑面而来。\n\n画面左上题字笔致疏朗，与水墨山水相得益彰，左侧小楷题诗秀润端丽，诗画交融，尽显文人雅趣。全作用笔清润简淡，不施浓彩，以留白托举云水空茫之意，将江南水畔的幽寂之美与江湖散人的萧散襟怀相融，于尺幅间铺展出淡远空灵的意境，尽显水墨造境的精妙意趣。",[24,25,74,7,36,38,28,31,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cb60d0eebb42dd33b6fdd457ccc97b.jpg",[],{"id":62489,"slug":62490,"title":376,"dynasty":174,"author":739,"museum":450,"description":62491,"tags":62492,"thumbUrl":62493,"material":166,"size":166,"collection":166,"collections":62494,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},235076,"shan-shui-tu-ce-hua-yan-235076","此作用淡墨晕染出幽寂林泉，松秀笔触勾勒交错竹影，茅石隐于青竹间，平滩处幽人凭岸闲坐，留白铺就空濛悠远之意。诗画合璧，题诗呼应画中林下幽居之境。\n\n整体笔致灵松动宕，简淡的水墨晕染出山光清寂，将文人林下遐思的雅逸襟怀融于咫尺尺幅间，静穆萧散中尽显悠然旷达的林下意趣，笔简意丰，淡岚轻墨里晕开寄情山水的文人雅致。",[24,25,74,7,28,96,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee2904067eed19e574426633f82e048.jpg",[],{"id":62496,"slug":62497,"title":376,"dynasty":174,"author":739,"museum":450,"description":62498,"tags":62499,"thumbUrl":62500,"material":166,"size":166,"collection":166,"collections":62501,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},235075,"shan-shui-tu-ce-hua-yan-235075","此作以淡墨晕染出清寂山水，崖巅浮屠卓立，古松倚石横斜，山径隐于林樾之间。远景江波浩渺，片帆数点悠悠往来，留白铺就云水空濛之境，尽显悠远淡宕的诗意。\n\n书法页笔致隽秀舒朗，诗文与画境呼应，书画相生，融笔墨意趣与林泉雅韵为一体，淡逸萧散，将幽寂清和的山居江景，化作可赏可吟的世外丘壑，尽显文人山水的简远之美。",[24,25,74,7,36,28,194,33,34,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b83ff495a225ca7271b25ac8426346e.jpg",[],{"id":62503,"slug":62504,"title":2806,"dynasty":174,"author":739,"museum":450,"description":45304,"tags":62505,"thumbUrl":62506,"material":314,"size":1061,"collection":166,"collections":62507,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},235058,"za-hua-ce-hua-yan-235058",[24,25,74,27,7,453,162,2875,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c35dd6e2ea7e9508497d33a9df9a0f.jpg",[],{"id":62509,"slug":62510,"title":157,"dynasty":174,"author":6172,"museum":120,"description":24395,"tags":62511,"thumbUrl":62512,"material":964,"size":24398,"collection":166,"collections":62513,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},235016,"shan-shui-ce-wu-li-235016",[24,281,25,74,7,38,80,36,28,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156efb030ae76d105034c69b34121e47.jpg",[],{"id":62515,"slug":62516,"title":62517,"dynasty":18,"author":581,"museum":450,"description":62518,"tags":62519,"thumbUrl":62520,"material":314,"size":1061,"collection":166,"collections":62521,"showCount":486,"zanCount":1084,"manualWeight":46,"mainColor":47},234969,"qian-gu-shan-shui-shan-ye-yi-ming-234969","钱穀山水扇页","此作用平远章法铺展湖山小景，三段洲渚错落排布，留白勾画出空阔水色，尽显湖天寥廓。枯木虬曲苍劲，以简括折芦笔意写出古拙之态，远林以点染之法轻施笔墨，淡赭晕染秋山，花青敷色浅岸，轻烟隐于远峦间，浅绛设色清透雅致。村居藏在林间坡岸，野意闲静，将江南秋日萧疏淡远的隐逸之趣收于咫尺扇面。题钤朱印点缀边角，文气悠然，笔墨疏淡却意蕴悠长，尽显文人山水寄情丘壑的雅逸品格。",[24,25,1462,28,7,27,36,147,34,30,31,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298d611f28db0ebf31aeb5ae6874a5be.jpg",[],{"id":62523,"slug":62524,"title":55983,"dynasty":174,"author":749,"museum":450,"description":55984,"tags":62525,"thumbUrl":62526,"material":298,"size":55987,"collection":166,"collections":62527,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},234892,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234892",[24,25,74,7,28,34,33,215,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204b1c2c416ad60fa5fb1ddfc578732d.jpg",[],{"id":62529,"slug":62530,"title":55983,"dynasty":174,"author":749,"museum":450,"description":55984,"tags":62531,"thumbUrl":62532,"material":298,"size":55987,"collection":166,"collections":62533,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},234885,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234885",[24,25,74,7,36,28,335,162,213,311,37,80,38,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9073c04adacda2ea064849fa4a8e4b9d.jpg",[],{"id":62535,"slug":62536,"title":55983,"dynasty":174,"author":749,"museum":450,"description":55984,"tags":62537,"thumbUrl":62538,"material":298,"size":55987,"collection":166,"collections":62539,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},234881,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234881",[24,25,74,7,36,28,162,706,80,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608a6236c610bbb986bc9265d647d09.jpg",[],{"id":62541,"slug":62542,"title":157,"dynasty":18,"author":28386,"museum":450,"description":62543,"tags":62544,"thumbUrl":62545,"material":166,"size":166,"collection":166,"collections":62546,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},234870,"shan-shui-ce-zhao-pu-234870","此作用淡墨轻皴崖壁，笔致松灵秀逸，奇崛崖岸并无霸悍之气，坡岸林木错落疏朗，简率点染间自带幽寂荒寒之韵。\n\n配页行书隽雅疏朗，笔墨与山水意趣相融，诗文寄寓林泉雅怀，尽抒幽栖林下的文人襟抱。整幅简淡萧散，以极简笔墨晕染出悠远沉静的山水意境，诗画相映，尽显以意驭笔、以韵胜形的文人画特质，将闲逸山居的清雅意趣藏于尺幅之中。",[24,25,74,7,38,28,180,33,282,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccdaadd83b497c1afd2fed27a2f25291.jpg",[],{"id":62548,"slug":62549,"title":157,"dynasty":18,"author":28386,"museum":450,"description":62550,"tags":62551,"thumbUrl":62552,"material":166,"size":166,"collection":166,"collections":62553,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},234867,"shan-shui-ce-zhao-pu-234867","此作用淡墨轻皴主峰，陡拔苍劲间带着秋日萧寒，坡岸枯木错落、顽石点苔，晕染出空山岑寂之态。留白隐去云霭山岚，衬出山野疏旷清寒。\n左侧题诗笔墨清隽，书画合璧。画境呼应题中禅心自安之意，将秋山冷疏与林下幽寂禅趣相融，笔致萧散简淡，以山水为心神归处，淡墨轻岚间尽显空灵静穆的文人雅韵，把林泉隐逸的襟怀藏在淡远景致之中，诗画相映，尽显文人寄情山水的静穆襟怀。",[24,7,74,36,28,335,180,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccdd34e87d7472dfcb2b797cf448022.jpg",[],{"id":62555,"slug":62556,"title":157,"dynasty":174,"author":24403,"museum":450,"description":45938,"tags":62557,"thumbUrl":62558,"material":314,"size":1061,"collection":166,"collections":62559,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},234859,"shan-shui-ce-wang-gai-234859",[24,25,74,7,36,28,34,33,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0504348d803a12caf7adb5620161f971.jpg",[],{"id":62561,"slug":62562,"title":62563,"dynasty":18,"author":62564,"museum":450,"description":62565,"tags":62566,"thumbUrl":62567,"material":314,"size":1061,"collection":166,"collections":62568,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},234827,"hua-die-shan-yuan-wen-234827","花蝶扇","袁问","吴（今江苏苏州）诸生，晚年居杭州。",[24,1462,27,7,123,75,76,3996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ca6cee4ff70085c4cdeb918a548ab1.jpg",[],{"id":62570,"slug":62571,"title":62572,"dynasty":174,"author":749,"museum":450,"description":62573,"tags":62574,"thumbUrl":62575,"material":166,"size":166,"collection":166,"collections":62576,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},234824,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-wang-yuan-qi-234824","诸家书画合璧册-山水页","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」见《清史稿》、秦祖永《恫荫论画》。",[24,25,74,7,36,28,33,34,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e34c985b5fdde12bbbe44a7d1f7cc76.jpg",[],{"id":62578,"slug":62579,"title":157,"dynasty":174,"author":15930,"museum":120,"description":53555,"tags":62580,"thumbUrl":62581,"material":166,"size":166,"collection":166,"collections":62582,"showCount":486,"zanCount":46,"manualWeight":46,"m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像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[24,25,95,27,481,518,7,193,33,213,597,268,7389,2885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":62773,"slug":62774,"title":62775,"dynasty":174,"author":38718,"museum":120,"description":62776,"tags":62777,"thumbUrl":62778,"material":298,"size":166,"collection":166,"collections":62779,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},233149,"hua-yun-feng-qiu-ji-tu-xiang-zhou-hu-xi-gui-233149","画云峰求己图像轴","就求己图而言，现藏于故宫博物院的清代画家胡锡珪的《云峰求己图》这幅作品，画面是典型的求己图的构图模式，画作是为一位名叫云峰的朋友所创作的很可能是祝寿性质的肖像画。整个画作淡墨写就并略敷淡色，线条灵动，设色淡雅，整体上气韵悠然。画中右侧一位身着长衫的文士模样的人手中拿着一本书站立着，其面前一位人物伏地长叩，脑袋后的辫子悬至腰际，整个构图带有一股文人雅士的超然气息。这幅作品上有题跋达十处之多，从题跋上看诸多题款是云峰邀请其好友为其题词，其中胡锡珪题道：“求己图，云峰仁兄大人，玉照清玩。”此外还有许多题词更是不乏溢美之词，由此可见这幅作品当时画中主角云峰仁兄的心头之好，对此图和此图之意也颇有自许之意，这点可从他本人在这幅作品中的题诗可以看出：\n\n事业千秋醉亦休，人生原是一沙鸥。\n痴心欲开丹青里，为底殷勤把自求。\n凡事须先求自己，临场何必仰他人。\n男人福命生来定，只要心头把得真。\n天涯何处觅良俦，回首已经四十秋。\n一样求人求己好，衣粮便得自家谋。",[24,25,95,481,7,27,193,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f92bf88c40346946e03286fb556143a.jpg",[],{"id":62781,"slug":62782,"title":62783,"dynasty":174,"author":12042,"museum":450,"description":49456,"tags":62784,"thumbUrl":62786,"material":298,"size":166,"collection":166,"collections":62787,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},232684,"shu-fa-dan-pian-hong-yi-fa-shi-232684","书法单片",[23,174,37,38,80,62785,7],"单片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb50d0a501ffc161b95b63475fcca0.jpg",[],{"id":62789,"slug":62790,"title":62791,"dynasty":5382,"author":62792,"museum":450,"description":62793,"tags":62794,"thumbUrl":62797,"material":166,"size":166,"collection":166,"collections":62798,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[23,24,25,26,7,27,547,38,80,123,40094,5715,62795,15615,624,2816,2875,7854,10275,349,7853,62796,193,3996,454,19438,453],"盘子","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":62800,"slug":62801,"title":62802,"dynasty":5382,"author":21686,"museum":450,"description":56333,"tags":62803,"thumbUrl":62804,"material":314,"size":1061,"collection":166,"collections":62805,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},231606,"ju-zhen-hua-pu-shang-zhong-xia-ce-xia-shou-ye-tan-you-231606","聚珍画谱.上中下册（下）",[24,25,74,7,27,547,28,75,193,194,29,30,125,133,126,134,180,32,282,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f0f3f9d209b31058c7b680bf600a6.jpg",[],{"id":62807,"slug":62808,"title":62809,"dynasty":5382,"author":62810,"museum":450,"description":62811,"tags":62812,"thumbUrl":62813,"material":166,"size":166,"collection":166,"collections":62814,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},231581,"jiang-hu-shi-dai-xiao-xiang-ba-jing-tu-juan-shou-ye-chang-xin-231581","江户时代萧湘八景图卷","狩野常信","此作用淡墨轻晕出空濛烟岚，山峦在水雾里迤逦起伏，或显或隐，晕染出悠远的纵深。江面烟波浩渺，归雁列队掠过长空，江渚间村居错落、渔舟泛波，林舍与茂树点缀水岸，将水乡闲逸日常藏进山水间。\n画家以极简笔墨勾勒物象，淡彩点染草木，把潇湘山水的清寂灵秀揉进温润雅致的笔墨意趣里，整体意境澹泊空灵，将烟波水乡的幽远禅意晕散开来，仿佛能闻见水畔林风，窥见渔樵往来的悠然日常，尽显山水间的澹然诗意。",[23,24,26,7,27,28,36,32,31,282,194,30,34,33,940,729,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf1073186518574b343a552415ea54d.jpg",[],{"id":62816,"slug":62817,"title":62818,"dynasty":174,"author":53658,"museum":450,"description":62819,"tags":62820,"thumbUrl":62821,"material":298,"size":62822,"collection":166,"collections":62823,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},231566,"yu-hu-qiu-fan-tu-fei-dan-xu-231566","玉湖秋泛图","题跋：〈鲍正言〉（词一首，不录）筱溪尊兄先生属题即正。丙午九秋衍香鲍言草稿。\n〈朱紫贵〉（七律一首，不录）道光辛丑孟陬题奉筱溪宗兄雅正。\n斋贵书于西泠学舍。\n〈朱步沆〉（七律二首，雨不录）用初白先生中方舟夹山瀁韵二首题\n应筱溪三兄雅属希政之。时壬寅六月二十五日沁泉沆甫\n稿。\n〈奚疑〉（词一首，不录）丁亥冬余招同人泛舟夹山瀁诗雨生都督\n缋图纪游。筱溪三兄先生属新填蝶恋花词，录请敦正。\n方屏山樵奚疑稿。丙午十月，时年七十有二也。\n〈达受〉（七律二首，不录）咸丰五年乙卯七月二十有二日，小诗\n题奉筱溪先生玉照并祈政句。南屏迟隐憎六舟达受未定稿。",[23,24,25,26,27,7,481,38,37,80,28,193,31,1004,519,5836,164,42644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a59c2367b4d88e6db4c04a1ccd7115.jpg","引首：33.5×110.5cm 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道德伦理规范的行为，与天相对立。将人们追求美好生活的要求取人欲，是封建纲常与宗教的禁欲主义结合起来。",[24,281,25,547,7,193,13874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7510ea49d7d3289d5a8fee5c6c39bf8.jpg","122.6x68.6",[],{"id":62835,"slug":62836,"title":62837,"dynasty":18,"author":62838,"museum":92,"description":62839,"tags":62840,"thumbUrl":62841,"material":3471,"size":62842,"collection":166,"collections":62843,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},231392,"jiu-lao-tu-huang-biao-231392","九老图","黄彪","黄彪，明苏州（今属江苏）人，号震泉。工人物写貌，尤精于摹写。曾得张择端《清明上河图》稿本，稍作删润，加以临摹，布景著色，几能乱真。存世作品有：嘉靖三十七年作《画项少溪像》、万历二十二年作《九老图》。",[25,37,242,80,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ab112e1dd3d7ab8dda0884da0049c3.jpg","27.2x193cm",[],{"id":62845,"slug":62846,"title":10439,"dynasty":18,"author":581,"museum":450,"description":62847,"tags":62848,"thumbUrl":62849,"material":166,"size":166,"collection":166,"collections":62850,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":921},231361,"shan-shui-tu-zhou-yi-ming-231361","山水画，简称“山水”。中国画的一种。描写山川自然景色为主体的绘画。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。\n在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；成为中国画中的一大画科；后蜀后主孟昶创设翰林图画院；元代山水画趋向写意，以虚带实，侧重笔墨神韵，开创新风；明清及近代，续有发展，亦出新貌。表现上讲究经营位置和表达意境。",[23,24,7,28,95,36,624,31,32,30,34,164,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32218520c64ca979c215b59b175d93c9.jpg",[],{"id":62852,"slug":62853,"title":62854,"dynasty":52,"author":581,"museum":450,"description":62855,"tags":62856,"thumbUrl":62857,"material":166,"size":166,"collection":166,"collections":62858,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},230903,"ge-ba-qiu-feng-tu-yi-ming-230903","歌罢秋风图","淡墨晕染芙蓉瓣，留白衬出柔润娇妍，层叠舒展间暗蕴盛放之姿。浓焦墨勾勒叶脉，苍劲利落的笔触写尽秋意萧疏，枝梗挺括暗藏清刚骨力。\n\n画幅间题诗与画境呼应，以墨代彩，褪去浓艳浮华，尽显简淡秀逸的文人意趣。水墨相生，将清秋芙蓉冷艳风骨与澹泊心境相融，淡远萧疏的氛围里，把晚风里芙蓉的清隽寂寥缓缓铺陈，简淡笔墨间留住一刹幽寂秋光，尽显文人水墨小品的空静雅韵。",[23,24,25,7,27,76,367,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f4f12104f7914b7ff23728192398f8.jpg",[],{"id":62860,"slug":62861,"title":62862,"dynasty":18,"author":62863,"museum":450,"description":62864,"tags":62865,"thumbUrl":62866,"material":314,"size":1061,"collection":166,"collections":62867,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},230848,"lin-shen-xian-qi-ju-fa-wang-shu-230848","临神仙起居法","王澍","王澍，字蒻林，号虚舟，江南金坛人。1668年生，1743年逝世，官至吏部员外郎。康熙时以善书，特命充五经篆文馆总裁官。",[25,37,254,394,7,74,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe347c35df1e481a897ca43a9673afa15.jpg",[],{"id":62869,"slug":62870,"title":62871,"dynasty":5382,"author":49546,"museum":450,"description":49547,"tags":62872,"thumbUrl":62873,"material":314,"size":1061,"collection":166,"collections":62874,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},230491,"jiang-hu-shi-dai-shan-ye-xing-le-tu-ping-feng-yi-ping-yu-xie-wu-cun-230491","江户时代 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。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[37,38,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979d825066978e9e416697787d811ef5.jpg",[],{"id":62899,"slug":62900,"title":62901,"dynasty":174,"author":21180,"museum":450,"description":62902,"tags":62903,"thumbUrl":62904,"material":166,"size":166,"collection":166,"collections":62905,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},229054,"shan-shui-ce-274-ye-xin-229054","山水册274","此作以淡赭轻晕铺就雪野寒山，留白晕染间，天地漫着清寂冬意。远山以浅墨晕成朦胧雪色，不见繁复皴擦，只以简淡笔墨勾勒山形，将冬日山野荒寒铺展眼前。山道间车马旅人简笔写就，行色匆匆的羁旅之态跃然纸上，把凛冬行路的困顿萧索藏于笔底。\n\n整体笔墨清逸简淡，以少胜多，留白尽是寒雪，淡墨皆是荒丘，将冬日关山的空疏与行旅的孤寂相融，于尺幅之间晕染出悠远萧寒的意境，尽显小品山水的空灵诗意。",[24,25,74,7,28,4123,312,311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f683da4426a9134d7608944f202e2e.jpg",[],{"id":62907,"slug":62908,"title":62909,"dynasty":174,"author":749,"museum":450,"description":62910,"tags":62911,"thumbUrl":62912,"material":166,"size":166,"collection":166,"collections":62913,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},229031,"shan-shui-shi-er-kai-wang-yuan-qi-229031","山水十二开","此作用北苑墨法写就，山峦层叠盘桓，以干笔积墨反复皴擦，线条苍劲老辣，墨色干湿浓淡交织，层层铺陈出山林的浑厚华滋。近岸杂木错落，掩映水榭村居，溪涧回环穿谷而出，衬出林泉幽寂之致。\n整体章法紧而不塞，虚实相生，将元人笔墨的疏淡苍润融入自身沉雄笔力之中，既得古法的静穆高逸，又自具苍浑朴拙气度，尽显正统山水画的笔墨意趣，将江南山林的深秀与文人画的书卷气融为一体，师法古人又自出机杼，是极具代表性的传统山水佳构。",[24,25,7,74,36,28,34,30,33,148,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146913e1e87fe1b26f6aef5dc147242.jpg",[],{"id":62915,"slug":62916,"title":62917,"dynasty":174,"author":377,"museum":450,"description":62918,"tags":62919,"thumbUrl":62920,"material":166,"size":166,"collection":166,"collections":62921,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},228991,"bai-kai-luo-han-tu-41-shi-tao-228991","百开罗汉图41","此作用水墨晕染出清寂禅境，双罗汉对晤于松崖之间。右侧罗汉安坐危崖，衣纹圆转舒展，神色悠然抬眼望向山巅，松间罗汉隐于虬枝之下，目光回睇似共论禅机。古松盘桓错节，松针攒簇苍劲老辣，崖石以枯笔皴擦尽显奇崛之势。背景流云以涡旋墨色铺陈，裹挟空濛仙气，虚实相生间晕化出幽渺山境。\n笔意纵恣灵秀，将禅家超旷出尘的意趣融于山水人物之中，简淡笔墨里藏着苍莽空灵的世外之韵，尽显禅画合一的精妙意致。",[281,24,25,74,7,36,547,3557,193,624,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49d7565bc3db5a2c1dec7feb41f1899.jpg",[],{"id":62923,"slug":62924,"title":62925,"dynasty":18,"author":62926,"museum":450,"description":62927,"tags":62928,"thumbUrl":62929,"material":166,"size":166,"collection":166,"collections":62930,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},228900,"xiao-fu-tu-juan-zhang-feng-bu-tu-gu-meng-you-228900","啸赋图卷张风补图","顾梦游","水墨淡绘峰林幽谷，隐者策杖独行，留白疏淡间，漾出幽远超尘的林下意趣。随行行书长卷笔致秀雅舒展，录就《啸赋》全篇，笔墨清逸萧散，与画境相映成趣。\n\n书画合璧，将赋文里寄怀烟霞、啸傲林泉的隐逸襟怀融于卷中，明人尚雅的高致风流尽在其中，文、书、画相生相融，勾勒出古贤遁世丘山的澹泊襟怀。",[23,281,24,25,26,547,7,28,180,37,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2daf2a4d157139ac44e11d0373f8546.jpg",[],{"id":62932,"slug":62933,"title":62934,"dynasty":18,"author":2851,"museum":450,"description":8920,"tags":62935,"thumbUrl":62939,"material":314,"size":1061,"collection":166,"collections":62940,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},228474,"sui-bi-01-tang-yin-228474","随笔01",[281,24,25,74,38,80,37,7,11095,9919,62936,62937,30,62938,2925,282,6657,164,33583,6082,31],"林屋","春云","竹篱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf19c957fdf26ac11f1c1b360d532ce7.jpg",[],{"id":62942,"slug":62943,"title":62944,"dynasty":18,"author":2376,"museum":450,"description":62945,"tags":62946,"thumbUrl":62947,"material":166,"size":166,"collection":166,"collections":62948,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},228460,"wu-yan-lv-shi-zhou-tian-qiu-228460","五言律诗","此作用笔圆劲温润，线条舒展遒劲，字势顾盼有情，行气流畅悠然，尽显吴门书风的儒雅秀逸。师法文徵明又自出机杼，将晋唐行书的灵动意趣融于笔墨，牵丝映带间节奏舒缓雅致。笔墨间浸润着林下幽栖的沉静安闲，完美呼应诗文隐逸自适的意涵，通篇气息俊逸萧散，尽显风雅襟怀。",[9254,37,38,95,7,80,62944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe729b69a26ad19c5195b4d894e038a67.jpg",[],{"id":62950,"slug":62951,"title":62952,"dynasty":52,"author":581,"museum":450,"description":62953,"tags":62954,"thumbUrl":62955,"material":166,"size":166,"collection":166,"collections":62956,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},228229,"guan-jing-tu-yi-ming-228229","观景图","以水墨晕染出林泉幽隅，老干虬曲的大树遮天蔽日，浓墨点簇的枝叶如盖，掩映着后方隐约的山居茅舍。淡墨皴擦的坡岸蜿蜒延伸，留白处似清溪浅濑，石上隐者凭坐对谈，共赏烟林清景。\n\n笔意简淡清疏，不施浓艳，以水墨的浓淡干湿晕开朦胧烟岚，将幽居林下的散淡襟怀藏在晕染的雾气之中。残题与画作相映，尽显简远意趣，寥寥数笔便勾勒出林泉高致，把山泽间的静穆悠然铺陈在尺幅之内，观之如身临疏旷幽寂的林下烟景，尽得闲雅隐逸之致。",[24,25,7,28,193,38,36,29,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bae947a0ca7be4223f0dd9af5acdecc.jpg",[],{"id":62958,"slug":62959,"title":62960,"dynasty":52,"author":581,"museum":450,"description":62961,"tags":62962,"thumbUrl":62963,"material":166,"size":166,"collection":166,"collections":62964,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},228219,"hou-tu-yi-ming-228219","猴图","《五猴图》是近现代佚名画家创作的一幅中国画。\n尺寸：97×68.5cm 溥儒题签：宋人五猱图，心畬题。\n印文：心畬（白文） 溥儒题：五猱图绢本，松石皆古秀，五猱亦宋人笔墨，盖宋人所作。\n右方半印或有款识，已经裁翦。\n画境略似李迪。\n宋时画院多能画猿猱，往往不题名。\n此当时习尚如是。\n故赏宋画曾不以无款而轻之也。\n上耑有鲁府图书印，明时晋府鲁府肃府所藏多真。\n其下左方则有钤山堂印，知曾入分宜严氏家者，其可重当何如耶。\n壬寅十二月溥儒题。\n印文：心畬（朱文） 藏印：鲁府图书（上中）、钤山堂书画印（左下）、严嵩藏章、嘉谟（右下），另一印模糊不可辨识",[24,25,1462,7,27,5666,453,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129fc44a8e7e51d24a0064077af65def.jpg",[],{"id":62966,"slug":62967,"title":62968,"dynasty":205,"author":581,"museum":450,"description":62969,"tags":62970,"thumbUrl":62971,"material":166,"size":166,"collection":166,"collections":62972,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},227875,"liu-tang-qiu-cao-tu-yi-ming-227875","柳塘秋草图","此作以淡墨晕染水天，将清秋的空濛萧索揉在氤氲水汽中。左侧岸渚垂柳成林，枝叶以细笔点染如烟似雾，把秋的清柔藏在垂绦之间。水面留白处点缀浅渚芦草，笔墨简淡却野意自生，细描的水纹漾开闲静涟漪，晕开塘岸幽寂。