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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。",[23,24,74,94,25,27,28,95,96,31,97,98,56,7,32],"长卷","山峦","岩石","瀑布","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纸本","纵27.8厘米，横980厘米",[60,38],179,"795548",{"id":106,"slug":107,"title":108,"dynasty":69,"author":70,"museum":109,"description":110,"tags":111,"thumbUrl":117,"material":36,"size":118,"collection":60,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":64},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","台北故宫博物院","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。",[23,24,75,76,25,27,28,112,113,114,115,7,116,31],"松树","亭子","竹子","远山","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[60],118,{"id":122,"slug":123,"title":124,"dynasty":47,"author":125,"museum":126,"description":127,"tags":128,"thumbUrl":133,"material":134,"size":135,"collection":60,"collections":136,"showCount":137,"zanCount":41,"manualWeight":11,"mainColor":104},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","藏地不详","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,74,24,75,129,130,26,28,131,54,31,98,132,7],"界画","工笔","楼阁","宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg","绢本","纵194.5cm，横60.5cm",[60],115,{"id":139,"slug":140,"title":141,"dynasty":47,"author":142,"museum":143,"description":144,"tags":145,"thumbUrl":148,"material":100,"size":149,"collection":59,"collections":150,"showCount":151,"zanCount":63,"manualWeight":11,"mainColor":104},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7","华嵒","美国弗利尔美术馆","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,25,26,52,27,28,79,31,146,115,7,147],"人物","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg","23.4x15.8",[],96,{"id":153,"slug":154,"title":155,"dynasty":156,"author":157,"museum":126,"description":158,"tags":159,"thumbUrl":162,"material":163,"size":164,"collection":60,"collections":165,"showCount":166,"zanCount":167,"manualWeight":11,"mainColor":64},222050,"xue-jing-tu-zhang-peng-222050","雪景图","明","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，",[23,24,25,27,28,76,160,54,55,56,161,131,7],"雪景","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","纸本，设色","97X53cm",[60,38],73,3,{"id":169,"slug":170,"title":171,"dynasty":156,"author":172,"museum":109,"description":173,"tags":174,"thumbUrl":181,"material":182,"size":183,"collection":184,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":104},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","吕纪","这幅画的布局集中在右下角，占据了图片的绝大部分。从画的右侧中间伸展出几根稀疏的芦苇，有的直上，有的向左，芦苇叶大多下垂;在图片下方，有几根芦苇栖息在堤岸上，其中一根在月亮的脖子上叽叽喳喳，另外两根芦苇回头看。屏幕左侧是平静清澈的海水，是芦苇漂浮的天堂。在图片上方是满月，空旷时，明亮的月光投射在地球上。\n画中的芦苇写得很好，外表生动。芦苇是用厚厚的光和光不同颜色的层叠叠而成的，非常细腻，不仅形状像神萧，而且羽毛的光泽也显现出来。芦苇和木槿的叶茎，淡墨，刷掉。视觉要以浅色演色性，看不到笔痕，使领域广阔而深远;用马原画湖石，夏贵墨钩法，加换，坚固简单;这幅画异常真实，自然而壮观。这幅画，和路易姬的其他花鸟画一样，极大地丰富了花鸟画和笔墨的表达。",[23,74,24,130,26,175,176,177,178,179,7,180],"花鸟","水禽","芦苇","花卉","明月","岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","绢本,设色","纵177.2厘米，横107.3厘米","花鸟画精选",[184],64,{"id":188,"slug":189,"title":190,"dynasty":69,"author":191,"museum":192,"description":193,"tags":194,"thumbUrl":198,"material":199,"size":200,"collection":60,"collections":201,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":64},239526,"ni-zan-qiu-ting-jia-shu-tu-zhou-yi-ming-239526","倪瓒秋亭嘉树图轴","佚名","北京故宫博物院","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，幽静雅洁，仿佛笼罩在一片月色之中。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n本幅自题：“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”\n本卷上诗塘有吴宽、朱果二家题记。曾经清内府收藏。",[24,25,76,195,53,27,28,196,78,197,115,7],"书法","树","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08768391940841042688571157736a1b.jpg","纸本，墨笔","纵114cm，横34.3cm",[60,202],"书法精选",59,{"id":205,"slug":206,"title":207,"dynasty":69,"author":191,"museum":91,"description":208,"tags":209,"thumbUrl":211,"material":82,"size":212,"collection":60,"collections":213,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":104},218215,"xi-shan-gui-zhou-tu-yi-ming-218215","溪山归舟图","溪山归舟图被认为是元朝时期图画艺术的代表作之一，其中蕴含着浓厚的儒家思想。儒家认为，人生最大的幸福就是能够返璞归真，回归自然界的本真状态。这幅图画描绘的少年漂流在溪水中，似乎也在暗示人应该摆脱尘世的束缚，回归自然界的真理。\n\n溪山归舟图的风格独特，它采用了轻巧的线条和柔和的色彩，呈现出一种清新、自然的感觉。这种艺术风格与元朝时期的文人墨客们崇尚的“写意”艺术风格相似，都强调自然、随意、自由。\n\n总的来说，溪山归舟图是元朝时期著名的图画作品，其中蕴含着浓厚的儒家思想，艺术风格独特，值得我们细细品味。",[24,25,27,28,56,196,96,115,7,210],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c9c60f7dd5a55cb83dd74a5fbeefb3.jpg","168x103cm",[60],57,{"id":216,"slug":217,"title":218,"dynasty":219,"author":220,"museum":126,"description":221,"tags":222,"thumbUrl":226,"material":227,"size":228,"collection":59,"collections":229,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":64},289444,"gao-shi-guan-hua-tu-xia-gui-289444","高士观花图","宋","夏圭","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。",[223,24,25,224,129,27,112,131,28,146,225,7,115],"扇面","山水画","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff727011fb484f5d3322b69ceb8e8e28c.jpg","未知","Xcm*Xcm",[],55,{"id":232,"slug":233,"title":234,"dynasty":69,"author":235,"museum":109,"description":236,"tags":237,"thumbUrl":241,"material":100,"size":242,"collection":60,"collections":243,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