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。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 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。",[23,55,24,25,56,83,84,85,86,87,88,61,7],"水墨","书法","印章","写意","渲染","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纸本","纵46.3厘米，横1096.4厘米","宋画精选",[92,94,95],"花鸟画精选","水墨画精选",1532,20,{"id":99,"slug":100,"title":101,"dynasty":78,"author":79,"museum":102,"description":103,"tags":104,"thumbUrl":108,"material":109,"size":110,"collection":92,"collections":111,"showCount":112,"zanCount":113,"manualWeight":11,"mainColor":114},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。",[24,55,25,26,83,57,88,105,106,107,7],"兽","云","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c956b8342baede8049fcb2307ef8f.jpg","绢本,水墨","103x64",[92],1255,7,"37474F",{"id":116,"slug":117,"title":118,"dynasty":119,"author":120,"museum":121,"description":122,"tags":123,"thumbUrl":128,"material":129,"size":130,"collection":131,"collections":132,"showCount":133,"zanCount":134,"manualWeight":11,"mainColor":135},220450,"lian-chi-lin-yu-shan-220450","莲池","民国","林玉山","国立台湾美术馆","这幅《莲池》是民国画家林玉山的工笔花鸟佳作，可从以下几方面鉴赏：\n\n一、技法表现：工笔精谨，写实入微\n林玉山擅长工笔重彩，这幅画以精细工笔技法刻画物象：荷叶的脉络、荷花的瓣层、白鹭的羽毛都被细腻勾勒，线条匀净流畅，尽显工笔“精工细作”的特质；同时融入写实观察，让荷花、荷叶的形态、白鹭的动态都极具自然真实感，体现他“写生入画”的创作理念。\n\n二、构图布局：疏密有致，动静相生\n画面布局繁而不乱：大片荷叶荷花层层叠叠，疏密、虚实对比鲜明；左下角的白鹭成为视觉焦点，以其灵动姿态打破静态莲池的沉寂，形成“静（莲荷）动（白鹭）相生”的节奏，让画面既有满幅的丰富感，又有视觉的呼吸感。\n\n三、色彩格调：典雅和谐，层次丰盈\n采用工笔重彩设色法，背景的暖棕色调与荷叶的蓝绿色调形成雅致对比，荷花的粉白、白鹭的素净又在色彩层次中穿插呼应，既保留了传统工笔的富丽感，又通过色调调和营造出莲池清幽朦胧的氛围，尽显色彩的抒情性。\n\n四、意境与风格：传统意趣与现代写实的融合\n画面营造出“清幽雅致”的田园意境，莲池的静谧、白鹭的灵动，传递出自然生机与文人式的闲逸情致。同时，林玉山将西方写实技法融入传统工笔，既延续了中国花鸟画的装饰美感与意境追求，又以写实观察赋予物象鲜活生命力，是民国时期“传统笔墨现代化”的典型探索，展现了他在工笔花鸟领域“古今融合、中西通汇”的独特风格。\n\n综上，这幅《莲池》以精湛工笔、精妙构图、典雅色彩，勾勒出诗意莲池的生动图景，既是林玉山个人艺术风格的凝练，也折射出民国时期传统绘画在现代转型中的探索与成就。",[23,24,25,28,29,124,125,126,127,7],"花鸟","荷花","荷叶","白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ee7c758c3a5d09e9063bab49500b45.jpg","绢","","花鸟精选",[131],1224,18,"BDBDBD",{"id":137,"slug":138,"title":139,"dynasty":140,"author":141,"museum":142,"description":143,"tags":144,"thumbUrl":149,"material":90,"size":150,"collection":69,"collections":151,"showCount":152,"zanCount":153,"manualWeight":11,"mainColor":45},214343,"san-jue-shan-shui-ce-hua-yan-214343","三绝山水册","清","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。",[23,24,145,83,29,57,58,146,147,30,148,59,7],"册","孤石","飞鸟","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1075f02c862972d6c6c6e0ea0f290ca9.jpg","23.4x15.8",[69],885,4,{"id":155,"slug":156,"title":157,"dynasty":78,"author":158,"museum":159,"description":160,"tags":161,"thumbUrl":166,"material":167,"size":168,"collection":92,"collections":169,"showCount":170,"zanCount":113,"manualWeight":11,"mainColor":45},221395,"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","范宽","天津博物馆","《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。",[23,24,25,58,57,83,26,162,163,164,60,7,165],"雪","寒林","山石","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","绢本 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，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,25,29,57,58,269,268,7,164,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[69,71],264,{"id":380,"slug":381,"title":382,"dynasty":140,"author":383,"museum":159,"description":384,"tags":385,"thumbUrl":387,"material":302,"size":388,"collection":69,"collections":389,"showCount":390,"zanCount":355,"manualWeight":11,"mainColor":135},219994,"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春","王时敏","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。",[24,25,83,58,57,59,7,148,181,32,386,85],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg","22.5x27.5",[69],235,{"id":392,"slug":393,"title":394,"dynasty":78,"author":19,"museum":281,"description":395,"tags":396,"thumbUrl":399,"material":302,"size":130,"collection":69,"collections":400,"showCount":401,"zanCount":153,"manualWeight":11,"mainColor":135},217118,"xue-jing-shan-shui-tu-yi-ming-217118","雪景山水图","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。",[23,24,25,55,397,83,57,58,398,180,59,7],"宋代","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[69],228,{"id":403,"slug":404,"title":405,"dynasty":50,"author":406,"museum":210,"description":407,"tags":408,"thumbUrl":410,"material":215,"size":411,"collection":69,"collections":412,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":45},218912,"hua-xi-yu-yin-tu-wang-meng-218912","花溪渔隐图","王蒙","整幅画的笔触密集而精炼，所画的柳与赵孟𫖯在《鹊华秋色》卷中所画的柳相似。",[23,24,25,83,57,58,59,7,148,268,165,182,62,409,213,325],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2566c9078e40883.jpg","129x58.3cm",[69],221,{"id":415,"slug":416,"title":370,"dynasty":78,"author":345,"museum":252,"description":417,"tags":418,"thumbUrl":420,"material":421,"size":422,"collection":92,"collections":423,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":45},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”。",[23,24,25,83,29,57,58,59,7,269,165,419],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[92,69,95],208,{"id":426,"slug":427,"title":428,"dynasty":175,"author":429,"museum":281,"description":430,"tags":431,"thumbUrl":433,"material":302,"size":434,"collection":69,"collections":435,"showCount":436,"zanCount":153,"manualWeight":11,"mainColor":45},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,29,58,28,57,59,7,148,165,268,432,181,228,164,61,85],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[69,71],204,{"id":438,"slug":439,"title":440,"dynasty":441,"author":442,"museum":210,"description":443,"tags":444,"thumbUrl":446,"material":83,"size":447,"collection":69,"collections":448,"showCount":449,"zanCount":355,"manualWeight":11,"mainColor":45},218919,"han-lin-wan-xiu-tu-ju-ran-218919","寒林晚岫图","五代十国","巨然","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。",[23,24,55,26,83,57,58,60,445,62,7],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[69],201,{"id":451,"slug":452,"title":453,"dynasty":50,"author":454,"museum":52,"description":455,"tags":456,"thumbUrl":458,"material":67,"size":459,"collection":41,"collections":460,"showCount":461,"zanCount":462,"manualWeight":11,"mainColor":45},221827,"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[23,24,29,28,85,30,88,457,7,241,61],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[41,71],172,3,{"id":464,"slug":465,"title":466,"dynasty":78,"author":19,"museum":210,"description":467,"tags":468,"thumbUrl":472,"material":39,"size":130,"collection":92,"collections":473,"showCount":461,"zanCount":189,"manualWeight":11,"mainColor":45},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,24,25,55,58,29,145,268,30,60,469,7,470,146,471],"岸","秋景","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[92,69],{"id":475,"slug":476,"title":477,"dynasty":175,"author":478,"museum":52,"description":479,"tags":480,"thumbUrl":483,"material":271,"size":484,"collection":130,"collections":485,"showCount":486,"zanCount":189,"manualWeight":11,"mainColor":135},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","沈周","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘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舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,25,56,29,58,481,57,312,84,59,7,165,60,164,482,325,30],"文人画","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":488,"slug":489,"title":490,"dynasty":140,"author":491,"museum":52,"description":492,"tags":493,"thumbUrl":495,"material":496,"size":497,"collection":130,"collections":498,"showCount":499,"zanCount":11,"manualWeight":11,"mainColor":135},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","任颐","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。",[23,24,25,55,26,29,83,124,125,126,494,7],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","绢本设色","纵138厘米，横42厘米",[],163,{"id":501,"slug":502,"title":503,"dynasty":175,"author":238,"museum":504,"description":505,"tags":506,"thumbUrl":508,"material":509,"size":510,"collection":69,"collections":511,"showCount":512,"zanCount":355,"manualWeight":11,"mainColor":45},221994,"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","辽宁省博物馆","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[23,24,58,59,7,148,29,56,86,90,507],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纸本设色","纵23厘米，横578.3厘米",[69,71],158,{"id":514,"slug":515,"title":516,"dynasty":50,"author":517,"museum":518,"description":519,"tags":520,"thumbUrl":531,"material":90,"size":532,"collection":533,"collections":534,"showCount":535,"zanCount":153,"manualWeight":11,"mainColor":135},220890,"lou-shi-ming-zhao-meng-fu-220890","陋室铭","赵孟頫","广东省博物馆","赵孟頫 行书《陋室铭》卷共19行，计86字。像是原由册装裱成卷。款署“子昂”，钤“赵氏子昂”朱文方印、“松雪斋”朱文长方印。该卷录书唐刘禹锡《陋室 铭》全文。通篇字形扁方，结体方阔，间架疏朗，方整平正，用笔方圆并举，以方笔居多，转折处见棱见角。法度谨严，字势宽博开张，气度平和雍容，雄浑大气。 笔力厚重，笔画丰肥，笔法坚实，稳重遒劲，意态古朴生拙。书写时楷中兼有行意，在严整中增加了几分灵动。王连起先生看后认为这是赵氏较早年的作品。\n关于他的书风的分期，广为人知的莫过于明代宋濂在跋赵孟頫《浮山远公传》时所谓的“三段论”：“赵魏公之书凡三变，初临思陵，中学锺繇及羲、献，晚乃学李北 海”，其中“思陵”指宋高宗赵构。宋濂的这种论断被后来的很多鉴藏家和评论家所认同。现以广东省博物馆所藏行书《陋室铭》为例，解读其早年书风。\n行 书《陋室铭》卷本原为纸本挂轴，后来经蓑衣裱，改为纵49厘米、横131厘米的手卷，作者署穷款“子昂”，钤朱文方印“赵氏子昂”，引首钤朱文长方印“松 雪斋”。另有白文收藏印“竹隐王氏从龙子云章”。赵孟頫常用印中，有一方铜质的朱文方印“赵氏子昂”，即此卷中所钤印。\n该印在赵孟頫三十三岁时有所缺损， 因此成为判断赵氏书画创作时间的一个重要标志。书画鉴定家刘九庵认为此印在未损以前四周边际乃是横平竖直，该卷中此印尚与此一致，据此则该卷当为其早年所 书。在赵孟頫传世的署有年款的作品中，一些创作于三十岁左右的行书作品与此《陋室铭》卷风格较为接近，其间架结构、运笔及笔势均多有相似之处。因此，虽然 此卷并无纪年，从印章、署款和书风看，应该是赵氏三十岁左右的代表作品。\n从书风看，该卷与宋高宗书法在笔道、结体上有很多继承之处。在《陋室铭》中，不难看出，赵孟頫早年与古为徒，结字扁平，气势端秀，在宋高宗的基础上融入己 意，但这种“己意”是非常有限的，有些笔划、结体还显得有些稚嫩，以至于其艺术性与中晚年的作品相比要大打折扣。当然，在后来的临习古人中，他博采多家， 兼收并蓄，逐渐形成自己的风格，从而走出古人的阴影，成为一代大家。从这件作品我们可以看出他早年在艺术上的探索，从这点而论，其意义及其在赵氏艺术史上 的地位，是非同寻常的。\n原文：山不在高，有仙则名。水不在深，有龙则灵。斯是陋室，惟吾德馨。苔痕上阶绿，草色入帘青。谈笑有鸿儒，往来无白丁。可以调素琴，阅金经。无丝竹之乱耳，无案牍之劳形。南阳诸葛庐，西蜀子云亭。孔子云：“何陋之有？”",[23,84,312,521,522,523,59,7,88,524,525,526,527,528,529,530],"墨迹","笔法圆润","结体秀逸","仙","琴","丝竹","苔痕","草色","帘","经卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59291b947749ed8209ca5142e795263.jpg","纵49厘米、横131厘米","书法精选",[533],156,{"id":537,"slug":538,"title":539,"dynasty":140,"author":540,"museum":281,"description":541,"tags":542,"thumbUrl":543,"material":302,"size":130,"collection":69,"collections":544,"showCount":545,"zanCount":11,"manualWeight":11,"mainColor":45},214603,"fang-gu-shan-shui-ce-wang-hui-214603","仿古山水册","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。",[24,83,57,179,58,59,7,148,445,182,255,62,241,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[69],155,{"id":547,"slug":548,"title":549,"dynasty":50,"author":517,"museum":52,"description":550,"tags":551,"thumbUrl":556,"material":557,"size":558,"collection":69,"collections":559,"showCount":560,"zanCount":355,"manualWeight":11,"mainColor":135},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。",[23,24,25,56,83,58,312,85,57,59,7,552,60,553,554,555],"村庄","河流","山丘","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纸本，水墨","纵24.9厘米，横120.5厘米。",[69,95],149,{"id":562,"slug":563,"title":564,"dynasty":175,"author":19,"museum":210,"description":565,"tags":566,"thumbUrl":567,"material":129,"size":130,"collection":130,"collections":568,"showCount":569,"zanCount":189,"manualWeight":11,"mainColor":135},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","富春山居图子明卷","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",[23,24,25,56,83,58,57,84,85,324,59,7,60,268,181,228,165,147,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":571,"slug":572,"title":573,"dynasty":50,"author":574,"museum":210,"description":575,"tags":576,"thumbUrl":577,"material":215,"size":578,"collection":69,"collections":579,"showCount":580,"zanCount":189,"manualWeight":11,"mainColor":135},220789,"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","倪瓒","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。",[24,25,26,83,57,58,60,32,7,213,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[69,95],144,{"id":582,"slug":583,"title":584,"dynasty":140,"author":585,"museum":52,"description":586,"tags":587,"thumbUrl":590,"material":67,"size":591,"collection":94,"collections":592,"showCount":593,"zanCount":189,"manualWeight":11,"mainColor":45},238125,"jiao-yuan-mu-ma-tu-juan-lang-shi-ning-238125","郊原牧马图卷","郎世宁","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[56,28,29,457,588,589,30,164,105,7],"柳树","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb62906769fc51d887721bda8835ce.jpg","纵51.2厘米，横166厘米",[94],138,{"id":595,"slug":596,"title":597,"dynasty":78,"author":598,"museum":599,"description":600,"tags":601,"thumbUrl":603,"material":39,"size":130,"collection":92,"collections":604,"showCount":605,"zanCount":11,"manualWeight":11,"mainColor":135},219858,"mu-se-gui-yu-tu-xia-gui-219858","暮色归渔图","夏圭","印第安纳波利斯艺术博物馆","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,83,57,58,268,409,147,602,269,469,7],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[92],137,{"id":607,"slug":608,"title":609,"dynasty":140,"author":610,"museum":52,"description":611,"tags":612,"thumbUrl":615,"material":302,"size":616,"collection":71,"collections":617,"showCount":605,"zanCount":355,"manualWeight":11,"mainColor":135},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。",[23,55,24,25,26,29,28,83,613,614,445,32,198,7],"猫","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[71],{"id":619,"slug":620,