\n\n以尺幅小景框住秋郊疏朗之美，摒弃繁复皴法，凭水墨浓淡铺陈远近层次，将深秋的沉静淡愁融在画面里，如同一曲低缓清寂的秋歌，淡而余味悠长，尽显宋画独有的含蓄雅致，藏着文人偏爱的冷澹幽隽意境。",[23,281,24,25,1462,481,7,27,36,28,1853,2875,6711,33,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce6b7f466f533a40e0830c8a2449467.jpg",[],{"id":62974,"slug":62975,"title":36021,"dynasty":205,"author":581,"museum":450,"description":62976,"tags":62977,"thumbUrl":62979,"material":166,"size":166,"collection":166,"collections":62980,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","宋 佚名 秋江暝泊图 纨扇 绢本设色 23.7×24.3cm 北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[23,281,24,25,61,7,27,494,36,80,335,350,33,31,62978,3257,18532,213,7314,17164],"停泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":62982,"slug":62983,"title":62984,"dynasty":205,"author":46496,"museum":92,"description":62985,"tags":62986,"thumbUrl":62987,"material":284,"size":62988,"collection":166,"collections":62989,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},227759,"yi-xi-ci-ce-14-zhen-zhu-xi-227759","易系辞册14帧","朱熹《书易系辞》册 纸本，共14开 台北故宫博物馆，“书易系辞”册，一向被学者公认为是朱熹存世仅见的大字真迹。\n\n《书易系辞》，纸本，全册共十四开，102字，均纵36.5厘米，横61.8厘米，是朱熹存世仅见的大字真迹。全册共十四开，一百零二字，每行仅书写二字，内容为《易经·系辞》的节句。笔力凌厉豪劲，墨色黝黑，时而又出现飞白效果，显得格外精神奕奕。古代许多书法家是不善于写大字的，但这恰恰是朱熹的擅长，所以他的大行书远远胜过小行书。作品有朱熹名款及“定静堂”印记，为林宗毅先生所藏，后捐赠与台北博物馆。",[23,1714,37,38,74,80,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4118aefb6f5380b7d57297807840ac9.jpg","均纵36.5公分、横61.8公分",[],{"id":62991,"slug":62992,"title":62993,"dynasty":205,"author":581,"museum":450,"description":62994,"tags":62995,"thumbUrl":62996,"material":166,"size":166,"collection":166,"collections":62997,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},227373,"xi-shan-cang-cui-tu-ye-yi-ming-227373","溪山苍翠图页","以谨严苍劲的笔墨描绘文人的隐逸生活。画面上高山峻拔，溪流绕岸，松林苍翠。一隐士漫步于溪岸，仰望远山，陶醉于林泉山色中。",[23,24,25,3335,7,27,38,74,28,147,282,213,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529b992184b93821d121297b00ee2b7e.jpg",[],{"id":62999,"slug":63000,"title":63001,"dynasty":174,"author":749,"museum":450,"description":63002,"tags":63003,"thumbUrl":63004,"material":166,"size":166,"collection":166,"collections":63005,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},224397,"fang-li-ying-qiu-bi-yi-zhou-wang-yuan-qi-224397","仿李营丘笔意轴","《清薛宣仿李营丘山水图轴》是清朝薛宣所创作的山水图轴。\n清薛宣仿李营丘山水图轴 此画作于1685年，从题款得知为仿北宋李营丘笔法。\n整幅画构图采用北宋人的主山高耸的格局，细笔绘成，敷以淡色，具有清旷、温秀的格调。\n薛宣，康熙年间人，字辰令，号水田居士，浙江嘉善人；一作娄东（今江苏太仓）人，侨居浙江武唐（今嘉兴）。\n善仿宋、元诸家山水，宗法王鉴，用笔厚重有气，一时之能品也。\n尝自夸其画“不参二王”，意即可与王原祁、王翚两名家并列。",[23,24,25,95,254,7,36,28,34,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577963b0648ab73e5506961bfbe382a1.jpg",[],{"id":63007,"slug":63008,"title":63009,"dynasty":174,"author":926,"museum":450,"description":63010,"tags":63011,"thumbUrl":63012,"material":166,"size":166,"collection":166,"collections":63013,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},224322,"hua-niao-shi-er-kai-11-li-shan-224322","花鸟十二开11","以淡墨撇写兰叶，焦墨提点叶梢，笔锋老辣纵逸，将幽兰俯仰舒展之态信手勾勒，寥寥数笔便赋予其清灵隽秀的神韵。淡墨晕染的兰花隐于叶间，含露待放，清寂出尘。\n\n右侧题诗与画作笔意相融，书风朴拙跌宕，诗画合璧托物言志，寄寓着淡泊自持的文人风骨。整作构图极简，墨色浓淡相生，将水墨写意的抒情性发挥到极致，笔简而意足，尽显文人写意花鸟的雅逸格调，藏着画者桀骜脱俗的襟怀。",[23,24,25,74,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c7210f59211104441499328a26b60e.jpg",[],{"id":63015,"slug":63016,"title":63017,"dynasty":174,"author":926,"museum":450,"description":63018,"tags":63019,"thumbUrl":63020,"material":166,"size":166,"collection":166,"collections":63021,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},224299,"hua-hui-shi-er-kai-11-li-shan-224299","花卉十二开11","此作用笔极简，以水墨写兰草，枯湿浓淡间，兰叶舒展有姿，苍劲线条带着萧疏散淡的野逸之趣。振翅的草虫是点睛之笔，羽翼纹路纤毫毕现，写实的虫豸和写意兰草形成精妙对照，将深秋里的鲜活生机定格在纸上。\n\n右侧题字笔意纵肆跌宕，与画面笔墨气息呼应，诗书画印浑然相融。画作放逸却不失精微，将文人写意的随性洒脱与写生的细腻写实巧妙结合，在萧疏秋景里晕开朴拙鲜活的意趣，尽显文人画特有的清逸格调。",[23,24,25,74,7,38,394,80,75,366,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334dc0678cadf23c41e470a0eda5e33b.jpg",[],{"id":63023,"slug":63024,"title":63025,"dynasty":174,"author":21853,"museum":450,"description":25715,"tags":63026,"thumbUrl":63027,"material":314,"size":1061,"collection":166,"collections":63028,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},224286,"qi-yan-shi-fu-shan-224286","七言诗",[23,25,37,394,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e514d824c31e5eeded135cd1dd6fed.jpg",[],{"id":63030,"slug":63031,"title":63032,"dynasty":174,"author":63033,"museum":450,"description":63034,"tags":63035,"thumbUrl":63036,"material":314,"size":1061,"collection":166,"collections":63037,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":47},224242,"shan-mian-shan-shui-wang-wu-tian-224242","扇面山水","王无忝","清河南孟津人，字夙夜。康熙九年进士，官金华知府。善画山水。词语分解忝的字典解释忝ǎ 辱，有愧于，常用作谦辞：忝在知交。忝属知己。忝列门墙（愧在师门）。",[23,24,25,1462,28,7,36,335,162,213,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd23abd32e524767448b47b66f8b4a9a.jpg",[],{"id":63039,"slug":63040,"title":63041,"dynasty":174,"author":47166,"museum":450,"description":63042,"tags":63043,"thumbUrl":63044,"material":314,"size":1061,"collection":166,"collections":63045,"showCount":486,"zanCount":46,"manualWeight":46,"mainColor":140},224152,"lin-wang-xi-zhi-shan-chuan-zhu-qi-tie-zhou-zhang-zhao-224152","临王羲之山川诸奇帖轴","张照（1691-1745），娄县（今上海松江市）人，字得天，号天瓶、泾南，谥文敏。博学多才，乾隆皇帝称赞其书法：‘有米（芾）之雄，而无米之略。复有董（其昌）之整，而无董之弱。’ 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子庸、山堂居士，江苏苏州人擅长书法",[23,281,24,25,26,7,38,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f506310945bfccd44737a8912f9eb8.jpg",[],{"id":64750,"slug":64751,"title":34040,"dynasty":18,"author":14510,"museum":450,"description":14511,"tags":64752,"thumbUrl":64753,"material":314,"size":1061,"collection":166,"collections":64754,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},240400,"shi-zhou-chen-ji-ru-240400",[18,37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966373256383c4be941d0b935fe55fbd.jpg",[],{"id":64756,"slug":64757,"title":64758,"dynasty":174,"author":64759,"museum":450,"description":64760,"tags":64761,"thumbUrl":64762,"material":314,"size":1061,"collection":166,"collections":64763,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},240303,"qi-xiang-ting-shu-zha-juan-yuan-mei-240303","歧香亭书札卷","袁枚","袁枚（1716年3月25日～1798年1月3日），字子才，号简斋，晚年自号仓山居士、随园主人、随园老人。钱塘（今浙江省杭州市）人，祖籍浙江慈溪。清朝诗人、散文家、文学批评家和美食家。\n袁枚少有才名，擅长写诗文。乾隆四年（1739年），进士出身，授翰林院庶吉士。乾隆七年（1742年），外调江苏，先后于溧水、江宁、江浦、沭阳共任县令七年，为官政治勤政颇有声望，但仕途不顺，无意吏禄。乾隆十四年（1749年），辞官隐居于南京小仓山随园，吟咏其中，广收诗弟子，女弟子尤众。嘉庆二年（1798年），袁枚去世，享年82岁，去世后葬在南京百步坡，世称“随园先生”。\n袁枚倡导“性灵说”，主张诗文审美创作应该抒写性灵，要写出诗人的个性，表现其个人生活遭际中的真情实感，与赵翼、蒋士铨合称为“乾嘉三大家”（或江右三大家），又与赵翼、张问陶并称“性灵派三大家”，为“清代骈文八大家”之一。文笔与大学士纪昀齐名，时称“南袁北纪”。主要著作有《小仓山房文集》《随园诗话》及《随园诗话补遗》《随园食单》《子不语》《续子不语》等。散文代表作《祭妹文》，古文论者将其与唐代韩愈的《祭十二郎文》并提。",[23,37,26,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3444ea5ca672b6b8c49ad5234a829b.jpg",[],{"id":64765,"slug":64766,"title":64767,"dynasty":174,"author":43895,"museum":450,"description":64768,"tags":64769,"thumbUrl":64770,"material":314,"size":1061,"collection":166,"collections":64771,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},240298,"shi-tie-zhou-da-chong-guang-240298","诗帖轴","笪重光（1623年—1692年），字在辛，号君宜，又号蟾光、逸叟、江上外史、郁冈扫叶道人，晚年居茅山学道改名传光、蟾光，亦署逸光，号奉真、始青道人，江苏丹徒句容东荆（今江苏句容白兔镇茅庄村）人（一作江苏丹徒人），清朝著名书画家。",[37,38,95,7,80,858],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34b9e6661114584d2fa6a44acdc03a8e.jpg",[],{"id":64773,"slug":64774,"title":64775,"dynasty":18,"author":581,"museum":450,"description":64776,"tags":64777,"thumbUrl":64780,"material":298,"size":166,"collection":245,"collections":64781,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},240115,"shi-gao-ye-yi-ming-240115","诗稿页","此作用笔苍劲灵动，行书间带着草意的疏放，字势错落随性，毫无雕琢匠气。墨色枯湿浓淡相映，枯笔见骨力，润笔显腴润，牵丝映带自然连贯，将书写时的思绪流转藏在笔锋起落之间。\n\n通篇行气疏朗舒展，带着信笔挥毫的松弛意趣，诗书意气尽数融在笔墨中，尽显文人手札特有的鲜活温度，仿佛能窥见挥毫当下的悠然肆意，触摸到那份不拘格律、直抒胸臆的文人风神。",[9254,37,38,7,23124,2925,194,64778,64779],"佳人","雨歇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17184b5c5e86b0892b1609d3f5a67ce3.jpg",[245],{"id":64783,"slug":64784,"title":57858,"dynasty":18,"author":581,"museum":450,"description":64785,"tags":64786,"thumbUrl":64787,"material":298,"size":166,"collection":245,"collections":64788,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},240113,"shi-ye-yi-ming-240113","此作行书随性舒展，章法错落自在。墨色富于枯湿浓淡之变，重墨沉凝朴拙，枯笔疏朗萧散，线条圆劲中带着松放意趣。诗稿随性走笔，将感怀心绪寄寓于笔墨起落之间，文思与书情相融无间。\n\n通篇带着疏放自适的风雅意态，无刻意雕琢的匠气，是日常遣兴时的率意挥毫，将文人士子寄情诗酒、闲散自洽的心境展露无遗，尽显手写诗稿独有的鲜活书卷情致。",[37,38,298,7,9254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb238ae350d704eeb70b7ba2667db209.jpg",[245],{"id":64790,"slug":64791,"title":57858,"dynasty":174,"author":64792,"museum":450,"description":64793,"tags":64794,"thumbUrl":64796,"material":298,"size":166,"collection":245,"collections":64797,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},240112,"shi-ye-wang-shi-zhen-240112","王士祯","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[38,37,80,7,28,194,454,1438,831,2875,147,942,64795,350],"城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[245],{"id":64799,"slug":64800,"title":55234,"dynasty":174,"author":64801,"museum":450,"description":64802,"tags":64803,"thumbUrl":64804,"material":298,"size":166,"collection":245,"collections":64805,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},240044,"zi-shu-shi-zhou-du-shou-chang-240044","杜首昌","杜首昌，明末清初人，字湘草，江苏淮安盐商，祖籍山西太原，能诗能书，善行、草书，一时俊彦。颇豪富，以钱买官，修名园（绾秀园），种花草；崇祯十七年暮春，福王避难居其园中，见杜有妹极美，能琴能棋，遂订婚约，并得到杜的资助。杜首昌入清不仕，游历他乡，不肯结交官府，家遂败落。",[24,25,95,7,38,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb556a3613a19ed66b61a7d8e26a1594b.jpg",[245],{"id":64807,"slug":64808,"title":64809,"dynasty":174,"author":64691,"museum":450,"description":64692,"tags":64810,"thumbUrl":64811,"material":314,"size":1061,"collection":166,"collections":64812,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},240016,"zhuan-shu-zhou-qian-dian-240016","篆书轴",[10153,3074,95,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b494e96c1fe8bfdfd03486bbbe03ca.jpg",[],{"id":64814,"slug":64815,"title":52718,"dynasty":174,"author":64816,"museum":450,"description":64817,"tags":64818,"thumbUrl":64819,"material":166,"size":166,"collection":245,"collections":64820,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},239948,"lu-yu-zhou-wang-su-239948","王涑","字讲泉，湖州归安（今浙江湖州）籍，寄居柘水。官广西河池州知州。一门善书，其父士锤，笔法尤高，以不入俗眼，且大耄，故求者不多。涑能书得欧、柳法，与钱塘高塏齐名，名噪大江南北，在京师最久。其堂伯即複堂殿撰，京城中以楹帖、园屏、扇、册求书者，始无虚日，恒倩涑捉刀。亦能写墨兰，意在郑思肖、赵孟坚唻臫頭樤之间。　《小蓬莱阁画鉴》、《清朝书画家笔录》",[37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57407924affdf670842cdb08d38179dc.jpg",[245],{"id":64822,"slug":64823,"title":64824,"dynasty":174,"author":64825,"museum":450,"description":64826,"tags":64827,"thumbUrl":64828,"material":166,"size":166,"collection":245,"collections":64829,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},239915,"tai-cheng-lu-yi-que-feng-lian-shang-ye-sun-yan-239915","台城路一阕奉莲裳页","孙延","工诗词、篆、隶，善写生墨梅，惜未竞其技而殁。事迹见于《墨林今话》、《畊砚田斋笔记》等。",[174,24,25,74,7,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ce4b33d92269f6bc6a30541aeea2ab.jpg",[245],{"id":64831,"slug":64832,"title":64833,"dynasty":174,"author":64834,"museum":450,"description":64835,"tags":64836,"thumbUrl":64837,"material":166,"size":166,"collection":245,"collections":64838,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},239850,"chu-xi-jian-mei-he-gong-fu-yun-ye-dong-guo-hua-239850","除夕见梅和功甫韵页","董国华","董国华（1773－1850）清代官员、诗人。江苏吴县（今苏州）人，字荣若，号琴南。据钱庆曾《竹汀居士年谱续编》，董氏曾在乾隆五十八年（1793）紫阳书院受业于钱大昕门下。嘉庆十三年（1808）进士，自号清闲居士，又号绿溪渔隐，道光间官至广东雷琼道。致仕归，历主云间书院，紫阳书院讲习，工诗文，词尤婉约。有《云寿堂文集》、《诗集》、《词钞》、《绿溪笔谈》、《海南笔记》等。",[37,25,74,38,80,7,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa372afe99d3432cc158f6841f9a8a6.jpg",[245],{"id":64840,"slug":64841,"title":57858,"dynasty":174,"author":64842,"museum":450,"description":64843,"tags":64844,"thumbUrl":64845,"material":166,"size":166,"collection":245,"collections":64846,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},239838,"shi-ye-zhang-xiang-he-239838","张祥河","嘉庆二十五年（一八二0）进士，官工部尚书。谥温和。尝客京师董相国诰邸，与袁少迂（沛）、周芸皋（凯）讲求六法。充大清会典绘图。仁宗六旬，进庚辰万纪图诗画册，称旨。写意花草宗徐渭、陈道复，山水私淑文征明。晚年又涉石涛（道济）一派。笔颇健举，然气韵魄力仍是书生本色。黄钺告归，以书万卷先行，祥河为写饯书图，钺称其得五峰（文伯仁）意。画梅亦工。。咸丰十一年（1861年），因病致仕。次年，卒于京邸，谥“温和”。其墓在横山南麓。",[24,25,37,74,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266a258e18eb07c47a9e4a1347f381e8.jpg",[245],{"id":64848,"slug":64849,"title":64850,"dynasty":174,"author":64851,"museum":450,"description":64852,"tags":64853,"thumbUrl":64854,"material":166,"size":166,"collection":245,"collections":64855,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},239811,"ti-zi-ye-wu-yi-feng-239811","题字页","吴翌凤","吴翌凤（1742～1819），是清著名藏书家，字伊仲，号枚庵、一作眉庵，别号古欢堂主人，初名凤鸣，祖籍安徽休宁，侨居吴郡槐树街（今苏州），藏书家吴铨后裔。诸生。家贫而笃好典籍，无力购置，往往借书阅览。三十三年至五十二年（1768年～1787）寓陶氏东斋，日寝馈书史，得佳本，则用手抄，至数千百卷",[25,37,38,74,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d3a54d9dd026c37e84b2e0924c51dc.jpg",[245],{"id":64857,"slug":64858,"title":57867,"dynasty":174,"author":418,"museum":120,"description":57868,"tags":64859,"thumbUrl":64860,"material":298,"size":57871,"collection":166,"collections":64861,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},239605,"shi-san-zha-ce-zhu-da-239605",[24,25,74,38,394,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12508c534b77105d73a7b003e7769052.jpg",[],{"id":64863,"slug":64864,"title":57867,"dynasty":174,"author":418,"museum":120,"description":57868,"tags":64865,"thumbUrl":64866,"material":298,"size":57871,"collection":166,"collections":64867,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},239604,"shi-san-zha-ce-zhu-da-239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凭栏立人，古木环合，檐角隐于枝叶间，静谧安闲；左侧溪桥蜿蜒，水榭依水而建，水波澹澹衬出空濛之态，奇石错落、嘉木扶疏，铺陈出林泉雅境。\n诗画合璧，以留白晕染烟霞之致，将拟古诗意具象化。整体疏朗清寂，不着浓彩，以简练皴擦勾勒山石肌理，淡墨点染林木苍润，尽显江南园林的闲雅隐逸之趣，藏着文人士大夫悠游林泉、静赏烟霞的澹泊襟怀。",[24,25,74,7,28,29,30,32,33,34,35,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beae70bf636e6e1c5680dd3f003c793.jpg",[],{"id":65221,"slug":65222,"title":32976,"dynasty":174,"author":15930,"museum":450,"description":65223,"tags":65224,"thumbUrl":65225,"material":166,"size":166,"collection":166,"collections":65226,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},238748,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238748","此幅以淡墨写就郊林清景。右侧古松虬劲苍茂，松下二人对坐晤谈，衣袂简雅，尽显林下闲逸之姿。左侧平林远岫，浅溪横桥，山石以干笔皴擦，淡墨晕染，清润秀逸。\n\n诗画合璧，将早行郊游的闲雅意趣融于山水间，笔致简净松秀，以简淡笔墨铺陈出萧散出尘的林下之思。清和笔墨晕开春日郊野的柔润清旷，把观景游赏的雅兴藏在一山一水、一松一人中，诗画呼应，静穆平和，尽显文人山水的淡远意境。",[24,25,74,7,36,28,33,193,29,34,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2462a8ce8ca5ba5a1ed1c415901cd6aa.jpg",[],{"id":65228,"slug":65229,"title":32976,"dynasty":174,"author":15930,"museum":450,"description":65230,"tags":65231,"thumbUrl":65232,"material":166,"size":166,"collection":166,"collections":65233,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},238747,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238747","此作用淡墨写就山水林泉，右侧巉岩峻崚，古木盘虬于石畔，涧水漱石有声；左侧平坡疏林，士人携童策杖徐行，似正流连林壑幽景。\n笔墨清隽秀雅，以简淡皴擦勾勒山石肌理，林木仅以淡墨点染枝叶，全无浓艳敷色，尽显文人山水的疏淡逸致。画幅题诗与景致相映，将诗意融于山水间，把林下行吟的雅事铺展开来，传递出林泉高致的隐逸意趣，简淡中裹挟着温润秀逸的气韵，观之如身临幽山，可共赴林壑闲居之乐。",[24,25,74,7,547,36,38,80,28,193,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a9d1e57865971baf5429d4b67f7c74d.jpg",[],{"id":65235,"slug":65236,"title":32976,"dynasty":174,"author":15930,"museum":450,"description":65237,"tags":65238,"thumbUrl":65239,"material":166,"size":166,"collection":166,"collections":65240,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},238746,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238746","此作以淡墨绘就江岸山居之景，近岸古松盘虬苍劲，松下高士凭崖远眺，崖壁层叠皴擦细致，石间草木蓊郁清润。远景江天相融，水色空濛渺远，将咫尺尺幅拓展出辽阔的山水意趣。\n笔墨以干笔勾勒山石肌理，淡墨晕染铺陈出清寂空润的氛围，将写实景致与文人写意笔趣相融。右侧题诗与画作相映成趣，诗画相生，尽显清雅文心，把幽远超脱的林下意境烘托尽致，将观者带入沉静澹泊的文人情思之中，是兼具笔墨意趣与抒情性的精妙山水小品。",[24,25,74,7,28,36,37,80,624,34,193,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be58a09a3b88e645e21dc2dc3082d64.jpg",[],{"id":65242,"slug":65243,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":65244,"tags":65245,"thumbUrl":65246,"material":166,"size":166,"collection":166,"collections":65247,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},238724,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238724","此作用淡墨晕染出空濛水岸，远山以留白晕开，愈显清旷悠远。左侧坡岸竹树苍润，两位文士相对晤谈，神态悠然尽显林下雅意，隔水洲渚垂柳依依，掩映屋舍，幽寂雅致。右上角题诗呼应画意，诗画相融。笔触清隽秀雅，以简淡笔墨铺陈林泉之致，将诗中寄怀烟水、相逢林下的闲逸情愫，尽数融于尺幅之中，意境简澹幽远，尽显文人高致雅怀。",[24,7,36,74,193,126,162,35,28,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53573bcded433e098bb06431006acdb3.jpg",[],{"id":65249,"slug":65250,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":65251,"tags":65252,"thumbUrl":65253,"material":166,"size":166,"collection":166,"collections":65254,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},238721,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238721","此作以淡墨绘就烟江林峦，近渚之上，高士曳杖徐行，侧首远眺烟水间的迤逦远山，林木苍润秀拔，姿态舒展灵动。\n笔墨清隽秀润，以简练皴擦写尽山峦肌理，淡墨晕染出空濛水汽，虚实相生间铺展出悠远淡宕的山水意境。左上题诗与画境呼应，诗画交融，将送别怀友的缱绻心绪融在林泉烟霭之中，褪去浓丽色彩，以素净水墨尽显澹泊雅致的文人意趣，把古典山水的沉静襟怀与诗意共情合二为一，尽显中式文人画独有的清雅韵致。",[24,25,74,7,36,28,193,162,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c619325979390fa1e762a1233424d98.jpg",[],{"id":65256,"slug":65257,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":65258,"tags":65259,"thumbUrl":65260,"material":166,"size":166,"collection":166,"collections":65261,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},238720,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238720","此作用笔清隽萧散，以水墨晕染出月夜空蒙之境。左上角谯楼隐在烟霭中，留白铺就出辽远夜色，右下角茅舍旁，老翁凭栏望月，树石苍秀简澹。\n画面将怀远幽思融在淡墨山色间，诗画合璧呼应诗意，天地俱寂里，幽人寄情明月，虚实相生间晕开悠悠愁绪。无浓丽敷色，全以极简笔墨铺陈出清远孤寂的意境，将文人情思和山水夜色融为一体，尽显清雅淡远的文人画意趣。",[24,25,7,518,74,36,37,80,193,194,940,32,28,33,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870e2824ee524e800c8f5fd3fce2de7c.jpg",[],{"id":65263,"slug":65264,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":65265,"tags":65266,"thumbUrl":65267,"material":166,"size":166,"collection":166,"collections":65268,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},238719,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238719","画面分作两处景致，左侧亭畔雅士驻足凝睇，右侧水村茅庐内有人凭窗独坐，一色清月悬于墨色夜空，牵起两地幽思。\n作者以枯淡笔墨绘林木萧疏，淡墨晕开烟水空濛，留白铺就夜色清寂，将羁旅怀远的缱绻心绪融于萧疏秋景之中。诗画合璧，把客子念旧的别愁，化作眼前空濛悠远的秋宵图景，简澹秀雅的笔触里，尽显文人写意水墨的空灵风神，清冷月色漫过水岸亭台，晕开满幅寂廖怀人之思。",[24,25,74,7,547,481,193,32,33,324,28,180,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685e75274ee14cd63fb4e9d802c99914.jpg",[],{"id":65270,"slug":65271,"title":23863,"dynasty":174,"author":15930,"museum":450,"description":65272,"tags":65273,"thumbUrl":65274,"material":166,"size":166,"collection":166,"c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。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 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- 1909 10月26日）时，明治阶段日本的政治家[1] 。排名Kunto爵位在按照首位大订单的公爵。\n明治时代在4度到内阁制晚些时候推出的首相（第一代：1885年- 1888年，五代：1892年- 1896年- 7代：1898年，10代：1900年- 1901年），已知的作为。在第一次内阁时，他成为中心人物的起草工作中的明治宪法，并在时间的第二个机柜，他起草了中日和平条约。在四阶内阁中，通过创立创始人总统（在任1900 年至1903 年）组建了新政府rikken seiyūkai，并为政党政治铺平了道路。另一位主要的枢密院主席（任期1888 年-1889），主要的上议院主席府（任期1890年- 1891年），创始人韩国居住总（在办公室1905年- 1909年），参议院被服务等。\n讳是伊藤博文（伊藤博文，有时读为“ Hakubun ”）。他还称自己为“ Ochijuku Ryohirofumi ”。小名被改期到（补赛）后，吉田松荫从给定俊英顺俊介和（俊介），进一步Harusuke改名（俊介）。不。春嵘（Shunpo），常被称为Haruseoyake。