":64},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","赵孟頫","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。",[24,75,94,25,27,28,238,239,96,31,115,240,7],"江","山峰","近石","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",[60,38],54,{"id":246,"slug":247,"title":248,"dynasty":47,"author":249,"museum":109,"description":250,"tags":251,"thumbUrl":252,"material":25,"size":59,"collection":38,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":64},219380,"shan-shui-tu-wang-duo-219380","山水图","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。",[24,75,76,25,28,55,115,32,7,79,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e112d70ced0d8f4884a6ea2eccbb27.jpg",[38],49,{"id":256,"slug":257,"title":258,"dynasty":156,"author":259,"museum":109,"description":260,"tags":261,"thumbUrl":281,"material":282,"size":283,"collection":60,"collections":284,"showCount":285,"zanCount":63,"manualWeight":11,"mainColor":104},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,26,28,130,56,262,197,263,115,98,264,265,196,266,177,267,180,55,268,269,270,271,272,273,210,274,275,7,276,277,278,279,280],"渔乐","渔夫","流水","岸","草","小船","汀渚","渔人","舟楫","烟波","浅滩","丛竹","远岫","霭气","坡岸","草木","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米",[60,38],48,{"id":287,"slug":288,"title":289,"dynasty":69,"author":290,"museum":291,"description":292,"tags":293,"thumbUrl":296,"material":182,"size":59,"collection":297,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":42},219396,"ce-ma-jiang-pan-tu-zhao-yong-219396","策马江畔图","赵雍","上海龙美术馆","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,26,130,146,294,196,28,7,295],"马","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c44a61a340e34488548d8875de51ea0.jpg","人物画精选",[297],47,{"id":301,"slug":302,"title":303,"dynasty":47,"author":125,"museum":304,"description":305,"tags":306,"thumbUrl":309,"material":134,"size":310,"collection":59,"collections":311,"showCount":312,"zanCount":11,"manualWeight":11,"mainColor":104},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","上海博物馆","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,129,130,26,28,131,78,31,54,7,33,307,308,115],"庭院","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 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厘米",[],46,{"id":314,"slug":315,"title":316,"dynasty":156,"author":317,"museum":192,"description":318,"tags":319,"thumbUrl":322,"material":323,"size":324,"collection":59,"collections":325,"showCount":326,"zanCount":63,"manualWeight":11,"mainColor":327},233141,"lian-xi-yu-yin-tu-zhou-chou-ying-233141","莲溪渔隐图轴","仇英","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[24,75,76,74,26,130,28,262,320,31,32,7,321],"荷","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff729e8182fa8b670a238d77c7e5dfb3a.jpg","绢本，设色","纵126.5厘米，横66.3厘米",[],40,"F48FB1",{"id":329,"slug":330,"title":331,"dynasty":332,"author":333,"museum":126,"description":334,"tags":335,"thumbUrl":352,"material":227,"size":228,"collection":353,"collections":354,"showCount":326,"zanCount":11,"manualWeight":11,"mainColor":104},226041,"sunset-on-the-seine-winter-effect-1880-mo-nai-226041","Sunset on the Seine, Winter Effect, 1880","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[336,337,338,339,340,267,55,341,342,343,344,345,31,7,346,347,348,349,350,351],"印象派","油画","夕阳","河流","水面倒影","雾气","岸边","冬日","天空","波光","光影捕捉","笔触灵动","色彩晕染","冬日景象","植被","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3fb37de0bc5ea5233835f6f34ef48.jpg","油画精选",[353],{"id":356,"slug":357,"title":358,"dynasty":47,"author":191,"museum":126,"description":359,"tags":360,"thumbUrl":361,"material":59,"size":59,"collection":184,"collections":362,"showCount":363,"zanCount":11,"manualWeight":11,"mainColor":104},228932,"qing-yuan-ben-qin-can-tu-juan-xian-jian-yi-ming-228932","清院本亲蚕图卷 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1884",[336,337,398,399,347,95,400,31,401,402,7,344,403],"光影表现","色彩明快","山脉","绿植","土路","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2cbb23f3a008abcc52adcf058a00cd.jpg",[353],33,{"id":408,"slug":409,"title":410,"dynasty":69,"author":411,"museum":126,"description":412,"tags":413,"thumbUrl":415,"material":59,"size":59,"collection":59,"collections":416,"showCount":417,"zanCount":63,"manualWeight":11,"mainColor":104},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","高克恭","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。",[23,74,24,75,94,25,27,28,414,31,98,7,276],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],32,{"id":419,"slug":420,"title":421,"dynasty":219,"author":191,"museum":126,"description":422,"tags":423,"thumbUrl":427,"material":59,"size":59,"collection":59,"collections":428,"showCount":417,"zanCount":11,"manualWeight":11,"mainColor":327},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。",[23,24,75,223,28,25,27,424,425,112,31,54,98,179,426,7],"青山","白云","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":219,"author":433,"museum":109,"description":434,"tags":435,"thumbUrl":437,"material":100,"size":438,"collection":439,"collections":440,"showCount":417,"zanCount":11,"manualWeight":11,"mainColor":64},221284,"bao-shan-shi-jing-ce-gao-ke-ming-221284","包山十景册","高克明","高克明，生卒年不洋，宋化絳州（今山西新絳） 