"title":621,"dynasty":78,"author":345,"museum":622,"description":623,"tags":624,"thumbUrl":627,"material":39,"size":130,"collection":92,"collections":628,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":45},219737,"yan-ai-qiu-she-tu-ma-yuan-219737","烟霭秋涉图","大英博物馆","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。",[23,625,24,25,26,83,29,58,445,626,61,62,57,470,7],"宋画","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187656824905620f997701fcc165e4fd.jpg",[92,69],135,{"id":631,"slug":632,"title":633,"dynasty":175,"author":19,"museum":102,"description":634,"tags":635,"thumbUrl":639,"material":29,"size":130,"collection":71,"collections":640,"showCount":641,"zanCount":189,"manualWeight":11,"mainColor":45},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[23,24,55,28,29,124,636,637,638,313,198,7],"梅","鸟","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[71],134,{"id":643,"slug":644,"title":645,"dynasty":78,"author":646,"museum":102,"description":647,"tags":648,"thumbUrl":652,"material":215,"size":653,"collection":130,"collections":654,"showCount":655,"zanCount":189,"manualWeight":11,"mainColor":135},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪","牧溪","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。",[23,55,24,25,625,83,86,649,348,59,7,60,162,61,650,651],"禅画","淡墨","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","29.5X94.4厘米",[],123,{"id":657,"slug":658,"title":333,"dynasty":175,"author":176,"museum":210,"description":659,"tags":660,"thumbUrl":661,"material":337,"size":130,"collection":69,"collections":662,"showCount":663,"zanCount":11,"manualWeight":11,"mainColor":45},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",[23,24,25,26,83,57,58,59,7,148,350,62,165,469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[69,95],121,{"id":665,"slug":666,"title":667,"dynasty":140,"author":668,"museum":20,"description":669,"tags":670,"thumbUrl":671,"material":302,"size":672,"collection":130,"collections":673,"showCount":674,"zanCount":189,"manualWeight":11,"mainColor":135},216257,"jing-fu-si-qi-dong-jing-tu-3-qian-wei-cheng-216257","景敷四气冬景图-3","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洞口飞泉一道斜，是谁泛泛小舟拿。藤萝石上依然在，只欠洲前芦荻花。钤印：古香、太宝",[24,25,58,145,57,29,59,7,445,165,62,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a2cf71eecc41ef3e7946ed6d498677.jpg","21.9 × 30.2cm",[],120,{"id":676,"slug":677,"title":678,"dynasty":175,"author":478,"museum":52,"description":679,"tags":680,"thumbUrl":681,"material":271,"size":682,"collection":130,"collections":683,"showCount":684,"zanCount":462,"manualWeight":11,"mainColor":135},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云","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。",[24,83,58,145,57,59,106,148,7,164,85,25,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg","纵27.8厘米，横37.3厘米",[],118,{"id":686,"slug":687,"title":263,"dynasty":78,"author":19,"museum":210,"description":688,"tags":689,"thumbUrl":691,"material":39,"size":692,"collection":92,"collections":693,"showCount":694,"zanCount":189,"manualWeight":11,"mainColor":135},218814,"shan-ju-tu-yi-ming-218814","这幅画描绘了一个僻静的山间小屋，村子里的一家人正在享受着秋冬季节树上落下的叶子。这幅画表现的是山中民居的一角，没有任何细致的景物，但笔触轻盈，缺乏宋代的气氛。",[23,24,83,58,57,445,59,7,690,146],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2924421e597798386d1aab5272a02a28.jpg","25.1x26.4",[92],111,{"id":696,"slug":697,"title":698,"dynasty":50,"author":19,"museum":102,"description":699,"tags":700,"thumbUrl":710,"material":200,"size":201,"collection":130,"collections":711,"showCount":712,"zanCount":355,"manualWeight":11,"mainColor":45},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,25,56,701,702,28,88,241,703,704,30,705,7,706,707,708,709],"界画","白描","桥","船","旗帜","宫殿式建筑","舟楫","龙舟","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg",[],108,{"id":714,"slug":715,"title":716,"dynasty":175,"author":176,"museum":52,"description":717,"tags":718,"thumbUrl":719,"material":90,"size":720,"collection":69,"collections":721,"showCount":712,"zanCount":189,"manualWeight":11,"mainColor":135},220918,"shan-shui-ce-dong-qi-chang-220918","山水册","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\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。",[23,24,83,57,145,84,312,85,58,59,7,148,313,146,213,106,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[69,95],{"id":723,"slug":724,"title":725,"dynasty":78,"author":345,"museum":281,"description":726,"tags":727,"thumbUrl":730,"material":39,"size":130,"collection":69,"collections":731,"showCount":732,"zanCount":189,"manualWeight":11,"mainColor":114},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[24,55,25,58,29,57,26,59,7,148,728,228,729,85],"桃花","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[69],105,{"id":734,"slug":735,"title":736,"dynasty":78,"author":737,"museum":210,"description":738,"tags":739,"thumbUrl":740,"material":215,"size":741,"collection":92,"collections":742,"showCount":743,"zanCount":355,"manualWeight":11,"mainColor":135},218641,"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁","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。",[23,24,25,56,83,57,84,85,58,106,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[92,533],102,{"id":745,"slug":746,"title":747,"dynasty":78,"author":748,"museum":210,"description":749,"tags":750,"thumbUrl":755,"material":39,"size":756,"collection":92,"collections":757,"showCount":758,"zanCount":11,"manualWeight":11,"mainColor":45},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","赵令穰","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。",[23,24,25,751,83,58,28,752,753,165,754,7,183,469,148,30],"扇面","淡设色","柳","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[92,69],100,{"id":760,"slug":761,"title":762,"dynasty":175,"author":176,"museum":52,"description":763,"tags":764,"thumbUrl":765,"material":185,"size":766,"collection":69,"collections":767,"showCount":768,"zanCount":189,"manualWeight":11,"mainColor":135},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。",[23,24,83,26,57,58,148,213,313,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a079cbefa1eeb6917c512cd94e24bd.jpg","纵101.5厘米，横46.3厘米",[69,71],99,{"id":770,"slug":771,"title":772,"dynasty":175,"author":773,"museum":210,"description":774,"tags":775,"thumbUrl":776,"material":302,"size":777,"collection":69,"collections":778,"showCount":779,"zanCount":11,"manualWeight":11,"mainColor":135},218371,"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[24,26,29,57,85,58,59,7,148,62,255,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[69],98,{"id":781,"slug":782,"title":783,"dynasty":50,"author":784,"museum":52,"description":785,"tags":786,"thumbUrl":787,"material":215,"size":788,"collection":69,"collections":789,"showCount":790,"zanCount":355,"manualWeight":11,"mainColor":135},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。",[24,83,58,25,59,7,148,30,62,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885be14f4847ee54f72c9a387e606e3.jpg","纵30厘米，横50.1厘米",[69],95,{"id":792,"slug":793,"title":794,"dynasty":140,"author":795,"museum":102,"description":796,"tags":797,"thumbUrl":799,"material":130,"size":130,"collection":69,"collections":800,"showCount":801,"zanCount":11,"manualWeight":11,"mainColor":135},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁","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》。",[24,25,83,57,145,312,85,58,146,798,255,59,7,60],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[69,95],94,{"id":803,"slug":804,"title":805,"dynasty":140,"author":806,"museum":159,"description":807,"tags":808,"thumbUrl":811,"material":337,"size":812,"collection":130,"collections":813,"showCount":801,"zanCount":462,"manualWeight":11,"mainColor":135},222682,"si-ji-hua-niao-tu-ping-5-chen-mei-222682","四季花鸟图屏5","陈枚","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,24,25,28,29,124,125,126,494,809,810,7],"莲花","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d0a7150805b19feb3ed4f0a01d4fd0.jpg","139X41CM",[],{"id":815,"slug":816,"title":817,"dynasty":140,"author":818,"museum":224,"description":819,"tags":820,"thumbUrl":821,"material":302,"size":822,"collection":41,"collections":823,"showCount":801,"zanCount":355,"manualWeight":11,"mainColor":135},216737,"tan-zhu-tu-huang-shen-216737","探珠图","黄慎","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。",[23,24,25,55,26,83,29,30,86,7,636,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[41],{"id":825,"slug":826,"title":827,"dynasty":828,"author":829,"museum":52,"description":830,"tags":831,"thumbUrl":832,"material":337,"size":833,"collection":69,"collections":834,"showCount":835,"zanCount":11,"manualWeight":11,"mainColor":45},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","唐","杨升","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,24,25,145,29,28,58,241,181,148,162,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[69,71],91,{"id":837,"slug":838,"title":839,"dynasty":175,"author":840,"museum":622,"description":841,"tags":842,"thumbUrl":843,"material":39,"size":844,"collection":41,"collections":845,"showCount":835,"zanCount":11,"manualWeight":11,"mainColor":45},218359,"luo-han-tu-chou-ying-218359","罗汉图","仇英","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[23,56,28,29,701,27,30,106,7,241,105,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[41],{"id":847,"slug":848,"title":849,"dynasty":78,"author":79,"museum":850,"description":851,"tags":852,"thumbUrl":854,"material":855,"size":856,"collection":92,"collections":857,"showCount":858,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,24,83,56,88,106,7,86,853],"泼墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","绢本墨笔","185.8厘米×106.1厘米",[92,94,95],90,{"id":860,"slug":861,"title":862,"dynasty":175,"author":863,"museum":210,"description":864,"tags":865,"thumbUrl":866,"material":867,"size":868,"collection":130,"collections":869,"showCount":870,"zanCount":355,"manualWeight":11,"mainColor":45},222338,"shan-lu-song-sheng-tu-tang-yin-222338","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。",[23,24,348,29,57,59,7,180,255,228,181,62,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","白纸本","纵194.5厘米，横102.8厘米",[],88,{"id":872,"slug":873,"title":874,"dynasty":140,"author":875,"museum":52,"description":876,"tags":877,"thumbUrl":878,"material":39,"size":879,"collection":69,"collections":880,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":45},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历","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。",[23,24,26,83,57,58,59,7,60,213,181,62,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[69],86,{"id":883,"slug":884,"title":885,"dynasty":140,"author":886,"museum":52,"description":887,"tags":888,"thumbUrl":890,"material":67,"size":891,"collection":41,"collections":892,"showCount":893,"zanCount":189,"manualWeight":11,"mainColor":45},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","冷枚","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,28,29,701,312,85,30,241,88,889,7,588],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[41],85,{"id":895,"slug":896,"title":897,"dynasty":78,"author":345,"museum":281,"description":898,"tags":899,"thumbUrl":900,"material":109,"size":130,"collection":94,"collections":901,"showCount":902,"zanCount":189,"manualWeight":11,"mainColor":114},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。",[23,24,269,58,59,7,148,83,86,26,337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[94,69],83,{"id":904,"slug":905,"title":906,"dynasty":140,"author":141,"museum":142,"description":143,"tags":907,"thumbUrl":908,"material":90,"size":150,"collection":130,"collections":909,"showCount":902,"zanCount":11,"manualWeight":11,"mainColor":45},214346,"san-jue-shan-shui-ce-17-hua-yan-214346","三绝山水册-17",[23,24,145,29,58,59,148,165,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c80597d2f71227e356f687abf8c999.jpg",[],{"id":911,"slug":912,"title":913,"dynasty":50,"author":914,"museum":281,"description":915,"tags":916,"thumbUrl":918,"material":215,"size":919,"collection":69,"collections":920,"showCount":921,"zanCount":355,"manualWeight":11,"mainColor":135},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","吴镇","《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。",[23,24,25,56,83,58,57,84,312,85,59,7,148,181,268,638,286,183,61,917],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[69],82,{"id":923,"slug":924,"title":925,"dynasty":78,"author":926,"museum":622,"description":927,"tags":928,"thumbUrl":934,"material":39,"size":935,"collection":94,"collections":936,"showCount":921,"zanCount":11,"manualWeight":11,"mainColor":45},219342,"shuang-e-tu-cui-bai-219342","双鹅图","崔白","图为一池景，水面波光粼粼，荷叶点缀，前面一只白鹅，后面紧跟着一只长着棕白羽毛的大鹅，水下鹅足在用力划桨。",[23,24,25,28,29,124,929,7,930,126,931,337,932,933],"鹅","水草","昆虫","写实","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F655339b4f302564650f45fb89c765f64.jpg","27x34.10cm",[94],{"id":938,"slug":939,"title":940,"dynasty":140,"author":941,"museum":102,"description":942,"tags":943,"thumbUrl":945,"material":130,"size":130,"collection":130,"collections":946,"showCount":947,"zanCount":189,"manualWeight":11,"mainColor":