所述小田原排屋的沧浪亭，因为它是在占有沧浪阁主人被称为（所以城堡丈夫）符号和密封也用作一个。",[23,25,37,26,38,394,7,80,1437],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d413e5167b26e90276d1e60627bbdfe.jpg",[],{"id":66809,"slug":66810,"title":66811,"dynasty":5382,"author":62792,"museum":450,"description":66812,"tags":66813,"thumbUrl":66814,"material":314,"size":1061,"collection":166,"collections":66815,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[23,24,25,26,7,27,37,38,394,80,28,126,129,193,32,282,128,133,125,1104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":66817,"slug":66818,"title":66819,"dynasty":5382,"author":51520,"museum":450,"description":51521,"tags":66820,"thumbUrl":66822,"material":314,"size":1061,"collection":166,"collections":66823,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":140},231645,"shi-ting-shi-dai-yuan-shan-za-mu-tu-shou-ye-yuan-xin-231645","室町时代 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人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,281,24,25,1714,2446,7,27,28,147,31,34,282,163,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7395055af78e9b5b1f31d83c41ca5f19.jpg",[],{"id":66921,"slug":66922,"title":66923,"dynasty":5382,"author":581,"museum":450,"description":59372,"tags":66924,"thumbUrl":66925,"material":314,"size":1061,"collection":166,"collections":66926,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":140},225582,"fu-shi-hui-75-yi-ming-225582","浮世绘75",[59374,5385,7,27,453,15615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c5a230850590c23967dc3057baec69.jpg",[],{"id":66928,"slug":66929,"title":66930,"dynasty":5382,"author":581,"museum":450,"description":59372,"tags":66931,"thumbUrl":66932,"material":314,"size":1061,"collection":166,"collections":66933,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},225353,"fu-shi-hui-108-yi-ming-225353","浮世绘108",[59374,547,7,193,636,10001,162,8052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e7649a2a734db08def0be5c57d0c4d.jpg",[],{"id":66935,"slug":66936,"title":66937,"dynasty":18,"author":56512,"museum":450,"description":66938,"tags":66939,"thumbUrl":66940,"material":166,"size":166,"collection":166,"collections":66941,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224566,"shu-hua-ce-ye-8-xiao-yun-cong-wang-shi-zhen-224566","《书画册页》-8","此作用笔率意灵动，墨色枯湿浓淡交叠，线条粗细自然舒卷，字势欹侧相生，牵丝映带暗合文思脉络。字形大小错落排布，章法疏朗通透，通篇行气连贯浑成，尽显文人萧散简远的林下之风。\n\n落笔之间藏着沉厚笔力，随性却不失法度，将书写时的襟怀意趣尽数融于笔墨。看似不经意的挥毫，实则暗合晚明尚态抒情的书风特质，字字呼应间，让观者在笔墨流转里，触摸到彼时文人心底的疏放襟怀与隽秀文思。",[24,25,2446,38,37,7,9254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20909ba1ec50940fba631475a103ecce.jpg",[],{"id":66943,"slug":66944,"title":66945,"dynasty":18,"author":56512,"museum":450,"description":66946,"tags":66947,"thumbUrl":66948,"material":166,"size":166,"collection":166,"collections":66949,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224560,"shu-hua-ce-ye-25-xiao-yun-cong-wang-shi-zhen-224560","《书画册页》-25","此作以黄山实景入画，峰林如万笏朝天，奇崛冷峻间尽显山岳雄姿。盘崖山道萦回曲折，将错落楼宇、策杖旅人串联，静穆山景因行人添上几分灵动生机。\n\n笔墨枯淡简劲，以勾勒皴擦写就山石肌理，苍松虬枝斜出，笔意萧疏散淡，带着清冷荒疏的古雅意趣。题跋小字清隽，与淡墨轻岚融为一体，将黄山的幽绝与文人雅怀相融，把皖南山水的清旷冷逸铺陈于尺幅间，是兼具写实与抒情的山水佳构。",[24,25,7,36,28,194,29,33,34,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fb2b4eb2f4e2c05041ae041e2f8b94.jpg",[],{"id":66951,"slug":66952,"title":66953,"dynasty":18,"author":56512,"museum":450,"description":66954,"tags":66955,"thumbUrl":66956,"material":166,"size":166,"collection":166,"collections":66957,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[24,25,74,7,27,36,37,80,28,193,147,180,7489,213,33,79,454,2875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":66959,"slug":66960,"title":66961,"dynasty":18,"author":56512,"museum":450,"description":66962,"tags":66963,"thumbUrl":66964,"material":166,"size":166,"collection":166,"collections":66965,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224551,"shu-hua-ce-ye-15-xiao-yun-cong-wang-shi-zhen-224551","《书画册页》-15","此作用干笔淡墨写尽层崖奇崛，取皖南山水清瘦之态。层叠崖壁错落排布，苍松倚壁探枝，山居楼宇嵌于山石褶皱之间，烟火意趣融于林泉丘壑。\n\n笔墨简淡清逸，以线勾勒山石筋骨，皴擦简括，不事浓艳敷色，尽现山川空灵苍劲。构图疏密得宜，纵向铺陈崖壁拉开空间层次，将山林冷峭与村居暖意相融，题跋补缀边角，文人意趣悠长，尽显晚明山水寄情林泉的清逸淡远之韵。",[24,25,74,7,36,28,194,624,34,32,533,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7e4ee8c969f7dab6109b89f3552ec2.jpg",[],{"id":66967,"slug":66968,"title":66969,"dynasty":174,"author":66970,"museum":450,"description":66971,"tags":66972,"thumbUrl":66973,"material":314,"size":1061,"collection":166,"collections":66974,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224352,"huang-ting-nei-jing-jing-juan-guo-shang-xian-224352","黄庭内景经卷","郭尚先","《黄庭经》是魏晋年间道士养生之书，分《内景经》和《外景经》。郭尚先于清道光四年（1824年）书录此《黄庭内景经》，时年41岁。此幅书法以颜真卿为根底，又融“馆阁体”姿韵，结体宽博秀雅，笔力雄浑坚实，为郭尚先晚期精心之作。",[23,37,4956,26,242,7,3557,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed6dadc033b3edff7355991fded418e.jpg",[],{"id":66976,"slug":66977,"title":66978,"dynasty":174,"author":926,"museum":450,"description":66979,"tags":66980,"thumbUrl":66981,"material":166,"size":166,"collection":166,"collections":66982,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224324,"hua-niao-shi-er-kai-2-li-shan-224324","花鸟十二开2","此作用笔刚柔相济，留白疏朗清寂。猛禽敛羽垂首，铁爪紧扣花枝，孤傲桀骜的野逸英气暗藏于静立姿态间，似正凝神窥察周遭动静。花卉以淡墨晕染出蓬松柔润的质感，叶片枯涩老辣，苍劲枝桠与悍猛禽鸟浑然相融。题字笔力雄健，与画面意趣相得益彰，寥寥数笔便将“英雄自立”的题旨藏于水墨之中，以简驭繁勾画出物象神韵，尽显文人写意的豪放清雅，把孤傲英挺的气概晕染在素笺之上，尽显水墨写意的精妙意趣。",[23,24,7,123,74,75,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb254c432b44c64947e17c010bbb0360c.jpg",[],{"id":66984,"slug":66985,"title":66986,"dynasty":174,"author":926,"museum":450,"description":66987,"tags":66988,"thumbUrl":66989,"material":166,"size":166,"collection":166,"collections":66990,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224323,"hua-niao-shi-er-kai-12-li-shan-224323","花鸟十二开12","以水墨写就牡丹，运笔纵放老辣，墨色层次丰盈，浓淡干湿晕染间，尽显牡丹华贵姿容。焦墨点簇花头苍润兼济，淡墨晕留白处虚灵雅致，枝叶穿插随性却不失章法，尽显挥毫时的酣畅意气。\n\n右侧行书题诗笔势跌宕，书画相映成趣，将文人写意的抒情特质尽显。画作不拘泥于形，以水墨替代设色，褪去浓艳，提炼出牡丹不恃色露风骨的意韵，尽显随性率真的写意风骨，于挥洒之间藏着画者寄情花木、不流于俗的文人襟怀。",[23,24,25,7,74,75,129,37,80,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd795af6042318958264f8c1bb453e04a.jpg",[],{"id":66992,"slug":66993,"title":66994,"dynasty":174,"author":926,"museum":450,"description":66995,"tags":66996,"thumbUrl":66997,"material":166,"size":166,"collection":166,"collections":66998,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224306,"hua-hui-shi-er-kai-7-li-shan-224306","花卉十二开7","此作以极简笔墨勾勒秋日闲景，构图疏朗留白有致。右上角淡墨绘藤蔓残叶，朱红果鲜亮醒目，晕染灵动，与浅淡枝叶相映成趣。下方枯枝上，禽鸟以浓淡墨色晕染出羽毛层次，昂首远眺姿态鲜活，仿佛正侧目红果，野趣横生。\n全画笔意纵逸随性，寥寥数笔便将禽鸟的机警灵动与秋果的鲜活生机尽显，浓淡墨色冷暖相映，简淡却意蕴悠长。配之题款朱印，文气雅致，尽显文人写意画的随性风神，将秋日一隅的幽寂生机悄然铺展，恬淡悠然，尽显写意花鸟的隽永意趣。",[23,24,25,74,7,27,75,77,3443,1593,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eff5f05f84877912f8f80a3c7e379a0.jpg",[],{"id":67000,"slug":67001,"title":67002,"dynasty":174,"author":21853,"museum":450,"description":67003,"tags":67004,"thumbUrl":67006,"material":166,"size":166,"collection":166,"collections":67007,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224285,"jin-gong-qian-gu-yi-kuai-si-tiao-ping-fu-shan-224285","晋公千古一快四条屏","《傅山草书经典:晋公千古一快四条屏》主要内容：傅山（一六○五——一六八四），字青主，看署名号有：傅山、山、真山、侨山等四十余个，明末清初著名学者、书法家。\n傅山一生磊落孤傲，拒不仕清，具有崇高的民族气节。\n其书法雄厚豪放，富有浪漫色彩。\n其以[二王]为宗，取法颜真卿，上追魏晋及宋元诸家，特别是米芾的疏狂颠逸之书风对他影响颇深。\n傅山楷隶行草诸体兼擅，但艺术成就最高的当属他的草书。\n从其行草书法作品中可以看出，其笔势雄浑，如排山倒海，一发不可收；其线条婉转飘逸，如枯藤绕树，缠绵起伏；其点画顿挫抑扬，如乱石铺街，险峻跌宕，因而显得大气磅礴，生机盎然。\n近年来，随着书法热的持续升温，傅山的书法也越来越受到人们的关注，特别是他的行草书，更是受到许多书法家和书法爱好者的喜爱。\n本书精选的是《晋公千古一快四条屏》。\n该作是最能代表傅山书法成就的行草书经典之作，以餮读者。\n《傅山草书经典:晋公千古一快四条屏》由河南美术出版社出版。\n插图：",[23,37,394,67005,7,25],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb9f4feb890ba43b653b6b7203b1a86.jpg",[],{"id":67009,"slug":67010,"title":67011,"dynasty":174,"author":21853,"museum":450,"description":67012,"tags":67013,"thumbUrl":67014,"material":166,"size":166,"collection":166,"collections":67015,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224276,"shan-shui-hua-hui-ce-liu-fu-shan-224276","山水花卉冊(六)","此作用淡赭勾勒峰峦，造型奇崛瘦硬，错落层叠间，孤亭踞于山巅，自带遗世独立之态。远景以浅淡晕染绘就平畴远渚，简淡空濛，留白铺展出天地的空阔寂寥。\n\n画面简笔淡墨，将山野清寂之态尽数铺陈，右上角题字笔意纵逸率真，与山水的萧散野逸融为一体，将寄情林泉、超然物外的襟怀藏于笔墨间，淡而弥远，简而有味，尽显文人写意山水的疏放意趣。",[23,24,25,74,7,36,28,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843f3dae55cff6f9f3046edc1d2d7f29.jpg",[],{"id":67017,"slug":67018,"title":67019,"dynasty":174,"author":21853,"museum":450,"description":67020,"tags":67021,"thumbUrl":67022,"material":166,"size":166,"collection":166,"collections":67023,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224273,"shan-shui-hua-hui-ce-er-fu-shan-224273","山水花卉冊(二)","此作以淡赭晕染出水天浑然的底色，群峰被绘作奇崛瘦硬的嶙峋之态，如笋如刃错落浮于虚渺烟岚之间。山间林木以细笔极简点簇，萧疏冷逸。画面留白肆意铺陈，勾勒出荒寒空濛的幽寂意境。左侧题印与山水相映，添了文墨雅趣。画家舍去繁复皴染，以简淡笔墨写胸中丘壑，将北方山川的奇峭风骨，与遗世孤高的文人意趣相融，尽显清冷淡远的禅味，笔墨简净却意韵悠长。",[23,24,25,74,7,27,28,180,29,33,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a89b3cc5fc5b36085465ba8a7fd6dc.jpg",[],{"id":67025,"slug":67026,"title":67027,"dynasty":174,"author":24403,"museum":450,"description":45938,"tags":67028,"thumbUrl":67029,"material":314,"size":1061,"collection":166,"collections":67030,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224267,"song-bie-tu-wang-gai-224267","送别图",[23,24,25,26,7,38,37,80,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8d8fef4867d67a697bf2e48c6fb0a1.jpg",[],{"id":67032,"slug":67033,"title":67034,"dynasty":174,"author":27658,"museum":450,"description":67035,"tags":67036,"thumbUrl":67037,"material":166,"size":166,"collection":166,"collections":67038,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},224266,"dou-bi-dan-tai-tu-jiang-zhu-224266","陡壁丹台图","《新安画派书画精品集》以渐江为代表的新安画派及与之同时的一些杰出画家的创作成就，同时介绍作为“源”的在他们之间的一些著名画家与作为“流”的在他们之后一些画家的创作成就，叙述对新安画派、新安画坛的创作有深刻影响的绘画美学思想，特别是新安人的绘画美学思想。\n《新安画派书画精品集》由 出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 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又号痴庵、痴仙道人，别署烟潭渔叟。孟津（今河南孟津）人。幼时家境十分贫寒，过着“不能一日两粥”的生活。天启二年（1622）中进士，受到考官袁可立的赏识推荐，入翰林院庶吉士，累擢礼部尚书。王铎身逢乱世，仕途坎坷多艰。崇祯十六年（1643），51岁的王铎曾一度避难于苏州浒墅关袁枢寓所，二人交情笃厚，往来间以诗文书画相唱和。袁枢之父兵部尚书袁可立的神道碑文和墓志铭就是王铎亲笔撰文书写的。1644年李自成攻克北京，崇祯帝殉国于景山。马士英等在南京拥立福王，王铎为东阁大学士。清朝入关后被授予礼部尚书、官弘文院学士，加太子少保，于永历六年（1652）病逝故里。享年六十一岁，葬于河南巩义洛河边，谥文安。\n王铎的书法，既把“二王”的一些用笔特点放大，同时也把自己的个性张扬。从流传下来很多的王铎临“二王”书作中，我们不难看到那个张扬的王铎，表面上学习“二王”，却又在不规矩地显摆自我，在安分与不安分之间游荡。王铎又善用墨法，浓淡干湿，满纸糊涂，在晚明到清初的书法语言里，这种大胆的探索，给了时人明灯般的启发。\n此作王铎书于崇正八年乙亥（1635），王铎时年43岁，正值创作盛年。狂草书咏金山寺七绝诗两首：“大江鳌背擁金堤，解缆攀藤路欲建；赤日常流孤寺外，白云只在暮山西”。“层崖剥落残碑卧，古洞阴森怪鸟唬；卜筑中洽堪自老，何须更棹古陵溪。金山寺之二首，王铎为皓庵先生词宗正之，乙亥秋草具。”钤白文“王铎之印”、朱文“庵”方印。\n这幅作品一如既往地延续了王铎大刀阔斧一面的风格。用笔开张，气度轩昂，刀枪剑戟，一应俱全。每见这种大尺幅作品，总让人联想起沙尘浩荡的将军挥刀，使人动容。通篇气息连贯，一挥而就，有大浪扬帆之气概。\n开篇，王铎大笔一挥，用他独有的、极具个性的涨墨开头，恰如贝多芬的《命运交响曲》，高调的开头，把整个主旋律定了下来。开头“大江”二字的涨墨，既是自然的开张，也是有意的起首，这种夸张的手法，以至于“江”字都很难辨认了。随着开头两个字的重笔重墨，到了“鳌”字，便把笔一抬，将沉重的调子抬高。湿笔在“鳌”的“土”部成功转换，“江”与“鳌”之间的牵丝，若连若断，既是承接又是转换。从重到轻的旋律，在“鳌”演绎一次后继续在“背”“擁”中重复。但如果只是单纯地从重到轻的重复，那就太小看王铎的招数了。重复了两次后，“擁金堤”三字之间发生变化。“金堤”从轻到更轻，从湿到干，节奏上开始发生了变化，再来细看这三个字的处理，就发现这种节奏的把握与控制，自然舒畅，在不知不觉之间已被倾倒。再看看三个字的节奏变化，重笔从重到轻，三字之间的牵丝引带，巧妙地将三个字的关系联系了起来。在王铎的书法中，这种连断的运用相当巧妙与动人，技巧上继承了怀素、董其昌一路的断连用笔，并且某些技巧有所夸张和延伸。\n王铎的用笔高妙，在于他能把笔全方位用上，从涨墨到牵丝，干湿交错，粗细变化。错综复杂的掺杂，制造矛盾与化解矛盾的对立统一， 在各种组合中不断地上演。“攀”重笔起，一气呵成地连贯下来，“攀藤路欲建”四个字，从湿到干，笔各个面在转换翻动，随着动作与情感的变化，笔头生花，节奏也跟着变化，源于心，发于手。心中的情感依靠手上的技巧变现于纸上。上一次的尽情演绎，感情未得以宣泄完，随着“常”的一竖，第一行的情感随之一泻千里。王铎的用笔，若与《书谱》比较，肯定是谈不上精巧的，而其胜人之处在于能通过大刀阔斧用笔与章法组合，一览无余地宣泄内心的情感。艺术之谓为艺术，在于其能通过技去表现人本而臻于道，而并非单纯的表现技术的层面。\n第一行的精彩演绎引发出第二行、第三行的交替组合。其实仅仅只是几个元素的重复，再从中发挥各种组合，便出现各种奇妙的效果。这也就是“自然生发关系”，其实通篇文字从开头两个字生发出来，情感随着变化，一直延伸，线条变化延绵的同时，感情也在高低起伏中扩散，到最后，小字收尾，既是一个结尾，也是情感宣泄到最后，一种“收”的表现。",[23,95,394,37,13592,50096,14066,7,67121,18697,27535],"金山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74221d9bb38a574d4a0e4a4929ed5f08.jpg",[],{"id":67125,"slug":67126,"title":67127,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":67128,"thumbUrl":67129,"material":298,"size":18718,"collection":166,"collections":67130,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},222499,"shang-bo-hua-ji-xuan-36-7-zhang-lu-222499","上博画集选36-7",[23,24,7,547,193,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffec2f2eac2aace7bbd77f5ce19f35b4.jpg",[],{"id":67132,"slug":67133,"title":67134,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":67135,"thumbUrl":67136,"material":298,"size":18718,"collection":166,"collections":67137,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},222493,"shang-bo-hua-ji-xuan-36-18-zhang-lu-222493","上博画集选36-18",[23,24,25,7,27,547,193,453,180,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176250897c57274dbe9190eac2ccac21.jpg",[],{"id":67139,"slug":67140,"title":67141,"dynasty":18,"author":5683,"museum":20,"description":5684,"tags":67142,"thumbUrl":67143,"material":298,"size":18718,"collection":166,"collections":67144,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},222487,"shang-bo-hua-ji-xuan-36-12-zhang-lu-222487","上博画集选36-12",[23,24,25,7,547,193,8048,8049,1437,8050,13874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca18f28724eb808821b7582e6a2ef87.jpg",[],{"id":67146,"slug":67147,"title":67148,"dynasty":18,"author":67149,"museum":92,"description":67150,"tags":67151,"thumbUrl":67152,"material":67153,"size":67154,"collection":166,"collections":67155,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},222460,"shu-gu-shi-zhou-shen-can-222460","书古诗轴","沈粲","沈粲（1379－1453），字民望，号简庵，华亭（今上海）人，与沈度合称“二沈”。兄弟二人均因书法佳善，荐授中书舍人。沈粲行草书从二王得法，同时参取宋克和沈度的经验，行笔偶或出锋扬起波磔，别具飞动的态势。这件立轴书录元末明初诗人高启‘拟古诗’一首，点画瘦劲，融会大草书的体势，略与怀素狂草风格相近，由是可知，沈粲行草书原不止于一家之学。\n明朝一代书风，承续宋元以来帖学的传统。前期书法，明直接师承元人，以草书、楷书成就较大。为适应当时盛行的科举制度，由于沈度、沈粲擅长楷书和行草，光润妩媚，因得到永乐皇帝的溢美恩宠而声名显赫，朝野竞学，尤为中书舍人们所效法，形成被称为“纱帽字”的“台阁体”。",[23,18,37,95,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f636614e2fcc767af22b02427225a0.jpg","纸本行草","纵83.4cm，横33.8cm",[],{"id":67157,"slug":67158,"title":67159,"dynasty":18,"author":9470,"museum":92,"description":25939,"tags":67160,"thumbUrl":67161,"material":298,"size":25942,"collection":166,"collections":67162,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":47},222459,"gui-qu-lai-ci-zhou-shen-du-222459","归去来辞轴",[23,281,24,25,95,37,242,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc996e5f2741d5d0d39ae6800ba3224f7.jpg",[],{"id":67164,"slug":67165,"title":67166,"dynasty":18,"author":17321,"museum":450,"description":67167,"tags":67168,"thumbUrl":67169,"material":394,"size":67170,"collection":166,"collections":67171,"showCount":473,"zanCount":46,"manualWeight":46,"mainColor":140},222056,"tao-yuan-dong-kou-shi-juan-zhang-rui-tu-222056","桃源洞口诗卷","张瑞图在晚明书坛的地位相当重要，可以说是晚明新书派标志性人物。其书法无论是外观面貌还是内涵意蕴，都与前人迥然不同。凌厉的点画, 奇倔的字形, 构成作品的主旋律强烈的力感, 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，天启五年（公元1625年）进士，授南京武选主事。为政有声，刚正不阿。与徐石麒、陈洪谧称“南都三清”，官至顺天府丞，未赴而京师亡。弘光元年闰六月十七日（公元1645年8月8日），剃发令下，嘉定民众起义抗清，其与黄淳耀被推为首领。坚守十余日，至七月四日（8月24日）城破，与二子投叶池殉国。\n南明绍宗赠兵部尚书，谥“文忠”。明监国鲁王赠左都御史，谥“忠烈”。清高宗乾隆四十一年（1776年）赐谥“忠节”。",[23,37,38,26,7,80,25,40292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0b1a3cdc6065bcec6eb4e5c9e1a0d.jpg",[245],{"id":68662,"slug":68663,"title":68664,"dynasty":174,"author":68665,"museum":450,"description":68666,"tags":68667,"thumbUrl":68668,"material":314,"size":1061,"collection":166,"collections":68669,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},241093,"zeng-wang-shi-zhen-ren-yang-zhou-shi-zhou-wang-wan-241093","赠王士禛任扬州诗轴","汪琬","汪琬（1624年～1691年），字苕文，号钝庵，初号玉遮山樵，晚号尧峰，小字液仙。长洲（今江苏省苏州市）人，清初官吏、学者、散文家，与侯方域、魏禧，合称明末清初散文“三大家”。顺治十二年（1655年）进士，康熙十八年（1679年）举鸿博，历官编修、户部主事、刑部郎中，有《尧峰诗文钞》《钝翁前后类稿、续稿》。",[37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1f47b0a528e23c2a88c23e6daba79ff.jpg",[],{"id":68671,"slug":68672,"title":68673,"dynasty":18,"author":34090,"museum":450,"description":34091,"tags":68674,"thumbUrl":68675,"material":314,"size":1061,"collection":166,"collections":68676,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},241062,"qi-lv-shou-shi-zhou-zhang-chong-241062","七律寿诗轴",[37,95,394,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266dd694309cdde52594a35b0ab24cf8.jpg",[],{"id":68678,"slug":68679,"title":68680,"dynasty":174,"author":47155,"museum":450,"description":47157,"tags":68681,"thumbUrl":68682,"material":314,"size":1061,"collection":166,"collections":68683,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},241041,"cao-xiu-xian-lu-wen-zhou-cao-xiu-xian-241041","曹秀先录文轴",[37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34ce96f9e558bf9951b359336f6ef4a.jpg",[],{"id":68685,"slug":68686,"title":43894,"dynasty":174,"author":62656,"museum":450,"description":68687,"tags":68688,"thumbUrl":68691,"material":314,"size":1061,"collection":166,"collections":68692,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},241038,"qi-lv-zhou-fa-ruo-zhen-241038","法若真（1613－1691）字汉儒，号黄山、黄石，祖籍济南，先祖于明朝景泰年间任职胶州，法氏后人遂定居胶州城里，以为故里。 法若真父亲法寰学识渊博，尤爱好研究经史，对《四书》、《春秋》颇有见解，著作很多，声名一时，他辞官职返乡，在城南怡云岭设学馆，以授徒讲学为业，在胶州造就了大批有用之才。",[37,95,38,7,80,942,2875,363,68689,30931,68690],"海","馬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf3b01a8998f7e9c0096c9510231ca6.jpg",[],{"id":68694,"slug":68695,"title":68696,"dynasty":18,"author":48058,"museum":450,"description":68697,"tags":68698,"thumbUrl":68699,"material":314,"size":1061,"collection":166,"collections":68700,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240992,"shou-zha-juan-chen-xian-zhang-240992","手札卷","陈献章（1428年11月27日—1500年3月9日），字公甫，别号石斋，人称白沙先生，广州府新会县白沙里（今广东省江门市蓬江区白沙街道）人。明朝杰出的思想家、哲学家、教育家、书法家、诗人、古琴家，岭南地区唯一从祀孔庙的大儒、明朝从祀孔庙的四人之一、心学的奠基者，后世尊为“圣代真儒”、“圣道南宗”、“岭南一人”。\n正统十二年。考中秀才，进入国子监读书。景泰二年，拜江西学者吴与弼为师，成化二年，复游太学入京，得到国子祭酒邢让推荐，出任吏部主事，辞官回乡，聚徒讲学。成化十九年，明宪宗授翰林院检讨，居乡讲学，屡荐不起，研究心学方法。 弘治十三年（1500年），陈献章病逝，终年72岁，谥号“文恭”。\n万历初年，从祀孔庙，著有《白沙子全集》。陈献章提出“学贵知疑”教育理论，强调“提出问题”之于学习与成长的重要意义，逐渐形岭南学派，倡导的白沙心学，打破程朱理学沉闷和僵化的模式，开启明代心学先河，成为宋明理学史上是一个承前启后、转变风气的关键人物，推崇倡导涵养心性、静养“端倪”之说，推动明代儒学实现了由理学向心学的转变，成为儒学发展史上的一个重要转折点。高扬“宇宙在我”的主体自我价值，突出个人在天地万物中的存在意义，对整个明代文人精神的取向产生了深刻影响。",[23,37,26,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969c38c4929eecb724807e00b0501e04.jpg",[],{"id":68702,"slug":68703,"title":68704,"dynasty":174,"author":68705,"museum":450,"description":68706,"tags":68707,"thumbUrl":68708,"material":314,"size":1061,"collection":166,"collections":68709,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240921,"xie-jiu-xi-tou-xing-gu-yu-zhi-wu-gu-zhou-zhao-zhi-xin-240921","携酒溪头兴谷雨至五古轴","赵执信","赵执信[shēn]（1662年～1744年）清代诗人、诗论家、书法家。字伸符，号秋谷，晚号饴山老人、知如老人。山东省淄博市博山人。十四岁中秀才，十七岁中举人，十八岁中进士，后任右春坊右赞善兼翰林院检讨。\n二十八岁因佟皇后丧葬期间观看洪升所作《长生殿》戏剧，被劾革职。此后五十年间，终身不仕，徜徉林壑。赵执信为王士祯甥婿，然论诗与其异趣，强调“文意为主，言语为役”。所作诗文深沉峭拔，亦不乏反映民生疾苦的篇目。",[37,95,38,7,80,2315,5489,335,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20df3daf90b7f5e4100f06c947778008.jpg",[],{"id":68711,"slug":68712,"title":48688,"dynasty":18,"author":28951,"museum":450,"description":50544,"tags":68713,"thumbUrl":68714,"material":314,"size":1061,"collection":166,"collections":68715,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240914,"wu-lv-zhou-huang-dao-zhou-240914",[24,25,95,38,394,7,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c0e1a4bda0e37ee348d1b52fb23504.jpg",[],{"id":68717,"slug":68718,"title":68719,"dynasty":174,"author":68720,"museum":450,"description":68721,"tags":68722,"thumbUrl":68724,"material":314,"size":1061,"collection":166,"collections":68725,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":921},240879,"xia-chu-nan-qing-lang-tan-qi-gu-zhou-ruan-yuan-240879","下椘南清浪滩七古轴","阮元","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[37,38,95,7,11606,350,335,706,2223,33582,68723,65314],"钟窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f57af5cb4f62c4eedadb4bc61a8116.jpg",[],{"id":68727,"slug":68728,"title":68729,"dynasty":18,"author":64682,"museum":450,"description":64683,"tags":68730,"thumbUrl":68731,"material":314,"size":1061,"collection":166,"collections":68732,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240873,"shu-ge-ti-shi-juan-li-dong-yang-240873","书各体诗卷",[25,26,38,394,242,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6908f40230795ffcd4c7e8de37bbc5d1.jpg",[],{"id":68734,"slug":68735,"title":52882,"dynasty":174,"author":38470,"museum":450,"description":38471,"tags":68736,"thumbUrl":68737,"material":314,"size":1061,"collection":166,"collections":68738,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240866,"zi-shu-shi-juan-zhu-ang-zhi-240866",[23,24,25,26,38,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821d4c66fa28a8207c9ab2a396eb2f3b.jpg",[],{"id":68740,"slug":68741,"title":52840,"dynasty":18,"author":68742,"museum":450,"description":68743,"tags":68744,"thumbUrl":68745,"material":298,"size":166,"collection":245,"collections":68746,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240708,"shu-shi-juan-chen-tai-lai-240708","陈泰来","陈泰来（1559年－1593年），字上交，一字伯符，浙江嘉兴府平湖县人，民籍，明朝政治人物、诗人",[23,25,37,26,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff321b54c20aba1c9ea47792f27eda823.jpg",[245],{"id":68748,"slug":68749,"title":68750,"dynasty":174,"author":68751,"museum":450,"description":68752,"tags":68753,"thumbUrl":68754,"material":298,"size":166,"collection":245,"collections":68755,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":921},240642,"zuo-you-ming-zhou-huang-gun-240642","座右铭轴","黄袞","黄衮 年轻时读书求取功名，但一直没有成就，当时 乾隆五十一年时台湾发生林爽文事件，威胁位于台湾南部的客家人侨居的村庄。