人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[74,24,75,52,26,27,371,28,436,7,342,31],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米","宋画精选",[439,60,38],{"id":442,"slug":443,"title":444,"dynasty":47,"author":90,"museum":304,"description":445,"tags":446,"thumbUrl":448,"material":100,"size":449,"collection":59,"collections":450,"showCount":417,"zanCount":63,"manualWeight":11,"mainColor":64},219848,"ba-jing-shan-shui-tu-8-gong-xian-219848","八景山水图-8","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。",[24,25,27,28,54,31,447,7,115,98],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe75e6802b3a7a668616a8dfc5d77189f.jpg","24.4x49.7厘米",[],{"id":452,"slug":453,"title":454,"dynasty":156,"author":191,"museum":455,"description":456,"tags":457,"thumbUrl":458,"material":82,"size":459,"collection":297,"collections":460,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":104},219931,"hu-bian-gao-shi-tu-yi-ming-219931","湖边高士图","辛辛那提艺术博物馆","此作全景铺陈湖山胜景，巨岩巍峨雄峙，皴笔苍劲凝练，勾勒出山石浑厚嶙峋的质感，高远山势带着沉郁古拙的厚重意韵。近岸古木扶苏，浓荫如盖，林下高士雅聚，或立语或闲坐，意态萧散恬然。\n江畔烟波澹澹，水榭隐于远岸烟树间，晕染出空濛悠远的平远之境。以水墨晕染绢本，古雅色调衬出静穆清和的氛围，将山水之幽与林下雅集的闲逸融为一体，尽显文人寄情林泉、追慕幽隐萧散的林下高致，笔墨苍秀清润，铺展出古代文人心底的理想幽居之境。",[23,24,26,27,76,28,146,31,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4840ae03845157842e83799867a3ab.jpg","122x57.6厘米",[297],31,{"id":463,"slug":464,"title":465,"dynasty":332,"author":333,"museum":126,"description":334,"tags":466,"thumbUrl":474,"material":227,"size":228,"collection":353,"collections":475,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":64},226025,"san-giorgio-maggiore-at-dusk-1908-mo-nai-226025","San Giorgio Maggiore at Dusk, 1908",[74,336,348,346,467,468,469,308,470,471,344,7,472,473],"笔触表现","黄昏","水面","塔楼","倒影","霞光","色彩并置","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30551a1562a1c380d8bba485399bb7b6.jpg",[353],30,{"id":478,"slug":479,"title":248,"dynasty":219,"author":480,"museum":481,"description":482,"tags":483,"thumbUrl":487,"material":488,"size":489,"collection":439,"collections":490,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":64},221584,"shan-shui-tu-li-an-zhong-221584","李安忠","美国克利夫兰艺术博物馆","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。”",[23,24,74,75,28,25,27,484,485,31,486,7],"老树","枯藤","孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","绢本水墨","33x34",[439,60,38],{"id":492,"slug":493,"title":494,"dynasty":219,"author":495,"museum":126,"description":496,"tags":497,"thumbUrl":503,"material":59,"size":59,"collection":59,"collections":504,"showCount":505,"zanCount":63,"manualWeight":11,"mainColor":104},227768,"shan-shui-ye-li-tang-227768","山水页","李唐","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）。",[23,24,75,74,25,27,498,28,131,56,31,54,7,499,308,115,500,501,55,502],"册页","船只","近景","远景","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],29,{"id":507,"slug":508,"title":509,"dynasty":47,"author":510,"museum":126,"description":511,"tags":512,"thumbUrl":513,"material":59,"size":59,"collection":59,"collections":514,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":64},224507,"shan-shui-ce-kai-shi-er-shi-tao-224507","山水冊开(十二)","石涛","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。",[23,24,75,52,25,26,27,53,28,56,54,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921716ec4a10b4154f9394b12795127a.jpg",[],27,{"id":517,"slug":518,"title":519,"dynasty":219,"author":480,"museum":126,"description":520,"tags":521,"thumbUrl":527,"material":59,"size":59,"collection":59,"collections":528,"showCount":529,"zanCount":11,"manualWeight":11,"mainColor":104},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。",[23,74,24,75,76,25,28,27,56,55,115,54,469,31,522,342,29,7,523,524,525,526],"渔舟","近树","山石皴染","水墨山水","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],26,{"id":531,"slug":532,"title":533,"dynasty":332,"author":333,"museum":126,"description":334,"tags":534,"thumbUrl":542,"material":227,"size":228,"collection":353,"collections":543,"showCount":529,"zanCount":11,"manualWeight":11,"mainColor":64},225906,"breakup-of-ice-1880-mo-nai-225906","Breakup of Ice, 1880",[336,337,535,536,537,538,539,55,499,540,344,541,7,308,471],"光影","色彩","笔触","河面","冰块","城镇","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f2f52b5a37d62b467b2a2ee5539161d.jpg",[353],{"id":545,"slug":546,"title":547,"dynasty":548,"author":549,"museum":550,"description":551,"tags":552,"thumbUrl":553,"material":59,"size":59,"collection":59,"collections":554,"showCount":555,"zanCount":11,"manualWeight":11,"mainColor":64},220484,"feng-jing-lin-feng-mian-220484","风景","民国","林风眠","中国美术学院美术馆","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[24,26,25,28,95,31,98,7,295,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dba5fd9b465d1b9e96fe17dfd4d4d0f.jpg",[],23,{"id":557,"slug":558,"title":559,"dynasty":47,"author":510,"museum":192,"description":560,"tags":561,"thumbUrl":562,"material":163,"size":59,"collection":59,"collections":563,"showCount":564,"zanCount":11,"manualWeight":11,"mainColor":64},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","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。",[24,75,25,26,371,27,52,28,115,31,7,195,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad7ee64e8e7b98701b3672d4cb80d8f.jpg",[],22,{"id":566,"slug":567,"title":568,"dynasty":156,"author":569,"museum":126,"description":570,"tags":571,"thumbUrl":574,"material":59,"size":59,"collection":59,"collections":575,"showCount":564,"zanCount":11,"manualWeight":11,"mainColor":64},233704,"shan-ju-le-shi-ce-lu-zhi-233704","山居乐事册","陆治","陆治五十岁左右隐居支硎山之后，读书作画， 用功更勤，对大自然的观察和体验也逐渐深刻。