45},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","石涛","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,25,56,29,58,57,84,312,85,59,7,181,241,60,62,419,944,30],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],81,{"id":949,"slug":950,"title":951,"dynasty":78,"author":952,"museum":281,"description":953,"tags":954,"thumbUrl":955,"material":39,"size":130,"collection":69,"collections":956,"showCount":947,"zanCount":189,"manualWeight":11,"mainColor":45},214826,"gui-zhuang-tu-li-xi-cheng-214826","归庄图","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[23,24,25,751,58,29,57,59,7,30,213,148,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[69],{"id":958,"slug":959,"title":960,"dynasty":140,"author":297,"museum":622,"description":961,"tags":962,"thumbUrl":963,"material":215,"size":964,"collection":69,"collections":965,"showCount":966,"zanCount":11,"manualWeight":11,"mainColor":135},219743,"fang-ju-ran-shan-shui-tu-wang-jian-219743","仿巨然山水图","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。",[24,25,58,59,7,148,243,83,86,26,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472899d1492e7cb68ad1e494ac1c01e3.jpg","纵130.3横49.7厘米",[69],80,{"id":968,"slug":969,"title":970,"dynasty":78,"author":345,"museum":142,"description":971,"tags":972,"thumbUrl":974,"material":39,"size":130,"collection":69,"collections":975,"showCount":976,"zanCount":189,"manualWeight":11,"mainColor":45},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”。",[23,24,25,56,83,29,57,58,59,7,60,241,165,268,147,183,973,62],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[69],79,{"id":978,"slug":979,"title":980,"dynasty":78,"author":981,"museum":210,"description":982,"tags":983,"thumbUrl":984,"material":39,"size":985,"collection":92,"collections":986,"showCount":987,"zanCount":189,"manualWeight":11,"mainColor":45},219300,"lu-yan-tu-huang-ju-cai-219300","芦雁图","黄居寀","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[23,24,55,25,28,29,124,284,286,637,7,469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[92,94,71],78,{"id":989,"slug":990,"title":991,"dynasty":175,"author":238,"museum":159,"description":992,"tags":993,"thumbUrl":994,"material":509,"size":995,"collection":94,"collections":996,"showCount":997,"zanCount":11,"manualWeight":11,"mainColor":135},221992,"song-shi-gao-shi-tu-wen-zheng-ming-221992","松石高士图","据蔡羽序记，正德十三年二月十九日，文徵明与好友蔡羽、王守、王宠、汤珍等人至无锡惠山游览，品茗饮茶，吟诗唱和，十分相得，事后便创作了这幅记事性作品。画面采用截取式构图，突出“茶会”场景，在一片松林中有座茅亭泉井，诸人冶游其间，或围井而坐，展卷吟哦，或散步林间，赏景交谈，或观看童子煮茶。人物面相虽少肖像画特征，大都雷同，动态、情致刻画却迥异，饶有生意，并传达出共通的闲适、文雅气质，反映了文人画家传神胜于写形的艺术宗旨。同时，青山绿树、苍松翠柏的幽雅环境，与文人士子的茶会活动相映衬，也营造出情景交融的诗意境界。",[23,24,58,59,7,148,29,86,26,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c92706428937b31f81e452f3db90dc6.jpg","纵71cm，横35cm",[94,71],77,{"id":999,"slug":1000,"title":1001,"dynasty":50,"author":1002,"museum":210,"description":1003,"tags":1004,"thumbUrl":1006,"material":39,"size":1007,"collection":41,"collections":1008,"showCount":997,"zanCount":11,"manualWeight":11,"mainColor":45},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[24,25,26,29,28,27,30,638,146,147,7,1005,85,84],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[41],{"id":1010,"slug":1011,"title":1012,"dynasty":78,"author":1013,"museum":102,"description":1014,"tags":1015,"thumbUrl":1018,"material":130,"size":130,"collection":130,"collections":1019,"showCount":1020,"zanCount":189,"manualWeight":11,"mainColor":45},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,55,24,25,56,267,29,28,58,59,7,60,241,165,181,268,1016,1017],"岛屿","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],75,{"id":1022,"slug":1023,"title":394,"dynasty":18,"author":1024,"museum":1025,"description":1026,"tags":1027,"thumbUrl":1028,"material":39,"size":1029,"collection":69,"collections":1030,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":45},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","朝鲜·佚名","美国克利夫兰艺术博物馆","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[23,24,26,83,57,58,162,59,7,60,213,268,32,182,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[69],{"id":1032,"slug":1033,"title":1034,"dynasty":78,"author":1035,"museum":102,"description":1036,"tags":1037,"thumbUrl":1048,"material":1049,"size":1050,"collection":533,"collections":1051,"showCount":1052,"zanCount":355,"manualWeight":11,"mainColor":135},221275,"li-hua-shi-huang-ting-jian-221275","梨花诗","黄庭坚","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[23,25,84,56,312,1038,1039,1040,162,1041,1042,1043,165,1044,7,1045,1046,1047],"梨花","蜂","庭院","月","春","花","燕","风","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[533],74,{"id":1054,"slug":1055,"title":1056,"dynasty":50,"author":406,"museum":210,"description":1057,"tags":1058,"thumbUrl":1059,"material":90,"size":1060,"collection":69,"collections":1061,"showCount":1052,"zanCount":189,"manualWeight":11,"mainColor":45},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。",[23,24,55,58,83,26,57,59,7,60,255,482,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[69,95],{"id":1063,"slug":1064,"title":1065,"dynasty":441,"author":442,"museum":102,"description":1066,"tags":1067,"thumbUrl":1069,"material":130,"size":130,"collection":130,"collections":1070,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,55,24,25,26,83,29,57,1068,58,59,7,61,62,180,60,182,690,30],"披麻皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],72,{"id":1073,"slug":1074,"title":1075,"dynasty":140,"author":297,"museum":298,"description":1076,"tags":1077,"thumbUrl":1078,"material":39,"size":130,"collection":69,"collections":1079,"showCount":1071,"zanCount":189,"manualWeight":11,"mainColor":135},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[24,25,26,29,57,84,85,58,59,7,60,62,182,325,470,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[69],{"id":1081,"slug":1082,"title":1083,"dynasty":50,"author":1084,"museum":298,"description":1085,"tags":1086,"thumbUrl":1087,"material":215,"size":1088,"collection":94,"collections":1089,"showCount":1090,"zanCount":11,"manualWeight":11,"mainColor":45},219282,"fu-rong-yuan-yang-tu-zhou-zhang-zhong-219282","芙蓉鸳鸯图轴","张中","此图描绘了一幅秋高气爽时节的生动景象，水边的木芙蓉枝叶舒展，枝头花朵绽放；两只鸳鸯在水中嬉戏，其中雌鸳鸯昂首鸣叫，雄鸳鸯垂首清波。此图笔墨简洁古朴，山石不修饰以苔点，以水墨点触晕染，生动写实而清雅隽永，富于韵味。",[23,24,25,26,83,28,124,285,494,7,198,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eac47218af15810079b2edc1cc7f16f.jpg","纵147 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Harmensz.van Rijn - 043","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[55,1107,932,1108,1109,30,1110,7,1111],"油画","明暗对比","光影处理","女性","白色衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcd82564d3ae385d33d1d202d5dcd95d.jpg","油画精选",[1113],{"id":1116,"slug":1117,"title":124,"dynasty":140,"author":141,"museum":102,"description":1118,"tags":1119,"thumbUrl":1121,"material":200,"size":201,"collection":130,"collections":1122,"showCount":1099,"zanCount":355,"manualWeight":11,"mainColor":1123},224162,"hua-niao-hua-yan-224162","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,24,25,29,124,637,1120,7,32,33],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8abdb76674bf8f6b4a883e5a267d9d69.jpg",[],"FFFFFF",{"id":1125,"slug":1126,"title":1127,"dynasty":78,"author":19,"museum":281,"description":1128,"tags":1129,"thumbUrl":1131,"material":39,"size":130,"collection":92,"collections":1132,"showCount":1099,"zanCount":355,"manualWeight":11,"mainColor":45},218537,"e-xi-tu-yi-ming-218537","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[23,24,25,751,29,28,929,1130,148,7,85],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[92,94],{"id":1134,"slug":1135,"title":1136,"dynasty":50,"author":574,"museum":1137,"description":1138,"tags":1139,"thumbUrl":1141,"material":302,"size":1142,"collection":95,"collections":1143,"showCount":1145,"zanCount":11,"manualWeight":11,"mainColor":135},220800,"shui-zhu-ju-tu-ni-zan-220800","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[23,24,83,348,57,312,84,85,1140,86,7,638,148,164,183,553],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 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X 31.5cm",[69,71],66,{"id":1192,"slug":1193,"title":1194,"dynasty":175,"author":238,"museum":504,"description":1195,"tags":1196,"thumbUrl":1197,"material":509,"size":1198,"collection":69,"collections":1199,"showCount":1200,"zanCount":189,"manualWeight":11,"mainColor":45},221981,"shan-zhuang-ke-zhi-tu-wen-zheng-ming-221981","山庄客至图","描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。整幅作品以S型构图，山石皴然兼施，多有抬点，笔致气魄洋溢。是典型的文人画作，淡于仕进，优游林下，以诗文书画自娱，表现自己的品格情怀。此画描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。",[23,24,241,58,59,7,148,243,29,26,86,90,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677782faafd32968920256e48cddfb04.jpg","纵87.5厘米，横27.3厘米",[69,71],65,{"id":1202,"slug":1203,"title":1204,"dynasty":828,"author":1205,"museum":102,"description":1206,"tags":1207,"thumbUrl":1208,"material":130,"size":130,"collection":130,"collections":1209,"showCount":1210,"zanCount":189,"manualWeight":11,"mainColor":45},230931,"song-yin-tu-li-zhao-dao-230931","松荫图","李昭道","此作山峦以皴笔写就，淡墨晕染远山，铺展出沉浑苍劲的山水底色，幽壑层叠间漾出清远意境。近景村舍错落檐下，酒客围坐谈笑，道旁行骑缓辔徐行，田埂间牛犊悠游，草木扶疏间尽是乡野烟火气。将山水幽寂与市井温情相融，以精工笔致摹写太平乡居日常，盛唐雄浑的山水意趣间揉进鲜活的俗世意韵，绘出盛世里的田园悠然图景，尽显大唐乡野风物的温煦情致。",[24,29,58,57,59,7,148,457,729,30,181,228,164,165,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2028546aabb46cc23747564a9c5f49d.jpg",[],64,{"id":1212,"slug":1213,"title":1214,"dynasty":140,"author":941,"museum":102,"description":1215,"tags":1216,"thumbUrl":1217,"material":130,"size":130,"collection":130,"collections":1218,"showCount":1219,"zanCount":189,"manualWeight":11,"mainColor":45},229000,"jiao-ye-mo-se-tu-ce-12-kai-shi-tao-229000","郊野墨色图册12开","《石涛花卉》是219年中国书店出版的图书，作者是孙棋。\n石涛是一位多才多艺的艺术家，善画山水，兼工墨竹、花卉、人物。\n他吸收传统文化的精髓，但不受传统精神束缚，反对墨守成规，敢于打破陈法，主张对绘画技法进行变革和创新，是中国绘画史上出类拔萃、屈指可数的人物之一。\n石涛精于花卉蔬果，尤其是传统的“四君子”题材的绘画。\n他在继承传统的基础上进行创新，花卉潇洒隽朗、天真烂漫、清气袭人，人物生拙古朴、别具一格。\n可以说，石涛开清代花鸟画之先河，在中国花鸟画史上有着不可替代的地位。\n着色花卉图册八帧 岷江春色图 花卉图册十二帧 细笔花卉图册十帧 山水花卉图册八帧 郊野墨色图册十二帧 苦瓜和尚书画册十二帧 人物花鸟图册八帧 陶渊明诗意图册十二帧 写枝山诗意图册十帧",[24,83,29,57,145,58,59,7,60,213,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a1d8a7dff20448467a31c175199486.jpg",[],63,{"id":1221,"slug":1222,"title":1223,"dynasty":140,"author":875,"museum":52,"description":1224,"tags":1225,"thumbUrl":1227,"material":215,"size":1228,"collection":69,"collections":1229,"showCount":1219,"zanCount":11,"manualWeight":11,"mainColor":135},220115,"liu-cun-qiu-si-tu-wu-li-220115","柳村秋思图","此图是吴历晚年的代表作之一，为其好友民誉（姓金，名造士）所藏。图中重点描绘了近景的柳树。其柳叶以中锋落笔点染，表现出秋风中柳叶含烟带露的柔美，又通过水墨的浓淡层次变化显现出柳叶交叠错落的自然风貌，体现了吴历工细写实的画风特点。",[23,24,83,58,26,57,753,148,147,30,457,1226,59,7],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12ddaee3bf0639e8563322f28ebc8fb.jpg","纵67.7厘米，横26.5厘米",[69,95],{"id":1231,"slug":1232,"title":1233,"dynasty":50,"author":1234,"museum":210,"description":1235,"tags":1236,"thumbUrl":1238,"material":337,"size":1239,"collection":69,"collections":1240,"showCount":1241,"zanCount":11,"manualWeight":11,"mainColor":45},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","王振鹏","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。",[23,55,24,25,56,701,702,29,30,241,88,704,7,60,1237,85],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[69,95],62,{"id":1243,"slug":1244,"title":1245,"dynasty":78,"author":19,"museum":210,"description":1246,"tags":1247,"thumbUrl":1250,"material":39,"size":130,"collection":69,"collections":1251,"showCount":1241,"zanCount":355,"manualWeight":11,"mainColor":45},218724,"qiu-zhu-wen-qin-tu-yi-ming-218724","秋渚文禽图","这是一幅秋日的水岛画，画中有飞鸟和参天古树，意境凄凉。该书被故宫博物院和大英博物馆收藏，学者们普遍认为是元代的作品。",[23,24,55,28,83,29,269,1248,146,287,1249,7,470],"枯藤","渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[69],{"id":1253,"slug":1254,"title":1255,"dynasty":50,"author":264,"museum":210,"description":1256,"tags":1257,"thumbUrl":1261,"material":67,"size":1262,"collection":130,"collections":1263,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":135},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[55,24,25,56,29,267,28,58,85,84,312,1258,59,7,268,60,183,1259,30,553,61,471,1260],"篆书","渡口","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],61,{"id":1266,"slug":1267,"title":1268,"dynasty":140,"author":1269,"museum":298,"description":1270,"tags":1271,"thumbUrl":1272,"material":1273,"size":1274,"collection":69,"collections":1275,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":135},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,24,25,56,83,29,57,58,59,7,60,164,213,268,228,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","设色纸本","26×455",[69,95],{"id":1277,"slug":1278,"title":1279,"dynasty":78,"author":1280,"museum":252,"description":1281,"tags":1282,"thumbUrl":1284,"material":1285,"size":1286,"collection":92,"collections":1287,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,55,24,25,83,29,284,147,7,286,146,625,1283,287],"小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[92,94,71],{"id":1289,"slug":1290,"title":1291,"dynasty":140,"author":383,"museum":159,"description":384,"tags":1292,"thumbUrl":1293,"material":302,"size":388,"collection":69,"collections":1294,"showCount":1264,"zanCount":11,"manualWeight":11,"mainColor":135},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[24,25,83,324,58,59,7,60,61,386,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[69],{"id":1296,"slug":1297,"title":716,"dynasty":175,"author":176,"museum":52,"description":1298,"tags":1299,"thumbUrl":1301,"material":271,"size":1302,"collection":69,"collections":1303,"showCount":1304,"zanCount":11,"manualWeight":11,"mainColor":135},233800,"shan-shui-ce-dong-qi-chang-233800","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。",[24,25,145,83,29,58,57,59,7,60,1300,164,85],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg","纵26.3厘米，横25.5厘米",[69],60,{"id":1306,"slug":1307,"title":1308,"dynasty":140,"author":1309,"museum":20,"description":1310,"tags":1311,"thumbUrl":1313,"material":1314,"size":1315,"collection":69,"collections":1316,"showCount":1304,"zanCount":11,"manualWeight":11,"mainColor":45},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","山水图卷","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。",[23,24,25,56,83,29,58,57,59,7,553,268,180,213,62,183,1312],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[69,95],{"id":1318,"slug":1319,"title":1320,"dynasty":78,"author":19,"museum":334,"description":1321,"tags":1322,"thumbUrl":1324,"material":90,"size":1325,"collection":92,"collections":1326,"showCount":1304,"zanCount":11,"manualWeight":11,"mainColor":45},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《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，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。