黄衮以一介书生，追随其师曾中立，慷慨策划团练六堆义勇，事成后，授六品衔，赏戴蓝翎，议叙江西州判。嘉庆七年折委署白河知县，在该县的大山庙剿",[25,95,38,37,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02d94bbc14b34bb9377acae5905048b.jpg",[245],{"id":68757,"slug":68758,"title":68759,"dynasty":18,"author":61173,"museum":450,"description":68760,"tags":68761,"thumbUrl":68762,"material":298,"size":166,"collection":245,"collections":68763,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240588,"shou-zha-heng-yang-yi-qing-240588","手札横","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美",[37,38,394,7,80,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977d08e2523c988c3dbac67cb00a5064.jpg",[245],{"id":68765,"slug":68766,"title":43952,"dynasty":18,"author":1788,"museum":450,"description":18797,"tags":68767,"thumbUrl":68768,"material":314,"size":1061,"collection":166,"collections":68769,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":461},240505,"xi-yuan-shi-juan-wen-zheng-ming-240505",[23,281,24,25,26,38,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9358505ce43750aa5e202274296573.jpg",[],{"id":68771,"slug":68772,"title":68773,"dynasty":174,"author":39501,"museum":450,"description":39502,"tags":68774,"thumbUrl":68775,"material":314,"size":1061,"collection":166,"collections":68776,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240468,"lin-mi-tie-zhou-liu-yong-240468","临米帖轴",[37,254,38,95,7,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac5884878a6de837f6ac5341c73dc559.jpg",[],{"id":68778,"slug":68779,"title":34040,"dynasty":174,"author":68780,"museum":450,"description":68781,"tags":68782,"thumbUrl":68783,"material":314,"size":1061,"collection":166,"collections":68784,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240431,"shi-zhou-shen-ceng-zhi-240431","沈曾植","沈曾植（1850年－1922年11月20日），字子培，号巽斋，别号乙盫，晚号寐叟，浙江省嘉兴府嘉兴县人，沈维鐈孙，蒙元史地学者、书法家、史学家、同光体诗人，“于学无所不窥”，朴学宗师。",[25,37,95,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63dafc2e68908f457de59bea201d0312.jpg",[],{"id":68786,"slug":68787,"title":52882,"dynasty":18,"author":68788,"museum":450,"description":68789,"tags":68790,"thumbUrl":68791,"material":314,"size":1061,"collection":166,"collections":68792,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},240421,"zi-shu-shi-juan-yan-song-240421","严嵩","严嵩（1480年3月3日—1567年），字惟中，号介溪，袁州府分宜介桥村（今江西省分宜县）人。 [16] 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Sōtatsu，生卒年不詳），從安土桃山時代到江戶時代初期（1596年至1643年間）的17世纪前后，活躍於京都的町繪師（艺术家及画家）。",[23,281,24,25,5385,7,27,547,28,194,193,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e61b918d0f67402f832a80d79722e76.jpg",[],{"id":71043,"slug":71044,"title":71045,"dynasty":5382,"author":581,"museum":450,"description":71046,"tags":71047,"thumbUrl":71048,"material":314,"size":1061,"collection":166,"collections":71049,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},231700,"jiang-hu-shi-dai-shan-shui-ren-wu-tu-juan-yi-ming-231700","江户时代 山水人物图卷","通篇以连绵草书铺陈，笔势舒展灵动，线条圆劲飘逸，牵丝映带间尽显书写时的酣畅意气。字距疏密错落，行气如春水蜿蜒贯通始终。墨色带着浓淡枯润的细微层次，起笔收锋藏露相宜，随性自然的笔致晕染出清雅古韵。不见丹青描摹，却以笔墨勾勒出疏朗悠然的意境，将日式书道的抒情雅致融于尺幅之间，仿佛能窥见书写时松弛舒展的心境，尽显东方古典书写美学的动人魅力。",[24,25,26,28,193,7,59374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8b1c4d8e011564503f5f97eb2ae002.jpg",[],{"id":71051,"slug":71052,"title":71053,"dynasty":5382,"author":581,"museum":450,"description":71054,"tags":71055,"thumbUrl":71056,"material":314,"size":1061,"collection":166,"collections":71057,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},231675,"qi-lv-tu-li-zhou-yi-ming-231675","骑驴图立轴","此作用笔极简写意，以淡墨勾勒骑驴老僧与毛驴。寥寥数笔便捕捉住驴蹄轻抬的灵动姿态，老僧佝偻安坐，宽袍以大片墨色晕染，神态悠然澹定，尽显世外高士物我两忘的自在。\n画面留白疏朗，搭配题字朱印，禅意悠悠，以极简笔墨传递出萧散超脱的山野意趣，笔简却形神兼备，将任情自适的林下风流尽显无余，尽显东方水墨空灵淡远的独特韵味。",[23,24,25,95,7,547,193,3902,80,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa866662591a5e19fb80238175ea9a1ed.jpg",[],{"id":71059,"slug":71060,"title":71061,"dynasty":5382,"author":71062,"museum":450,"description":71063,"tags":71064,"thumbUrl":71065,"material":314,"size":1061,"collection":166,"collections":71066,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},231673,"shou-ye-tan-you-xiang-tao-tian-liu-rong-zhi-231673","狩野探幽像","桃田柳荣之","这幅肖像以极简笔触，刻画出老者执笔沉吟的瞬间。枯瘦却棱角分明的面庞上，沉静锐利的眼神带着思索的幽光，松弛的轮廓里藏着饱经岁月沉淀的从容气度。淡赭晕染出松弛的肤色，衣物以留白衬墨色领部，冷暖对比间尽显素雅克制。凝练的线条勾勒出垂垂老矣却依旧矍铄的身形，将执笔者凝神构思的神态描摹入微，不见繁复布景，仅以肖像特写，把文人老僧的沉静文心定格在纸间，侘寂的静穆氛围里，尽显写实肖像的传神功底，让观者仿佛能窥见画中人此刻流转的思绪。",[23,24,25,95,27,7,481,193,8048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f3ca1a2a676b3bf641e3a284894c69.jpg",[],{"id":71068,"slug":71069,"title":71070,"dynasty":5382,"author":71071,"museum":450,"description":71072,"tags":71073,"thumbUrl":71074,"material":314,"size":1061,"collection":166,"collections":71075,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},231670,"shi-he-mi-an-xiang-du-bian-hua-shan-231670","市河米庵像","渡边华山","渡边华山（日语：渡辺崋山；1793年—1841年）原名渡边定静，字子安，一字伯登，通称渡边登，号华山，斋号有寓绘堂、全乐堂、金暾居、昨非居士、随安居士。",[23,24,25,193,7,27,95,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad6bd411c30051a5f97850fcda5c0d4.jpg",[],{"id":71077,"slug":71078,"title":71079,"dynasty":5382,"author":51520,"museum":450,"description":51521,"tags":71080,"thumbUrl":71081,"material":314,"size":1061,"collection":166,"collections":71082,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":140},231624,"shi-ting-shi-dai-shan-shui-tu-zhou-shou-ye-yuan-xin-231624","室町时代 山水图轴",[23,24,25,95,7,28,34,33,212,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd95d2140079f970ee5dd318cc6ff750.jpg",[],{"id":71084,"slug":71085,"title":71086,"dynasty":18,"author":1836,"museum":450,"description":6267,"tags":71087,"thumbUrl":71088,"material":314,"size":1061,"collection":166,"collections":71089,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},230859,"zhou-zi-tong-shu-zhou-dong-qi-chang-230859","周子通书轴",[281,24,25,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5734b7f45f2b92f666608644adcb5ae2.jpg",[],{"id":71091,"slug":71092,"title":12874,"dynasty":52,"author":581,"museum":450,"description":71093,"tags":71094,"thumbUrl":71095,"material":166,"size":166,"collection":166,"collections":71096,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},230849,"qi-yan-lv-shi-yi-ming-230849","此作用笔温润秀雅，牵丝映带婉转自然，尽显元人行书典型风貌。结体灵动舒展，兼得晋唐行书的飘逸隽秀与赵孟頫一脉的妍媚雅致。整幅行气连贯悠然，章法错落合宜，墨色浓淡晕染细微，随着诗意起伏暗合情绪变化。\n\n卷中录自作律诗，笔墨间晕开文人雅集的闲散意趣，将与友同游的清逸情怀藏入点画之中，书韵与诗意相融，尽显元代文人以书抒情的特质，通篇清雅隽秀，尽显雅致风流，是一件兼具笔墨审美与文学意趣的佳作。",[24,25,37,38,7,80,147,2925,940,282,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bd541d63c37173b96c68d9f49e224.jpg",[],{"id":71098,"slug":71099,"title":35647,"dynasty":5382,"author":581,"museum":450,"description":71100,"tags":71101,"thumbUrl":71102,"material":314,"size":1061,"collection":166,"collections":71103,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},230557,"qian-zi-wen-yi-ming-230557","这卷草书通篇以纵逸奔放的笔势贯连始终，提按顿挫间线条粗细枯湿交织变幻，字形欹正相生、随势赋形。千字排布疏密得宜，时而遒劲厚重，时而轻盈飘逸，连绵缠绕却条理清晰，将草书抒情达意的特质尽显无余。\n\n笔墨间裹挟着肆意洒脱的文人意气，一气呵成的行气中，古雅苍劲的韵味扑面而来，把随性不羁的书写意趣融于全篇，尽显草书灵动恣肆的独特魅力。",[23,37,26,38,394,25,80,858,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21aae4faa4bc39431739617768fbe614.jpg",[],{"id":71105,"slug":71106,"title":71107,"dynasty":5382,"author":581,"museum":450,"description":71108,"tags":71109,"thumbUrl":71110,"material":314,"size":1061,"collection":166,"collections":71111,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":47},230548,"ming-qing-fang-gu-fen-ben-6-sheng-bai-hua-hui-juan-yi-ming-230548","明清仿古粉本-6- 胜白 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静谧读书氛围。笔意简练却形神毕肖，将士人耽于书卷的情态刻画入微，传递出悠然自适的文人意趣，尽显画作灵动传神之韵。",[24,193,7,27,547,123,421,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c59b059b2a5ad640a90c197345d65d0.jpg",[600],"cfc2b2",{"id":72830,"slug":72831,"title":72832,"dynasty":174,"author":72833,"museum":20,"description":72834,"tags":72835,"thumbUrl":72836,"material":166,"size":166,"collection":83,"collections":72837,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":72838},201594,"qiu-xiao-cui-yu-tu-zhou-xu-gang-201594","秋晓翠羽图轴","徐岡","秋晓时分，清露未晞，疏枝横斜间，数只翠羽或静栖枝头，或轻振翅羽，姿态鲜活灵动。山石以淡墨晕皴，肌理朴拙自然；枝叶用细劲笔触勾勒，间杂浅淡设色，晕染出秋意的疏朗雅致。鸟羽刻画入微，绒毛细密可见，尽显工笔之精；背景留白写意，衬出晨晓的空寂悠远。整幅画作工写相济，意境清幽，将秋日拂晓的静谧与生机悄然融合，流淌着文人画的温婉韵致。",[24,75,95,7,27,481,180,282,78,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb63fba4b0c8678fd228d10af45e5eaf.jpg",[83],"a9a8a4",{"id":72840,"slug":72841,"title":22363,"dynasty":174,"author":31331,"museum":20,"description":72842,"tags":72843,"thumbUrl":72844,"material":166,"size":166,"collection":42,"collections":72845,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":72846},201546,"shan-shui-juan-fang-shi-shu-201546","这幅画作以水墨为载体，借皴法勾勒山石嶙峋肌理，山峦层峦叠嶂间透出苍劲古朴之韵。山间林木疏密相间，枝叶扶苏，几处屋舍隐于林间，与蜿蜒溪流、静卧小桥相映，构筑出清幽雅致的山居图景。远处平野朦胧，意境悠远，尽显自然山水的静谧与文人画的淡远情怀。",[7,28,36,29,30,33,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635a51a971710a244b8bfb9ff02e4f61.jpg",[42],"a79787",{"id":72848,"slug":72849,"title":72850,"dynasty":174,"author":38512,"museum":20,"description":72851,"tags":72852,"thumbUrl":72853,"material":166,"size":166,"collection":600,"collections":72854,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":72855},201523,"zhong-kui-lin-liu-ba-juan-tu-zhou-cheng-ming-201523","钟馗临流把卷图轴","画面中钟馗踞坐孤石之上，临流展卷沉思，神情专注间褪去传统驱邪的凶煞感，尽显儒雅闲逸之态。衣纹以劲挺线条勾勒，墨色浓淡相宜，人物姿态洒脱自然。背景山水以淡墨皴染，溪流潺潺绕石而过，孤石错落有致，营造出清寂悠远的氛围。整作以水墨为基调，笔墨苍劲灵动，将钟馗的文人化形象刻画得生动传神，细腻捕捉其沉浸书卷的内心世界，打破刻板印象，尽显画家独特的艺术表达与笔墨功力。",[24,7,193,180,30,37,80,36,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac43d1c8e17b7d8f84e1acbb5fb73d8.jpg",[600],"a18864",{"id":72857,"slug":72858,"title":72859,"dynasty":174,"author":14526,"museum":20,"description":72860,"tags":72861,"thumbUrl":72862,"material":166,"size":166,"collection":166,"collections":72863,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":60229},201522,"shi-zi-feng-tu-zhou-mei-qing-201522","狮子峰图轴","画面中山峦层叠耸峙，峰脊线条硬朗灵动，墨色浓淡交错间，尽显山石苍劲质感。云雾如缕缠绕峰谷，虚实相生，营造深远空间意境。山腰隐现的亭阁，为雄奇山水添几分人文意趣，似可闻隐士凭栏之声。笔触兼用皴擦渲染，干湿互济，既勾山骨，又晕云柔，尽显黄山狮子峰的奇险秀美。画风洒脱自然，雄浑中见雅致，是文人山水的典型之作。",[24,28,7,27,36,32,211,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb1879db814abd741cb56fbd330929.jpg",[],{"id":72865,"slug":72866,"title":72867,"dynasty":18,"author":64707,"museum":20,"description":72868,"tags":72869,"thumbUrl":72870,"material":166,"size":166,"collection":166,"collections":72871,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":72872},201521,"yu-guo-yan-quan-tu-zhou-mi-wan-zhong-201521","雨过岩泉图轴","水墨晕染间，山峦云雾轻笼，似携雨后清润之气。嶙峋山石以苍劲皴法写就，墨色层叠中见肌理，挺拔之势跃然纸上。山间松枝虬曲，疏朗有致，与岩崖相映成趣。近处林麓间隐现屋舍，烟火气与清寂山景相融。笔墨洒脱自然，意境清幽淡远，将雨霁后的山林雅韵尽藏其中，尽显文人山水的逸致情怀。",[24,7,28,36,34,33,95,14399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc31e8b617f61618507d0baddf35cef4.jpg",[],"a0958c",{"id":72874,"slug":72875,"title":72876,"dynasty":174,"author":72877,"museum":20,"description":72878,"tags":72879,"thumbUrl":72880,"material":166,"size":166,"collection":166,"collections":72881,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":72882},201496,"xi-shan-yu-she-tu-zhou-xi-gang-201496","溪山渔舍图轴","奚岡","层岩叠嶂自远及近，墨色由淡转浓，干笔皴擦出峰峦苍劲质感。山间留白如岚气氤氲，引视线落向开阔水面——几叶扁舟轻漾，渔舍隐于岸畔疏林，枯树与青松相映，笔意萧散。近坡以浓墨点染草木，石块用折带皴勾勒，简淡中见生趣。整幅画以水墨为骨，意境清旷冷逸，尽显文人山水的淡泊之致，仿佛溪声渔歌入耳，尘嚣尽涤。",[24,28,7,36,729,31,33842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddf267f3f1c943a39901c005a22aa73.jpg",[],"c1b4a3",{"id":72884,"slug":72885,"title":72886,"dynasty":174,"author":5090,"museum":20,"description":72887,"tags":72888,"thumbUrl":72889,"material":166,"size":166,"collection":42,"collections":72890,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":72891},201493,"cang-yan-bai-die-tu-zhou-wang-hui-201493","苍岩百叠图轴","笔墨苍润沉厚，山峦层叠错落，如积玉堆云般绵延展开。画家以多变皴法写山石肌理，披麻与斧劈交融，勾勒间见骨力，点染处显韵致；林木或繁密或疏朗，枝桠虬劲，叶簇葱茏，尽显自然生机。近处溪涧蜿蜒，小桥横卧，隐现人家屋舍；远处云雾轻笼，峰峦渐淡，天地间透着清幽旷远之致。整幅画布局开合有度，远近层次分明，既承传统山水精髓，又融个人体悟，于静谧中藏灵动，厚重里见秀逸，尽显山水神韵与笔墨之妙。",[28,36,7,95,29,30,212,1776,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1e3f1bd4e2c4dad913509f40452e55.jpg",[42],"a59581",{"id":72893,"slug":72894,"title":34284,"dynasty":18,"author":51080,"museum":20,"description":72895,"tags":72896,"thumbUrl":72897,"material":166,"size":166,"collection":42,"collections":72898,"showCount":436,"zanCount":46,"manualWeight":46,"mainColor":72899},201489,"shan-shui-shan-ye-chen-guan-201489","枯木疏枝斜倚，草亭临流而筑，士人闲坐阶前，或观泉听风，或静思悟道。远山以淡墨晕染，近石用简皴勾勒，线条清劲中见秀逸。树木枝干虬曲，笔墨简练却含苍劲之态；屋宇结构疏朗，尽显文人居所的雅致。整幅画面以水墨为主，意境清寂淡远，传递出古代文人寄情山水、超然物外的闲适心境，于方寸扇面间，藏尽林泉之趣。",[1462,7,28,717,40845,60388,36,5781,1153,23],"https:\u002F\u002Foss.chuang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字日乾，号鲁峰。建昌府广昌甘竹洙溪村（今属江西省广昌县）人。",[24,25,37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9990ee45af5af551ca5cb9817247fdd6.jpg",[],{"id":73377,"slug":73378,"title":73379,"dynasty":174,"author":73380,"museum":450,"description":73381,"tags":73382,"thumbUrl":73383,"material":314,"size":1061,"collection":166,"collections":73384,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},241200,"huai-jiu-shi-zhou-jiang-heng-241200","怀旧诗轴","蒋衡","蒋衡（1672年～1742年），原名蒋振生，祖皆精书法，他自幼临摹，尤工行楷，成年浪迹江湖，临摹碑帖300多种，刻成《拙存堂临古帖》28卷，在西安观碑林时，发现唐代《开成石经》出于众手，书杂又失校核，下定决心重写《十三经》，历时12年，至乾隆二年（1737年）始告成。由江南河道总督高斌于乾隆五年转呈朝廷，收藏在懋勤殿。为此乾隆皇帝授蒋为国子监学正。翌年，谕旨以蒋衡手书为底本，刻石太学，于五十九年（1794年）刻成，定名《乾隆石经》。一生还著有《读易私记》、《拙存堂诗文集》、《易卦私笺》等。",[24,25,95,38,80,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5e4e569b29314d47108a761f6183ec.jpg",[],{"id":73386,"slug":73387,"title":55153,"dynasty":174,"author":73388,"museum":450,"description":73389,"tags":73390,"thumbUrl":73391,"material":314,"size":1061,"collection":166,"collections":73392,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},241197,"wu-lv-shi-shan-mian-yu-sen-241197","俞森","俞森为中国清朝官员，本籍中国直隶。俞森于1817年（嘉庆22年）接替徐锷，于台湾台北地区担任台湾府淡水厅艋舺县丞一职，是大台北地区的地方父母官。",[24,25,1462,37,242,7,80,940,349,282,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b79bf9a41f1c62e9621c6a98fbfe54.jpg",[],{"id":73394,"slug":73395,"title":73396,"dynasty":174,"author":4506,"museum":450,"description":73397,"tags":73398,"thumbUrl":73399,"material":314,"size":1061,"collection":166,"collections":73400,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},241194,"wu-yan-shi-shan-mian-he-chao-241194","五言诗扇面","何焯（1661年—1722年），字润千，因早年丧母，改字屺瞻，号义门、无勇、茶仙，晚年多用茶仙，江苏长洲（今苏州）人，寄籍崇明，为为官后迁回长洲（今苏州）。先世曾以“义门”旌，学者称义门先生。清代著名学者、书法家。\n清康熙四十二（1703）年癸未科第二甲第三名进士。曾为皇八子胤禩伴读。在当时以通经史百家之学，长于考订而有盛名。他在考据学上很有造诣，对坊间出版书籍的错误都一一订正。\n何焯与笪重光、姜宸英、汪士鋐并称为康熙年间“帖学四大家”。当时人争索何书，更有好事者以重金争购其手校本。他的楷书作品《桃花园诗》简静疏朗，清雅古穆，为书迹中的上上之作。",[174,1462,38,37,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ef73d05f5492656faddce75a3a6dbc.jpg",[],{"id":73402,"slug":73403,"title":73404,"dynasty":174,"author":73405,"museum":450,"description":73406,"tags":73407,"thumbUrl":73408,"material":314,"size":1061,"collection":166,"collections":73409,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},241178,"zhi-jing-xi-wen-ye-he-ling-han-241178","致荆谿文页","何凌汉","何凌汉(1772-1840）清大臣、书法家，字云门，号仙槎，道州（今湖南永州道县）东门乡东门村人。嘉庆十年进士一甲第三名（探花），授翰林院编修，先后典广东、山东、福建、浙江、顺天府乡试；曾先后担任顺天府尹、大理寺卿、都察院左都御史、兵部右侍郎、礼部左侍郎、工部尚书、吏部尚书、户部尚书等朝廷要职；曾先后担任山东学政、浙江学政、经筵讲官等重要职务，为中华民族培养出了众多历史俊杰。",[25,37,242,7,80,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cfa005e0d7f5c22bdcce6620608b58.jpg",[],{"id":73411,"slug":73412,"title":73413,"dynasty":18,"author":64707,"museum":450,"description":64708,"tags":73414,"thumbUrl":73415,"material":314,"size":1061,"collection":166,"collections":73416,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},241099,"xing-shu-shi-zhou-mi-wan-zhong-241099","行书诗轴",[281,24,25,95,38,37,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578b612d5b582323ad188be148c63f52.jpg",[],{"id":73418,"slug":73419,"title":73413,"dynasty":174,"author":2029,"museum":450,"description":20047,"tags":73420,"thumbUrl":73421,"material":314,"size":1061,"collection":166,"collections":73422,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},241095,"xing-shu-shi-zhou-gong-xian-241095",[37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de06f7918f14f5978370ea27f168817.jpg",[],{"id":73424,"slug":73425,"title":73426,"dynasty":18,"author":73427,"museum":450,"description":73428,"tags":73429,"thumbUrl":73430,"material":314,"size":1061,"collection":166,"collections":73431,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},241060,"you-xian-shi-zhou-huang-fu-qin-241060","游僲诗轴","皇甫钦","皇甫錄（1470年－1540年），字世庸，號近峯，直隸長洲（今江蘇蘇州）人，明朝政治人物。",[25,95,38,37,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde5f318f6374447841905e7dee93aa66.jpg",[],{"id":73433,"slug":73434,"title":55169,"dynasty":18,"author":73435,"museum":450,"description":73436,"tags":73437,"thumbUrl":73440,"material":314,"size":1061,"collection":166,"collections":73441,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},241059,"qi-jue-shi-zhou-wang-jie-241059","王节","王节（1599年—1660年），字贞明，号惕斋，吴县（今江苏苏州）人。明崇祯十二年（1639年）举人，顺治中任桃源县教谕。工山水，又工于诗。",[281,24,25,95,38,7,80,73438,73439,23124,49886,28638],"楚江","碧水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e12a6bc9f186510556459f437a5c41.jpg",[],{"id":73443,"slug":73444,"title":73445,"dynasty":174,"author":73446,"museum":450,"description":73447,"tags":73448,"thumbUrl":73449,"material":314,"size":1061,"collection":166,"collections":73450,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},241036,"gao-feng-han-shu-shi-zhou-gao-feng-han-241036","髙凤翰书诗轴","髙凤翰","高凤翰，字南阜，山东人，雍正年间，官泰坝监掣。时缺，系新设。凤翰莅任后，多有创建",[37,95,38,394,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u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明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。 顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[23,37,38,394,7,26,80,8047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23c692a81cc7fc65faefffc7480ede.jpg",[],{"id":73461,"slug":73462,"title":73463,"dynasty":18,"author":14510,"museum":450,"description":73464,"tags":73465,"thumbUrl":73466,"material":298,"size":166,"collection":245,"collections":73467,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240996,"zhi-si-weng-zha-juan-chen-ji-ru-240996","致思翁札卷","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 [1] 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。\n著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,38,37,26,7,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa112671d44d0758619edfd1200d9f2ed.jpg",[245],{"id":73469,"slug":73470,"title":73471,"dynasty":174,"author":31331,"museum":450,"description":48638,"tags":73472,"thumbUrl":73473,"material":314,"size":1061,"collection":166,"collections":73474,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240968,"fang-shi-shu-xing-zhu-zhi-ci-zhou-fang-shi-shu-240968","方士庻行竹枝词轴",[37,38,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33da60a4a1df9741ed38f452cfec6a0.jpg",[],{"id":73476,"slug":73477,"title":13460,"dynasty":174,"author":38470,"museum":450,"description":38471,"tags":73478,"thumbUrl":73479,"material":314,"size":1061,"collection":166,"collections":73480,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240967,"shi-shan-mian-zhu-ang-zhi-240967",[174,1462,25,37,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eabfc1282b4b1356d8ef2f32326f1c1.jpg",[],{"id":73482,"slug":73483,"title":73484,"dynasty":18,"author":73485,"museum":450,"description":73486,"tags":73487,"thumbUrl":73488,"material":314,"size":1061,"collection":166,"collections":73489,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240940,"qi-lv-shi-shan-mian-lu-shi-dao-240940","七律诗扇面","陆师道","陆师道（1510年10月10日－1573年），字子传，号元洲，改号五湖，南直隶苏州府长洲（今江苏苏州）人。