从 传世的《陆包山遗稿》来看，陆治的诗文多见纪游山 水和咏赞植物花卉之作。\n他淡泊宁静的生活状态也 同样反映在画作里。此套《山居乐事图册》即描绘了 文人山村幽居之乐，画面透出清逸脱俗的气质。\n此册共十页，内容分别为梦蝶、笼鹤、观梅、采 药、晚雅、停琴、渔父、放鸭、听雨、踏雪等文人山居 乐事。每幅皆有浓郁的山野生活气息，画法简逸，构 图多样，笔墨疏放清逸，线条苍劲挺立，意趣横生， 属画家晚年的代表作。 其中，“梦蝶”一幅是文人对庄周梦蝶的畅想。 这一经典在每个传统文人画家心中都有一个清新 可爱的画面。陆治中年以后退出仕途，隐居山间，对 庄子的道家精神极为推崇，画这样一幅册页，再自 然不过。画中，庄子团坐伏一大石而睡，安静舒适， 鬓角的发须在清风吹拂中微微扬起。\n整个人物造型 涉笔不多，却是相当传神。景物描绘也十分生动有 趣，柳条零落疏散、深深浅浅，地面上的灌木蓬勃而 浓密，两者在笔墨上形成了节奏与疏密的对比。“笼 鹤”一幅从笔墨到构图则相对中规中矩。景物刻画 细致周密，布景平稳，技法也是陆治最熟练与常见 的。“听雨”画大雨滂沱，狂风大作。雨中，一文士檐 下卧榻听雨，神情专注，体态闲适；一仆从撑伞前 行，低头躬身，行步艰难。整幅作品将风雨大作的景 象，通过淋漓的水墨与酣畅的用笔，皴染结合，充分 地表现",[24,75,52,26,146,484,79,572,573,266,115,7],"鸟笼","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0aa8bf1b39d4b2a018b0488df291e99.jpg",[],{"id":577,"slug":578,"title":579,"dynasty":47,"author":580,"museum":126,"description":581,"tags":582,"thumbUrl":583,"material":59,"size":59,"collection":60,"collections":584,"showCount":586,"zanCount":11,"manualWeight":11,"mainColor":104},238339,"si-jing-shan-shui-xiao-ce-dong-gao-238339","四景山水小册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,75,52,25,26,27,28,414,196,32,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a1147384ebec720ae9dfe5d6b1add9.jpg",[60,585],"设色画精选",21,{"id":588,"slug":589,"title":590,"dynasty":332,"author":333,"museum":126,"description":334,"tags":591,"thumbUrl":594,"material":227,"size":228,"collection":353,"collections":595,"showCount":596,"zanCount":11,"manualWeight":11,"mainColor":64},226011,"regatta-at-argenteuil-1872-mo-nai-226011","Regatta at Argenteuil, 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著有《种书堂遗稿》等。",[24,75,76,25,27,28,196,114,54,7,115,240,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":760,"slug":761,"title":762,"dynasty":47,"author":763,"museum":126,"description":764,"tags":765,"thumbUrl":766,"material":59,"size":59,"collection":59,"collections":767,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":64},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。",[24,25,637,27,52,28,54,31,447,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ecd5879745033f91d86956e7bd1aae2.jpg",[],{"id":769,"slug":770,"title":771,"dynasty":156,"author":772,"museum":126,"description":773,"tags":774,"thumbUrl":776,"material":59,"size":59,"collection":59,"collections":777,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":64},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","宋旭","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[23,74,24,75,26,27,53,28,239,484,112,146,775,7,115,426],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":779,"slug":780,"title":781,"dynasty":219,"author":782,"museum":109,"description":783,"tags":784,"thumbUrl":785,"material":182,"size":786,"collection":60,"collections":787,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":64},218871,"cang-ji-qing-yue-tu-zhu-ci-zhong-218871","苍矶清樾图","祝次仲","这幅画描绘了从河面上凸出的河岛，清波荡漾，岛上绿草如茵，而学者则盘膝而坐，眺望着广阔的河面。这幅画的笔触与李唐相似，岩石是用草书的笔触凿出来的，松散而不夸张。",[23,24,223,25,26,28,79,31,426,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f4386ca16a392d3045300e4db4d45d.jpg","26.4x19.8",[60],{"id":789,"slug":790,"title":791,"dynasty":69,"author":792,"museum":126,"description":793,"tags":794,"thumbUrl":796,"material":227,"size":228,"collection":59,"collections":797,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":104},283632,"hua-han-yan-ji-xue-zhang-yu-283632","画寒岩积雪","张羽","张羽（1333－1385）元末明初文人。字来仪，更字附凤，号静居，浔阳（今江西九江）人，后移居吴兴（今浙江湖州），与高启、杨基、徐贲称为“吴中四杰”，又与高启、王行、徐贲等十人，人称“北郭十才子”，亦为明初十才子之一。官至太常丞，山水宗法米氏父子，诗作笔力雄放俊逸，著有《静居集》。",[24,75,28,76,25,55,54,795,662,115,7,53],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0864a3421ac5a684a16b934dfe59e80.jpg",[],13,{"id":800,"slug":801,"title":802,"dynasty":69,"author":191,"museum":803,"description":804,"tags":805,"thumbUrl":811,"material":100,"size":812,"collection":59,"collections":813,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":104},232804,"xi-luan-cong-xiao-tu-juan-yi-ming-232804","溪峦丛笑图卷","芝加哥艺术博物馆","以全景长卷铺展乡野嬉游盛景，浅溪漾波晕开两岸烟火。左畔村姑骑牛安坐，身侧稚童相随嬉闹；溪水中赤身孩童或逐犬泅水，或呼伴作乐，村人潮间呼喝相和，憨态尽显。右岸坡上乡老士人驻足笑望，眉眼舒展满是欣然。\n\n画师以淡墨晕染溪山底色，铁线白描勾勒身形，将众生欢悦鲜活尽数铺陈，无庙堂端肃，唯存乡野间的自在热络，将村野里乐天肆意的日常意趣定格绢素，尽显民间生活的淳朴真淳。",[23,24,94,26,25,130,146,806,807,696,264,31,96,808,7,809,342,810],"孩童","成人","溪岸","嬉戏","水中活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ae0bc4fce28f14af3c4a14d32f99bc.jpg","29x130cm",[],{"id":815,"slug":816,"title":817,"dynasty":332,"author":333,"museum":126,"description":334,"tags":818,"thumbUrl":826,"material":227,"size":228,"collection":353,"collections":827,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":64},226069,"the-este-rel-mountains-1888-mo-nai-226069","The Estérel Mountains, 1888",[74,336,337,819,473,398,820,112,821,400,344,96,822,403,823,7,824,825],"短笔触","户外写生","大海","海滨","倾斜树木","远景山峦","近景植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2160bf2a3c563db827f5041d183d582.jpg",[353],{"id":829,"slug":830,"title":831,"dynasty":332,"author":191,"museum":126,"description":832,"tags":833,"thumbUrl":835,"material":59,"size":59,"collection":59,"collections":836,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":64},225306,"fu-shi-hui-34-yi-ming-225306","浮世绘34","澄澈海面轻漾柔波，两艘渔舟缓行其上，晕开悠悠渔隐意趣。