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。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 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。",[23,24,25,56,83,57,58,60,62,61,1323,59,7,146,242,165,147,1248,269],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[92,69,95],{"id":1328,"slug":1329,"title":1330,"dynasty":78,"author":19,"museum":102,"description":1331,"tags":1332,"thumbUrl":1333,"material":39,"size":1334,"collection":41,"collections":1335,"showCount":1336,"zanCount":189,"manualWeight":11,"mainColor":45},218446,"qiu-lin-mu-tong-tu-yi-ming-218446","秋林牧童图","两个小孩子在树下的平坦石坡上玩耍，两只山羊在右下方的田地里觅食，处处显示出乡村的平静和轻松气氛。",[23,24,105,58,59,7,148,29,28,26,337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cdd3ff23c4835631b4aef170505acb.jpg","88x49",[41],59,{"id":1338,"slug":1339,"title":1340,"dynasty":175,"author":1341,"museum":102,"description":1342,"tags":1343,"thumbUrl":1345,"material":130,"size":130,"collection":69,"collections":1346,"showCount":1347,"zanCount":11,"manualWeight":11,"mainColor":45},239193,"shan-chuan-ming-sheng-ce-song-xu-239193","山川名胜册","宋旭","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。",[24,29,58,57,145,59,7,148,325,30,182,1344],"峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518b2ae9119abeee9db28c3ed23d5e41.jpg",[69,71],58,{"id":1349,"slug":1350,"title":716,"dynasty":140,"author":141,"museum":1351,"description":1352,"tags":1353,"thumbUrl":1354,"material":130,"size":130,"collection":69,"collections":1355,"showCount":1347,"zanCount":11,"manualWeight":11,"mainColor":135},236728,"shan-shui-ce-hua-yan-236728","美国弗瑞尔美术馆","华嵒（1682～1756），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。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,29,145,83,57,59,7,165,638,181,147,146,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[69,71],{"id":1357,"slug":1358,"title":1359,"dynasty":175,"author":1360,"museum":1361,"description":1362,"tags":1363,"thumbUrl":1364,"material":215,"size":130,"collection":69,"collections":1365,"showCount":1347,"zanCount":11,"manualWeight":11,"mainColor":135},219705,"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","日本大阪市立美术馆","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。",[23,24,83,56,57,58,106,59,7,60,268,165,147,61,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[69,95],{"id":1367,"slug":1368,"title":1369,"dynasty":140,"author":1370,"museum":298,"description":1371,"tags":1372,"thumbUrl":1374,"material":90,"size":1375,"collection":41,"collections":1376,"showCount":1377,"zanCount":11,"manualWeight":11,"mainColor":135},219832,"ren-wu-ce-ye-ren-xiong-219832","人物册页","任熊","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，绘画师法陈洪绶，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。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,29,145,30,269,1373,59,7,637,589],"儿童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4150ff29e9c640b589400940438db8.jpg","27.2x34.3厘米",[41],56,{"id":1379,"slug":1380,"title":1381,"dynasty":140,"author":297,"museum":52,"description":1382,"tags":1383,"thumbUrl":1384,"material":215,"size":1385,"collection":69,"collections":1386,"showCount":1377,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[23,24,83,58,57,324,59,7,165,148,146,228,445,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[69],{"id":1388,"slug":1389,"title":1390,"dynasty":140,"author":941,"museum":1361,"description":1391,"tags":1392,"thumbUrl":1393,"material":302,"size":130,"collection":69,"collections":1394,"showCount":1395,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[23,24,145,29,83,58,84,312,57,86,59,7,148,213,165,181,228,30,146,269,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[69],55,{"id":1397,"slug":1398,"title":1399,"dynasty":78,"author":1400,"museum":102,"description":1401,"tags":1402,"thumbUrl":1404,"material":130,"size":130,"collection":130,"collections":1405,"showCount":1406,"zanCount":11,"manualWeight":11,"mainColor":135},227637,"lang-tu-ma-xing-zu-227637","浪图","马兴祖","宋代 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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”。",[24,55,26,83,57,58,213,1300,60,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43ba76815e5b779027b07a80eaa2cd4.jpg",[],51,{"id":1510,"slug":1511,"title":874,"dynasty":140,"author":383,"museum":52,"description":1512,"tags":1513,"thumbUrl":1514,"material":90,"size":1515,"collection":69,"collections":1516,"showCount":1508,"zanCount":11,"manualWeight":11,"mainColor":135},220349,"shan-shui-tu-zhou-wang-shi-min-220349","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[24,25,26,83,57,58,59,7,60,213,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a2667da6534125cad061d2aa34ff5d.jpg","纵135厘米,横63厘米",[69],{"id":1518,"slug":1519,"title":1520,"dynasty":119,"author":1521,"museum":1522,"description":1523,"tags":1524,"thumbUrl":1530,"material":130,"size":130,"collection":130,"collections":1531,"showCount":1532,"zanCount":189,"manualWeight":11,"mainColor":135},220548,"chuan-fu-xu-bei-hong-220548","船夫","徐悲鸿","中央美术学院美术馆","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。",[24,29,83,932,30,704,7,60,1525,183,1526,1527,1528,1529],"枝叶","劳作","秋意","人物画","场景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287adcfa47e3a00be2e87bcf795b7f9b.jpg",[],50,{"id":1534,"slug":1535,"title":1536,"dynasty":175,"author":478,"museum":52,"description":1537,"tags":1538,"thumbUrl":1539,"material":185,"size":1540,"collection":130,"collections":1541,"showCount":1542,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[24,25,26,83,57,324,58,59,7,148,350,703,165,182,62,325,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],49,{"id":1544,"slug":1545,"title":1546,"dynasty":175,"author":1547,"museum":102,"description":1548,"tags":1549,"thumbUrl":1552,"material":1553,"size":1554,"collection":69,"collections":1555,"showCount":1542,"zanCount":11,"manualWeight":11,"mainColor":135},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！”",[23,24,25,56,83,57,58,59,7,60,213,1550,1226,183,1551,61],"村落","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[69,95],{"id":1557,"slug":1558,"title":1559,"dynasty":78,"author":737,"museum":102,"description":1560,"tags":1561,"thumbUrl":1562,"material":29,"size":1563,"collection":92,"collections":1564,"showCount":1542,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,55,24,25,56,83,57,84,85,58,59,106,7,268,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[92,69,95],{"id":1566,"slug":1567,"title":1568,"dynasty":50,"author":1569,"museum":20,"description":1570,"tags":1571,"thumbUrl":1572,"material":109,"size":1573,"collection":69,"collections":1574,"showCount":1542,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,24,348,26,83,29,164,60,7,183,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff011efff5735f2afb6e05f576839c3ab.jpg","90.8cm×42.5cm",[69,95],{"id":1576,"slug":1577,"title":1578,"dynasty":50,"author":1579,"museum":298,"description":1580,"tags":1581,"thumbUrl":1582,"material":1583,"size":1584,"collection":69,"collections":1585,"showCount":1586,"zanCount":189,"manualWeight":11,"mainColor":45},219740,"dian-shan-song-bie-tu-li-sheng-219740","澱山送别图","李升","李升（生卒年不详），元代画家。字子云，号紫筼生。濠梁(今安徽凤阳)人。晚年居青浦(今属上海)淀山湖畔，筑草堂，人称“谪仙”。擅墨竹，喜作窠石平远山水，颇有清趣。",[24,56,83,57,58,148,313,106,7,268,213,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d099573b441bf66cceba505e064a29f.jpg","水墨,纸本","23×68.4cm",[69],48,{"id":1588,"slug":1589,"title":1590,"dynasty":78,"author":19,"museum":210,"description":1591,"tags":1592,"thumbUrl":1593,"material":83,"size":1594,"collection":95,"collections":1595,"showCount":1586,"zanCount":11,"manualWeight":11,"mainColor":45},219335,"bu-hua-shan-shui-zhou-yi-ming-219335","布画山水轴","层峦叠嶂间烟岚轻笼，山川晕染出深浅有致的层次。屋宇错落隐于林泉，与苍松翠柏相映成趣，溪流蜿蜒穿石而过，似有潺潺水声入耳。笔墨皴擦点染，既勾勒出山石的嶙峋肌理，又晕染出草木的丰茂姿态，线条劲挺中藏柔婉，墨色浓淡间见章法。画面兼具深远与平远之妙，雄浑处显山川气象，清幽处露林泉雅致，尽现宋代山水对自然意趣的深刻捕捉。观者仿佛踏入画中，静谧间感受天地悠然，细节处品味笔墨匠心，沉醉于这融情于景的古典意境里。",[24,181,228,58,59,7,148,241,83,26,28,337,701,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c9b0b1bac61df1c2e78bb1a666c33c.jpg","155x136.2",[95],{"id":1597,"slug":1598,"title":1599,"dynasty":140,"author":1600,"museum":210,"description":1601,"tags":1602,"thumbUrl":1603,"material":215,"size":1604,"collection":533,"collections":1605,"showCount":1586,"zanCount":11,"manualWeight":11,"mainColor":135},214239,"xing-shu-li-bai-qiu-deng-xuan-cheng-xie-tiao-bei-lou-zheng-xie-214239","行书李白秋登宣城谢眺北楼","郑燮","笔锋游走处，楷隶骨力与行草灵动交织成独特韵律。横画如竹枝劲挺，撇捺似兰叶舒展，尽显板桥体疏朗宕逸的风骨。墨色浓淡相济，沉厚如秋潭映月，轻扬若风过疏桐，暗合诗意里的秋空澄澈与凭栏远眺的旷达。结体错落有致，字间顾盼生姿，仿佛谢朓楼头山影叠嶂，又藏李白诗中逸兴遄飞。章法疏密得宜，笔墨与纸页的对话间，怀古之思与秋景清寂化作纸上流转气韵，尽展文人书法的情韵与风骨。",[23,55,24,25,26,312,84,83,85,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5bd6865fed3b355a77b57411d0da99f.jpg","164x90.2",[533],{"id":1607,"slug":1608,"title":1609,"dynasty":18,"author":19,"museum":102,"description":1610,"tags":1611,"thumbUrl":1612,"material":200,"size":201,"collection":130,"collections":1613,"showCount":1614,"zanCount":11,"manualWeight":11,"mainColor":45},230546,"shan-shui-ping-feng-yi-ming-230546","山水屏风","泥金为底，石青石绿晕染出层叠丘壑，斑驳残损的绢面晕开岁月晕染的朦胧诗意。画面铺展开合间，远岫浮空，浅渚横陈，近岸疏林错落，将山野清趣与人间烟火揉为一体。\n\n林间隐着村居茅舍，有人正于门前流连；一侧道旁，行旅牵马暂歇，三两山客徐行林麓。没有枯寂的出世幽冷，反将隐逸山居的闲静与俗世行旅的暖意相融，笔致简淡却意韵悠长。古旧的肌理裹着山水古意，让丘壑烟岚与市井日常温柔相逢，漫溢出沉静古朴的雅致意趣。",[23,24,25,29,267,58,148,30,457,213,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86e9104c686a6523976541b0b99df0c.jpg",[],46,{"id":1616,"slug":1617,"title":1618,"dynasty":140,"author":875,"museum":298,"description":1619,"tags":1620,"thumbUrl":1621,"material":90,"size":1622,"collection":69,"collections":1623,"showCount":1614,"zanCount":189,"manualWeight":11,"mainColor":45},224493,"huai-rong-tang-tu-wu-li-224493","槐荣堂图","此画设色清丽，右侧题“夫山高阳氏槐荣堂图”， 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树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[23,24,25,29,58,57,59,7,148,241,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[69,71],{"id":1625,"slug":1626,"title":1627,"dynasty":140,"author":540,"museum":1025,"description":1628,"tags":1629,"thumbUrl":1630,"material":1631,"size":1632,"collection":69,"collections":1633,"showCount":1614,"zanCount":11,"manualWeight":11,"mainColor":135},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！",[23,24,25,56,83,29,58,57,84,312,85,59,7,180,241,60,146,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纸本，淡设色","纵25cm，横236cm",[69,95],{"id":1635,"slug":1636,"title":1637,"dynasty":175,"author":1638,"museum":1639,"description":1640,"tags":1641,"thumbUrl":1643,"material":67,"size":1644,"collection":130,"collections":1645,"showCount":1614,"zanCount":189,"manualWeight":11,"mainColor":45},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","蓝瑛","河北省博物馆","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,24,26,58,57,29,59,7,268,60,241,164,553,1642,1323],"秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":1647,"slug":1648,"title":1649,"dynasty":175,"author":1650,"museum":210,"description":1651,"tags":1652,"thumbUrl":1653,"material":39,"size":130,"collection":69,"collections":1654,"showCount":1614,"zanCount":11,"manualWeight":11,"mainColor":45},219472,"si-hao-tu-xie-shi-chen-219472","四皓图","谢时臣","幅中所绘，是秦汉间隐居于商山的四位老人悠闲的生活。他们或下棋，或闲步。四围则是云雾蒸腾，溪泉潺潺，松树盘踞，驯鹿嬉游，山石险阻，与外隔绝，似是为高人隐士所设的福地洞天。用笔苍劲有力，墨色变化丰富，气势雄浑。