嘉靖十七年（1538 年）进士，历官工部主事、礼部主事、尚宝司少卿。师事文征明，工小楷、古篆，著有《五湖集》和《左史子汉镌》等传于世。",[281,24,25,1462,38,80,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872cd3ef937b1b9f28d6861958e7675c.jpg",[],{"id":73491,"slug":73492,"title":73493,"dynasty":174,"author":53658,"museum":450,"description":53659,"tags":73494,"thumbUrl":73495,"material":314,"size":1061,"collection":166,"collections":73496,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240908,"ping-hua-wan-shan-fei-dan-xu-240908","评画纨扇",[24,25,1462,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9579445ad91c5b4a22a1fca7159c50e.jpg",[],{"id":73498,"slug":73499,"title":52756,"dynasty":18,"author":73500,"museum":450,"description":73501,"tags":73502,"thumbUrl":73503,"material":314,"size":1061,"collection":166,"collections":73504,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240872,"shi-juan-li-meng-yang-240872","李梦阳","李梦阳（1473年1月5日—1530年1月28日），字献吉，号空同，汉族，祖籍河南扶沟，出生于庆阳府安化县（今甘肃省庆城县），后又还归故里，故《登科录》直书李梦阳为河南扶沟人。他善工书法，得颜真卿笔法，精于古文词。明代中期文学家，复古派前七子的领袖人物。提倡“文必秦汉，诗必盛唐”，强调复古，《自书诗》师法颜真卿，结体方整严谨，不拘泥规矩法度，学卷气浓厚。李梦阳所倡导的文坛“复古”运动盛行了一个世纪，后为袁宗道、袁宏道、袁中道三兄弟为代表的“公安派”所替代。",[37,38,26,7,940,2925,311,282,31,28,32,147,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d8669501aa08cedc3e954ea4176b16.jpg",[],{"id":73506,"slug":73507,"title":73508,"dynasty":18,"author":73509,"museum":450,"description":73510,"tags":73511,"thumbUrl":73512,"material":314,"size":1061,"collection":166,"collections":73513,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},240856,"da-yun-shan-ge-zhou-wang-fu-zhi-240856","大云山歌轴","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家”，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[24,25,95,38,37,7,28,454,30931,33582,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3f9202b5da64bf1a988fd6cd43d56d.jpg",[],{"id":73515,"slug":73516,"title":73517,"dynasty":174,"author":22552,"museum":450,"description":73518,"tags":73519,"thumbUrl":73522,"material":314,"size":1061,"collection":166,"collections":73523,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240827,"gui-zhuang-qi-jue-shi-zhou-gui-zhuang-240827","归荘七绝诗轴","明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[37,38,95,80,7,1438,130,33583,34141,68183,2816,73520,73521],"映日","红霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8abaae6b532fe1956437f8ab88d579.jpg",[],{"id":73525,"slug":73526,"title":40893,"dynasty":174,"author":40894,"museum":450,"description":40895,"tags":73527,"thumbUrl":73528,"material":314,"size":1061,"collection":166,"collections":73529,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240821,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240821",[38,37,80,25,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffd390c5b03044a761e2ed5a053b78f.jpg",[],{"id":73531,"slug":73532,"title":73533,"dynasty":174,"author":72163,"museum":450,"description":73534,"tags":73535,"thumbUrl":73536,"material":314,"size":1061,"collection":166,"collections":73537,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240799,"hua-ma-zan-zhou-tong-yu-240799","画马赞轴","童钰（1721－1782）清代画家。字璞岩，一字树，又字二如、二树，别号借庵、二树山人、树道人、梅道人、梅痴、越树、栎树、树树居士、太平词客、白马山长，山阴（今浙江绍兴）人。",[25,37,95,6186,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900a39f02066451fad1dcaf4acbd190d.jpg",[],{"id":73539,"slug":73540,"title":73541,"dynasty":174,"author":63980,"museum":450,"description":68818,"tags":73542,"thumbUrl":73543,"material":314,"size":1061,"collection":166,"collections":73544,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},240796,"zhang-ting-ji-qi-yan-lian-zhang-ting-ji-240796","张廷济七言联",[37,6187,6186,38,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc66ac6105b8b6c83a4b8dc674cea09.jpg",[],{"id":73546,"slug":73547,"title":52756,"dynasty":174,"author":73548,"museum":450,"description":73549,"tags":73550,"thumbUrl":73551,"material":18025,"size":73552,"collection":245,"collections":73553,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240711,"shi-juan-wang-yong-nian-240711","王永年","此卷草书如长河奔涌，行气贯通连绵，字势跌宕奇崛，通篇顾盼生姿。行笔中锋侧锋互用，提按顿挫间笔力苍劲灵动，线条枯湿浓淡交织，时而细韧如游丝，时而厚重如坠石，尽显狂草肆意放逸之态。疏密开合排布精妙，牵丝映带一气呵成，将胸臆间疏狂意气化为纸上龙蛇。墨色燥润相生，虚实相映，尽显文人放旷疏野之姿，诗书意境与笔墨意趣相融尽显抒情草书的动人魅力。",[23,25,37,26,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b06d0de3ab7ed592f8222b994c09d.jpg","27.5×197cm",[245],{"id":73555,"slug":73556,"title":52756,"dynasty":174,"author":50178,"museum":120,"description":73557,"tags":73558,"thumbUrl":73560,"material":35058,"size":73561,"collection":245,"collections":73562,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240703,"shi-juan-cha-ji-zuo-240703","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[23,37,26,38,7,80,45146,73559,48805,1438,33581,363,33582,5489,162,77,2223,9051,30,2925,940,311,32,282,31,28,125,133,126,134],"芳草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","纵450厘米，横33.3厘米",[245],{"id":73564,"slug":73565,"title":37179,"dynasty":18,"author":73566,"museum":450,"description":73567,"tags":73568,"thumbUrl":73569,"material":314,"size":1061,"collection":166,"collections":73570,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240676,"wu-yan-lian-zhu-shi-lu-240676","祝世禄","祝世禄[明]（公元一六0二年前后在世），字世功，江西德兴人。生卒年均不详，约明神宗万历三十年前后在世。第万历十七年（公元一五八九年）进士，考选为南科给事。",[37,25,6187,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aabfc27ba0331d53307059916adafa.jpg",[],{"id":73572,"slug":73573,"title":73574,"dynasty":174,"author":73575,"museum":450,"description":73576,"tags":73577,"thumbUrl":73578,"material":314,"size":1061,"collection":166,"collections":73579,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240670,"ti-cang-sang-xian-yi-tu-juan-qian-qian-yi-240670","题沧桑仙奕图卷","钱谦益","钱谦益（1582年10月22日—1664年6月17日），字受之，号牧斋，晚号蒙叟，东涧老人。学者称虞山先生。清初诗坛的盟主之一。苏州府常熟县鹿苑奚浦（今张家港市塘桥镇鹿苑奚浦）人。\n钱谦益是明万历三十八年（1610年）探花（一甲三名进士），后为东林党的领袖之一，官至礼部侍郎，因与温体仁争权失败而被革职。明亡后，马士英、阮大铖在南京拥立福王，建立南明弘光政权，钱谦益依附之，为礼部尚书。后降清，为礼部侍郎。\n钱谦益的评价富于争议，尤其是降清、仕清之举成为其道德症结，清乾隆帝将之视作失节者，删禁其著作；但也有学者指出，入清后钱谦益仍多次私下策反降清武将、暗中资助郑成功反清等等。若就文学地位而言，则钱谦益仍应得到肯定。",[37,38,26,80,335,68689,193,31573,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11806b03ac02295de1494fb79076c8c.jpg",[],{"id":73581,"slug":73582,"title":52756,"dynasty":18,"author":73583,"museum":450,"description":73584,"tags":73585,"thumbUrl":73586,"material":314,"size":1061,"collection":166,"collections":73587,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},240629,"shi-juan-wu-wei-yi-240629","吴惟一","此作以草书挥就，整卷行气贯通，字势顾盼牵丝萦绕，尽得草书抒情之妙。笔墨枯湿浓淡交叠变幻，提按顿挫间带着肆意放达的意气，线条飞动缠绕却不失章法，字字相衔、行行呼应，如行云流水般舒卷自如。\n\n既有狂草的颠逸遗韵，又自出机杼，将诗中的心绪藏入挥毫的起落之中。通篇带着疏朗萧散的古意，把文人的疏放襟怀尽数铺展在卷上，笔墨节奏随着心绪起伏，观之如随作者共赴诗中情境，尽览挥毫时的酣畅快意，尽显明代草书抒情写意的独特风神。",[23,37,26,38,7,942,33582,2223,33581,335,350,31,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc16988a655910f7fdeeb3c330cd9c.jpg",[],{"id":73589,"slug":73590,"title":34040,"dynasty":174,"author":4506,"museum":450,"description":73397,"tags":73591,"thumbUrl":73592,"material":314,"size":1061,"collection":166,"collections":73593,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},240619,"shi-zhou-he-chao-240619",[24,25,95,38,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80e78c237b6f8cc9650b81b274167084.jpg",[],{"id":73595,"slug":73596,"title":34040,"dynasty":18,"author":73597,"museum":450,"description":73598,"tags":73599,"thumbUrl":73600,"material":314,"size":1061,"collection":166,"collections":73601,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},240592,"shi-zhou-cao-hua-chun-240592","曹化淳","曹化淳，字如，号止虚子，家境寒微，十二三岁左右入宫，诗文书画，无一不精，深受司礼太监王安赏识。后入信王府陪侍五皇孙朱由检，极受宠信。",[9254,25,37,95,38,7,80,942,335,49886,28638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d32b882b8e201a89db6aece77993448.jpg",[],{"id":73603,"slug":73604,"title":73605,"dynasty":174,"author":73606,"museum":450,"description":73607,"tags":73608,"thumbUrl":73609,"material":298,"size":166,"collection":245,"collections":73610,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},240587,"li-yong-ji-you-wen-zhou-li-yong-240587","李颙祭友文轴","李颙","李颙（1627年3月12日——1705年5月7日） 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尘的隐逸之思，藏着寄迹林泉的清冷孤高。",[24,25,74,7,36,38,80,28,162,454,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f25b6bf35c3adb10577e662e851804d.jpg",[],{"id":74115,"slug":74116,"title":11366,"dynasty":174,"author":15780,"museum":450,"description":65091,"tags":74117,"thumbUrl":74118,"material":166,"size":166,"collection":166,"collections":74119,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},239166,"shan-shui-hua-hui-ce-chen-heng-ke-239166",[24,7,74,36,28,335,162,7378,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d6d3b1021fc74e183b7371dc5a4dc3.jpg",[],{"id":74121,"slug":74122,"title":11366,"dynasty":174,"author":15780,"museum":450,"description":74123,"tags":74124,"thumbUrl":74125,"material":166,"size":166,"collection":166,"collections":74126,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},239162,"shan-shui-hua-hui-ce-chen-heng-ke-239162","此作用笔极简枯淡，以渴墨勾勒古木老干，皴擦寥寥便写出枝干虬曲苍劲的姿态，枯涩的线条尽显岁月洗练之感。侧旁以细笔淡墨绘出新篁，柔润清浅的竹叶为画面添上生机，枯荣相映间，萧疏清冷的幽寂之境油然而生。\n\n搭配题诗朱印，书画印三者相衬，将笔墨意趣与文人情思相融，于尺幅间尽显文人画的空灵雅致，淡远清幽的意境扑面而来，尽显水墨写意的极简之美，藏着中式审美的留白哲思。",[24,7,74,80,717,96,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1473a2f35b6349dfb8da90e8750a86e5.jpg",[],{"id":74128,"slug":74129,"title":11366,"dynasty":174,"author":15780,"museum":450,"description":25022,"tags":74130,"thumbUrl":74132,"material":314,"size":1061,"collection":166,"collections":74133,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},239157,"shan-shui-hua-hui-ce-chen-heng-ke-239157",[24,25,74,7,38,126,35,164,74131],"沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773e1713308ebeb08b3d2243dfe369f8.jpg",[],{"id":74135,"slug":74136,"title":74137,"dynasty":174,"author":28315,"museum":450,"description":74138,"tags":74139,"thumbUrl":74140,"material":166,"size":166,"collection":166,"collections":74141,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},239103,"hua-hui-ce-12-yu-sheng-239103","花卉册12","余省（1736年—1795年），字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[25,24,74,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250c588bb107c071c878bc89508ebc8f.jpg",[],{"id":74143,"slug":74144,"title":157,"dynasty":174,"author":47214,"museum":450,"description":69163,"tags":74145,"thumbUrl":74146,"material":166,"size":166,"collection":166,"collections":74147,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},239044,"shan-shui-ce-wu-lin-239044",[281,24,7,36,74,28,32,31,147,180,164,773,33,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10abb4a9cea588c79e458516e9c3c1bb.jpg",[],{"id":74149,"slug":74150,"title":157,"dynasty":174,"author":47214,"museum":450,"description":74151,"tags":74152,"thumbUrl":74153,"material":166,"size":166,"collection":166,"collections":74154,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},239041,"shan-shui-ce-wu-lin-239041","此作取景疏空灵透，远山以淡墨轻勾慢染，笔致简括却见层峦起伏，留白代云气，将山峦虚实衔连，晕染出空濛悠远的烟岚之态。近岸苍松错落，干枝挺拔苍劲、松针攒簇有致，坡石以短皴带染，拙朴厚重间不失温润质感。左侧题字朱印与画面相映成趣，诗画合璧尽显文人雅韵。全幅以水墨写意，不施重彩，却将江南山水的清寂淡远融于尺幅，以极简笔情墨韵传递出林泉高致的幽寂心境，尽显文人山水画的空灵意趣。",[24,25,74,7,36,28,162,335,180,10414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76dc3dbada10613fbee6ad216f6da18.jpg",[],{"id":74156,"slug":74157,"title":157,"dynasty":174,"author":47214,"museum":450,"description":69163,"tags":74158,"thumbUrl":74159,"material":5358,"size":69166,"collection":166,"collections":74160,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},239035,"shan-shui-ce-wu-lin-239035",[24,7,36,74,28,96,180,33,164,4569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7f352ac31678676f1f347f32b5939c9.jpg",[],{"id":74162,"slug":74163,"title":74164,"dynasty":174,"author":74165,"museum":450,"description":74166,"tags":74167,"thumbUrl":74168,"material":314,"size":1061,"collection":166,"collections":74169,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},239022,"fang-zhao-zhong-mu-shan-shui-zhou-zhang-wei-239022","仿赵仲穆山水轴","张囗","此作用高远之法开篇，主峰崔嵬矗立，以干淡笔墨勾勒皴擦，石骨嶙峋尽显苍古气质。山腰云气轻笼，掩映出林麓人家，藏露之间尽显山居幽寂。近岸古松挺秀，杂木丰茂，林下二人凭眺闲观，为冷寂山林添了几分雅逸文趣。\n\n画作师法前贤，用笔萧散松灵，墨色层次疏淡柔和，复刻出元人山水的空灵简远意趣，暗合尚古的文人意韵，淡冶之中带着沉静书卷气，将山林幽居的闲雅意境缓缓铺陈，尽显仿作中自有的文人丘壑。",[24,95,7,36,254,28,335,162,127,32,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d16440a1822a67aa8e7220b902d9a4.jpg",[],{"id":74171,"slug":74172,"title":41142,"dynasty":174,"author":74173,"museum":450,"description":74174,"tags":74175,"thumbUrl":74176,"material":314,"size":1061,"collection":166,"collections":74177,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},239002,"shan-shui-shan-zhao-wei-239002","赵玮","赵玮，生卒年不详，山东济南府平原县人。幼孤，事母以孝。闻以明经，授莱州府学训导。招集诸生，立月课法，拔其尤者廪给之，一时文风蔚起。又捐俸、备乐器于学宫，聘儒童肄习之，历三月而八音备。生平笃学嗜古，于诸书无不究悉。所著有《圣庙元音》及《典礼》、《仪礼》二卷藏于家。",[1462,24,7,27,28,34,33,3246,37,80,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a45b2fac7e87c475746906d4a2d3b47.jpg",[],{"id":74179,"slug":74180,"title":74181,"dynasty":174,"author":34100,"museum":450,"description":74182,"tags":74183,"thumbUrl":74184,"material":166,"size":166,"collection":166,"collections":74185,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},238981,"shan-shui-ce-fang-wu-zhong-gui-bing-shu-shi-tian-ju-wang-chen-238981","山水册－仿吴仲圭并书石田句","此作以浅绛绘就林泉之景，近崖峻拔，草木翳然，山道逶迤通幽；山坳村居隐于松荫，朴拙静谧。干笔勾勒山石骨相，披麻皴晕染肌理，淡赭轻敷，色调清润柔和，尽显元人萧散简淡的意趣。\n\n题诗与画境交融，将幽寂的山居意韵娓娓道来。笔意苍秀古拙，不尚雕琢，以极简的笔墨写尽林泉高致，把隐逸的山居之思融于尺幅间，平淡之中自见隽永风神，尽显文人山水的写意雅趣。",[24,25,74,7,36,254,38,80,28,34,33,35,164,785,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53da4dccb0bb03892a40748465207366.jpg",[],{"id":74187,"slug":74188,"title":74189,"dynasty":174,"author":34100,"museum":450,"description":74190,"tags":74191,"thumbUrl":74192,"material":166,"size":166,"collection":166,"collections":74193,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},238978,"shan-shui-ce-fang-xu-you-wen-bi-wang-chen-238978","山水册－仿徐幼文笔","此作以淡墨轻皴铺陈江天暮色，远山以赭色晕染，澹宕空濛如笼薄纱。坡岸杂木萧疏，苇草萋萋随风偃仰，笔意苍秀兼济，于枯淡中藏润泽之致。\n\n江心一舟横陈，渔翁独卧，似随波忘机。整幅以简驭繁，删去细碎雕琢，尽显空寂清寒的林下之致，将幽人寄兴烟水的襟怀尽付笔端，仿古而不泥古，以松动的笔墨晕染出江天旷远、物我两谐的淡远意境。",[24,25,74,7,36,254,28,31,33,34,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f566d03243197f67b928c3e8983a5b.jpg",[],{"id":74195,"slug":74196,"title":74197,"dynasty":174,"author":34100,"museum":450,"description":74198,"tags":74199,"thumbUrl":74200,"material":166,"size":166,"collection":166,"collections":74201,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},238977,"shan-shui-ce-wei-zhu-ze-min-wang-chen-238977","山水册－囗朱泽民","此作用淡墨干皴层层晕染，以平远构图铺陈丘壑。左岸古木姿态苍古，枝叶简括却见生拙意趣；右方危崖高耸，留白透气尽显空濛。汀洲茅舍孑立水畔，萧散清寂。\n\n画面配题小诗，将晚峰云影、水亭幽怀相融，以元代逸笔写胸中丘壑，笔墨松秀简淡，脱去甜熟，尽显苍润生拙。整体意境空濛淡远，将幽人林下独处的静穆心境藏于尺幅之中，尽显清逸萧疏的林下雅风，淡去匠气，只留简淡静穆的文人雅韵。",[24,25,74,7,36,28,162,34,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7879ad72df17bfc8c9be3231cc5125f2.jpg",[],{"id":74203,"slug":74204,"title":74205,"dynasty":174,"author":34100,"museum":450,"description":74206,"tags":74207,"thumbUrl":74208,"material":166,"size":166,"collection":166,"collections":74209,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},238974,"shan-shui-ce-fang-huang-rong-lao-ren-bi-yi-wang-chen-238974","山水册－仿黄荣老人笔意","此作用笔松秀苍润，以干淡笔墨写就水村山景。近岸怪石崚嶒，古松虬曲横斜，枝叶简括见风骨，临水村居错落，木构茅舍自带野逸之趣。远景平峦迤逦，淡墨晕染出空濛烟岚，水天一色间尽显清寂淡和。\n整幅画以仿古笔法写胸中丘壑，萧散简远，将江南水乡的闲静之致藏于笔墨间，淡岚轻霭里漫溢出幽居林下的雅逸意趣，不见繁复刻画，却在简淡之中尽显沉静安然的文人画意境。",[24,25,74,7,36,254,28,624,34,35,164,10975,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e913300ffb58dfa0c5f22d17733740c.jpg",[],{"id":74211,"slug":74212,"title":74213,"dynasty":174,"author":34100,"museum":450,"description":74214,"tags":74215,"thumbUrl":74216,"material":166,"size":166,"collection":166,"collections":74217,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},238973,"shan-shui-ce-qing-hang-zhang-gan-wang-chen-238973","山水册－青行长竿","此作用笔简淡松秀，以披麻皴勾勒崖壁，苔点错落晕染出山石斑驳古意，崖畔林木疏朗，淡墨点叶尽显清寂萧散。近处萋萋浅草铺陈滩头，一人泛舟垂纶，静享幽居渔隐之趣。\n\n诗画相映，将江南水畔闲逸图景铺陈开来。干笔皴擦晕染出空濛淡远的意境，带着沉静古雅的文人意韵，于简淡之中尽显平淡天真的画中真味，把幽寂清和的林下闲情藏入山水之间。",[24,7,36,74,37,38,80,28,31,33,213,6616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bc9a61873ab0eb209f6a04c5718960.jpg",[],{"id":74219,"slug":74220,"title":39575,"dynasty":174,"author":25030,"museum":450,"description":74221,"tags":74222,"thumbUrl":74223,"material":166,"size":166,"collection":166,"collections":74224,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},238909,"fang-song-yuan-shan-shui-ce-dong-gao-238909","此作用笔老辣，以渴笔勾勒山石骨架，皴擦点染间晕出山岩苍劲嶙峋的肌理，层叠山峦奇崛错落，暗合古法山水的苍浑意趣。近处林木萧疏，遒劲枯枝与柔垂柳丝相映，刚柔并济，为冷寂山景添几分灵动生气。林麓间掩映古寺，藏露得宜，衬出山居林壑的幽寂清远。\n全幅水墨晕染干湿互用，浓淡相宜，兼具北派山水的沉雄质感，又浸透南宗文人画的秀逸简淡。笔意松脱却章法谨严，师法前贤又自出机杼，将林泉幽居的静穆淡远徐徐铺陈，尽显山林间恬寂出尘的意致。",[24,28,74,7,36,254,335,162,213,164,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdba4c3b537d7a8f15181986835247d4.jpg",[],{"id":74226,"slug":74227,"title":39575,"dynasty":174,"author":25030,"museum":450,"description":74228,"tags":74229,"thumbUrl":74230,"material":166,"size":166,"collection":166,"collections":74231,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},238907,"fang-song-yuan-shan-shui-ce-dong-gao-238907","此作取冬日平远山居小景，近岸茅舍依水而立，有人凭窗凝睇汀渚烟水。枯木寒林错杂丛生，枝桠劲挺如铁，衬出萧疏冬意。山石皴擦细密松秀，尽得苍厚古拙之趣，远山以淡墨晕染，轻岚浮动间层叠延展，清润空灵。\n笔墨干湿相宜，设色淡和雅致，将冬日山乡幽寂淡远的氛围铺陈开来。尺幅之间藏林泉之趣，把文人寄情丘壑、静享闲逸的意趣融于烟水林木间，意境清远淡寂，韵致悠然。",[24,25,74,254,7,27,36,28,610,147,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad5f1dd521de68e2f6010f28f477749.jpg",[],{"id":74233,"slug":74234,"title":39575,"dynasty":174,"author":25030,"museum":450,"description":74235,"tags":74236,"thumbUrl":74237,"material":166,"size":166,"collection":166,"collections":74238,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},238903,"fang-song-yuan-shan-shui-ce-dong-gao-238903","此作用笔松灵苍秀，干湿墨色交织晕染。近岸危崖嶙峋，皴笔厚重写尽山石肌理，崖间山居幽藏，野意自生。坡脚草木清润，托显出丘壑生机。中江帆影孤悬，破水而来，漾开静穆氛围。远景山峦以淡墨晕化，烟岚轻笼，虚实相生间铺展出空濛悠远的水岸意境。整幅兼具丘壑之实与笔墨之疏，将林泉幽居的隐逸意趣融于咫尺尺幅，静雅淡宕，尽显山水间闲逸萧散的文人雅怀。",[24,25,74,7,36,254,28,31,34,33,148,163,282,2283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dfc9b5c60b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皴擦点染弱化山石棱角，留白与晕染交织出空濛诗意，将郊野山城的清旷雅致勾勒尽致，尽显简淡幽远的文人意趣，引人沉醉在这烟水山岚的悠然意境里。",[24,25,74,7,27,28,194,32,162,312,29,311,34,6739,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f87642505a7b80225be89ce4786ca89.jpg",[],{"id":75161,"slug":75162,"title":45735,"dynasty":18,"author":581,"museum":450,"description":75163,"tags":75164,"thumbUrl":75165,"material":166,"size":166,"collection":166,"collections":75166,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},236427,"shu-zhi-shan-shui-ce-yi-ming-236427","此作以淡墨晕染层叠山峦，山岚轻笼，峰峦勾勒简雅清疏，空蒙清远间尽显文人写意逸趣。近景林木错落舒展，枝叶点染古拙随性，苍润墨色晕开郊野山林的静谧幽寂。\n\n左侧题诗以清雅行书呼应画意，书画合璧。