苍崖叠翠而起，深浅绿意晕染出繁茂植被的层次，暖黄石径蜿蜒穿梭林间，崖顶山居凭险而建，将山居与山海融为一体。\n\n右下角朱红岸滩衬着古朴鸟居与屋舍，冷暖色调交织柔化了山海边界，把南国的静谧悠然铺陈开来。整体兼具装饰意趣与东方山水意境，以雅致抒情的笔调定格幽远山海之美，带着和风特有的恬淡诗意，引人身临其境踏入这处避世的南国栖居地。",[387,26,28,56,267,31,54,7,834,32,131],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0bb9f4ca064dd87b79f48836bf455a.jpg",[],{"id":838,"slug":839,"title":840,"dynasty":219,"author":841,"museum":109,"description":842,"tags":843,"thumbUrl":846,"material":182,"size":847,"collection":60,"collections":848,"showCount":849,"zanCount":11,"manualWeight":11,"mainColor":64},218875,"shui-cun-qing-xia-tu-ma-kui-218875","水村清夏图","马逵","这幅画描绘了一个水边的渔村，田间的荷叶和丰富的芦苇，人们生活在宁静中，给人一种世外桃源的感觉。",[23,24,25,26,223,28,844,31,32,115,7,845,27],"村落","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2a199f17dc4e03d73f2a0ef2d0a8c1.jpg","24.5x26.2",[60],12,{"id":851,"slug":852,"title":853,"dynasty":156,"author":191,"museum":126,"description":854,"tags":855,"thumbUrl":856,"material":227,"size":228,"collection":59,"collections":857,"showCount":858,"zanCount":11,"manualWeight":11,"mainColor":104},288164,"fang-dong-yuan-shan-shui-tu-yi-ming-288164","仿董源山水图","此作用平远铺展全景江南山水，烟波澹澹的江面与连绵柔缓的浅丘相映，苍郁林木间散落村舍人家，尽显水乡温润氤氲的灵秀气质。\n画师以披麻皴写山石，淡墨晕染出苍润层次，笔触简淡柔婉，追摹出平淡天真的山水意趣，带着宋初山水的浑厚静穆。整卷气息悠长静谧，将江南丘林的秀雅与村居的悠然融为一体，仿若带人走入了古意绵长的隐逸山居，尽显古典山水的悠远韵致。",[23,24,94,75,28,26,27,95,31,662,426,7,637,195,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74ea0075c3b07b6830bfb8c1b90d62a.jpg",[],11,{"id":860,"slug":861,"title":862,"dynasty":332,"author":191,"museum":126,"description":863,"tags":864,"thumbUrl":873,"material":227,"size":228,"collection":59,"collections":874,"showCount":858,"zanCount":11,"manualWeight":11,"mainColor":64},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[387,388,26,97,31,54,264,146,308,373,7,865,866,867,868,869,403,870,871,872],"浴场场景","植物","山石景观","人物活动","传统建筑","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],{"id":876,"slug":877,"title":878,"dynasty":332,"author":333,"museum":126,"description":334,"tags":879,"thumbUrl":885,"material":227,"size":228,"collection":353,"collections":886,"showCount":858,"zanCount":11,"manualWeight":11,"mainColor":64},226024,"san-giorggio-maggiore-1908-mo-nai-226024","San Giorggio Maggiore, 1908",[337,336,398,348,880,7,267,881,882,883,884,344,501,499],"朦胧笔触","教堂","钟楼","建筑群","水面波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d982d8d320fa2db48e60dd9adcfb75.jpg",[353],{"id":888,"slug":889,"title":890,"dynasty":156,"author":891,"museum":192,"description":892,"tags":893,"thumbUrl":895,"material":896,"size":897,"collection":59,"collections":898,"showCount":858,"zanCount":11,"manualWeight":11,"mainColor":104},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意","陈洪绶","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,24,75,52,26,637,28,592,264,31,115,177,499,894,7],"归帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],{"id":900,"slug":901,"title":494,"dynasty":47,"author":902,"museum":126,"description":903,"tags":904,"thumbUrl":905,"material":227,"size":228,"collection":59,"collections":906,"showCount":907,"zanCount":11,"manualWeight":11,"mainColor":64},234712,"shan-shui-ye-wang-yuan-qi-234712","王原祁","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,25,27,75,52,28,196,32,54,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4568b2d6872a4bb289ea167f4b7a84c.jpg",[],10,{"id":909,"slug":910,"title":911,"dynasty":332,"author":912,"museum":126,"description":913,"tags":914,"thumbUrl":915,"material":227,"size":228,"collection":59,"collections":916,"showCount":907,"zanCount":11,"manualWeight":11,"mainColor":64},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[23,74,387,94,26,224,28,112,32,844,7,115,648,31,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":918,"slug":919,"title":920,"dynasty":47,"author":902,"museum":126,"description":921,"tags":922,"thumbUrl":923,"material":59,"size":59,"collection":59,"collections":924,"showCount":907,"zanCount":11,"manualWeight":11,"mainColor":64},229027,"fang-yun-lin-she-se-shan-shui-tu-wang-yuan-qi-229027","仿云林设色山水图","此作用两段平远取景，铺陈出清寂萧疏的幽淡之境。近岸枯木清劲错落，疏朗有致，茅庐隐于林麓之间，野意悠然。远山以干笔淡墨反复皴擦，将倪云林的冷逸淡远，糅合进苍厚绵密的自家笔意，浅赭轻敷，晕染出古雅柔和的色调。画面留白开阔，引观者目光悠然游弋，尽显空寂淡远的文人意趣。