以画水闻名的谢时臣，尤其长于表现云烟之变幻多端。",[24,242,58,59,7,243,148,106,86,26,337,29,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[69],{"id":1656,"slug":1657,"title":370,"dynasty":175,"author":1658,"museum":1659,"description":1660,"tags":1661,"thumbUrl":1662,"material":1663,"size":130,"collection":69,"collections":1664,"showCount":1614,"zanCount":11,"manualWeight":11,"mainColor":135},219099,"shan-shui-tu-zhang-hong-219099","张宏","昆仑堂美术馆","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。",[23,55,24,25,26,83,57,58,59,7,60,213,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[69],{"id":1666,"slug":1667,"title":1668,"dynasty":175,"author":176,"museum":298,"description":310,"tags":1669,"thumbUrl":1670,"material":302,"size":130,"collection":130,"collections":1671,"showCount":1614,"zanCount":189,"manualWeight":11,"mainColor":135},214653,"qiu-xing-ba-jing-tu-ce-5-dong-qi-chang-214653","秋兴八景图册-5",[24,25,145,29,267,83,57,312,84,58,59,7,60,180,602,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893b7c0fa8f94f84a419b7b87e6439e.jpg",[],{"id":1673,"slug":1674,"title":1675,"dynasty":78,"author":345,"museum":52,"description":1676,"tags":1677,"thumbUrl":1692,"material":1693,"size":1694,"collection":130,"collections":1695,"showCount":1696,"zanCount":11,"manualWeight":11,"mainColor":45},221530,"shui-tu-juan-ma-yuan-221530","水图卷","《水图》共有十二段。除第一段因残缺半幅而无图名外，其余图名分别是：“洞庭风细”、“层波叠浪”、“寒塘清浅”、“长江万顷”、“黄河逆流”、“秋水回波”、“云生沧海”、“湖光潋滟”、“云舒浪卷”、“晓日烘山”、“细浪漂漂”。这十二段作品，专门画水，除个别幅有极少岩岸之外，其它没有任何别的景色，完全通过对水的不同姿态的描写，表现出种种不同的意境。作者对水观察的细致入微，以及创造出来的形态美感和笔墨技能，都令人惊叹不已。如“洞庭风细”，波浪如鳞，不激不怒，近大远小以至于水天一色，彷佛觉得微风习习，轻轻掠过了那开阔的湖面，使人心旷神怡，宠辱皆忘。“层波叠浪”是以颤抖的笔法，描写浪涛的起落，彷佛其下有蛟龙蛰伏。那汹涌澎湃的气势，使人精神振奋而感到豪壮。“湖光潋滟”一幅，画家以轻快流畅的笔法，画出水波的跳动，浪峰无规则的排列，显然受到乱风的吹荡，即使画家不染上红色，也使观者感到阳光明媚，不由得想起“湖光潋滟晴偏好”的杭州西湖景象来。“云舒浪卷”一幅，却又是另外一番境界。画家以凝涩的笔触，画出一个浪头，它彷佛咆哮着要腾空而起，天空中黑云滚动，与水相接，更增加有如冲锋陷阵的气概。画面虽小，而气魄宏大壮观。其它各幅，都各有不同的笔法特点和意境，就留待读者自己体会。",[23,24,56,25,83,29,58,7,1678,1679,1680,1681,1045,106,1682,1683,1684,1685,1686,1687,1688,1689,1690,1691],"波浪","湖面","江河","沧海","晓日","细浪","叠浪","逆流","回波","潋滟","浪卷","心旷神怡","豪壮","气魄宏大","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608b77553133468e4bb46dc87ada9d69.jpg","绢本，淡设色","纵26.8厘米，横41.6厘米",[],45,{"id":1698,"slug":1699,"title":1700,"dynasty":828,"author":1205,"museum":210,"description":1701,"tags":1702,"thumbUrl":1704,"material":867,"size":1705,"collection":69,"collections":1706,"showCount":1696,"zanCount":11,"manualWeight":11,"mainColor":45},221094,"ming-huang-xing-shu-tu-li-zhao-dao-221094","明皇幸蜀图","作品描绘人马行走于崇山峻岭间。画上有乾隆三十九年（1774）的御题诗：青绿关山迥，崎岖道路长。客人各结束，行李自周详。总为名和利，那辞劳与忙。年陈失姓氏，北宋近乎惠”。《明皇幸蜀图》体现了二李画派的典型风格，时代特征明显，是反映唐代山水画面貌的重要传世作品。",[23,24,58,59,7,148,106,29,28,1703,337],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a04cfa4068831cfeaed0b412c23431.jpg","纵55.9厘米，横81厘米",[69,71],{"id":1708,"slug":1709,"title":1710,"dynasty":175,"author":1711,"museum":298,"description":1712,"tags":1713,"thumbUrl":1715,"mat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横52.7厘米",[69],{"id":1751,"slug":1752,"title":1753,"dynasty":140,"author":1754,"museum":52,"description":1755,"tags":1756,"thumbUrl":1757,"material":130,"size":1758,"collection":69,"collections":1759,"showCount":1760,"zanCount":189,"manualWeight":11,"mainColor":45},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[23,55,24,25,56,29,57,58,59,7,61,60,213,754,470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[69,71],42,{"id":1762,"slug":1763,"title":1764,"dynasty":175,"author":1547,"museum":52,"description":1765,"tags":1766,"thumbUrl":1767,"material":1768,"size":1769,"collection":69,"collections":1770,"showCount":1760,"zanCount":189,"manualWeight":11,"mainColor":45},237094,"tan-yuan-mo-xi-tu-zhou-li-liu-fang-237094","檀园墨戏图轴","本幅近景画空亭嘉木，溪岸渚石，远景为峰峦重叠，林木苍郁，笔法多变，墨气淋漓，意境清旷。近景的布局和树木的画法主要仿自倪瓒，只是笔墨远比倪瓒湿润，树干用意笔勾出，树叶用笔率意点写，笔法含蓄内敛。山石运用或平行或交叉的披麻皴绘画技法，用笔苍劲迅疾，并以饱含水分的淡墨晕染，颇得吴镇笔墨之神韵。",[24,83,57,26,58,59,7,269,165,146,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccf78efb544c49d098289d1cfa0ed9b.jpg","绫本，墨笔","纵129厘米，横57.5厘米",[69,95],{"id":1772,"slug":1773,"title":1774,"dynasty":140,"author":383,"museum":102,"description":1775,"tags":1776,"thumbUrl":1777,"material":130,"size":130,"collection":130,"collections":1778,"showCount":1760,"zanCount":189,"manualWeight":11,"mainColor":135},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,55,58,29,57,145,59,7,255,182,60,164,61,917,30,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":1780,"slug":1781,"title":1782,"dynasty":175,"author":1472,"museum":1783,"description":1784,"tags":1785,"thumbUrl":1789,"material":90,"size":1790,"collection":94,"collections":1791,"showCount":1760,"zanCount":189,"manualWeight":11,"mainColor":135},222178,"hong-xing-ye-fu-tu-zhou-lu-zhi-222178","红杏野凫图轴","安徽省博物馆","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。",[23,24,25,26,29,83,124,1786,1787,7,930,1788,312],"红杏","野凫","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33b057f3aab56336cb3fa23d67505c5.jpg","43.1x119cm",[94,71],{"id":1793,"slug":1794,"title":1795,"dynasty":78,"author":19,"museum":210,"description":1796,"tags":1797,"thumbUrl":1799,"material":39,"size":1800,"collection":94,"collections":1801,"showCount":1760,"zanCount":189,"manualWeight":11,"mainColor":135},218396,"hua-an-chun-tu-yi-ming-218396","画鹌鹑图","这是一幅描绘两只鹌鹑在沙地上玩耍和觅食的画。其生动的造型和多变的笔触使其成为宋元微型绘画的典范。",[23,24,25,26,28,29,124,1798,7,85],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f7c7b18cd6012e81e56549879d6d73.jpg","35.3x25.8cm",[94],{"id":1803,"slug":1804,"title":1805,"dynasty":140,"author":1806,"museum":102,"description":1807,"tags":1808,"thumbUrl":1809,"material":130,"size":130,"collection":69,"collections":1810,"showCount":1811,"zanCount":11,"manualWeight":11,"mainColor":45},239026,"gao-jian-hu-xiang-qiu-lu-tu-zhou-gao-jian-239026","高简湖乡秋露图轴","高简","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》",[24,25,26,83,57,58,59,7,165,268,181,269,32,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57d860f9cf257f2f01248ac8831f242.jpg",[69,71],40,{"id":1813,"slug":1814,"title":716,"dynasty":50,"author":1815,"museum":52,"description":1816,"tags":1817,"thumbUrl":1818,"material":271,"size":1819,"collection":69,"collections":1820,"showCount":1811,"zanCount":11,"manualWeight":11,"mainColor":45},233170,"shan-shui-ce-cao-zhi-bai-233170","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。",[24,25,145,83,57,58,59,7,148,165,181,180,164,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[69,533],{"id":1822,"slug":1823,"title":1824,"dynasty":175,"author":238,"museum":52,"description":1825,"tags":1826,"thumbUrl":1827,"material":185,"size":1828,"collection":69,"collections":1829,"showCount":1811,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[23,24,181,228,58,59,7,148,244,83,86,26,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[69,95],{"id":1831,"slug":1832,"title":1483,"dynasty":175,"author":1833,"museum":1834,"description":1835,"tags":1836,"thumbUrl":1837,"material":39,"size":1838,"collection":69,"collections":1839,"showCount":1811,"zanCount":189,"manualWeight":11,"mainColor":45},217944,"yun-shan-tu-he-cheng-217944","何澄","耶鲁大学艺术博物馆","《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。",[24,25,26,83,58,106,59,7,60,146,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[69],{"id":1841,"slug":1842,"title":1843,"dynasty":175,"author":478,"museum":52,"description":1844,"tags":1845,"thumbUrl":1846,"material":90,"size":1847,"collection":130,"collections":1848,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":135},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089","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”。",[24,25,145,83,312,57,58,59,7,148,269,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd47a46f6ca498fde781cc73a947eca.jpg","28.5*25.5cm",[],39,{"id":1851,"slug":1852,"title":1853,"dynasty":175,"author":773,"museum":210,"description":1854,"tags":1855,"thumbUrl":1856,"material":302,"size":1857,"collection":69,"collections":1858,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":135},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[23,24,29,28,85,58,106,59,7,386,60,1016,703],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[69],{"id":1860,"slug":1861,"title":1862,"dynasty":175,"author":1863,"museum":102,"description":1864,"tags":1865,"thumbUrl":1866,"material":130,"size":130,"collection":130,"collections":1867,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":135},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","徐贲","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。",[23,24,25,56,83,58,57,84,312,59,7,60,181,228,165,147,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":1869,"slug":1870,"title":1871,"dynasty":175,"author":863,"museum":52,"description":1872,"tags":1873,"thumbUrl":1874,"material":67,"size":1875,"collection":69,"collections":1876,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":45},222362,"qian-tang-jing-wu-tu-zhou-tang-yin-222362","钱塘景物图轴","自题七绝并署款：“钱塘景物似围屏，路寄山崖屋寄汀。杨柳坡平人马歇，鸬鹚船过水风腥。唐寅。”钤“□郡”（白文，残，应为“吴郡”二字）、“唐白虎”（朱文）、“学圃堂”（朱文）印。\n此作在流传过程中曾经遭受损坏，唐寅题诗的顶端部分“钱”、“寄”、“船”字均为后世所补全。本幅下方二藏印模糊不可辨。\n图画崇山栈道，游骑翩翩，草阁游人独坐，江中渔舟游弋。山石、树木取法南宋李唐、夏圭，用笔方硬细峭，刻画精到，点景人物形态自然，风格细秀，显示了作者早年规步南宋“院体”风格的绘画功底。",[23,24,26,58,57,29,59,62,60,213,241,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0060a0b4d927625dc12f0a07bf48c8c6.jpg","纵71.4厘米，横37.2厘米",[69,95],{"id":1878,"slug":1879,"title":1880,"dynasty":175,"author":176,"museum":1881,"description":1882,"tags":1883,"thumbUrl":1884,"material":145,"size":1885,"collection":130,"collections":1886,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":130},220754,"fang-ge-jia-shan-shui-2-dong-qi-chang-220754","仿各家山水-2","香港中文大学文物馆","此作用淡墨晕染远山，勾勒的山石尽显嶙峋之态，留白作云气晕出空濛山意。近岸林木笔法松秀苍润，浓墨点苔添得生机勃发。山坳村居、溪畔茅舍隐于丘壑之间，板桥行人又让林泉染上烟火暖意。\n\n题字错落左上，笔墨清雅萧散与画境相融。全画以干笔皴擦营造淡远空灵意境，简淡中见层次藏雅趣，将幽居林泉的闲逸藏于尺幅之间，尽显文人山水的疏朗清旷，观之如临寂寂山林，得自然清和之味。",[23,24,25,83,57,58,59,7,148,313,255,690,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg","30.5 × 23.8厘米",[],{"id":1888,"slug":1889,"title":1890,"dynasty":78,"author":19,"museum":210,"description":1891,"tags":1892,"thumbUrl":1895,"material":39,"size":1896,"collection":92,"collections":1897,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":45},220385,"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[23,24,25,29,28,84,85,124,1893,1894,32,7,1300],"杏树","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[92],{"id":1899,"slug":1900,"title":1901,"dynasty":175,"author":1902,"museum":210,"description":1903,"tags":1904,"thumbUrl":1908,"material":302,"size":1909,"collection":41,"collections":1910,"showCount":1849,"zanCount":11,"manualWeight":11,"mainColor":45},219392,"cong-di-xian-yu-tu-ye-guang-219392","丛荻闲渔图","叶广","叶广（明代人），字元博，号海渔，巢县人。诗人、画家。擅名丹青，胸藏丘壑，笔洒烟云。作品《渔翁图》远近闻名。叶广是米（芾）派画家，米体山水及大小画，劲骨远神，时流莫及。叶广擅长作诗，饶有高致。其诙谐调笑，雅重一时。四方缙绅名人，与叶广交往甚多，岁时不绝。",[24,55,25,26,83,29,30,7,1905,1906,1907,409,85],"渔网","篮子","荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71deaee102e50cdb9d0829265b1976a2.jpg","114.3x31",[41],{"id":1912,"slug":1913,"title":1914,"dynasty":140,"author":1915,"museum":52,"description":1916,"tags":1917,"thumbUrl":1918,"material":185,"size":1919,"collection":130,"collections":1920,"showCount":1921,"zanCount":11,"manualWeight":11,"mainColor":135},234953,"yu-xi-shan-gen-tu-kun-can-234953","雨洗山根图","髡残","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[24,83,348,57,59,7,60,164,268,482,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e57309da538f66ef8d198690cf3042b.jpg","纵103厘米，横59.9厘米",[],38,{"id":1923,"slug":1924,"title":1925,"dynasty":140,"author":540,"museum":102,"description":1926,"tags":1927,"thumbUrl":1928,"material":130,"size":130,"collection":130,"collections":1929,"showCount":1921,"zanCount":11,"manualWeight":11,"mainColor":135},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,25,56,29,57,58,59,7,148,445,889,754,165,690,147,255,61,164,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":1931,"slug":1932,"title":1933,"dynasty":140,"author":1150,"museum":52,"description":1934,"tags":1935,"thumbUrl":1936,"material":185,"size":1937,"collection":69,"collections":1938,"showCount":1939,"zanCount":11,"manualWeight":11,"mainColor":45},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","仿黄公望山水图","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。",[23,55,24,348,324,57,83,29,26,59,7,60,181,213,182,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg","纵91厘米，横46厘米",[69],37,{"id":1941,"slug":1942,"title":1943,"dynasty":140,"author":141,"museum":102,"description":1944,"tags":1945,"thumbUrl":1949,"material":130,"size":130,"collection":130,"collections":1950,"showCount":1939,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[23,24,29,124,28,26,728,1946,7,32,198,1947,83,1948],"鸭子","柳枝","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c66d85b5a377c609d50d01fb40a230f.jpg",[],{"id":1952,"slug":1953,"title":1954,"dynasty":175,"author":238,"museum":102,"description":1955,"tags":1956,"thumbUrl":1957,"material":1958,"size":1959,"collection":69,"collections":1960,"showCount":1939,"zanCount":11,"manualWeight":11,"mainColor":45},221982,"shan-shui-juan-wen-zheng-ming-221982","山水卷","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。",[23,24,58,59,7,148,243,83,86,56,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[69,95],{"id":1962,"slug":1963,"title":1964,"dynasty":140,"author":1965,"museum":1966,"description":1967,"tags":1968,"thumbUrl":1970,"material":39,"size":1971,"collection":94,"collections":1972,"showCount":1939,"zanCount":189,"manualWeight":11,"mainColor":45},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","胡湄","旅顺博物馆","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[23,24,25,55,26,28,83,124,753,637,1969,1495,7,313,60,147,286],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[94],{"id":1974,"slug":1975,"title":1976,"dynasty":78,"author":1977,"museum":210,"description":1978,"tags":1979,"thumbUrl":1984,"material":39,"size":1985,"collection":130,"collections":1986,"showCount":1987,"zanCount":11,"manualWeight":11,"mainColor":45},288937,"san-guan-chu-xun-tu-ma-lin-288937","三官出巡图","马麟","画面描绘了道教神仙“三官大帝”，表现了三官巡游天地的盛况。",[23,24,55,1980,1981,30,88,729,29,28,1982,106,7,1983],"宗教画","道教","神话","神仙出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8887bcfc399239609b214e9bf562900.jpg","174.2x122.9",[],36,{"id":1989,"slug":1990,"title":1991,"dynasty":175,"author":1992,"museum":210,"description":1993,"tags":1994,"thumbUrl":1996,"material":496,"size":1997,"collection":41,"collections":1998,"showCount":1987,"zanCount":11,"manualWeight":11,"mainColor":45},222155,"si-xian-gong-shou-tu-zhou-shang-xi-222155","四仙拱寿图轴","商喜","《四仙拱寿图》是一张祝寿图，结合了佛、道两教的人物在同一张画。