整体笔致萧散淡远，以简淡之笔铺陈丘壑灵秀，将文人寄情林泉的雅趣融于尺幅之间，悠悠林下之风漫溢纸面，尽显对林泉高致的悠悠向往。",[24,7,74,28,335,162,706,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c55687eb324fbfc1e3b00c4dcee996.jpg",[],{"id":75168,"slug":75169,"title":75170,"dynasty":174,"author":15780,"museum":450,"description":25022,"tags":75171,"thumbUrl":75172,"material":314,"size":1061,"collection":166,"collections":75173,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},236348,"shui-shi-shan-chen-heng-ke-236348","水石扇",[24,25,1462,7,28,180,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8def83258460be0af96b09c78c48aa69.jpg",[],{"id":75175,"slug":75176,"title":75177,"dynasty":18,"author":27674,"museum":450,"description":55323,"tags":75178,"thumbUrl":75179,"material":314,"size":1061,"collection":166,"collections":75180,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},236302,"qiu-tong-yin-yu-shan-zhang-fu-236302","秋桐阴雨扇",[24,1462,7,27,28,212,33,194,32,29,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6dfc2ffd76807ff0d84d0c321c68a4.jpg",[],{"id":75182,"slug":75183,"title":64369,"dynasty":5382,"author":75184,"museum":450,"description":75185,"tags":75186,"thumbUrl":75187,"material":314,"size":1061,"collection":166,"collections":75188,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},236290,"hua-hui-shan-wang-zhi-236290","王廌","此作为金笺水墨花卉，以写意之法绘折枝花木。淡墨晕染花瓣，柔润舒展，尽显清妍之态；焦墨挥写枝叶，笔力顿挫苍劲，浓淡对比间，花叶错落顾盼，满溢鲜活生机。\n留白与笔墨疏密相宜，将花木疏朗清逸的韵致尽数铺陈。左侧题款书法朴拙洒脱，与画面笔墨意趣相融，文气盎然。整幅以简驭繁，不耽于刻画形貌，而专意抓取花木风神，于方寸扇面中，尽显文人写意的随性雅致与自然清趣。",[24,25,1462,7,76,80,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956f9eba1c54b8d0ea05b5e47b3a9933.jpg",[],{"id":75190,"slug":75191,"title":75192,"dynasty":18,"author":1788,"museum":450,"description":18797,"tags":75193,"thumbUrl":75194,"material":314,"size":1061,"collection":166,"collections":75195,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},236268,"lan-zhu-cheng-shan-wen-zheng-ming-236268","兰竹成扇",[281,24,25,1462,7,133,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0f1ccdb648f394c44610e77b21328d.jpg",[],{"id":75197,"slug":75198,"title":75199,"dynasty":18,"author":18151,"museum":450,"description":75200,"tags":75201,"thumbUrl":75202,"material":314,"size":1061,"collection":166,"collections":75203,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},236192,"hua-shan-shui-yong-yan-shu-ti-gu-yu-wu-shou-cheng-shan-lu-zhi-236192","画山水颙琰书题古玉五首成扇","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[24,25,1462,28,7,36,37,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb277ba90b5cf505a9fa82e06e7263943.jpg",[],{"id":75205,"slug":75206,"title":75207,"dynasty":18,"author":7182,"museum":120,"description":28331,"tags":75208,"thumbUrl":75209,"material":166,"size":166,"collection":42,"collections":75210,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},236185,"shan-shui-cheng-shan-wen-jia-236185","山水成扇",[24,25,1462,7,27,28,33,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a8f674e70db2cbda5d3566a30ee360.jpg",[42,64],{"id":75212,"slug":75213,"title":30487,"dynasty":174,"author":6250,"museum":120,"description":30488,"tags":75214,"thumbUrl":75215,"material":537,"size":166,"collection":166,"collections":75216,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},236144,"fang-yuan-ren-shan-shui-ce-he-yi-236144",[24,7,74,254,36,80,28,335,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcc4583729e33296bf3c2fe00e40212.jpg",[],{"id":75218,"slug":75219,"title":30487,"dynasty":174,"author":6250,"museum":120,"description":30488,"tags":75220,"thumbUrl":75221,"material":537,"size":166,"collection":166,"collections":75222,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},236141,"fang-yuan-ren-shan-shui-ce-he-yi-236141",[24,25,74,254,7,36,28,29,30,33,34,164,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60b45a9ecd58a4bf0a2f3ac5cea04180.jpg",[],{"id":75224,"slug":75225,"title":66116,"dynasty":174,"author":581,"museum":450,"description":75226,"tags":75227,"thumbUrl":75228,"material":166,"size":166,"collection":166,"collections":75229,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235959,"cai-jia-hua-hui-tu-ce-yi-ming-235959","此作以枯墨写出梅枝，笔力苍劲老辣，顿挫间尽显虬曲古拙之态，枝桠错落舒展，留白恰到好处，铺展出清寂疏朗的意境。白梅以淡墨点染花苞，轻敷淡色晕染花瓣，清雅脱俗，将寒梅的清癯风骨尽显。\n搭配题诗映托，诗画合璧，把明月映窗疑是梅影、清风携暗香入室的幽微意趣烘托到极致，寥寥数笔便将寒梅孤高清淡的品性勾勒尽致，以简淡笔墨抒写出文人寄情于梅的雅致襟怀，静谧空疏之间，尽显文人画以意驭笔的悠远余韵。",[24,25,74,7,27,75,125,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ba9966dca9aa885545b34ce90adf50.jpg",[],{"id":75231,"slug":75232,"title":45774,"dynasty":174,"author":9335,"museum":450,"description":19356,"tags":75233,"thumbUrl":75234,"material":314,"size":1061,"collection":166,"collections":75235,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235952,"zhi-hua-za-hua-ce-gao-qi-pei-235952",[24,25,74,18333,7,193,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b884d5ab8767b41f2f5b27edebebd5.jpg",[],{"id":75237,"slug":75238,"title":45774,"dynasty":174,"author":9335,"museum":450,"description":19356,"tags":75239,"thumbUrl":75240,"material":314,"size":1061,"collection":166,"collections":75241,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235951,"zhi-hua-za-hua-ce-gao-qi-pei-235951",[24,25,74,18333,7,180,282,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086ffdf9eb0aa97c8efca190e4003903.jpg",[],{"id":75243,"slug":75244,"title":45774,"dynasty":174,"author":9335,"museum":450,"description":19356,"tags":75245,"thumbUrl":75246,"material":314,"size":1061,"collection":166,"collections":75247,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235948,"zhi-hua-za-hua-ce-gao-qi-pei-235948",[281,24,25,74,18333,7,3914,453,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5474669ebf68f35b358cd9817579c568.jpg",[],{"id":75249,"slug":75250,"title":157,"dynasty":174,"author":32025,"museum":450,"description":75251,"tags":75252,"thumbUrl":75253,"material":166,"size":166,"collection":166,"collections":75254,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},235945,"shan-shui-ce-qi-zhi-jia-235945","此作用极简淡墨铺陈丘林野景，坡岸之上古松斜欹，杂木荒寒，枝桠错落间尽现初冬萧索意趣。远山以干笔淡皴轻勾，墨色晕染出空濛清旷的幽远意境，留白处尽显山水疏朗空寂之态。\n\n左幅行书题跋笔致秀逸舒展，与画面的清简格调浑然相融，书画相映，衬出文人雅逸的林下之风。全作用笔简净含蓄，以清冷淡远的笔墨勾勒出冲淡冷寂的山水意韵，尽显文人画中萧散淡远的审美意趣。",[24,25,74,7,36,38,80,28,33,180,29,32,34,4468,147,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfe5cbbdc3931077709f5f8b72cba5a.jpg",[],{"id":75256,"slug":75257,"title":157,"dynasty":174,"author":32025,"museum":450,"description":75258,"tags":75259,"thumbUrl":75260,"material":166,"size":166,"collection":166,"collections":75261,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},235944,"shan-shui-ce-qi-zhi-jia-235944","此作用淡墨晕染山峦，以皴擦勾勒出山石苍莽肌理，浓淡墨色点簇林木，错落间尽显葱郁生机。山坳板桥连缀村居，野意悠然，将江南幽居林景融于尺幅。左侧行书题跋笔墨舒展，与画作相映成趣，书画合璧更添雅韵。\n\n全幅画风简淡清逸，不作刻意雕琢，以写意之笔铺陈林泉高致，尽显寄情山水、避世幽栖的文人意趣，淡墨轻岚之间藏着沉静悠远的林下襟怀，观之如临幽寂山林，令人尘心渐息。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，舍去繁缛细节，用清浅笔墨描摹出荒寒萧疏的冬日山景，尽显文人山水疏淡清远的格调，藏着画者寄情林泉的幽怀雅致。",[24,25,74,7,36,80,28,717,126,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466e922793b9d77af0d51a2061d7109.jpg",[],{"id":75392,"slug":75393,"title":5598,"dynasty":174,"author":49207,"museum":450,"description":75394,"tags":75395,"thumbUrl":75396,"material":166,"size":166,"collection":166,"collections":75397,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235574,"hua-hui-ce-fan-ting-zhen-235574","此作以淡墨晕染铺就秋夜月色，朦胧清柔漫开画卷。桂树枝叶以没骨法绘就，叶片向背枯荣皆具意态，细碎繁花点染枝头，似将幽淡桂香凝于纸面。\n题诗与画境相映，把清秋月下桂子盛放的静谧清雅刻画入微。墨色干湿浓淡层次分明，不见艳色却暗生馥郁，温婉静雅的书卷气扑面而来。诗书画印相合，勾勒出清寂出尘的秋夜图景，寄情于物，尽显中式古典雅致的美学意趣，将秋夜暗香浮动的幽逸氛围烘托极致。",[24,25,74,7,27,75,76,78,940,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b14a5af1aa05ff1247ef93a40773bf.jpg",[],{"id":75399,"slug":75400,"title":5598,"dynasty":174,"author":49207,"museum":450,"description":75401,"tags":75402,"thumbUrl":75403,"material":166,"size":166,"collection":166,"collections":75404,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235572,"hua-hui-ce-fan-ting-zhen-235572","这幅小品以水墨写意绘秋石榴，枯润兼施的笔墨将果实神态尽数拿捏。饱满的榴果或掩或绽，淡晕果皮，留白凸显果肉莹润，焦墨点染榴籽，如珠似玑，绽开的裂口憨态可掬，尽显成熟饱满的生机。旁生的枝桠以简逸笔意勾勒，叶片错落随性，寥寥数笔便写出秋枝疏朗清灵之态。\n\n配题小诗与画相映，将榴籽比作珠玑，以开口谈笑暗喻才思喷薄，文趣暗藏。整幅不刻意求工，却神完气足，淡墨轻毫间把花果生机与文人雅趣揉合一处，简淡苍秀的笔墨里，尽显清逸雅致的文人画意韵，余味悠长。",[24,25,74,7,80,37,75,1474,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8334604a2a393930c71587996111a89e.jpg",[],{"id":75406,"slug":75407,"title":5598,"dynasty":174,"author":49207,"museum":450,"description":75408,"tags":75409,"thumbUrl":75410,"material":166,"size":166,"collection":166,"collections":75411,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235570,"hua-hui-ce-fan-ting-zhen-235570","此作以墨绘竹，老干挺拔苍劲，节处以留白摹拟积雪，自带清寂寒意。新篁舒展向上，与老竹错落成趣。竹叶以浓淡墨色次第点染，虚实交错，枝叶婆娑间尽显灵动生机，不见板滞之态。\n\n绘竹时中锋运笔写竿，圆劲爽利；侧锋挥叶，兼具法度与写意意趣。淡墨勾石，简淡空灵，衬出修竹的秀雅高洁。题字与画作相映，诗书画印融为一体，将凌霜傲雪的君子风骨藏于笔墨之中，清寂间不失傲然生机，尽显文人画雅致意韵，是颇具情致的小品佳作。",[24,7,74,126,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f4e2a39bbb75f906de711ca469ae9.jpg",[],{"id":75413,"slug":75414,"title":157,"dynasty":174,"author":14921,"museum":450,"description":44208,"tags":75415,"thumbUrl":75416,"material":314,"size":1061,"collection":166,"collections":75417,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235497,"shan-shui-ce-liu-yu-235497",[24,25,74,7,547,38,37,28,162,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe44ff21b2853efe85d5635c5e5d54adb.jpg",[],{"id":75419,"slug":75420,"title":157,"dynasty":174,"author":14921,"museum":450,"description":44208,"tags":75421,"thumbUrl":75422,"material":314,"size":1061,"collection":166,"collections":75423,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235496,"shan-shui-ce-liu-yu-235496",[24,25,74,7,36,38,80,28,335,162,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9b403db8578c767e48c4385e9aa9cd9.jpg",[],{"id":75425,"slug":75426,"title":157,"dynasty":174,"author":14921,"museum":450,"description":44208,"tags":75427,"thumbUrl":75428,"material":314,"size":1061,"collection":166,"collections":75429,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235495,"shan-shui-ce-liu-yu-235495",[24,25,74,7,36,38,37,28,31,34,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14194520488d9c42591df0a9dd3f8d78.jpg",[],{"id":75431,"slug":75432,"title":157,"dynasty":174,"author":14921,"museum":450,"description":44208,"tags":75433,"thumbUrl":75434,"material":314,"size":1061,"collection":166,"collections":75435,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235494,"shan-shui-ce-liu-yu-235494",[24,25,74,7,36,37,38,80,28,180,147,29,30,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8baf66db1615a9818a722bb646ef0e1.jpg",[],{"id":75437,"slug":75438,"title":66116,"dynasty":174,"author":15678,"museum":450,"description":70434,"tags":75439,"thumbUrl":75440,"material":314,"size":1061,"collection":166,"collections":75441,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235420,"cai-jia-hua-hui-tu-ce-cai-jia-235420",[24,25,74,7,27,481,180,76,3996,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe7a30342711083f7b1a53de3221fc4.jpg",[],{"id":75443,"slug":75444,"title":157,"dynasty":174,"author":30520,"museum":450,"description":70467,"tags":75445,"thumbUrl":75446,"material":314,"size":1061,"collection":166,"collections":75447,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235327,"shan-shui-ce-wen-dian-235327",[24,25,74,547,7,28,31,350,2283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a0e4e352c6d8bfd36100745cf16de6f.jpg",[],{"id":75449,"slug":75450,"title":53508,"dynasty":18,"author":581,"museum":450,"description":75451,"tags":75452,"thumbUrl":75453,"material":314,"size":1061,"collection":166,"collections":75454,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},235145,"chen-dan-zhong-shan-shui-ce-yi-ming-235145","近岸怪石层叠错落，古松斜生遒劲清奇，寥寥松针点染出苍古生机。远江帆影孤悬，江波澹澹以留白代水韵，晕染出空濛烟波。\n\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桥","此画以淡墨轻赭铺就秋山暮色，近坡古木虬曲，疏枝朗叶尽染萧索秋意，板桥跨溪连接山居野径，山坳间隐见村舍，暗藏烟火余温。远景奇峰崷崪，以简劲皴笔写山石棱线，晕染出空濛山岚，天际群雁齐飞，汀洲渔舟点点。\n\n画面虚实相生，将幽寂山野与隐逸闲趣相融，淡墨里漾着清远禅意，静中含动，把秋日林泉的疏旷淡远娓娓铺陈，藏着寄迹林泉的悠然意绪。",[23,24,7,494,36,29,147,282,34,30,164,1974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cacd3845460cff03a842a59e29690a.jpg",[],{"id":76184,"slug":76185,"title":6382,"dynasty":5382,"author":581,"museum":450,"description":76186,"tags":76187,"thumbUrl":76188,"material":314,"size":1061,"collection":166,"collections":76189,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},231690,"shan-shui-tu-juan-yi-ming-231690","此卷以平远之境铺陈，江水宛转串联淡墨晕染的浅丘远山，晕开江乡空濛的烟岚之气。江岸虬松卓立、茅舍错落，江心归帆缓行，将江南野渡日常的清寂萧散尽数铺展。\n笔墨简逸苍润，淡墨皴擦勾勒出柔缓的山峦肌理，枯笔写就的松枝苍劲老辣，留白衬出悠远余韵。左侧题跋与画面相映成趣，诗画合璧，尽显文人画简淡天真的林下之风，把江天无尽的闲淡诗意融于长卷之中。",[23,24,25,26,7,28,31,33,164,211,32,36,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf68c467bc6fdbbd23d17dbddac51dc.jpg",[],{"id":76191,"slug":76192,"title":76193,"dynasty":5382,"author":581,"museum":450,"description":76194,"tags":76195,"thumbUrl":76196,"material":166,"size":166,"collection":166,"collections":76197,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},231676,"jun-niu-tu-juan-duan-jian-yi-ming-231676","骏牛图卷断简","此作笔墨凝练老辣，以浓墨晕染牛身，将黑牛油润厚重的皮毛质感尽显，墨色晕渍自然，兼具体量感与蓬松绒感。画师精准捕捉牛缓步行进的姿态，肩胛、腰腿的肌肉轮廓暗含张力，双目圆睁有神，系着缰绳却不见局促，反倒带着温驯又沉稳的山野意趣。\n\n泛黄绢本遍布细碎裂纹，带着岁月沉淀的斑驳质感，更衬得墨色愈发沉郁古雅。整幅画面无多余衬景，全然聚焦于牛之形神，笔简意足，尽显畜兽画的写实功力与空灵意韵。",[23,24,7,453,1839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8caa0f5870c4f2752ffffbbec472df6.jpg",[],{"id":76199,"slug":76200,"title":76201,"dynasty":5382,"author":581,"museum":450,"description":76202,"tags":76203,"thumbUrl":76204,"material":314,"size":1061,"collection":166,"collections":76205,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},231636,"lian-cang-shi-dai-dong-bei-yuan-ge-ren-ge-he-hua-juan-yi-ming-231636","镰仓时代 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海，奇诡奇幻。末段稚童嬉闹鲜活灵动，尽显世俗意趣。\n\n笔墨写意简劲，设色淡雅清隽，将仙逸、幽隐、百态日常融于一卷。笔致松脱随性，留白营造出悠远空寂的东方意境，兼具文人画的萧散情致与叙事意趣，是笔墨与意韵俱佳的佳构。",[23,24,25,26,547,7,27,254,193,2388,125,162,454,40094,80,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155773197d4e4fc6f85f53673b323d53.jpg",[],{"id":76268,"slug":76269,"title":76270,"dynasty":5382,"author":581,"museum":450,"description":76271,"tags":76272,"thumbUrl":76273,"material":314,"size":1061,"collection":166,"collections":76274,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},230518,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-2-yi-ming-230518","仿古人物山水粉本（狩野家图卷）-2","此作以淡彩白描写就，上方二力士嬉闹互动，铁线勾勒出虬结筋肉，将壮汉憨顽神态刻画入微，把蛮勇与谐趣融为一体。下方松岩笔致清简古淡，与人物形成动静对照，雅野相映。作为粉本随性率真，既有东国传统人物画的朴拙意韵，又暗合中式底稿的传神简练，市井意趣跃然纸面，让旧稿鲜活起来，满是松弛诙谐的烟火质感。",[23,24,25,95,547,7,27,193,624,34,3217,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506734a1b3d9a11ee714d65cdf836743.jpg",[],{"id":76276,"slug":76277,"title":76278,"dynasty":174,"author":25030,"museum":450,"description":23298,"tags":76279,"thumbUrl":76280,"material":314,"size":1061,"collection":166,"collections":76281,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},230247,"shu-zhi-yan-jing-ce-dong-gao-230247","书智严经册",[24,25,74,242,4956,3557,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c42b002e0c7e1d55ede4302045b24a8.jpg",[],{"id":76283,"slug":76284,"title":37189,"dynasty":18,"author":1788,"museum":450,"description":18797,"tags":76285,"thumbUrl":76286,"material":314,"size":1061,"collection":166,"collections":76287,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},228869,"shu-zha-ce-wen-zheng-ming-228869",[23,37,38,74,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9dac40e956ea7188108e9008be3997.jpg",[],{"id":76289,"slug":76290,"title":76291,"dynasty":18,"author":68190,"museum":450,"description":76292,"tags":76293,"thumbUrl":76294,"material":166,"size":166,"collection":166,"collections":76295,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},228841,"lin-jia-zhi-tie-dai-ming-shuo-228841","临家侄帖","此作行书间杂草意，用笔苍劲纵老，提按顿挫尽显节奏张力，线条粗细跌宕，篆籀气蕴于笔墨之间。章法疏朗宽和，字距舒张、行距开阔，通篇气息贯通浑穆。墨色枯湿浓淡富于变化，随兴所至，将临帖古意与自我性情相融，既有帖学的灵动雅致，又融入北碑的雄强厚重，沉郁朴拙中带着随性快意。笔墨间可见书家心境起伏，把对古帖的理解化入笔下，古意盎然又不失自家风骨，尽显晚明书法抒情写意的典型特质。",[23,37,38,254,95,80,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5454a6f422310ff158191687731417ce.jpg",[],{"id":76297,"slug":76298,"title":76299,"dynasty":52,"author":581,"museum":450,"description":76300,"tags":76301,"thumbUrl":76302,"material":166,"size":166,"collection":166,"collections":76303,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":140},228235,"tie-guai-li-yi-ming-228235","铁拐李","此作用水墨写意落笔，将人物刻画入神。袒露的虬劲筋骨带着山野风霜，褴褛衣衫随体赋形，跛足拄杖，抬手似在凌虚唤气，神态桀骜疏狂，落魄不羁的仙风道骨跃然绢上。背景以淡墨晕出山岚烟霭，斜出的松枝点染清寂氛围，左上角题字添就古雅意趣。画作笔墨简括老辣，以神写形，不求工细却精准捕捉住世俗仙人的独特神韵，淡墨晕染的朦胧氛围感让人物融于山水之间，尽显超脱世外的悠远风骨。",[24,25,95,3557,547,7,193,180,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16332208f6f76dad3a1b35acea3b160e.jpg",[],{"id":76305,"slug":76306,"title":76307,"dynasty":205,"author":581,"museum":450,"description":76308,"tags":76309,"thumbUrl":76310,"material":166,"size":166,"collection":166,"collections":76311,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},227872,"lin-jian-heng-ting-tu-yi-ming-227872","林间横亭图","淡墨轻勾亭台回廊，顺着坡地林木错落排布，线条清劲秀雅，不见繁复皴染，只以极简笔触铺陈画面。朦胧烟霭晕开在绢面之上，将实景晕化在虚茫之中，消弭了边界，让林亭隐在氤氲淡雾之间。\n\n整幅画克制又含蓄，不见人声喧嚷，只留空寂萧疏的静谧，将文人寄情林泉的幽怀藏在尺幅之中，以少胜多，以简见深，把中式园林的雅致清逸晕染恰到好处，淡远空灵，余韵悠悠，尽显宋画小品独有的雅致意趣。",[23,24,25,281,518,7,32,33,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522847744a2d59b60bc0fb0d7321978c.jpg",[],{"id":76313,"slug":76314,"title":76315,"dynasty":5382,"author":581,"museum":450,"description":59372,"tags":76316,"thumbUrl":76317,"material":314,"size":1061,"collection":166,"collections":76318,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},225493,"fu-shi-hui-251-yi-ming-225493","浮世绘251",[24,518,27,193,194,29,268,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b26ce9eee196b32ba8ac9964b526be8.jpg",[],{"id":76320,"slug":76321,"title":76322,"dynasty":18,"author":56512,"museum":450,"description":76323,"tags":76324,"thumbUrl":76325,"material":166,"size":166,"collection":166,"collections":76326,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":47},224546,"shu-hua-ce-ye-10-xiao-yun-cong-wang-shi-zhen-224546","《书画册页》-10","此作行书手札笔法纵逸朴拙，起收间尽显萧散意趣。行笔如枯藤盘曲，苍劲中暗带灵动，牵丝映带随性自然，字势欹正相生，错落排布，通篇气息连贯悠长。\n\n章法疏密相宜，墨色枯湿浓淡富于层次，焦墨似危崖断壁，润墨如春池漾波，将书写时的情绪起伏藏于笔墨节律之中。文思寄寓林泉之志，笔墨襟怀相融，尺幅之间蕴静穆悠远的林下之风，尽显文人以笔写心的雅致襟怀。",[23,9254,25,37,38,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7200240a9cc8af2f56decea76181652d.jpg",[],{"id":76328,"slug":76329,"title":76330,"dynasty":174,"author":491,"museum":450,"description":76331,"tags":76332,"thumbUrl":76333,"material":166,"size":166,"collection":166,"collections":76334,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":921},224416,"shu-hua-shi-liu-kai-2-wang-shi-min-224416","书画十六开-2","此作为行书小品，笔墨秀逸苍劲，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放，花瓣以浓淡色彩晕染，姿态烂漫。藤蔓枝干盘曲交错，笔力遒劲，尽显“书画同源”之趣。墨色浓淡相宜，色彩鲜明却不艳俗，构图疏密有致，既含野逸生机，又寓延年吉祥之意，是写意花卉中融笔墨骨力与自然意趣的经典之作。",[24,95,7,27,75,134,36,3074,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8764a1c1a05f70bc12f8ed92af8942f2.jpg",[],"c6bcac",{"id":77787,"slug":77788,"title":63863,"dynasty":174,"author":9682,"museum":20,"description":77789,"tags":77790,"thumbUrl":77791,"material":166,"size":166,"collection":166,"collections":77792,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":77793},202313,"qing-xi-chui-diao-tu-zhou-cha-shi-biao-202313","画面远山淡墨皴染，层峦清旷，线条疏朗间藏丘壑之韵。近岸柳丝轻垂，松枝挺劲，笔墨简淡却生机暗藏。清溪如练，小舟泊于树下，渔翁持竿静钓，身影与山水相融。整幅作意气韵淡远，笔墨洗练，尽显文人画萧散闲适之趣，似可闻溪声松风，引人入清寂悠然之境。",[28,729,7,36,95,127,1853,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F469e1646ad94be01e17e80f810fc1245.jpg",[],"ab9b86",{"id":77795,"slug":77796,"title":27629,"dynasty":174,"author":45379,"museum":20,"description":77797,"tags":77798,"thumbUrl":77799,"material":166,"size":166,"collection":166,"collections":77800,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":77355},202312,"fang-huang-gong-wang-shan-shui-tu-zhou-zou-zhi-lin-202312","这幅画笔墨清润，得黄公望山水遗韵，皴擦点染间尽显丘壑之趣。画面布局错落有致，近处古松虬劲，枝干盘曲，与嶙峋怪石相映；茅屋隐于林麓，溪水流淌，小桥横跨其上，意境清幽静谧。远处山峦层叠，淡墨晕染，留白处见空灵，尽显文人画的雅致。