题跋与画面相得益彰，文气雅致，师法元人又自出机杼，是兼具摹古与新意的山水佳构。",[23,74,24,75,76,26,27,28,31,54,32,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb43d7ec43e94f35dfae7914f109d2a6.jpg",[],{"id":926,"slug":927,"title":928,"dynasty":47,"author":929,"museum":49,"description":930,"tags":931,"thumbUrl":933,"material":58,"size":59,"collection":59,"collections":934,"showCount":907,"zanCount":11,"manualWeight":11,"mainColor":64},215009,"fang-gu-shan-shui-ce-20-wang-jian-215009","仿古山水册-20","王鉴","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。",[23,24,25,27,52,932,28,484,32,54,7],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33c50472a0b1e8a243d18a2d21efd8d.jpg",[],{"id":936,"slug":937,"title":938,"dynasty":47,"author":191,"museum":126,"description":939,"tags":940,"thumbUrl":941,"material":59,"size":59,"collection":59,"collections":942,"showCount":943,"zanCount":11,"manualWeight":11,"mainColor":64},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？",[24,25,26,27,52,28,54,31,662,7,95,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceffa03dc34c80a37f79d6bb2778e258.jpg",[],9,{"id":945,"slug":946,"title":947,"dynasty":156,"author":948,"museum":109,"description":949,"tags":950,"thumbUrl":956,"material":58,"size":957,"collection":59,"collections":958,"showCount":943,"zanCount":11,"manualWeight":11,"mainColor":64},216088,"tai-ping-le-shi-tu-ce-8-dai-jin-216088","太平乐事图册-8","戴进","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,75,52,26,130,146,696,31,7,161,951,952,953,954,955],"土地","斗笠","农具","河岸","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038c2970b7ee8eae6f36c8f6102b3f0b.jpg","22.8x22cm",[],{"id":960,"slug":961,"title":962,"dynasty":47,"author":963,"museum":126,"description":964,"tags":965,"thumbUrl":967,"material":59,"size":59,"collection":59,"collections":968,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":64},238236,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238236","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》。",[24,26,130,27,52,28,146,31,54,98,662,7,966],"围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f187a6ca9912a53c11940667530eaea.jpg",[],8,{"id":971,"slug":972,"title":973,"dynasty":47,"author":974,"museum":126,"description":975,"tags":976,"thumbUrl":978,"material":227,"size":228,"collection":59,"collections":979,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":64},237961,"qiu-jing-shan-shui-ye-zhang-ke-237961","秋景山水页","张柯","此作以秋山平湖为景，近岸崖石皴法朴厚，丹红、苍蓝林木错落，点染出深秋斑斓意趣，层岩间垂落的山泉更添灵动。空阔湖面间，几艘帆船静泊浅滩，汀洲村舍隐在烟霭之中，远景峰峦晕染如黛，淡远朦胧。左下角溪桥上的行旅缓步徐行，为清寂秋山增添了烟火暖意。\n\n画作以浅绛设色糅合水墨皴擦，色调清雅温润，笔墨简淡却意境悠长，将秋日山湖的清旷淡远铺陈开来，尽显文人山水的闲澹野逸之美，藏着秋日山林的幽寂萧散况味。",[24,26,28,52,27,54,31,7,267,32,294,146,115,977,53],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f7609a10352d1d52dc64546c286f4b.jpg",[],{"id":981,"slug":982,"title":983,"dynasty":156,"author":984,"museum":192,"description":985,"tags":986,"thumbUrl":987,"material":100,"size":988,"collection":59,"collections":989,"showCount":969,"zanCount":63,"manualWeight":11,"mainColor":64},231952,"chun-qi-tu-gu-yi-de-231952","春绮图","顾懿德","画面浅色描绘树木山峰、白云青嶂，虽仿古人，但其表现爽朗脱俗。\n上款自题：庚申冬日，写春绮图，欲寄老僧採碧，竟为余家小孙所夺，识者亦赏其不俗云。顾懿德。",[24,75,76,26,27,28,54,31,7,662,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2438f182e7fbb4eea9d22b7f80703fe.jpg","纵五一点七公分，横三二点四公分",[],{"id":991,"slug":992,"title":993,"dynasty":47,"author":90,"museum":304,"description":994,"tags":995,"thumbUrl":997,"material":998,"size":999,"collection":59,"collections":1000,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":64},222613,"shan-shui-ba-jing-3-gong-xian-222613","山水八景-3","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。",[23,24,25,996,27,28,78,426,55,54,7],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d0d0a469d88f3e8e2c0ce23313a769.jpg","纸","纵24.4 厘米 横49.7 厘米",[],{"id":1002,"slug":1003,"title":1004,"dynasty":47,"author":90,"museum":304,"description":994,"tags":1005,"thumbUrl":1006,"material":998,"size":999,"collection":59,"collections":1007,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":64},222612,"shan-shui-ba-jing-2-gong-xian-222612","山水八景-2",[23,24,25,27,28,484,33,373,31,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41cb5c793ea90b164e87ab6b3d05d0a4.jpg",[],{"id":1009,"slug":1010,"title":1011,"dynasty":47,"author":1012,"museum":304,"description":1013,"tags":1014,"thumbUrl":1016,"material":182,"size":1017,"collection":59,"collections":1018,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":64},219840,"shan-shui-tu-ce-7-xie-sun-219840","山水图册-7","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。",[24,26,52,27,28,96,31,146,1015,7],"动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237665922e3fdc54ce078db700a98496.jpg","14.2x19.2",[],{"id":1020,"slug":1021,"title":1022,"dynasty":47,"author":929,"museum":49,"description":930,"tags":1023,"thumbUrl":1026,"material":58,"size":59,"collection":59,"collections":1027,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":64},215027,"fang-gu-shan-shui-ce-4-wang-jian-215027","仿古山水册-4",[24,75,52,26,25,740,28,1024,54,7,1025,98,27,277],"悬崖","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0393365bda3bc690fcdbd70ef24cce4c.jpg",[],{"id":1029,"slug":1030,"title":1031,"dynasty":47,"author":1032,"museum":126,"description":1033,"tags":1034,"thumbUrl":1036,"material":227,"size":228,"collection":59,"collections":1037,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":64},288449,"xi-shan-wu-jin-tu-juan-zhou-hao-288449","溪山无尽图卷","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯",[23,74,24,75,94,25,28,27,95,7,56,371,1035,53],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f875b7e8ae770f0560d5622fc8430f.jpg",[],7,{"id":1040,"slug":1041,"title":1042,"dynasty":47,"author":1043,"museum":126,"description":1044,"tags":1045,"thumbUrl":1046,"material":227,"size":228,"collection":59,"collections":1047,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":104},237529,"shan-shui-ce-chen-zi-237529","山水册","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,75,52,26,28,196,32,7,115,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdb98446a00a04a75bd167bb91460d1.jpg",[],{"id":1049,"slug":1050,"title":46,"dynasty":47,"author":1051,"museum":126,"description":1052,"tags":1053,"thumbUrl":1054,"material":227,"size":228,"collection":59,"collections":1055,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":64},237487,"shan-shui-tu-ce-yao-song-237487","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。",[24,52,25,195,371,27,53,28,79,31,267,7,502,501,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f53938c1969f1a58b6dd58cd34eed5.jpg",[],{"id":1057,"slug":1058,"title":1059,"dynasty":47,"author":191,"museum":126,"description":1060,"tags":1061,"thumbUrl":1062,"material":59,"size":59,"collection":59,"collections":1063,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":64},236061,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236061","王翚仿古山水册","此作用笔苍秀兼济，以干笔皴擦勾勒山石肌理，淡墨晕染晕出山峦明暗，层层铺展出远近景致。近岸水榭依溪而建，杂木扶疏间村舍隐现；中流渔舟静泊，对岸长松茂林覆裹崖岫；远景峰峦叠翠，烟岚轻笼，留白水面漾出空濛清寂。\n\n整体取法元人山水萧散简远之致，又暗合宋人丘壑的深幽格局，笔墨清润沉和，题识小字与画面浑然相融，尽显山居幽隐的闲澹意趣，是仿古山水中颇具韵致的佳构。",[24,75,52,932,27,25,53,28,95,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550a3bfc27e975b77c4e736c51f2550.jpg",[],{"id":1065,"slug":1066,"title":1067,"dynasty":332,"author":333,"museum":126,"description":334,"tags":1068,"thumbUrl":1077,"material":227,"size":228,"collection":353,"collections":1078,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":104},225992,"on-the-cliff-at-pourville-bright-weather-1882-mo-nai-225992","On the Cliff at Pourville, Bright Weather, 1882",[336,337,346,399,1024,1069,592,350,344,1070,347,1071,1072,1073,7,499,1074,1075,1076],"海面","户外风景","自然光影","海岸景观","明亮天气","山坡植被","色彩融合","风景写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0824c37911c3c410cd4f9a4c0ecfb7c.jpg",[353],{"id":1080,"slug":1081,"title":1082,"dynasty":156,"author":1083,"museum":126,"description":1084,"tags":1085,"thumbUrl":1086,"material":59,"size":59,"collection":59,"collections":1087,"showCount":1088,"zanCount":11,"manualWeight":11,"mainColor":104},237702,"shan-shui-hua-guo-ce-xiang-sheng-mo-237702","山水花果册","项圣谟","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,25,52,27,75,195,74,28,54,31,98,7,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a8bf621d124c897046bb7f2b836aac.jpg",[],6,{"id":1090,"slug":1091,"title":1092,"dynasty":156,"author":1093,"museum":192,"description":1094,"tags":1095,"thumbUrl":1096,"material":100,"size":59,"collection":59,"collections":1097,"showCount":1088,"zanCount":11,"manualWeight":11,"mainColor":64},237014,"xi-zhu-ce-zhu-ying-237014","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）。",[24,25,27,52,28,54,31,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ae61ab3f8b1262b6421ade26c0837e.jpg",[],{"id":1099,"slug":1100,"title":1042,"dynasty":69,"author":1101,"museum":192,"description":1102,"tags":1103,"thumbUrl":1105,"material":163,"size":1106,"collection":59,"collections":1107,"showCount":1088,"zanCount":11,"manualWeight":11,"mainColor":104},233175,"shan-shui-ce-cao-zhi-bai-233175","曹知白","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。",[24,25,27,52,371,195,28,414,1104,31,96,115,98,7],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1665cd980e58c01dcfcbc88ae1e167d9.jpg","纵33.1cm，横27.4cm",[],{"id":1109,"slug":1110,"title":1111,"dynasty":219,"author":191,"museum":192,"description":1112,"tags":1113,"thumbUrl":1114,"material":1115,"size":1116,"collection":59,"collections":1117,"showCount":1088,"zanCount":11,"manualWeight":11,"mainColor":104},233018,"liu-yuan-xiao-shu-tu-ye-yi-ming-233018","柳院消暑图页","避暑是宋人夏季活动的一件大事。农历四月谓之初夏，五月初五是端午，端午过后，天气便炎热起来。宋代周密所著《武林旧事》是一部十卷本南宋杂史，详述了朝廷典礼﹑山川风俗﹑市肆经纪﹑四时节物﹑教坊乐部等情况﹐是了解南宋城市文化和市民生活的史料。其中就有对临安百姓入夏活动的记载：“盖入夏则游船不复入里湖，多占蒲深柳密宽凉之地，披襟钓水，月上始还。”描述了南宋夏季，人们不再着襦、袄，开始穿着单衫，服装质料上也以轻薄透气为主。\n此画描绘了士人在庭院中避暑纳凉的场景。院中柳树垂阴，古树掩映。画中一士人坐于室内赏景纳凉，其身后站有一双手持扇的仆僮。门前湖面宽阔，荷叶点缀其间，远山云雾变幻莫测。院侧十数株庭花盛开，绿草如茵，有一仆僮正捧盒而来。\n画中坐于室内的士人头戴小冠。“小冠”也称“束髻冠”，是一种束在髻上的发罩，多为皮制，形如手状。《宋书·五行志》曾记载：“晋末皆冠小冠，而衣裳博大，风流相仿，舆台成俗。”士人身穿大袖襕衫，腰间系带。襕衫是一种特别的长衫，其在衫的下裳处施有横襕，代表上衣下裳的含义。宋代时，襕衫常用白色细布，圆领大袖，下摆施以横襕，腰间有褶，为士人、进士、秀才服饰。《宋史·與服志》记载：“襕衫。以白细布为之，圆领大袖，下施横襕为裳，腰间有辟积。进士及国子生、州县生服之。”\n画中共有仆僮两人。士人身后持扇仆僮身穿小袖短衫，下身着长裤，腰间系带。院侧正捧盒归来的仆僮梳双丫髻，身穿小袖长衫，两侧开衩，内着中单，腰间系带，下着长裤，脚穿布鞋。长裤以透明的薄纱为面料，肌肤在薄纱下隐约可见。纱是最古老的丝织物之一，其是一种密度稀疏、轻薄、方孔的平纹织物。由于其轻盈、有孔的特点，通常用来制作夏季服饰。宋时，纺纱技术有了很大的发展，《宋史·地理志二》就有记载：“相州，……贡暗花牡丹花纱。”",[24,74,75,223,26,130,146,436,131,28,307,31,295,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d30c2c6ab3d95c7805d55f6b76dc45.jpg","绢本 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味，成为吴门画派的健将之一。",[223,24,25,27,28,54,31,78,426,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e95e1d32ee868160d4c95e9fce2c770.jpg",[],{"id":1281,"slug":1282,"title":1059,"dynasty":47,"author":191,"museum":126,"description":1283,"tags":1284,"thumbUrl":1285,"material":59,"size":59,"collection":59,"collections":1286,"showCount":1249,"zanCount":11,"manualWeight":11,"mainColor":64},236062,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236062","此作画境开合有致，近景危崖嶙峋对峙，古松虬曲斜倚崖间，苍劲老辣。