在波涛万顷的海面上，有四位仙人凌波渡海。画面最右边，骑着三足金蟾的是全真教五祖之一的刘海蟾。在他左侧，肩挂葫芦、脚踏在拐杖上的是八仙中的李铁拐。左方两人，一人脚踏蕉叶，一人踩着竹帚，则是唐代的禅僧寒山和拾得。这四人的目光都聚集在画面正中央，骑着仙鹤飞翔的南极仙翁(寿星)。\n画中每位仙人的面部表情，都描写得十分生动，甚至有些夸张，仙人的衣袍随风飘举，衣描用笔方折、顿挫有力，显得相当粗犷，这种风格乃是传承唐代吴道子“吴带当风”的衣描画法，并且受到元代画家颜辉(活动于13世纪后期)的影响。商喜是明初宫廷著名的人物画家，他早年曾经为寺庙殿宇绘制巨幅壁画，《四仙拱寿图》这张巨幅人物图代表他在这方面的艺术成就。15世纪中后期的宫廷画家刘俊、赵麒，也都继承商喜画仙人的传统，但是用笔带有强烈的装饰风格，显示出同一样式在后来的发展。",[23,24,25,26,28,29,30,147,7,1995],"祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F952b33a2bd40bdf845ccc85ef17e1b44.jpg","纵98.3、横143.8厘米",[41,95],{"id":2000,"slug":2001,"title":2002,"dynasty":175,"author":238,"museum":102,"description":239,"tags":2003,"thumbUrl":2004,"material":90,"size":2005,"collection":69,"collections":2006,"showCount":1987,"zanCount":189,"manualWeight":11,"mainColor":45},221989,"shou-juan-quan-juan-wen-zheng-ming-221989","手卷全卷",[23,24,84,58,59,7,313,148,243,83,86,56,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cc0fc779d8f58a62155659cdff9839.jpg","27×637cm",[69,95],{"id":2008,"slug":2009,"title":2010,"dynasty":175,"author":19,"museum":142,"description":2011,"tags":2012,"thumbUrl":2014,"material":39,"size":2015,"collection":94,"collections":2016,"showCount":1987,"zanCount":11,"manualWeight":11,"mainColor":45},218989,"he-tang-shuang-lu-tu-yi-ming-218989","荷塘双鹭图","深褐底色如浸了岁月的绢帛，将双鹭与青荇轻轻托于画的下半阙。一鹭昂首引颈，尖喙似欲刺破空寂；一鹭敛首依偎，绒羽在淡墨晕染下泛着温润光泽。几丛水草如翠带轻扬，碧色破了沉郁底色，添几分野逸生机。画面上虚下实，留白处似有无尽烟波，静谧中藏着自然的温情。笔墨细腻却不繁缛，鹭鸟的姿态、水草的柔劲，皆透着恬淡的生机，如观一段无人惊扰的水泽时光，清寂又动人。",[24,28,29,124,2013,125,286,7],"鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aa8a8cedcc6e9b6cc62630b1cae3dd.jpg","99x43.2cm",[94],{"id":2018,"slug":2019,"title":2020,"dynasty":140,"author":1150,"museum":52,"description":2021,"tags":2022,"thumbUrl":2023,"material":2024,"size":2025,"collection":69,"collections":2026,"showCount":2027,"zanCount":11,"manualWeight":11,"mainColor":135},233160,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233160","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,25,145,29,58,57,59,7,148,386,85,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16167bc107fdf43a3be3d557727deba3.jpg","纸本，墨笔或设色","纵29厘米，横29.5厘米",[69,71],35,{"id":2029,"slug":2030,"title":2031,"dynasty":78,"author":2032,"museum":102,"description":2033,"tags":2034,"thumbUrl":2035,"material":130,"size":130,"collection":130,"collections":2036,"showCount":2027,"zanCount":189,"manualWeight":11,"mainColor":45},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","刘松年","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。",[23,24,25,56,58,28,83,57,59,7,60,146,269,228,213,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":2038,"slug":2039,"title":2040,"dynasty":175,"author":238,"museum":210,"description":2041,"tags":2042,"thumbUrl":2043,"material":867,"size":2044,"collection":41,"collections":2045,"showCount":2027,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[23,24,58,59,7,148,83,86,26,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 84.1x26.4公分、全幅 51公分",[41,95],{"id":2047,"slug":2048,"title":2049,"dynasty":140,"author":1150,"museum":210,"description":2050,"tags":2051,"thumbUrl":2052,"material":215,"size":2053,"collection":69,"collections":2054,"showCount":2027,"zanCount":11,"manualWeight":11,"mainColor":135},219892,"fang-ni-huang-he-bi-tu-wang-yuan-qi-219892","仿倪黄合笔图","图绘湖山阔远,水榭静美.取倪云林之图式,运黄子久之笔墨,王麓台笔力能扛鼎,诚非虚誉.",[24,83,58,324,57,59,7,148,638,165,62,445,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79ceab6892c3b9c5f6fc7105fc63ef6.jpg","111.5x48.1",[69],{"id":2056,"slug":2057,"title":2058,"dynasty":140,"author":297,"museum":52,"description":2059,"tags":2060,"thumbUrl":2062,"material":185,"size":2063,"collection":69,"collections":2064,"showCount":2065,"zanCount":11,"manualWeight":11,"mainColor":135},236364,"fu-shui-yan-tu-zhou-wang-jian-236364","拂水岩图轴","本幅图的右上有王鉴题字：「癸巳二月访牧斋宗伯于虞山，放舟拂水岩写所见。」因此知道这幅画是在描绘虞山。虽然本图没有细致的描绘实景，但却有突出拂水岩幽静偏远的特点，是王鉴中年时的佳作。",[24,348,83,26,57,59,7,60,62,386,61,2061,182,1260],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纵67.8厘米，横31.3厘米",[69,95,533],34,{"id":2067,"slug":2068,"title":2069,"dynasty":140,"author":2070,"museum":210,"description":2071,"tags":2072,"thumbUrl":2073,"material":29,"size":2074,"collection":130,"collections":2075,"showCount":2065,"zanCount":11,"manualWeight":11,"mainColor":135},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","仿王蒙山水轴","唐岱","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[23,24,58,26,324,57,29,59,7,180,386,181,62,60,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":2077,"slug":2078,"title":1954,"dynasty":175,"author":773,"museum":102,"description":2079,"tags":2080,"thumbUrl":2081,"material":130,"size":130,"collection":130,"collections":2082,"showCount":2083,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[23,24,56,83,57,25,58,59,7,269,181,228,268,165,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],33,{"id":2085,"slug":2086,"title":2087,"dynasty":50,"author":264,"museum":52,"description":2088,"tags":2089,"thumbUrl":2090,"material":271,"size":2091,"collection":130,"collections":2092,"showCount":2083,"zanCount":11,"manualWeight":11,"mainColor":45},233219,"you-ju-tu-juan-qian-xuan-233219","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[24,25,56,267,29,28,57,58,59,7,148,165,181,228,268,30,213,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg","纵27厘米, 横115.9厘米",[],{"id":2094,"slug":2095,"title":2096,"dynasty":175,"author":2097,"museum":102,"description":2098,"tags":2099,"thumbUrl":2100,"material":130,"size":130,"collection":130,"collections":2101,"showCount":2083,"zanCount":11,"manualWeight":11,"mainColor":135},228309,"xi-hu-xue-jing-tu-ye-xiang-sheng-mo-228309","西湖雪景图页","项圣谟","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。",[24,83,58,145,57,59,7,445,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd439ec8a7babbccd8ad0d1aaed0089f3.jpg",[],{"id":2103,"slug":2104,"title":2105,"dynasty":140,"author":2106,"museum":102,"description":2107,"tags":2108,"thumbUrl":2112,"material":2113,"size":2114,"collection":130,"collections":2115,"showCount":2083,"zanCount":11,"manualWeight":11,"mainColor":135},222825,"yu-xi-xu-gu-222825","鱼嬉","虚谷","图绘水中金鱼三条，二条红白相间，一条白身红眼，水中游游弋嬉戏；水面上数要葡萄藤，宽大的葡萄叶黄灿灿，自然展开，藤上葡萄累累，令人垂涎。",[23,24,29,86,83,26,124,614,2109,2110,2111,7],"藤蔓","叶子","紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7191b48084ecb908fe16b5ad2defef92.jpg","纸本 设色","99x35厘米",[],{"id":2117,"slug":2118,"title":2119,"dynasty":175,"author":478,"museum":210,"description":2120,"tags":2121,"thumbUrl":2123,"material":90,"size":2124,"collection":130,"collections":2125,"showCount":2083,"zanCount":11,"manualWeight":11,"mainColor":135},222105,"xie-mi-jia-shan-shen-zhou-222105","写米家山","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。",[23,24,25,83,58,2122,145,59,148,7,61,146],"点染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82c8db68a8b575954749b6f85eccdfc.jpg","34.8×56.5厘米",[],{"id":2127,"slug":2128,"title":2129,"dynasty":140,"author":2130,"museum":298,"description":2131,"tags":2132,"thumbUrl":2134,"material":90,"size":2135,"collection":130,"collections":2136,"showCount":2083,"zanCount":189,"manualWeight":11,"mainColor":135},219850,"ba-jing-shan-shui-tu-6-gong-xian-219850","八景山水图-6","龚贤","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,83,57,58,269,2133,268,7],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba7ab842fa8f38fb3b06152c82a4781.jpg","24.4x49.7厘米",[],{"id":2138,"slug":2139,"title":2140,"dynasty":140,"author":1269,"museum":102,"description":2141,"tags":2142,"thumbUrl":2145,"material":130,"size":130,"collection":130,"collections":2146,"showCount":2147,"zanCount":189,"manualWeight":11,"mainColor":45},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[55,24,25,26,29,57,58,59,7,148,350,213,268,445,61,1550,164,2143,2144],"林木","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],32,{"id":2149,"slug":2150,"title":2151,"dynasty":119,"author":2152,"museum":2153,"description":2154,"tags":2155,"thumbUrl":2157,"material":130,"size":130,"collection":130,"collections":2158,"showCount":2147,"zanCount":11,"manualWeight":11,"mainColor":135},220515,"he-hua-lu-si-pu-xin-she-220515","荷花鹭鸶","溥心畬","龙美术馆西岸馆","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。",[24,25,83,124,26,125,2156,126,7],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09adb59070f68f461c12e1eadc1bd60.jpg",[],{"id":2160,"slug":2161,"title":2162,"dynasty":50,"author":19,"museum":20,"description":2163,"tags":2164,"thumbUrl":2165,"material":39,"size":130,"collection":69,"collections":2166,"showCount":2147,"zanCount":11,"manualWeight":11,"mainColor":45},214607,"shui-ge-tu-ye-yi-ming-214607","水阁图页","水阁图是一幅中国古代的山水画，作者不详，来自元代（1271-1368年）。这幅画以水为主题，描绘了一个江南风光的景象，展现了山水之间的和谐关系。\n\n画面中的水流清澈，河岸上有树木葱茏，草木茂盛。在画面的左侧，可以看到一座小山丘，山上有一座小楼，楼上挂着红绸帘，风景优美。在楼下的河中，有几艘游船在水上悠悠游动，人们在船上欢声笑语。在画面的右侧，有一片清幽的山林，山间有一条小溪流过，水声清脆。\n\n整幅画面气氛轻松惬意，色彩明快，构图巧妙，画风浑然天成，是一幅典型的山水画作品。",[23,24,29,28,701,58,241,60,313,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d33733160c5b165a06b7d1234eae23f.jpg",[69],{"id":2168,"slug":2169,"title":2170,"dynasty":140,"author":540,"museum":102,"description":2171,"tags":2172,"thumbUrl":2174,"material":130,"size":130,"collection":130,"collections":2175,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":135},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585","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》。",[25,24,83,57,2173,179,58,59,7,148,445,181,213,32,61,325,1550],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],31,{"id":2178,"slug":2179,"title":2180,"dynasty":140,"author":2181,"museum":102,"description":2182,"tags":2183,"thumbUrl":2184,"material":130,"size":130,"collection":69,"collections":2185,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":135},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[24,25,26,83,57,58,59,148,268,7,62,445,63,2144,469,704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[69,95],{"id":2187,"slug":2188,"title":2189,"dynasty":140,"author":2190,"museum":52,"description":2191,"tags":2192,"thumbUrl":2193,"material":130,"size":130,"collection":69,"collections":2194,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":135},236184,"shan-shui-shan-mian-dong-gao-236184","山水扇面","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”。",[24,751,58,29,57,83,59,7,60,62,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[69],{"id":2196,"slug":2197,"title":2198,"dynasty":140,"author":2199,"museum":102,"description":2200,"tags":2201,"thumbUrl":2203,"material":130,"size":130,"collection":130,"collections":2204,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":135},228948,"lu-yan-tu-ce-ye-bian-shou-min-228948","芦雁图册页","边寿民","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。",[24,83,145,86,2202,284,147,7],"芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb2c9ea92efe0cc5c1dbef730058d1d.jpg",[],{"id":2206,"slug":2207,"title":2208,"dynasty":175,"author":2209,"museum":102,"description":2210,"tags":2211,"thumbUrl":2215,"material":130,"size":130,"collection":130,"collections":2216,"showCount":2176,"zanCount":462,"manualWeight":11,"mainColor":45},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,24,29,58,57,59,148,269,1248,7,268,62,2212,2213,2214,704,213],"村舍","风雨","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":2218,"slug":2219,"title":2220,"dynasty":140,"author":383,"museum":52,"description":1512,"tags":2221,"thumbUrl":2222,"material":185,"size":2223,"collection":69,"collections":2224,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":135},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1",[23,24,25,26,83,57,58,59,7,60,62,181,228,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg","纵135厘米，横63厘米",[69],{"id":2226,"slug":2227,"title":2228,"dynasty":175,"author":1638,"museum":210,"description":2229,"tags":2230,"thumbUrl":2231,"material":130,"size":2232,"collection":69,"collections":2233,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":45},222585,"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏","蓝瑛（1585-1664），一说（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。",[23,24,25,145,29,58,324,57,59,148,7,1130,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg","72.6x60.8厘米",[69,95],{"id":2235,"slug":2236,"title":2237,"dynasty":175,"author":2238,"museum":20,"description":2239,"tags":2240,"thumbUrl":2241,"material":90,"size":2242,"collection":69,"collections":2243,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":135},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","秋窗读易图","卞文瑜","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。",[23,24,25,56,83,57,58,59,7,60,213,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[69,95],{"id":2245,"slug":2246,"title":2247,"dynasty":175,"author":1341,"museum":210,"description":2248,"tags":2249,"thumbUrl":2250,"material":302,"size":2251,"collection":41,"collections":2252,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":135},219337,"da-mo-zhou-song-xu-219337","达摩轴","红衣裹身，赤足踏浪，达摩于烟波中笃定前行。