整幅作品以水墨为主，线条简练却富韵味，将自然之趣与人文情怀融于一体，传递出悠远的山水意境。",[28,7,36,127,324,29,215,95,2637,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55303eae1829c86468574393066557d8.jpg",[],{"id":77802,"slug":77803,"title":77804,"dynasty":174,"author":67503,"museum":20,"description":77805,"tags":77806,"thumbUrl":77807,"material":166,"size":166,"collection":166,"collections":77808,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":77809},202308,"shui-ge-dui-hua-tu-zhou-wang-jian-202308","水阁对话图轴","画面山峦层叠起伏，以披麻皴皴染山石肌理，笔墨苍劲古拙，墨色浓淡相宜，尽显山林苍润之态。山麓水阁隐于林木间，似有雅士对谈，意境清幽悠然。溪流蜿蜒穿谷而过，与山石、林木相映成趣，衬出深远静谧的氛围。整作承元四家遗风，融宋人丘壑与元人笔墨，笔墨精谨，气韵沉雄，是清初正统山水画的典型之作。",[28,36,7,95,1612,30,180,147,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c2c51532f52cea3b0652510b342342.jpg",[],"8e7a62",{"id":77811,"slug":77812,"title":28783,"dynasty":18,"author":6468,"museum":20,"description":77813,"tags":77814,"thumbUrl":77815,"material":166,"size":166,"collection":166,"collections":77816,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":77817},202306,"lu-yan-tu-zhou-lin-liang-202306","芦荻摇曳，雁群或昂首欲鸣，或侧首相顾，憨态与灵动兼具。芦苇以劲健墨线勾勒，浓淡交错尽显秋意萧瑟；雁羽泼墨与细笔相融，质感蓬松层次分明，鲜活神韵跃然纸上。构图疏密有致，虚实相生，水墨淋漓中见工致，放逸笔意藏细腻，尽显自然野趣，传递出明代花鸟的豪放生机。",[7,95,75,21055,282,481,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88361badc36e328f8422fe8042a05676.jpg",[],"7b654f",{"id":77819,"slug":77820,"title":10439,"dynasty":18,"author":41103,"museum":20,"description":77821,"tags":77822,"thumbUrl":77823,"material":166,"size":166,"collection":166,"collections":77824,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":77825},202304,"shan-shui-tu-zhou-shang-guan-zhou-202304","淡墨晕染的山峦层叠起伏，云雾缭绕间显悠远之态，峰岩以皴法勾勒，肌理分明。近景枯树枝桠疏朗，笔法苍劲；小径旁一人伫立，似在凝思山水。左侧亭台隐于林麓，溪流绕石而过，动静相衬。整幅以水墨为基调，线条灵动，皴擦结合，将文人寄情林泉的闲逸心境融入景致，尽显雅致空寂的诗意氛围。",[28,7,36,787,717,193,1153,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8012f0f266dba50327363cd454c6c2f0.jpg",[],"a5947d",{"id":77827,"slug":77828,"title":77829,"dynasty":174,"author":5090,"museum":20,"description":77830,"tags":77831,"thumbUrl":77832,"material":166,"size":166,"collection":166,"collections":77833,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":77834},202303,"tang-yin-shi-yi-tu-zhou-wang-hui-202303","唐寅诗意图轴","此图笔墨清润秀逸，兼具苍劲之致。近景枯树虬枝盘曲，竹影婆娑摇曳，掩映着一方古朴亭榭；中景平畴开阔，飞鸟点点添生机；远景层峦叠嶂，瀑布飞泻而下，云雾缭绕间显深远之境。构图疏密相宜，皴法灵动多变，既得诗意幽远之韵，又彰摹古出新之妙，将文人山水的雅致与自然野趣融于一体，尽显江南山水的清旷之美。",[28,36,126,32,282,717,7,254,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ddf9109212883e2b3f2bda6bb8fd33.jpg",[],"b5a695",{"id":77836,"slug":77837,"title":32699,"dynasty":174,"author":2913,"museum":20,"description":77838,"tags":77839,"thumbUrl":77841,"material":166,"size":166,"collection":166,"collections":77842,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":77843},202281,"mu-dan-tu-zhou-gao-feng-han-202281","此图以水墨写意绘牡丹，枝干以焦墨勾勒，线条苍劲如铁，暗含篆隶笔意；花瓣用淡墨层层晕染，留白处显蓬松质感；叶片浓墨泼洒，大小错落间见生机。构图虚实相生，左侧枯干与右侧繁花形成对比，题款以狂草题于右侧，笔势飞动，与画面气韵呼应。诗书画印融于一体，尽显文人画雅韵。墨色浓淡干湿变化丰富，既得牡丹雍容之态，又具野逸之趣，左手运笔的朴拙与灵动并存，传递出画家独特的艺术个性与生命情怀。",[7,123,129,79,16083,14065,1153,77840,64085,48328,23],"左手书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb459d1cad2ed00c296d4f385ceca3ee.jpg",[],"c0a77e",{"id":77845,"slug":77846,"title":77847,"dynasty":174,"author":491,"museum":20,"description":77848,"tags":77849,"thumbUrl":77852,"material":166,"size":166,"collection":166,"collections":77853,"showCount":5,"zanCount":46,"manualWeight":46,"mainColor":77854},202278,"qiu-luan-shuang-pu-tu-zhou-wang-shi-min-202278","秋峦双瀑图轴","层峦起伏间，双瀑如练飞泻，云雾氤氲缠绕峰谷，秋木扶疏，或挺拔或虬曲，点缀岩崖。山间茅舍隐现，添几分幽寂之趣。笔墨取法宋元，山石以披麻皴皴擦，线条苍劲，墨色层层晕染，浓淡交错，尽显山水深远之致。构图兼具高远、深远，空间层次分明，既承黄公望之秀逸，又融自身笔墨之浑厚。画作于静谧中藏生机，秋意清旷，传递出文人对自然的眷恋与精神栖居的向往，是清初“四王”山水传承宋元传统的典型之作。",[24,28,36,7,95,77850,77851,33,211,1442,23],"秋峦","双瀑"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65","淡棕墨色晕开浓稠的诡谲氛围，站立的老妇长着两张扭曲的面孔，指尖扣着吉他却神态狞恶，仿佛不是拨弄弦音，而是要将恐惧送入下方修女的魂魄。\n\n坐卧的修女佝偻瑟缩，抬脸的惊惶被牢牢定格，明暗晕染将魂飞魄散的战栗具象化。潦草粗粝的笔触带着即兴速写的癫狂感，把深夜的悸梦揉入纸面，将幽暗中滋生的荒诞恐惧直白泼洒，让观者仿佛亲历这场骇人的鬼魅惊扰，窥见精神世界里潜藏的幽暗悸惧。",[3557,193,78747,78748,78749,7],"惊恐","修女","幽灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451515c6fad6631ed18a790fedf87a39.jpg",[],{"id":78753,"slug":78754,"title":78755,"dynasty":5382,"author":581,"museum":450,"description":78756,"tags":78757,"thumbUrl":78760,"material":314,"size":1061,"collection":166,"collections":78761,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289198,"goya-a-woman-kneeling-before-an-old-man-images-yi-ming-289198","Goya--A Woman Kneeling before an Old Man, Images","这幅速写以浓烈明暗拉开视觉层次，深暗的背景将视线牢牢锁在前景二人身上。白发老者抬手前伸，姿态带着训诫的威严，跪坐的女子抬眸望向前方，神色满是惶惑与恳求，肢体紧绷流露着情绪的拉扯。背景处模糊的侧影悄然伫立，为这场私密的对话添上一丝窥探般的压抑氛围。\n画家以奔放写意的笔触，借浓淡不一的墨色晕染出衣物质感与光影起伏，舍弃繁缛细节，却将人物的情绪张力刻画得入木三分，让画面自带戏剧叙事感，仿佛下一秒便要诉说出一段沉郁的故事。",[73036,7,17699,78758,41982,78759],"室内场景","跪妇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc340abb80a2941703eeb313e635441c9.jpg",[],{"id":78763,"slug":78764,"title":78765,"dynasty":5382,"author":581,"museum":450,"description":78766,"tags":78767,"thumbUrl":78772,"material":314,"size":1061,"collection":166,"collections":78773,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289194,"goya-acrobats-images-of-spain-album-67-yi-ming-289194","Goya--Acrobats; Images of Spain Album, 67","粗粝的焦墨线条肆意勾勒出街头杂耍的鲜活瞬间，明暗晕染间满是蓬勃的市井烟火气。两名艺人以双手撑地，腰背拱起如蓄势的弯弓，稳稳托举倒立的同伴，舒展的肢体张扬着力量的美感。一旁的吹奏者歪戴尖帽，眉眼挤作一团，正将乐器凑近唇边，仿佛喧闹的乐声已冲破纸面。\n\n画家未作精细描摹，只以随性的笔触感刻画出衣料褶皱与肌肉的张力，淡墨晕出的地面光影，让这场即兴表演稳稳扎根在街头尘土之上。潦草却精准的笔触，将民间艺人的鲜活生命力定格，热烈又粗朴，尽显街头演艺的随性与蓬勃生气。",[193,73060,7,78768,78769,78770,78771],"杂技","杂耍","小丑","动态人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0faa0292721bc186ee27f937933b29.jpg",[],{"id":78775,"slug":78776,"title":78777,"dynasty":5382,"author":581,"museum":450,"description":78778,"tags":78779,"thumbUrl":78782,"material":314,"size":1061,"collection":166,"collections":78783,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289193,"goya-allegory-with-a-radiant-figure-beset-by-dark-spirits-yi-ming-289193","Goya--Allegory with a radiant figure beset by dark spirits","白衣少女伫立在圣光之下，双手紧扣于胸前，神情糅合着圣洁与惶惑，仿佛在以祈祷对抗周身的暗潮。环绕她的恶灵身形粗粝扭曲，如同从噩梦中滋生的暗影，将她牢牢裹挟，左侧的黑袍身影更是如沉默的威压，让窒息感扑面而来。\n\n画作以浓淡墨色的强烈冲撞构建张力，淡墨晕散开圣光的柔亮，焦墨刻画出恶灵的狰狞轮廓，把神圣信仰与邪祟侵蚀的精神对抗具象在纸面。粗粝的笔触带着原始的情绪冲击力，将少女的坚定与周遭的恶意拉扯出尖锐的戏剧感，让观者直观地触摸到这份信仰与梦魇交锋的震颤。",[193,3557,78780,78781,7,73036,73049],"黑暗幽灵","光芒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db2a03d436551c5ac496dc7174ecbc8.jpg",[],{"id":78785,"slug":78786,"title":78787,"dynasty":5382,"author":581,"museum":450,"description":78788,"tags":78789,"thumbUrl":78793,"material":314,"size":1061,"collection":166,"collections":78794,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289191,"goya-beggar-with-a-staff-in-his-left-hand-yi-ming-289191","Goya--Beggar with a Staff in His Left Hand","这幅速写用浓淡交织的墨色，将底层流民的困顿凝于纸面。佝偻的脊背如被岁月压垮的枯木，老乞丐左手拄杖撑住摇摇欲坠的身躯，右手托着破帽乞讨，蓬乱须发刻满饱经风霜的褶皱。\n\n重墨堆叠出褴褛衣袍的厚重破败，淡墨晕出松弛皮肉的憔悴，寥寥数笔便勾勒出被苦难磋磨的身形。右下角极简的阴影锚定了窘迫的处境，大片留白衬出他的孤苦无依。粗粝写意的笔锋没有多余修饰，却将乱世流民的悲情与残存的尊严尽数铺展，把时代褶皱里的生存缩影，一笔落尽，藏着滚烫的人文关怀。",[17699,7,73060,78790,78791,78792],"乞丐","拄杖","落魄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa154e6ce8a44d221bd3e29c257fa50ce.jpg",[],{"id":78796,"slug":78797,"title":78798,"dynasty":5382,"author":581,"museum":450,"description":78799,"tags":78800,"thumbUrl":78804,"material":314,"size":1061,"collection":166,"collections":78805,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289187,"goya-crowd-in-a-circle-images-yi-ming-289187","Goya--Crowd in a Circle; Images","以粗粝奔放的笔触定格街头乱斗瞬间，前景扭打的男子肢体紧绷交错，凌厉线条将缠斗的张力拉到极致，仿佛能听见拳脚碰撞的闷响。后景围观的人群挤作一团，晕染出的明暗将面孔隐入混沌，或是亢奋叫嚣，或是漠然旁观，把市井巷陌里的狂热躁动直白铺展。\n\n整幅画摒弃精细描摹，以大块晕染勾勒鼎沸人群的荒诞群像，粗率的笔意放大了现场的喧嚣与紧绷，把底层街头的粗粝暴戾揉进画面里，让观者如同跻身躁动的人群，切身感受这场闹剧的原始冲击力与荒诞烟火气。",[78738,17699,7,73060,78801,78802,78803],"人物群像","市井场景","冲突场面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1145ee2bfa91b6f4b144252d9a4e5e.jpg",[],{"id":78807,"slug":78808,"title":78809,"dynasty":5382,"author":581,"museum":450,"description":78810,"tags":78811,"thumbUrl":78814,"material":314,"size":1061,"collection":166,"collections":78815,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289186,"goya-crowd-in-a-park-from-images-of-spain-album-yi-ming-289186","Goya--Crowd in a Park, from Images of Spain Album","淡墨晕开远处林影，朦胧晕染出松弛的郊野底色。近处以迅疾简练的线条层叠出攒动人群，没有分毫精雕细琢，却精准抓住了俯仰谈笑的鲜活神态。\n\n潦草随性的笔触间，游园的喧闹呼之欲出，或是驻足眺望，或是围拢交谈，鲜活的市井烟火凝在笔尖。以写意速写定格下公园午后的松弛快活，带着临场般的鲜活热络，把日常游园的鲜活瞬间封存在方寸纸面之中。",[73060,7,193,78812,78813,33,73051],"公园","人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f321c56d2f32e739e4f2f0810e4e8a.jpg",[],{"id":78817,"slug":78818,"title":78819,"dynasty":5382,"author":581,"museum":450,"description":78820,"tags":78821,"thumbUrl":78824,"material":314,"size":1061,"collection":166,"collections":78825,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289184,"goya-generosity-versus-greed-yi-ming-289184","Goya--Generosity versus Greed","这幅速写以黑白水彩晕染铺就，满是市井叙事感。柜台后的老者眉眼拧起，目光死死黏在桌面，将悭吝刻在脸上；伏在货堆上的男子满身疲态，气力已然耗尽。右侧女子身披薄纱挺身而立，神情悲悯又坦荡，与老者的刻薄形成刺眼的对冲。\n粗粝朴拙的笔触勾勒出人物神态，明暗反差烘托出情绪张力，将慷慨与贪婪的人性拉扯具象在这方寸市井一隅，直白展露俗世里的人心对峙，让观者一眼便窥见两种心性的鲜明分野，把细碎日常里的人性褶皱揉进画面之中。",[17699,7,78738,78758,78822,78823],"人性对比","市井人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa10213fe7ea43372dffa64218050c8f.jpg",[],{"id":78827,"slug":78828,"title":78829,"dynasty":5382,"author":581,"museum":450,"description":78830,"tags":78831,"thumbUrl":78832,"material":314,"size":1061,"collection":166,"collections":78833,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":140},289179,"goya-hunting-lice-images-yi-ming-289179","Goya--Hunting Lice; Images","昏棕的晕染铺就逼仄昏暗的农舍小屋，粗粝松弛的笔触将贫贱日常缓缓铺开。佝偻的老者沉坐椅上，少女俯身专注为他捉虱，旁侧二人埋首桌前，或是沉湎琐事或是短暂休憩。\n\n光影裹挟着粗朴烟火气，潦草随性的线条藏着底层生计的疲惫，没有刻意煽情，只以速写般的随性刻画出小人物的片刻日常，粗粝笔触让窘迫的生活质感扑面而来，将困顿里的麻木与细碎温情揉合在晕开的墨色中，尽显平凡褶皱下的沉郁况味，静诉着底层人生的黯淡庸常。",[17699,7,78758,78801,49483,6628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1508bb2fbfdf636bee6dd2db310d8eaa.jpg",[],{"id":78835,"slug":78836,"title":78837,"dynasty":5382,"author":581,"museum":450,"description":78838,"tags":78839,"thumbUrl":78841,"material":314,"size":1061,"collection":166,"collections":78842,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289178,"goya-interior-of-a-church-images-yi-ming-289178","Goya--Interior of a Church; Images","以淡墨晕染出幽谧的穹顶，阴影裹挟着朦胧光晕，让整座教堂浸在沉郁安宁的氛围里。\n\n素白修士的色块刺破深褐暗沉，成为画面锚点，他静立的身影和周遭躬身祈愿的信众形成动静对照。信众轮廓被晕染得柔和模糊，仿佛已经融在弥散的香火气息中，将虔诚尽数藏在低垂的姿态里。左侧伫立的神职人员神色沉静，衬出仪式的肃穆。\n\n壁龛中的圣像在晕染下朦胧恍惚，带着神性的疏离。松弛的晕染笔触裹住凝滞的时间，将宗教场合的沉静虔诚藏在墨色层次里，留白与晕染交织，让肃穆的氛围在朦胧间静静流淌。",[3557,193,78840,7,73036],"教堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7f5d446765de0f5e4b27431da69da59.jpg",[],{"id":78844,"slug":78845,"title":78846,"dynasty":5382,"author":581,"museum":450,"description":78847,"tags":78848,"thumbUrl":78850,"material":314,"size":1061,"collection":166,"collections":78851,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289175,"goya-masquerading-asses-yi-ming-289175","Goya--Masquerading 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Spain","以浓淡交织的墨色晕开沉抑的室内氛围，左侧窗格漏入的微光刺破昏沉，与角落浓黑形成强烈明暗对冲。三位老僧神态各藏心绪，立者垂首缄默，隐在兜帽阴影里，络腮胡老僧目光沉郁似有千言，俯身老僧佝腰垂头，仿佛正沉溺在低语或是沉哀之中。\n粗粝朴拙的笔触舍去细节描摹，以大块墨块勾勒出僧侣的萧索身形，将幽闭空间里凝滞的沉默与隐秘情绪定格。整个画面带着厚重的肃穆感，仿佛能让观者触摸到这封闭空间里沉抑的情绪流动，尽显沉郁肃穆的氛围感。",[3557,193,47687,7,73060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c67d2acb5dbc33a24a33081429a5be.jpg",[],{"id":78861,"slug":78862,"title":78863,"dynasty":5382,"author":581,"museum":450,"description":78864,"tags":78865,"thumbUrl":78871,"material":314,"size":1061,"collection":166,"collections":78872,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289173,"goya-nightmare-witches-and-old-women-yi-ming-289173","Goya--Nightmare; Witches and Old Women","粗粝奔放的笔触以浓淡墨色铺陈出怪诞的堆叠人形，底层佝偻的老者脊背微弯，承托着中层癫狂扭曲的身影，最上方的人形瘫软濒死般耷拉着。\n\n画面以极克制的水墨晕染，将梦魇具象为沉重的负重，扭曲的躯体、麻木与癫狂交织的神情，把沉郁的恐惧层层堆叠，勾勒出超现实的诡谲压抑。潦草的笔意带着原始的冲击力，把深夜里最隐秘不安的怪诞幻觉揉于纸面，让阴郁荒诞的精神困境直抵观者眼前。",[73060,7,193,78866,78867,78868,78869,78870,78738],"女巫","老妇","怪诞","诡异","噩梦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed386209bd99200b0d2b95f18961cea.jpg",[],{"id":78874,"slug":78875,"title":78876,"dynasty":5382,"author":581,"museum":450,"description":78877,"tags":78878,"thumbUrl":78881,"material":314,"size":1061,"collection":166,"collections":78882,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289171,"goya-nothing-is-known-of-this-yi-ming-289171","Goya--Nothing Is Known of This","淡晕的墨色晕开模糊的拱门街巷，明暗拉扯出逼仄压抑的市井角落。粗粝的笔触不加修饰，将乱世流民的绝望直白剖开。\n\n前景妇人裹着褴褛头巾，癫狂嘶吼，似要将满腹愤懑全数呕出，手中紧攥的纸片，是她仅能抓住的微弱诉求。身旁男子佝偻滞重，仿佛被千斤生活拖拽，连动作都浸着麻木。\n\n晕散的墨色揉开混沌的世相，将失语的苦难摊开纸面。冷硬的荒诞感扑面而来，直白诉说着底层在泥沼里的挣扎，把麻木与癫狂织成一张密网，将观者拖入这沉郁悲戚的乱世图景中。",[7,193,78879,78880,6628],"悲怆","拱门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057419497e7da5f9bd0255a13a9e019a.jpg",[],{"id":78884,"slug":78885,"title":78886,"dynasty":5382,"author":581,"museum":450,"description":78887,"tags":78888,"thumbUrl":78891,"material":314,"size":1061,"collection":166,"collections":78892,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289164,"goya-the-stabbing-images-of-spain-album-53-yi-ming-289164","Goya--The Stabbing, Images of Spain Album, 53","以棕褐淡墨晕染林间荒场，粗粝率性的笔触定格下施暴瞬间。施暴者佝偻着身躯，肌肉紧绷如蓄力的兽，恶狠狠将受害者按于地上，神情狰狞狠厉。受害者四肢瘫软，面庞写满惊惧绝望，肢体因痛苦无助地扭曲。\n\n朦胧晕开的背景林木刻意弱化，将所有张力收拢于二人身上。没有精致描摹，仅用奔放的速写语言就将暴力的窒息感砸向观者，直白撕开人性暴戾的褶皱，把街头暴行的残酷刹那永远定格，粗粝的真实感裹挟着刺骨寒意，将暴力的野蛮赤裸地呈现眼前。",[193,73036,7,78889,78890,73051,12556,73049],"刺杀","暴力","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0372f16afa28bbacde343db0544103ca.jpg",[],{"id":78894,"slug":78895,"title":78896,"dynasty":5382,"author":581,"museum":450,"description":78897,"tags":78898,"thumbUrl":78902,"material":314,"size":1061,"collection":166,"collections":78903,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289158,"goya-waking-from-sleep-in-the-open-air-from-images-yi-ming-289158","Goya--Waking from Sleep in the Open Air, from Images","奔放淋漓的棕墨晕染出朦胧郊野，将梦境与现实揉碎在湿润晨雾里。男子抬手驱散未褪的困意，惺忪还凝在眉眼间，女子慵懒倚靠身侧，躯体舒展松弛，仍沉在余韵未散的睡梦之中。\n\n没有精致的轮廓勾勒，肆意晕开的墨迹将晨间初醒的暧昧拉扯到极致，仿佛能触到林间微凉的水汽，听见两人初醒的轻喘，把松弛慵怠的瞬间定格在氤氲墨迹中，恍惚朦胧的氛围顺着墨色漫开，将半梦半醒的松弛永远停驻。",[193,7,73051,78899,78900,78901,73060],"惊醒","野外","双人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58860d929d6f641b0b8c13a877ba0326.jpg",[],{"id":78905,"slug":78906,"title":78907,"dynasty":5382,"author":581,"museum":450,"description":78908,"tags":78909,"thumbUrl":78912,"material":314,"size":1061,"collection":166,"collections":78913,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289155,"goya-you-ll-see-later-yi-ming-289155","Goya--You'll See Later","粗放的水墨笔触间，拉扯的张力扑面而来。妇人满脸焦灼，死死攥住仰头狂饮的男子，他脖颈绷紧，将容器举到唇边，姿态放浪又带着麻木的颓然。浓淡墨色晕开衣物质感，寥寥数笔就将贫贱日常里的对抗拉扯定格。\n\n这是困顿烟火里的一幕沉溺与拉扯，男子躲在醉乡里逃避现实，妇人却要将他拖回柴米的窘迫中。粗野的笔意揉进了底层市井的荒诞与悲凉，像一声压抑的叹息，把俗世里的失意和无奈封存在画面中。",[17699,7,78910,78911,73060],"男女","争执","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecce38b59b1133a5bbff0ca0c0d3a601.jpg",[],{"id":78915,"slug":78916,"title":78917,"dynasty":5382,"author":581,"museum":450,"description":78918,"tags":78919,"thumbUrl":78921,"material":314,"size":1061,"collection":166,"collections":78922,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},289149,"guercino-bust-of-a-man-facing-right-yi-ming-289149","Guercino--Bust of a Man Facing Right","奔放灵动的笔墨勾勒出老者半身侧颜，浓淡干湿变化的墨色，将蓬松卷曲的发丝层次尽数铺展，粗简线条带过肩部轮廓，写意却精准贴合人体结构。画家以晕染暗部刻画出皮肤松弛纹路与紧绷的下颌线条，将老者凝神远眺时的沉郁沧桑尽数藏在寥寥几笔中。\n整幅速写随性却不失严谨，以极具表现力的笔触定格人物瞬间神态，情绪张力浸透在每一处笔墨里，尽显速写捕捉鲜活气韵的独特魅力。",[32885,73061,78920,73060,7,6628],"半身像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2dc43e34f29687a37ebaf52171b3e7d.jpg",[],{"id":78924,"slug":78925,"title":78926,"dynasty":5382,"author":581,"museum":450,"description":73069,"tags":78927,"thumbUrl":78929,"material":314,"size":1061,"collection":166,"collections":78930,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},288869,"giovanni-battista-tiepolo-scherzo-di-fantasia-two-standing-orientals-yi-ming-288869","Giovanni Battista Tiepolo--Scherzo di Fantasia Two Standing Orientals",[193,7,73036,73060,41982,78928],"少年","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca1e32bf0ef7266fbfcf8c55f49c7b62.jpg",[],{"id":78932,"slug":78933,"title":78934,"dynasty":5382,"author":581,"museum":450,"description":73069,"tags":78935,"thumbUrl":78938,"material":314,"size":1061,"collection":166,"collections":78939,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},288866,"giovanni-battista-tiepolo-seated-satyr-holding-a-garland-yi-ming-288866","Giovanni Battista Tiepolo--Seated Satyr Holding a Garland",[17699,19360,78936,547,7,73060,78937],"半人半兽","花环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e6846dae8cbac607a9289c5ae15a0e.jpg",[],{"id":78941,"slug":78942,"title":78943,"dynasty":5382,"author":581,"museum":450,"description":78944,"tags":78945,"thumbUrl":78947,"material":314,"size":1061,"collection":166,"collections":78948,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},288771,"romulo-cincinnato-three-standing-male-figures-yi-ming-288771","Romulo Cincinnato--Three Standing Male Figures","以奔放的铁线勾勒人物动态，顿挫的墨痕晕开衣褶厚重的垂坠感。三个人物错落排布，主侧分明，中间长者须发蓬松扭转，交握的双手沉敛肃穆，仿佛正凝神聆听；两侧同伴姿态恭谨，简括的面部轮廓将神态尽显，褶皱衣袍随肢体走势自然铺展，潦草却精准锚定了人物的身份张力。\n\n纸面晕开的淡墨晕染出朦胧氛围，寥寥数笔便让静止画面涌动着叙事感，仿佛定格一场古老议事的瞬间。粗粝笔意带着即兴灵气，将古典人物的庄重沉凝融在随性挥洒的笔触之中，质朴却尽显写意的力量，落笔无多却意蕴饱满。",[193,78946,547,7,73036,11014,78738],"男性人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65d4ea80dd315695234fe33f01b3712.jpg",[],{"id":78950,"slug":78951,"title":78952,"dynasty":5382,"author":581,"museum":450,"description":78953,"tags":78954,"thumbUrl":78956,"material":314,"size":1061,"collection":166,"collections":78957,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":140},288759,"salvator-rosa-three-figures-around-a-globe-yi-ming-288759","Salvator Rosa--Three Figures around a 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生于明光宗泰昌元年，卒于清圣祖康熙二十六年，年六十八岁。\n孙家世代为大商人。李自成入关，孙家即散家财组织团勇抵抗李自成，却为之所败。只身走江都，折节读书，肆力于诗古文。僦居董相祠，高不见之节。王士祯官扬州，先赠以诗，称为奇人；又特访之，与订莫逆交。康熙十八年，（公元一六七九年）举“博学鸿儒”科，因年老不能应试，特旨偕邱钟仁等七人授内阁中书。但不忘故乡，因颜所居曰溉堂，以寓西归之思。枝蔚工诗词，多激壮之音。",[37,394,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7240b399af809bd0871e5c04333887ec.jpg",[],{"id":79460,"slug":79461,"title":48688,"dynasty":174,"author":79462,"museum":450,"description":79463,"tags":79464,"thumbUrl":79465,"material":314,"size":1061,"collection":166,"collections":79466,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},241267,"wu-lv-zhou-zhang-jie-241267","张介","此作用笔纵逸酣畅，牵丝映带圆融自然，将草书的流动意趣尽数铺展。通篇行气贯通，字势欹正相生，时而大开大合舒张放达，时而紧凑内敛顾盼有情。笔墨干湿浓淡富于层次变化，枯笔苍劲老辣，润笔饱满浑厚，尽显萧散旷达的文人意韵。\n\n诗句的清远意境与书风完美相融，将山居秋夜的幽寂空阔依托笔锋挥洒而出，笔墨间浸透了创作者寄情林泉、物我两忘的襟怀。",[37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e507140c2e69efb39eb63798d3c5d58.jpg",[],{"id":79468,"slug":79469,"title":79470,"dynasty":174,"author":79471,"museum":450,"description":79472,"tags":79473,"thumbUrl":79474,"material":314,"size":1061,"collection":166,"collections":79475,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},241264,"lun-hua-juan-cheng-jing-e-241264","论画卷","程京萼","程京萼：. 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著有《惜抱轩诗文集》，编有《古文辞类纂》等。",[95,37,38,7,80,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320a2387cd59ea933c02a4bf076b9b9f.jpg",[],{"id":79505,"slug":79506,"title":42422,"dynasty":174,"author":79507,"museum":450,"description":79508,"tags":79509,"thumbUrl":79510,"material":314,"size":1061,"collection":166,"collections":79511,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},241243,"qi-jue-zhou-li-xi-gun-241243","李锡袞","此作用笔纵放雄健，以草书书就，提按转折间尽显骨力苍劲。墨色枯湿浓淡富于变化，润燥相生间令线条极具张力。整幅行气连贯畅达，字势欹正错落，开篇字形舒张大开大合，随诗文意境缓缓收束沉凝，将山居晓景的幽旷野趣融于笔墨之中。