坡岸间杂草矮木错落，野意横生。幽谷里溪流隐现，右侧枯木疏枝横斜，萧散清寂。远景平湖如镜，彼岸山峦逶迤，林麓朦胧晕染在空濛烟岚之中。\n\n笔墨兼擅苍秀，山石以短皴点苔，勾勒出坚硬质感，晕染柔和自然。设色简淡明净，以水墨晕出水色天光的空濛，将深秋萧疏之气揉进山水静穆之中，幽寂淡远的林下意境油然而生，尽显仿古山水的雅致意趣。",[24,75,52,26,27,637,28,79,112,31,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f40330fbbba36daca0dd28b9a2a4247.jpg",[],{"id":1288,"slug":1289,"title":1290,"dynasty":47,"author":1291,"museum":126,"description":1292,"tags":1293,"thumbUrl":1294,"material":59,"size":59,"collection":59,"collections":1295,"showCount":1249,"zanCount":11,"manualWeight":11,"mainColor":64},234605,"qiu-shan-tu-wan-shan-hu-yi-zan-234605","秋山图纨扇","胡义赞","字叔襄，号石槎（一作石查），晚号烟视翁，光山（今河南光山）人，官海宁知州。长金石考证之学，所藏泉币皆希品，考证精确，与鲍臆园（康）抗衡。行楷、山水皆学董其昌，清润淹雅，不仅貌似，题识亦佳。刻印宗秦、汉，收藏书、画、金石甚富。光绪二十三年（1897）年六十七，尚作山水卷。",[24,223,25,26,28,27,1125,31,54,32,775,115,523,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48608369a82e616c313ba75102a0e69.jpg",[],{"id":1297,"slug":1298,"title":1042,"dynasty":47,"author":90,"museum":192,"description":1299,"tags":1300,"thumbUrl":1301,"material":199,"size":1302,"collection":59,"collections":1303,"showCount":1249,"zanCount":11,"manualWeight":11,"mainColor":327},233978,"shan-shui-ce-gong-xian-233978","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,25,27,28,31,951,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d04ced63408e5e921bb6256a22b842.jpg","纵22.2厘米，横33.2厘米",[],{"id":1305,"slug":1306,"title":1042,"dynasty":47,"author":1253,"museum":126,"description":1254,"tags":1307,"thumbUrl":1308,"material":59,"size":59,"collection":59,"collections":1309,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":64},237975,"shan-shui-ce-zhang-geng-237975",[24,75,52,25,27,28,436,115,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be03c1bc44701e2043319435e4ebd4c.jpg",[],{"id":1311,"slug":1312,"title":1313,"dynasty":47,"author":754,"museum":192,"description":1314,"tags":1315,"thumbUrl":1317,"material":100,"size":59,"collection":59,"collections":1318,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":64},237211,"shu-hua-he-bi-ce-cha-shi-biao-237211","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。",[75,52,25,28,195,371,27,54,31,264,33,56,116,7,1316],"树木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a872af8137fe1d04a918ab57a33480.jpg",[],{"id":1320,"slug":1321,"title":1042,"dynasty":47,"author":1322,"museum":126,"description":1323,"tags":1324,"thumbUrl":1325,"material":227,"size":228,"collection":59,"collections":1326,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":64},236991,"shan-shui-ce-zhang-xi-236991","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,75,52,26,28,78,33,56,31,115,7,371,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16f393562b2bf8809c3861f07f2c7d0.jpg",[],{"id":1328,"slug":1329,"title":1330,"dynasty":47,"author":1331,"museum":126,"description":1332,"tags":1333,"thumbUrl":1334,"material":59,"size":59,"collection":59,"collections":1335,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":64},235094,"zheng-min-shan-shui-ce-zheng-min-235094","郑旼山水册","郑旼","此作用淡墨绘就平林远渚，近岸老枝斜出，荒草萋萋，中洲村居隐于林间，远山含晕，群雁掠水而去，全幅简淡空灵，得倪瓒遗意，将皖南秋郊清旷冷寂的意韵尽显无遗。左侧题跋笔致清劲舒展，与画作格调相得益彰，文画相融，尽显画者寄情林泉、超然物外的文人逸趣。全作淡而不枯，简而意足，尽显幽淡冲和的文人画旨趣，是新安画派以笔抒怀的典型佳构。",[24,75,52,25,371,27,28,79,426,484,264,78,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0209f2ab9b0ee85b7f0dcf8ce1c2a1e2.jpg",[],{"id":1337,"slug":1338,"title":1042,"dynasty":156,"author":1339,"museum":126,"description":1340,"tags":1341,"thumbUrl":1343,"material":59,"size":59,"collection":59,"collections":1344,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":104},234626,"shan-shui-ce-zhu-yan-234626","朱炎","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。",[24,75,52,25,28,31,114,672,54,7,27,1342,195],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0844d648afe20e899955a0f940ff495.jpg",[],{"id":1346,"slug":1347,"title":1348,"dynasty":47,"author":1349,"museum":192,"description":1350,"tags":1351,"thumbUrl":1357,"m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in a Meadow – - National Gallery of Art - Washington (USA)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[336,337,294,295,7,499,32,1470,468,31],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6891e26fe2f55d4379ea41f8c996fc.jpg",[],{"id":1474,"slug":1475,"title":1476,"dynasty":332,"author":1467,"museum":126,"description":1468,"tags":1477,"thumbUrl":1481,"material":227,"size":228,"collection":59,"collections":1482,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":64},232037,"de-jia-21-de-jia-232037","德加21",[337,336,26,146,294,7,342,115,344,547,1478,1479,1480],"户外","骑马者","写意笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d13ba0f77e0cf152aa023fa77e48b9.jpg",[],{"id":1484,"slug":1485,"title":1486,"dynasty":332,"author":191,"museum":126,"description":1487,"tags":1488,"thumbUrl":1489,"material":59,"size":59,"collection":59,"collections":1490,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":104},231691,"shi-ting-shi-qi-qiao-yi-ming-231691","室町时期 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