衣袂褶皱随浪涛起伏，墨线勾勒的水纹层层叠叠，似与风声共振。眉眼间坚毅藏着渡世慈悲，耳畔环珮轻晃，难扰心湖澄明。淡赭底色晕染朦胧水气，红袍浓艳如烈火，在素净背景里燃出修行的热烈。笔墨凝注禅意厚重，将达摩渡江典故镌于绢素。任时光流转，那份向道执着仍在浪尖熠熠生辉，引人沉潜于禅思的静谧与力量之中。",[24,25,26,27,29,30,85,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6403bcd89cc0c43ba5d3a7a16bc88d1a.jpg","72.1×31.8",[41],{"id":2254,"slug":2255,"title":2256,"dynasty":175,"author":19,"museum":142,"description":2257,"tags":2258,"thumbUrl":2261,"material":39,"size":2262,"collection":94,"collections":2263,"showCount":2264,"zanCount":11,"manualWeight":11,"mainColor":45},219267,"cang-lu-tu-yi-ming-219267","苍鹭图","棕褐底色如岁月晕染的笺纸，铺展一派静谧。苍鹭身姿闲雅，一者昂首引颈，喙尖似欲触碰风的纹理；一者敛翅依偎，绒羽软润如凝露。几茎青绿芦苇斜逸而出，叶尖轻颤，为沉敛色调注入鲜活气息。水面涟漪隐现，萍藻点点，似有细浪无声漫过。笔触细腻处，羽毛的绒感与芦苇的韧劲相映，写意间藏着自然的温情与野趣，将瞬间的宁静定格成永恒的恬淡。",[24,25,26,28,29,2259,198,7,2260],"苍鹭","荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8b251d6b4a971245fde4fe36122468.jpg","纵99横43.2厘米",[94],30,{"id":2266,"slug":2267,"title":716,"dynasty":140,"author":1150,"museum":102,"description":2268,"tags":2269,"thumbUrl":2270,"material":130,"size":130,"collection":69,"collections":2271,"showCount":2272,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[24,83,58,57,59,7,60,213,325,61,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ace5a04ef1b790993d87a46972baec6.jpg",[69],29,{"id":2274,"slug":2275,"title":2276,"dynasty":140,"author":2277,"museum":102,"description":2278,"tags":2279,"thumbUrl":2280,"material":130,"size":130,"collection":130,"collections":2281,"showCount":2272,"zanCount":11,"manualWeight":11,"mainColor":135},226631,"si-shi-shan-shui-04-pu-ru-226631","四时山水04","溥儒","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”。",[23,24,83,57,58,164,7,60,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e67a5159c09f40a77dc77e0824644f.jpg",[],{"id":2283,"slug":2284,"title":2285,"dynasty":175,"author":238,"museum":210,"description":2286,"tags":2287,"thumbUrl":2288,"material":867,"size":2289,"collection":130,"collections":2290,"showCount":2272,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[23,24,29,84,58,59,7,148,243,83,86,26,90,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","纵136.1cm，横26.8cm",[],{"id":2292,"slug":2293,"title":2294,"dynasty":175,"author":176,"museum":210,"description":2295,"tags":2296,"thumbUrl":2300,"material":109,"size":2301,"collection":69,"collections":2302,"showCount":2272,"zanCount":11,"manualWeight":11,"mainColor":45},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，意境深邃取胜。用略为夸张的笔法去捕捉流动的大气，描绘多变莫测的云烟雨，使得绮丽多姿的山水更富有直观表现的色彩。",[23,24,83,348,26,57,2297,59,7,60,61,183,2298,2299,147],"米点皴","近树","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662a33e92c15e39c6775698df13687f8.jpg","123.2x51.9",[69],{"id":2304,"slug":2305,"title":2306,"dynasty":78,"author":19,"museum":2307,"description":2308,"tags":2309,"thumbUrl":2311,"material":39,"size":2312,"collection":69,"collections":2313,"showCount":2314,"zanCount":189,"manualWeight":11,"mainColor":45},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[23,24,56,29,348,57,2310,59,7,445,180,147,268,62,213,85],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg","纵28.8厘米，横449.3厘米",[69],28,{"id":2316,"slug":2317,"title":2318,"dynasty":78,"author":19,"museum":210,"description":2319,"tags":2320,"thumbUrl":2321,"material":39,"size":2322,"collection":69,"collections":2323,"showCount":2324,"zanCount":11,"manualWeight":11,"mainColor":135},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,55,24,29,58,751,57,753,1130,125,148,59,7,469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[69],27,{"id":2326,"slug":2327,"title":2328,"dynasty":175,"author":2329,"museum":210,"description":2330,"tags":2331,"thumbUrl":2333,"material":109,"size":2334,"collection":69,"collections":2335,"showCount":2324,"zanCount":11,"manualWeight":11,"mainColor":45},218141,"gu-yu-fei-tao-tu-sun-ke-hong-218141","孤屿飞涛图","孙克弘","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。",[23,24,25,145,83,29,58,146,2332,7],"波涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f979371de8839632bf5dcdf028a48c6.jpg","22.7x26.6cm",[69],{"id":2337,"slug":2338,"title":2339,"dynasty":140,"author":2340,"museum":210,"description":2341,"tags":2342,"thumbUrl":2343,"material":2344,"size":2345,"collection":69,"collections":2346,"showCount":2347,"zanCount":11,"manualWeight":11,"mainColor":45},223117,"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴","董邦达","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，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、虔山派之间。与董源、董其昌并列。",[23,24,25,55,26,348,57,29,59,7,106,602,60,62,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[69,95],26,{"id":2349,"slug":2350,"title":2351,"dynasty":140,"author":2352,"museum":1966,"description":2353,"tags":2354,"thumbUrl":2360,"material":337,"size":2361,"collection":130,"collections":2362,"showCount":2347,"zanCount":11,"manualWeight":11,"mainColor":135},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,55,24,25,28,29,2061,241,30,7,125,126,1679,60,2355,183,386,1040,2356,588,164,2357,2358,2359],"栏杆","水榭","围栏","平台","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg","纵43.3厘米、横76.5厘米",[],{"id":2364,"slug":2365,"title":716,"dynasty":140,"author":1754,"museum":102,"description":2366,"tags":2367,"thumbUrl":2368,"material":130,"size":130,"collection":69,"collections":2369,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":135},238148,"shan-shui-ce-yun-xi-238148","此作用淡墨晕染出清寂湖山，近岸坡石虬松错落，幽居隐于林木间，远山澹澹衔着烟水，飞泉垂落打破岑寂，将山林幽居的闲逸禅意融于尺幅。笔墨简淡秀雅，不事浓丽雕琢，尽显空灵悠远之致。题诗与画意相映，诗画合璧，把寄情林泉的出世襟怀藏在留白之中，尽显文人山水静穆萧散的雅趣。",[24,25,145,83,57,58,59,7,148,313,255,268,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d49518b2e5f38132c3ad663c86af5e3.jpg",[69,71],{"id":2371,"slug":2372,"title":2373,"dynasty":140,"author":540,"museum":102,"description":2171,"tags":2374,"thumbUrl":2376,"material":130,"size":130,"collection":94,"collections":2377,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":135},237580,"wang-hui-ke-mu-zhu-shi-zhou-wang-hui-237580","王翚柯木竹石轴",[24,25,26,83,57,638,2375,313,7,198,85,84,312],"柯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c301fee55a5c4f3a9597b8c83070258.jpg",[94],{"id":2379,"slug":2380,"title":2381,"dynasty":175,"author":238,"museum":210,"description":2382,"tags":2383,"thumbUrl":2384,"material":867,"size":2385,"collection":69,"collections":2386,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":135},222006,"lv-yin-cao-tang-wen-zheng-ming-222006","绿荫草堂","《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。",[23,24,241,228,58,59,7,148,243,106,29,86,26,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4007e2b20e82443bd2644ea7ebe072f.jpg","纵80.5厘米，横29厘米",[69,71],{"id":2388,"slug":2389,"title":2390,"dynasty":50,"author":2391,"museum":20,"description":2392,"tags":2393,"thumbUrl":2394,"material":509,"size":2395,"collection":130,"collections":2396,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":135},221726,"yun-shan-tu-juan-fang-cong-yi-221726","云山图卷","方从义","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。\n美国大都会艺术博物馆藏方从义《云山图》卷的风格与北京故宫博物院藏《 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。",[23,24,25,56,83,58,57,59,106,148,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e14e9fbcbc029dd475988a0493766d.jpg","纵27厘米，横144.5厘米",[],{"id":2398,"slug":2399,"title":2400,"dynasty":140,"author":491,"museum":20,"description":2401,"tags":2402,"thumbUrl":2404,"material":2405,"size":130,"collection":130,"collections":2406,"showCount":2407,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[24,25,751,55,83,29,30,31,2403,638,7,313,147],"水牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ad1853876e08b4ff2603682f045162.jpg","纸本水墨",[],24,{"id":2409,"slug":2410,"title":2411,"dynasty":78,"author":2412,"museum":210,"description":2413,"tags":2414,"thumbUrl":2415,"material":39,"size":2416,"collection":71,"collections":2417,"showCount":2407,"zanCount":11,"manualWeight":11,"mainColor":135},218874,"shui-xie-he-xiang-tu-ma-yong-zhong-218874","水榭荷香图","马永忠","这幅画描绘了一座水上宫殿，高耸入云，周围是垂柳树，岩石和宫殿的边框用青绿涂抹。",[23,24,25,29,701,145,241,125,7,60,1017,165,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6285e4bd1b8792b86fd7d346f2b0a86c.jpg","25.3x31.1",[71],{"id":2419,"slug":2420,"title":2421,"dynasty":140,"author":19,"museum":210,"description":2422,"tags":2423,"thumbUrl":2425,"material":39,"size":2426,"collection":130,"collections":2427,"showCount":2407,"zanCount":11,"manualWeight":11,"mainColor":135},214662,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-3-yi-ming-214662","乾隆缂丝山水挂屏四轴-3","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[2424,29,58,180,241,164,106,1176,7],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf80093bfe86ebc9b027f55b157dd87.jpg","93.8x25.6",[],{"id":2429,"slug":2430,"title":2431,"dynasty":140,"author":2432,"museum":102,"description":2433,"tags":2434,"thumbUrl":2435,"material":90,"size":130,"collection":69,"collections":2436,"showCount":2437,"zanCount":11,"manualWeight":11,"mainColor":135},240887,"tang-ren-qi-lv-shi-ye-qi-zhi-jia-240887","唐人七律诗页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启 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 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[24,25,83,57,58,59,7,148,213,164,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[69],23,{"id":2439,"slug":2440,"title":2441,"dynasty":140,"author":540,"museum":102,"description":2442,"tags":2443,"thumbUrl":2444,"material":130,"size":130,"collection":533,"collections":2445,"showCount":2437,"zanCount":189,"manualWeight":11,"mainColor":135},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。",[24,83,26,57,84,85,58,59,7,61,60,213,268,255,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[533],{"id":2447,"slug":2448,"title":716,"dynasty":140,"author":2449,"museum":102,"description":2450,"tags":2451,"thumbUrl":2452,"material":130,"size":130,"collection":69,"collections":2453,"showCount":2437,"zanCount":11,"manualWeight":11,"mainColor":135},234638,"shan-shui-ce-cha-shi-biao-234638","查士标","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。",[24,25,55,145,83,29,58,148,313,7,312,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d726fef1640e5e482b9d8d3b16c206.jpg",[69],{"id":2455,"slug":2456,"title":2457,"dynasty":78,"author":19,"museum":102,"description":2458,"tags":2459,"thumbUrl":2460,"material":130,"size":130,"collection":130,"collections":2461,"showCount":2437,"zanCount":11,"manualWeight":11,"mainColor":135},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[55,24,25,751,29,28,30,588,1495,34,754,126,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],{"id":2463,"slug":2464,"title":2465,"dynasty":78,"author":345,"museum":252,"description":2466,"tags":2467,"thumbUrl":2468,"material":67,"size":2469,"collection":130,"collections":2470,"showCount":2437,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,55,24,25,751,28,83,29,30,268,445,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb8c933f34f669b59817096fc70265b.jpg","纵21厘米，横21厘米",[],{"id":2472,"slug":2473,"title":359,"dynasty":140,"author":141,"museum":102,"description":2474,"tags":2475,"thumbUrl":2476,"material":130,"size":130,"collection":69,"collections":2477,"showCount":2478,"zanCount":11,"manualWeight":11,"mainColor":135},235070,"shan-shui-tu-ce-hua-yan-235070","此作笔墨清隽秀逸，江畔枯枝干瘦虬曲，皴擦间尽显苍劲古拙之态，怪石错落暗藏嶙峋野趣。淡墨晕染远山，将江天寥廓的空寂意境铺陈开来，简淡中藏着幽远意趣。\n\n左侧行书题诗笔势舒展俊朗，诗画相映，将幽居江渚、寄情山水的文人襟怀融于尺幅。