\n\n书者以笔为心，把诗作里空山无人、啼鸟破寂的禅意，通过奔放恣肆又不失法度的线条传递而出，笔势裹挟着诗情，让书法成为诗意的延展，尽显旷达襟怀与扎实书功。",[37,394,95,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2f6940f78e336c0b51d454ef46c876.jpg",[],{"id":79513,"slug":79514,"title":79515,"dynasty":174,"author":79516,"museum":450,"description":79517,"tags":79518,"thumbUrl":79519,"material":314,"size":1061,"collection":166,"collections":79520,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},241240,"zhuang-bao-shu-qi-jue-zhou-zhuang-bao-241240","庄宝书七绝轴","庄宝","此作为行书七绝，笔墨苍劲灵动，提按顿挫间节律婉转，起收锋棱可见筋骨力道。牵丝映带让行气贯通流转，分行布白疏朗匀停，虚实相生。\n正文大字雄逸舒展，落款小字古秀内敛，主次对比分明。枯润浓淡的墨色变化，搭配古旧绢本的岁月晕染，将诗文里幽寂的林泉禅意融于笔底，把山僧伴月、闲话忆溪的澹远雅趣尽数铺陈，尽显清代行书尚意且不失法度的文人意趣。",[37,95,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8b3ce4d939f954cf7b77dea9c5970.jpg",[],{"id":79522,"slug":79523,"title":79524,"dynasty":174,"author":79525,"museum":450,"description":79526,"tags":79527,"thumbUrl":79528,"material":314,"size":1061,"collection":166,"collections":79529,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},241237,"qiu-ri-yuan-ju-shi-zhou-zhao-qian-241237","秋日园居诗轴","赵谦","此作用笔圆润灵动，以行书间杂草意，牵丝映带自然流畅，笔画粗细映带相生，行气连贯悠长。书写自作园居诗作，笔墨间尽显秋日幽居的萧散闲逸，将诗书意韵融于笔墨章法之中。通篇布局舒朗匀停，字势顾盼有情，带着秀雅温润的帖学风神，把幽居青山、静对晚色的澹然心境化作笔底意趣，尽显文人修身寄兴的清雅襟怀。",[24,25,95,38,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de9595c93327a3a15e69744ceed14dc.jpg",[],{"id":79531,"slug":79532,"title":79533,"dynasty":174,"author":56284,"museum":450,"description":79534,"tags":79535,"thumbUrl":79536,"material":298,"size":166,"collection":245,"collections":79537,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},241210,"han-shi-xiao-zhou-wang-shi-hong-241210","韩诗小轴","汪士鋐（1658年—1723年），字文升，号退谷，又号秋泉居士，长洲（今江苏苏州）人。清代书法家、藏书家。汪琬从子。\n汪士鋐（1658－1723），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，官中允。书法与姜西溟（宸英）称姜汪。得执笔法，书绝瘦硬颉颃张照，诸子莫及。曾题沈凡民印谱自谓初学停云馆麻姑仙坛、阴符经，友人讥为木板黄庭，因一变学赵（赵孟頫）得其弱，再变学褚（褚遂良）得其瘦。晚年尚慕篆、隶，时悬阳冰（李阳冰）颜家庙碑额于壁间，观玩摹拟而岁月迟暮，精进无几。其书能大而不能小，然有奇势，纵横自放，而分间布白，无分寸失。名公卿碑版多出其手。著瘗鹤铭考、秋泉居士集、全秦艺文志。卒年六十六。《书林纪事、履园丛话、昭代尺牍小传、论书帖》\n翁方纲诗有“楷法同时汪与何”，自注“汪谓退谷中允”，“何乃何焯也”。（复初斋诗集卷12‧院之东厅，康熙乙未秋长洲何义门学士书联云「仪凤祥麟游集盛，金书玉字职司勤。」字画遒劲，方纲摹而重锓之，记以四诗）",[25,37,95,38,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbff9120af23d3728916b1c74330b304.jpg",[245],{"id":79539,"slug":79540,"title":79541,"dynasty":174,"author":79542,"museum":450,"description":79543,"tags":79544,"thumbUrl":79545,"material":314,"size":1061,"collection":166,"collections":79546,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},241185,"qing-ren-ji-jin-ce-lun-xiao-xue-ye-kong-ji-su-241185","清人集锦册-论小学页","孔继涑","孔继涑，字信夫，一字体字，号谷园，别号葭谷居士。曲阜人，六十八代衍圣公孔传铎第五子。",[24,25,74,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fd58bdd7198f5e5647c12f769e395b.jpg",[],{"id":79548,"slug":79549,"title":79550,"dynasty":174,"author":79551,"museum":450,"description":79552,"tags":79553,"thumbUrl":79554,"material":314,"size":1061,"collection":166,"collections":79555,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":140},241164,"cha-sheng-lu-yu-zhou-cha-sheng-241164","查昇录语轴","查昇","查升（1650年—1707年），字仲韦，号声山，浙江海宁袁花人。清代书法家。\n清康熙二十七年（1688）进士，选翰林院庶吉士，授编修。时康熙帝选儒臣侍值以备顾问，他经荐入直南书房多年，累迁至少詹事。著有《澹远堂集》。时人称查升书法、查慎行诗、朱自恒画为“海宁三绝”。",[174,37,95,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4307c86ae52228e167a9a5df8391f1.jpg",[],{"id":79557,"slug":79558,"title":79559,"dynasty":18,"author":79560,"museum":450,"description":79561,"tags":79562,"thumbUrl":79563,"material":314,"size":1061,"collection":166,"collections":79564,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},241115,"deng-qing-yun-si-zuo-qi-yan-shi-shan-mian-wang-shi-he-241115","登青云寺作七言诗扇面","王时和","此作为金笺行书扇面，用笔苍劲舒展，提转间筋骨尽显，结体疏密欹正相映，顺着扇形走势排布章法，行气流宕自然。诗作纪游寄禅，笔墨与诗意相融，将登寺览景的幽远禅思，藏于朴拙沉稳的点画之间。既有明人行书尚态抒情的典型风貌，亦带着文人雅逸的林下之风，笔墨间尽显沉静古雅的气韵，是兼具文学意涵与书法美感的佳制。",[1462,37,38,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83929176e431f15ea9b64fa45891cf07.jpg",[],{"id":79566,"slug":79567,"title":34040,"dynasty":174,"author":79568,"museum":450,"description":79569,"tags":79570,"thumbUrl":79571,"material":314,"size":1061,"collection":166,"collections":79572,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},241075,"shi-zhou-wang-zuo-241075","王佐","工四体书，兼善山水、翎毛，才艺俱优。参将沐崧欲延入幕府却之，以书、画自娱。",[24,25,95,394,37,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddf390d45bb9300bec578e6f2c7c0fd.jpg",[],{"id":79574,"sl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流传于世。",[95,37,394,7,31,30,57966,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F783e7402207df9d3f2516a52d88ca82e.jpg",[],{"id":80096,"slug":80097,"title":68892,"dynasty":174,"author":80098,"museum":450,"description":80099,"tags":80100,"thumbUrl":80101,"material":314,"size":1061,"collection":166,"collections":80102,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":140},239870,"shi-ce-xu-qi-239870","徐琪","徐琪：字大生；其子徐俊，字越千；父子俩均是康熙雍正年间（1662-1735）著名琴家。",[25,37,74,80,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c740b680524719cf6e3edbc9aab63e.jpg",[],{"id":80104,"slug":80105,"title":80106,"dynasty":174,"author":80107,"museum":450,"description":80108,"tags":80109,"thumbUrl":80110,"material":314,"size":1061,"collection":166,"collections":80111,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},239862,"fu-zhang-xin-dian-yi-jue-ye-cai-zhi-ding-239862","赴长辛店一绝页","蔡之定","蔡之定（1745年－1830年），字麟昭，号生甫，晚号积谷山人，浙江德清人。\n乾隆十年十二月十二日生。乾隆五十八年（1793年）中进士，选庶吉士，嘉庆元年（1796年）散馆授编修，历任高宗实录馆总篡，升国子监司业、侍讲学士。嘉庆十九年（1814年），因建议以纸币代银，以“妄言乱政”降鸿胪寺少卿。晚年，主讲钟山、蕺山两书院。\n蔡之定擅书法，时与翁方纲、刘墉、铁保号称“四大书家”。道光十四年（1834年）九月初八卒。",[37,38,80,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3879883aea61778f680df3b195d34c4b.jpg",[],{"id":80113,"slug":80114,"title":80115,"dynasty":174,"author":80116,"museum":450,"description":80117,"tags":80118,"thumbUrl":80119,"material":166,"size":166,"collection":245,"collections":80120,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},239849,"ti-po-gong-li-lv-xiang-shi-ye-tang-chu-fan-239849","题坡公笠履像诗页","汤储璠","汤储璠（1783-1832）自幼以宗贤汤显祖为楷模，故以汤显祖“玉茗堂”号为名曰“茗孙”。清江西临川城内六水桥人。官授内阁中书。\n储璠自幼聪慧，过目成诵，才思敏捷，行文沉厚，淹贯古今，被赞有“玉茗家风”，髫年即名噪海内。嘉庆五年（1800）取副榜贡生、宗学教习。十五年（1810）乡试取第一名举人。次年会试，初拟状元，后改第四名进士。选庶吉士，改翰林院编修，授内阁中书。汤储璠擅长骈体文，因而被内阁所倚重，内阁所进奉文字，多出其手。其文字古茂渊懿，为时所称颂，大学士曹振镛推其为“今之燕许”，林昌彝称其有“复古之功”。未及一年，因父及嫡母丧，回乡守孝，九更寒暑方复职。因积劳成疾，患消渴病（糖尿病），常数月才去内阁一次，为忌者所妒，欲将其解职，内阁大学士曹振镛认为不可。\n清嘉庆二十五年（1820）七月，嘉庆皇帝颙炎崩于热河避暑山庄，英帝国主义及浩罕（乌兹别克）国王玛达尔乘大清国丧之时，唆使匿于浩罕国的新疆伊斯兰教白山派之和卓萨木萨克次子张格尔率部攻挠南疆，欲夺回其曾祖父玛木特所统治的叶尔羌、喀什葛尔南疆旧地，而后分裂祖国。清道光八年（1828年），清扬威将军长龄利用黑帽回对张格尔之不满，密遣其纵反间计诱张格尔入伏，一举擒获张格尔，押送京师斩于市。捷报到京，众中书拟贺表，皆不合上意，大学士曹振镛令汤储璠执笔。他带病伏枕构思，一挥而就，所作之表文词“古茂渊懿”，胜人一筹，备受内阁大臣称赞，士人争相传抄，一时纸贵。\n清朝漕运、河工二事，岁靡金钱无算，泥古之士，目击流弊，或拟改海运，或议复古道，或请治西北水田，大抵眉睫之见。唯汤储璠所上《舟泊御黄坝五古》一篇，议论独辟，被国人称颂。其治河三善之策，成为清朝漕运、河工的典范。\n清道光九年（1829），汤储璠获六品衔，擢升侍读。因其为官廉洁，俸禄又低，而京城做官，每年用度需耗资六七万钱，汤储璠时常捉襟见肘，入不敷出，于是告病归家，安贫著述。十二年六月卒，终年仅49岁。\n汤储璠一生清贫，但作品丰富，著有《长秋馆诗文集》32卷、《骈体四六文》16卷、《仪礼》、《绘图考》、《骈体文》、《经史补注》、《望海船》、《与客谈南河事》、《秦中吟》、《忍冬小草》2卷、《布帆无恙草》3卷等。多为兵火所毁，仅存《布帆无恙草》、《长秋馆咏史诗钞》行世。前者收诗230多首，系由京病归途中及在家卧病期间的作品，其《望海船》与《客谈南河事》诸篇，忧深思远，大有《秦中吟》余响。\n储璠工骈体文，尤善工诗，其诗文笔法生动，文采飞扬，或沉博艳丽，或跌宕酣嬉，不可一世，深得汪廷珍、林则徐等名士赏识，为士林所推崇。当他听说乡里溺杀女婴现象严重，即写了《罪言·溺女》，痛斥溺女行为，并引用古时“木兰从军”、“缇萦上书”的典故，批判重男轻女的观念，告诫人们须保护女婴，勿害无辜。此诗在抚州城乡广为流传，对制止溺女恶行起到了一定的作用。\n作为汤显祖族中子弟，汤储璠深得汤学真传，与汤来贺、汤德延、汤季云、汤善卿、汤仲武、汤述卿、汤钟灵、汤孟征、汤孙绪、汤新德、汤秀琦等人成为一代文学鸿儒。",[25,37,38,74,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0445ef419d5c95ba6c64b123e75a40.jpg",[245],{"id":80122,"slug":80123,"title":80124,"dynasty":174,"author":581,"museum":450,"description":80125,"tags":80126,"thumbUrl":80127,"material":166,"size":166,"collection":245,"collections":80128,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},239847,"xing-shi-zhi-xing-xin-su-ge-wei-gong-fu-ye-yi-ming-239847","□兴诗支硎新粟歌为功甫页","此作用笔苍劲老辣，行书笔意恣肆随性，牵丝映带间尽显挥毫时的酣畅意气。字形排布错落疏朗，全无刻意规整的板滞，自携萧散朴拙的文人韵致。墨色枯润相参，笔画粗细随文气自然变幻，可见书家走笔毫无滞碍，将长歌胸臆尽数付诸笔端。通篇笔墨古雅醇厚，带着旧尺牍书法独有的随性自在，把日常酬唱的文人情思，藏进每一处笔墨起伏里，尽显文人间以墨寄情的风流意趣。",[37,38,25,74,1437,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2839f5009c70c494bef6be75967b03d2.jpg",[245],{"id":80130,"slug":80131,"title":80132,"dynasty":174,"author":581,"museum":450,"description":80133,"tags":80134,"thumbUrl":80135,"material":166,"size":166,"collection":166,"collections":80136,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},239776,"liu-quan-zhi-shu-tang-ren-dong-ting-zhang-le-fu-heng-zhou-yi-ming-239776","刘权之书唐人洞庭张乐赋横轴","此作用笔取法欧楷风骨，结体端稳匀停，笔力沉实厚重，点画精严不苟，捺脚舒展俊朗，钩趯劲健利落，尽显馆阁书法的端凝庄重。绢本衬以缠枝祥云暗纹，和齐整的书作排布相映成趣，静穆间又添雅致装饰意趣。\n字里行间气脉匀和，将唐人辞赋的高古意韵融于笔墨，既恪守馆阁体的规整法度，亦不失书写的灵动意趣，把洞庭张乐的清雅高古气象，以笔墨演绎得肃穆典雅，尽显内敛醇厚的文人意韵，可观可赏，尽显传统书法的规整之美。",[281,24,25,9379,7,37,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c508f4e4fac8b8db1eeb9cbf676db4.jpg",[],{"id":80138,"slug":80139,"title":80140,"dynasty":174,"author":73862,"museum":450,"description":73863,"tags":80141,"thumbUrl":80142,"material":314,"size":1061,"collection":166,"collections":80143,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":921},239761,"shu-hong-li-geng-zhi-shi-ce-zhou-huang-239761","书弘历耕织诗册",[37,242,74,80,7,858,8047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c2049a647af8d1926634dabf9aee199.jpg",[],{"id":80145,"slug":80146,"title":80147,"dynasty":18,"author":80148,"museum":450,"description":80149,"tags":80150,"thumbUrl":80151,"material":314,"size":1061,"collection":166,"collections":80152,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":47},239743,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徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 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将自然之美凝于咫尺扇面间。",[24,1462,28,7,36,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb84f430c294493560b0c2af1190a26f4.jpg",[],"b3afaa",{"id":82654,"slug":82655,"title":157,"dynasty":18,"author":13639,"museum":20,"description":82656,"tags":82657,"thumbUrl":82658,"material":166,"size":166,"collection":166,"collections":82659,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":82660},203010,"shan-shui-ce-cheng-jia-sui-203010","笔线简逸，墨色轻淡，铺展一方幽远之境。孤松虬枝斜曳，姿态苍劲，树下茅舍隐约，似藏林下逸趣。近岸以淡墨勾皴，远山晕染如黛，留白处尽显空濛。画面无繁饰，却于极简中见深致，流露文人画特有的萧散淡泊，引人入静，忘尘俗之扰。",[28,74,7,547,6893,14321,164,34818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05be1fe6d119c37c3294695f63292a5.jpg",[],"c8cac8",{"id":82662,"slug":82663,"title":72172,"dynasty":22220,"author":82664,"museum":20,"description":82665,"tags":82666,"thumbUrl":82667,"material":166,"size":166,"collection":166,"collections":82668,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":82669},203002,"ju-shi-tu-zhou-ma-gong-yu-203002","马公愚","此图以孤石为基，秋菊攀附而生，笔墨兼具刚柔。石体以水墨皴染，线条简劲，墨色浓淡层叠，显沉稳厚重之态；菊花花瓣用淡彩点写，轻盈灵动，墨叶以焦墨挥洒，苍劲有力，花叶相映成趣。构图疏密得当，静石与活菊相衬，尽展文人画的清雅意趣，传递出秋菊傲霜、孤石持守的高洁品格，韵味隽永。",[24,95,27,180,134,7,75,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aef738886fd29e3562a8f2ff8dfb1c0.jpg",[],"cac4b1",{"id":82671,"slug":82672,"title":11366,"dynasty":174,"author":82673,"museum":20,"description":82674,"tags":82675,"thumbUrl":82677,"material":166,"size":166,"collection":166,"collections":82678,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":82679},202987,"shan-shui-hua-hui-ce-fan-yun-202987","樊云","近处坡岸蜿蜒，树木错落生姿，枝桠疏朗间枯荣相映，树下茅舍隐现，似藏幽居之趣。远处山峦层叠，主峰挺秀，山石以淡墨皴染，肌理分明；山脚云雾轻笼，留白处漾出空濛之韵。笔墨清润秀逸，线条灵动，皴法细腻，树木简笔点染，尽显文人画的闲适淡远。简淡中见深意，仿佛山涧清风拂面，得山林隐逸之味。",[28,7,36,74,33,34,211,82676],"茅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8327d839c6bfb4395630213dac65b8b.jpg",[],"cdc8b4",{"id":82681,"slug":82682,"title":2189,"dynasty":174,"author":60692,"museum":20,"description":82683,"tags":82684,"thumbUrl":82685,"material":166,"size":166,"collection":166,"collections":82686,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":82687},202985,"hua-hui-tu-ce-zhang-xiong-202985","这幅画作里，牡丹开得秾丽而清雅，花瓣层叠舒展，设色温润细腻——淡粉打底，渐次晕染至深绯，将花容的丰腴柔美展现得淋漓尽致。叶片以墨绿勾勒，脉络清晰可见，墨色浓淡交错间，既有工笔的精细描摹，又藏着写意的灵动生机。枝干婉转自然，与花叶相映成趣，整体画面雅致清新，把牡丹的雍容姿态和文人画的清幽意趣融在一起，尽显花卉写生的精妙。",[27,481,75,129,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018322c229156ee06f18e6976875f104.jpg",[],"9da393",{"id":82689,"slug":82690,"title":82691,"dynasty":22220,"author":4586,"museum":20,"description":82692,"tags":82693,"thumbUrl":82694,"material":166,"size":166,"collection":166,"collections":82695,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":82696},202960,"shuang-ju-tu-zhou-wang-zhen-202960","双菊图轴","两朵菊花绽于枝头，花瓣层叠舒展，色泽由淡黄渐晕浅粉，清雅温润。墨叶以淋漓水墨写出，浓淡交错间见笔力苍劲，与柔婉花瓣形成刚柔相济之美。枝干挺秀，线条简练骨力暗藏，绑缚细节更添自然生趣。题款笔墨流畅，与画面融成一体，尽显文人画的雅致意趣，既彰菊花傲霜之姿，亦透淡泊名利的心境。",[24,25,95,75,134,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305e173db62b46e6d9c05b77b4ab720c.jpg",[],"bdb4a2",{"id":82698,"slug":82699,"title":10038,"dynasty":22220,"author":1872,"museum":20,"description":82700,"tags":82701,"thumbUrl":82702,"material":166,"size":166,"collection":166,"collections":82703,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":82704},202921,"mo-mei-tu-zhou-xu-bei-hong-202921","老干如铁铸，虬枝盘曲而上，墨色浓淡干湿交织，晕染出树皮的斑驳沧桑。梅枝穿插有致，花朵以简淡笔触勾勒，清雅灵动，似有暗香浮动。徐悲鸿以书入画，线条刚劲洒脱，兼具传统文人画的意趣与现代绘画的写实质感，打破程式化的梅画范式，赋予老梅新的生命力。整幅作品笔墨雄浑，意境清逸，尽显画家对自然与生命的深刻体悟。",[24,7,95,125,75,37,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0e6e459e395c2bef964ed0f2ebf06a.jpg",[],"cec6b3",{"id":82706,"slug":82707,"title":82708,"dynasty":22220,"author":360,"museum":20,"description":82709,"tags":82710,"thumbUrl":82711,"material":166,"size":166,"collection":166,"collections":82712,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":82713},202905,"san-qiu-tu-zhou-qi-bai-shi-202905","三秋图轴","这幅画作尽显齐白石写意花鸟的灵动意趣。红褐叶片层叠舒展，墨竹线条刚劲利落，蜻蜓振翅欲飞的姿态鲜活传神。色彩浓淡相宜，红得热烈，褐得沉稳，墨色竹枝与花叶相映成趣，秋意中透着盎然生机。画家以简练笔触捕捉自然意趣，叶片脉络、枝蔓缠绕皆含朴拙野趣，蜻蜓点染更成点睛之笔。整幅作品雅致与烟火气兼具，展现对自然细微处的体察与独特艺术表达。",[24,75,7,27,80,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7114e02ea31564a4842ec78bca74022b.jpg",[],"bca798",{"id":82715,"slug":82716,"title":82717,"dynasty":22220,"author":360,"museum":20,"description":82718,"tags":82719,"thumbUrl":82720,"material":166,"size":166,"collection":166,"collections":82721,"showCount":1084,"zanCount":46,"manualWeight":46,"mainColor":82722},202903,"qian-niu-hua-tu-zhou-qi-bai-shi-202903","牵牛花图轴","这幅牵牛花图，以浓墨泼写叶片，墨色浓淡交错，层次丰沛，尽显大写意的酣畅洒脱。艳红花朵点缀其间，花瓣晕染自然，花心留白点睛，鲜活灵动。藤蔓以细劲线条勾勒，婉转缠绕，与厚重叶片形成刚柔相济之趣。布局疏密有致，留白透气空灵，白石老人以八十高龄之笔，将牵牛花的蓬勃生机凝于纸上，笔墨间老辣功底与天真烂漫并存，尽显对自然的深情与艺术的凝练。",[24,75,7,27,80,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee309d7754ca1085695dec4d582c6c86.jpg",[],"4a4c49",{"id":82724,"slug":82725,"title":67678,"dynasty":22220,"author":360,"museum":20,"description":82726,"tags":82727,"thumbUrl":82728,"material":166,"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[1] 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木若织，墨线轻描草木灵韵，繁密里藏疏朗。近观层岩叠翠间隐现亭台，似有隐逸者凭栏；远眺烟波浩渺中浮着扁舟，恰如江湖客放怀。构图疏密有致，近景沉实与远景空灵相映成趣；笔墨刚柔相济，山石硬朗线条与水面柔婉波纹相得益彰。整幅画如无声山水诗，既有山川雄浑气象，又含文人清雅情韵，引人徜徉其间，忘尘嚣而醉心自然之美。",[24,25,7,547,36,74,28,31,33,57,194,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb3eef3d9f407d4d6317c74cc7c7bfc.jpg",[],{"id":87713,"slug":87714,"title":87715,"dynasty":174,"author":581,"museum":450,"description":87716,"tags":87717,"thumbUrl":87718,"material":98,"size":166,"collection":166,"collections":87719,"showCount":46,"zanCount":46,"manualWeight":46,"mainColor":47},215593,"tian-xia-ming-shan-tu-29-yi-ming-215593","天下名山图-29","墨线勾勒的山水间，峰峦层叠如浪涌，或峭拔入云，或缓坡延绵，皴擦细腻见骨力。山间亭台藏于林麓，依岩傍水，似有幽径通幽。溪流如带蜿蜒，串起几处洲屿：其上草木扶疏，小筑错落，偶见人影往来，添了烟火气却不失清雅。远景云雾轻笼，山影朦胧若幻；近景笔触精到，石纹、松枝皆细致入微。构图虚实相生，远近层次分明，墨色虽简却意境深远——仿佛能闻涧水潺潺，听松风阵阵，尽展古人寄情山水的诗意与哲思，于尺幅间藏纳天地之阔。",[24,25,547,518,7,28,194,32,33,58,12813],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ad24d600c153d1accb837e9c82f778.jpg",[],{"id":87721,"slug":87722,"title":87723,"dynasty":174,"author":581,"museum":450,"description":87724,"tags":87725,"thumbUrl":87726,"material":98,"size":166,"collection":166,"collections":87727,"showCount":46,"zanCount":46,"manualWeight":46,"mainColor":47},215592,"tian-xia-ming-shan-tu-31-yi-ming-215592","天下名山图-31","墨线勾勒的水波层层叠叠，似有风掠过水面，漾起细碎涟漪。几叶扁舟散落在烟波里，或行或泊，添了几分灵动；左侧岸边旗帜轻扬，隐约可见屋舍轮廓，似是渡口人家，烟火气与水韵相融。右侧山峦起伏，松枝虬劲，林间隐现屋宇，飞檐翘角藏于绿荫中，似有幽人栖居，静穆里藏着生活的暖意。整幅画以细腻线条铺陈，构图疏密有致，水域的开阔与山峦的静谧相映成趣，古雅韵味漫溢纸间，仿佛能听见水波轻响、松风低语，引人步入这清幽淡远的山水世界。",[24,7,547,74,28,31,33,194,163,3246,335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee1f737c0b639876b03fcb656e4ec6d.jpg",[],{"id":87729,"slug":87730,"title":87731,"dynasty":174,"author":581,"museum":450,"description":87732,"tags":87733,"thumbUrl":87734,"material":98,"size":166,"collection":166,"collections":87735,"showCount":46,"zanCount":46,"manualWeight":46,"mainColor":47},215590,"tian-xia-ming-shan-tu-33-yi-ming-215590","天下名山图-33","这幅山水图以水墨勾勒铺陈，山峦层叠绵延，远近错落间尽显章法。墨线或轻或重，勾勒出峰峦的轮廓与肌理，淡墨晕染处似有云雾氤氲，添了几分空濛。山间林木以简笔点染，疏密有致，仿佛能闻得松风轻吟。画面中几处题字标注峰名，与山水相映成趣，更添古雅之韵。整体构图舒展，笔墨古朴苍劲，虽无浓艳色彩，却以黑白灰的层次变化，营造出悠远静谧的山林意境，尽显传统山水的笔墨意趣与自然之美。",[24,25,74,28,7,36,335,350,33,57,58,12556,212,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c78dda31f83ddbcaa9c31a4bdeb156.jpg",[],{"id":87737,"slug":87738,"title":87739,"dynasty":174,"author":581,"museum":450,"description":87740,"tags":87741,"thumbUrl":87742,"material":98,"size":166,"collection":166,"collections":87743,"showCount":46,"zanCount":46,"manualWeight":46,"mainColor":47},215587,"tian-xia-ming-shan-tu-36-yi-ming-215587","天下名山图-36","线条如行云流水，勾勒出山峦的起伏褶皱。层岩叠嶂间，皴笔细密交织，尽显山体肌理的苍劲质感。古松虬枝斜出，墨线凝练中藏着灵动，似与山风相和。旁侧林木以疏密线条铺陈，葱郁之意跃然纸上。画面虽无设色，却以墨线的浓淡变化，铺展出山林的幽深静谧——仿佛松涛阵阵入耳，云雾隐现于峰峦缝隙，尽显传统山水的笔墨意趣。于简洁勾勒中蕴含深远意境，让人窥得古人笔下山川的雄浑与秀逸，笔墨间流淌着对自然的敬畏与诗意描摹。",[24,25,547,28,74,335,624,213,164,61420,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e9806ce3da1fff4a7a4d1a5092a6de.jpg",[],{"id":87745,"slug":87746,"title":87747,"dynasty":174,"author":581,"museum":450,"description":87748,"tags":87749,"thumbUrl":87750,"material":98,"size":166,"collection":166,"collections":87751,"showCount":46,"zanCount":46,"manualWeight":46,"mainColor":47},215585,"tian-xia-ming-shan-tu-42-yi-ming-215585","天下名山图-42","画面以远近层次铺展山水意趣，左畔峰峦用劲挺线条勾勒，皴笔叠染出石骨的雄浑；中间曲径蜿蜒，似引观者深入林泉秘境。右方远岫轻笼云气，墨色渐淡处显天地悠远；近坡林木疏密有致，枝叶细笔点染，藏着几分生机；平畴间隐约田垄，添了人间烟火气。整幅画以线为骨、以墨为韵，将山川的巍峨与幽寂揉合，似在诉说天地间的静谧悠远——峰峦携云气，小径牵林泉，每一处线条都藏着对自然的敬畏，每片墨色都晕染出山水的灵韵，让人心生向往，愿寄身于此间，听风过林梢，看云卷云舒。",[24,25,547,7,36,28,335,33,5253,30,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c6d3356dda4d925952f22f06b54d3b.jpg",[],{"id":87753,"slug":87754,"title":87755,"dynasty":174,"author":581,"museum":450,"description":87756,"tags":87757,"thumbUrl":87758,"material":98,"size":166,"collection":166,"collections":87759,"showCount":46,"zanCount":46,"manualWeight":46,"mainColor":47},215582,"tian-xia-ming-shan-tu-38-yi-ming-215582","天下名山图-38","墨线勾勒的群峰如浪涌层叠，峰峦间墨书题识错落，似与山川私语。纤细线条藏骨力，勾出岩岫肌理与林木萧疏。山间溪涧、台地隐于留白，无设色却见丘壑幽深。构图饱满而疏密有致，高低峰峦间尽显名山雄浑秀逸。题字与山水交织，既是地理标识，亦成笔墨趣味，铺开一卷山川记忆图谱，观者可在墨痕中触摸古人对山河的敬畏与细腻描摹。",[24,25,547,7,28,74,36,57,213,33,30,32,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a44719881d7514404d2ba4ff575f1c.jpg",[],{"id":87761,"slug":87762,"title":87763,"dynasty":174,"author":581,"museum":450,"description":87764,"tags":87765,"thumbUrl":87766,"material":98,"size":166,"collection":166,"collections":87767,"showCount":46,"zanCount":46,"manualWeight":46,"mainColor":47},215581,"tian-xia-ming-shan-tu-40-yi-ming-215581","天下名山图-40","墨线勾勒的山峦层叠错落，或巍峨耸峙，或连绵逶迤，尽显丘壑之美。林间掩映着亭台楼阁，一座宝塔立于丘巅，与葱郁草木相映成趣，人文气息融于自然景致。近岸岩石纹理细腻，河水蜿蜒流淌，几叶小舟轻泛波上，添了几分灵动。整幅画以简淡笔触绘出山水之幽、林木之秀、舟行之闲，仿佛能闻林间风语，听流水潺潺，尽显古雅清逸的意境，让人沉浸于这份静谧悠远的山水之趣中。",[24,25,74,547,7,36,28,335,350,33,519,31,194,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efab62252911f9966f29ff4a9d04f23.jpg",[],{"id":87769,"slug":87770,"title":87771,"dynasty":174,"author":581,"museum":450,"description":87772,"tags":87773,"thumbUrl":87775,"material":98,"size":166,"collection":166,"col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是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 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