整幅以极简笔墨勾勒萧散淡远的林下之风，未作繁复铺陈，却把江渚间清冷澹泊的意蕴娓娓道来，尽显文人画简净空灵的审美意趣。",[24,25,145,83,58,445,146,7,84,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58096078f671bcc61fca71c47b69df0.jpg",[69,95],22,{"id":2480,"slug":2481,"title":2482,"dynasty":140,"author":360,"museum":52,"description":2483,"tags":2484,"thumbUrl":2485,"material":2486,"size":2487,"collection":130,"collections":2488,"showCount":2478,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[24,56,83,58,57,84,312,85,59,7,350,148,313,255,325,213,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":2490,"slug":2491,"title":2492,"dynasty":140,"author":383,"museum":102,"description":2493,"tags":2494,"thumbUrl":2495,"material":130,"size":130,"collection":130,"collections":2496,"showCount":2478,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[23,24,25,55,26,83,57,58,59,7,148,241,181,482,164,61,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":2498,"slug":2499,"title":885,"dynasty":140,"author":886,"museum":102,"description":2500,"tags":2501,"thumbUrl":2502,"material":130,"size":130,"collection":130,"collections":2503,"showCount":2478,"zanCount":11,"manualWeight":11,"mainColor":45},230146,"shi-gong-ci-tu-ce-leng-mei-230146","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[24,25,145,28,29,701,312,85,84,30,241,1164,88,889,7,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":2505,"slug":2506,"title":2507,"dynasty":175,"author":863,"museum":142,"description":2508,"tags":2509,"thumbUrl":2511,"material":130,"size":130,"collection":130,"collections":2512,"showCount":2478,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[23,24,25,56,58,29,83,312,2510,85,57,59,7,165,148,62,106],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":2514,"slug":2515,"title":2516,"dynasty":50,"author":371,"museum":102,"description":2517,"tags":2518,"thumbUrl":2519,"material":130,"size":130,"collection":130,"collections":2520,"showCount":2478,"zanCount":11,"manualWeight":11,"mainColor":45},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,24,25,56,29,58,57,59,7,268,60,30,228,165,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":2522,"slug":2523,"title":2524,"dynasty":140,"author":2525,"museum":102,"description":2526,"tags":2527,"thumbUrl":2528,"material":130,"size":130,"collection":130,"collections":2529,"showCount":2478,"zanCount":11,"manualWeight":11,"mainColor":45},224594,"qiu-she-tu-yuan-jiang-224594","秋涉图","袁江","此作用硬朗皴笔勾勒出山岩肌理，奇峰高拔陡立，崖间飞瀑隐于云气，晕染出幽谷空濛之态。丹黄秋叶点染古木，萧疏秋意里晕开暖意。山道滩涂之上，行旅商贾或策马涉水，或沿山径徐行，将山野秋行的鲜活意趣融于冷寂山川，添上人间烟火暖意。画面兼工带写，既得北派山水的雄浑气势，又以细腻的人物刻画赋予山水灵动生机，将秋日山野的旷远意境与行旅图景相融，尽显古典山水的雅致意韵。",[23,55,24,25,26,29,58,57,59,7,60,30,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5727adba9d3c7f163dd3a83df59fa6a.jpg",[],{"id":2531,"slug":2532,"title":2533,"dynasty":175,"author":238,"museum":102,"description":239,"tags":2534,"thumbUrl":2535,"material":557,"size":2536,"collection":69,"collections":2537,"showCount":2478,"zanCount":11,"manualWeight":11,"mainColor":135},221995,"shui-ting-shi-si-tu-wen-zheng-ming-221995","水亭诗思图",[23,24,58,59,7,148,243,83,86,26,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4c5da43adfb3612de6ee83625cd7e2.jpg","73.3x28cm",[69,71],{"id":2539,"slug":2540,"title":2541,"dynasty":140,"author":2542,"museum":281,"description":2543,"tags":2544,"thumbUrl":2545,"material":215,"size":130,"collection":130,"collections":2546,"showCount":2478,"zanCount":189,"manualWeight":11,"mainColor":135},216356,"hua-niao-ce-2-zhu-da-216356","花鸟册-2","朱耷","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。",[23,24,25,83,58,60,164,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffffd42f504ff7d40786c580ab5d99539.jpg",[],{"id":2548,"slug":2549,"title":2550,"dynasty":140,"author":19,"museum":210,"description":2422,"tags":2551,"thumbUrl":2553,"material":39,"size":2426,"collection":130,"collections":2554,"showCount":2478,"zanCount":11,"manualWeight":11,"mainColor":135},214661,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-4-yi-ming-214661","乾隆缂丝山水挂屏四轴-4",[2424,24,25,2552,29,58,59,148,241,62,7,85],"挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5072727135356eb515299eb140d3d0fa.jpg",[],{"id":2556,"slug":2557,"title":359,"dynasty":140,"author":2558,"museum":102,"description":2559,"tags":2560,"thumbUrl":2561,"material":200,"size":201,"collection":69,"collections":2562,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[24,25,145,83,58,57,312,85,59,7,148,181,213,165,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[69],21,{"id":2565,"slug":2566,"title":716,"dynasty":140,"author":2449,"museum":102,"description":2567,"tags":2568,"thumbUrl":2569,"material":130,"size":130,"collection":69,"collections":2570,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":135},237099,"shan-shui-ce-cha-shi-biao-237099","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”。",[24,25,145,83,57,58,59,7,148,165,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168aeb0486c41328f6e24fb32764dd3a.jpg",[69],{"id":2572,"slug":2573,"title":2574,"dynasty":78,"author":2575,"museum":102,"description":2576,"tags":2577,"thumbUrl":2579,"material":130,"size":130,"collection":130,"collections":2580,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":135},227686,"liu-tang-mu-ma-tu-chen-ju-zhong-227686","柳塘牧马图","陈居中","《柳塘牧马图》原载《历代名笔集胜册》第一册。签题陈居中作。耿昭忠题云：陈居中柳塘牧马图，虽纤细如绳，悉具乘风破浪之势。昔评云：“布景设色，不亚黄宗道。今观其气韵生动，精神物态，全形缣素间，即谓超佚前人，岂为过当。”这评赞是确当的。在小小的纨扇的面上，画着二十多个人，五十多匹马，而姿态活跃异常，那功力是深厚的。",[23,24,25,29,28,753,2578,457,148,7,30,105,85],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece9ab741023d625ae0a528e2f8fb9c8.jpg",[],{"id":2582,"slug":2583,"title":2584,"dynasty":140,"author":668,"museum":210,"description":2585,"tags":2586,"thumbUrl":2587,"material":509,"size":2588,"collection":69,"collections":2589,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":135},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴","钱维城（1720 —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。",[23,24,25,26,58,57,29,59,7,60,213,182,183,85,164,1226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg","63.7x31.8",[69,71],{"id":2591,"slug":2592,"title":2593,"dynasty":175,"author":2594,"museum":142,"description":2595,"tags":2596,"thumbUrl":2597,"material":39,"size":130,"collection":69,"collections":2598,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":45},219924,"liu-ting-tu-zhang-guan-219924","柳艇图","张观","生卒年不详，字可观，松江枫泾（今上海金山）人。元代迁居嘉兴（今属浙江），明洪武中寓长洲（今江苏苏州市）。生长于木匠家庭，从小爱游览山水，喜欢作山水画。师法马远、夏圭，亦参学李、郭熙，后与吴镇、盛懋、丁野夫相交，笔墨大进，所作雍容苍秀，格韵悉佳，古劲清润，秀雅胜俗。",[24,83,58,753,268,30,164,7,409,26,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92728b3c452c53bcaa2010c0930b8fc4.jpg",[69],{"id":2600,"slug":2601,"title":359,"dynasty":140,"author":2602,"museum":102,"description":2603,"tags":2604,"thumbUrl":2607,"material":200,"size":201,"collection":69,"collections":2608,"showCount":2609,"zanCount":11,"manualWeight":11,"mainColor":135},237389,"shan-shui-tu-ce-xue-xuan-237389","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。",[24,29,145,58,59,7,148,754,588,2605,471,2606],"山峦","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6087b7a29c377aafef71cea9d8bd43f7.jpg",[69],19,{"id":2611,"slug":2612,"title":2613,"dynasty":140,"author":1915,"museum":52,"description":2614,"tags":2615,"thumbUrl":2617,"material":271,"size":2618,"collection":130,"collections":2619,"showCount":2609,"zanCount":11,"manualWeight":11,"mainColor":135},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,55,24,25,56,83,57,312,2616,84,85,58,59,7,148,165,213,181,228],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":2621,"slug":2622,"title":2623,"dynasty":78,"author":19,"museum":102,"description":2624,"tags":2625,"thumbUrl":2626,"material":130,"size":130,"collection":130,"collections":2627,"showCount":2609,"zanCount":11,"manualWeight":11,"mainColor":45},223611,"zhu-ting-yuan-yang-tu-yi-ming-223611","竹汀鸳鸯图","画面截取江南水隅一角，修竹偃仰扶苏，以劲健墨笔勾写枝叶，浓淡晕染间，尽显层叠错落的清生意趣。汀洲之上，一对鸳鸯恬然依偎，翎毛细笔丝染，绒羽蓬松柔润，将亲昵温婉的情态描摹入微。\n\n水面留白晕开薄雾空蒙，三两水鸟掠波振翅，于静景中添灵动生机。全作用浅褐绢底烘托苍雅墨色，工写相融，既以精微笔触写实花鸟形质，又晕染出暮色江汀的清寂空濛，将江南水畔的闲澹之景，揉入宋人内敛含蓄的雅致意趣，尽显古典院体花鸟画的妍丽与空灵。",[23,55,24,25,28,29,124,638,494,147,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38af8970d0e9b3d6c4052a52cdd7776.jpg",[],{"id":2629,"slug":2630,"title":2631,"dynasty":175,"author":2632,"museum":52,"description":2633,"tags":2634,"thumbUrl":2635,"material":271,"size":2636,"collection":130,"collections":2637,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":135},234813,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-qi-bao-quan-tu-ye-wen-jia-234813","吴门诸家寿袁方斋三绝册-文嘉七宝泉图页","文嘉","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,25,145,29,58,57,59,7,60,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8510ca52467ad2e0007a4cae545cd54c.jpg","22.2*26.7cm",[],{"id":2639,"slug":2640,"title":2641,"dynasty":140,"author":2642,"museum":102,"description":2643,"tags":2644,"thumbUrl":2645,"material":130,"size":130,"collection":130,"collections":2646,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":135},234515,"hua-shan-shui-ce-ye-yu-zhi-ding-234515","画山水册页","禹之鼎","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[24,145,29,57,58,30,268,269,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf271cd92d9806cb7d3dc662afcf2b1.jpg",[],{"id":2648,"slug":2649,"title":1483,"dynasty":50,"author":2650,"museum":102,"description":2651,"tags":2652,"thumbUrl":2653,"material":90,"size":2654,"collection":130,"collections":2655,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":45},231593,"yun-shan-tu-gao-ke-gong-231593","高克恭","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。",[23,55,24,25,83,58,57,59,106,148,213,7,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":2657,"slug":2658,"title":2659,"dynasty":175,"author":19,"museum":102,"description":2660,"tags":2661,"thumbUrl":2664,"material":130,"size":130,"collection":130,"collections":2665,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":135},228382,"ming-gu-xiu-ba-xian-qing-shou-gua-ping-si-he-xian-gu-zhou-yi-ming-228382","明顾绣八仙庆寿挂屏（四）何仙姑轴","此件绣品取素绫为地，何仙姑卓立云涛间，眉目温婉娴静，身姿柔逸出尘。衣袂纹饰配色清雅柔和，针脚平齐细密，将衣物垂坠质感尽现。她手持的莲蓬花杖鲜亮灵动，枝头翎羽如生，鲜活别致。\n\n祥云以淡墨勾形，浅晕铺色，虚实晕染间漾出缥缈仙气。整作以绣代笔，融画理于针绣，施色雅致柔和，构图疏朗空灵，将何仙姑的仙家清婉风姿描摹尽致，尽显画绣相融的独特风韵，是仙佛题材绣作中的精巧佳构。",[24,25,26,2662,29,30,106,7,27,2663],"顾绣","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23bc9ce7f215e9ddb5a38c65af6fcc75.jpg",[],{"id":2667,"slug":2668,"title":2669,"dynasty":175,"author":2670,"museum":52,"description":2671,"tags":2672,"thumbUrl":2674,"material":2675,"size":2676,"collection":130,"collections":2677,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":135},222318,"li-bai-gu-feng-shi-juan-wang-chong-222318","李白古风诗卷","王宠","本幅款署“雅宜山人王宠书”。钤“王履吉印”、“韡韡斋”，迎首钤“大雅堂”。收藏印钤“侯宝璋心赏”、“玉华堂绝品”、“玉华堂紫箫客”、“青萝山馆”、“披肝沥胆”。卷后有裘曰修、侯宝璋题跋。\n《李白古风诗》共8首，用金粟山藏经纸书写。此纸质地硬，纸面光滑，故笔墨线条清晰可辨，用笔转折历历在目。书法体势宽博疏拓，笔法丰沉圆遒，字形婉转结势，姿态奇特。王世贞曾评王宠书：“虽结法小疏，而天骨烂然，姿态横出，有威风千仞之势。”卷后裘曰修言：“雅宜山人书法大令，天骨秀拔，风神疏朗，名重一时。”",[23,2616,56,84,83,85,34,2673,59,7],"清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67be2d310bcf7052aa6cc69f361390e3.jpg","纸本，手卷","纵26.8厘米, 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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》。",[23,24,25,56,27,702,83,30,7,148,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95e683ca4c609b9d25fb50ba7fdf047.jpg",[],{"id":2742,"slug":2743,"title":2744,"dynasty":175,"author":2632,"museum":52,"description":2745,"tags":2746,"thumbUrl":2747,"material":90,"size":130,"collection":130,"collections":2748,"showCount":2716,"zanCount":11,"manualWeight":11,"mainColor":135},234179,"wen-jia-fang-mi-yun-shan-tu-juan-wen-jia-234179","文嘉仿米云山图卷","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。”",[23,24,25,56,324,83,57,58,59,106,7,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc34426a88d7b44a9134580564d722f8.jpg",[],{"id":2750,"slug":2751,"title":2752,"dynasty":140,"author":1150,"museum":102,"description":2753,"tags":2754,"thumbUrl":2755,"material":130,"size":130,"collection":130,"collections":2756,"showCount":2716,"zanCount":11,"manualWeight":11,"mainColor":135},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,25,56,29,58,57,324,85,312,84,59,7,60,213,241,181,165,182,1550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":2758,"slug":2759,"title":2760,"dynasty":140,"author":2525,"museum":102,"description":2761,"tags":2762,"thumbUrl":2763,"material":130,"size":130,"collection":130,"collections":2764,"showCount":2716,"zanCount":11,"manualWeight":11,"mainColor":45},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,25,56,701,29,28,58,241,165,60,164,386,30,457,7,183,1040,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":2766,"slug":2767,"title":2768,"dynasty":50,"author":371,"museum":102,"description":2769,"tags":2770,"thumbUrl":2771,"material":130,"size":130,"collection":130,"collections":2772,"showCount":2716,"zanCount":11,"manualWeight":11,"mainColor":45},228047,"guan-chao-tu-sheng-mao-228047","观潮图","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。",[23,24,83,29,57,58,30,148,7,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a29a6ce0c5bedcec8cc9a7d7960888.jpg",[],{"id":2774,"slug":2775,"title":2776,"dynasty":140,"author":1806,"museum":622,"description":2777,"tags":2778,"thumbUrl":2782,"material":109,"size":2783,"collection":69,"collections":2784,"showCount":2716,"zanCount":11,"manualWeight":11,"mainColor":45},219909,"qiu-chuang-hua-yu-tu-gao-jian-219909","秋窗话雨图","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》。",[24,83,58,26,59,7,60,213,57,2779,2780,2781],"传统书画","远景山峦","近景植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49aecccce50386e4b0e55b1b71d4df5.jpg","47.2x31厘米",[69],{"id":2786,"slug":2787,"title":2788,"dynasty":175,"author":19,"museum":2789,"description":2790,"tags":2791,"thumbUrl":2792,"material":39,"size":2793,"collection":94,"collections":2794,"showCount":2716,"zanCount":11,"manualWeight":11,"mainColor":135},219134,"mu-du-tu-yi-ming-219134","牧渡图","费城艺术博物馆","图为池塘一角，河岸上芦苇盛开，重重的花穗压弯芦苇。 池塘里的孩子半淹没在水里，小牧童调皮的抓着牛尾巴",[24,28,29,30,729,7,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7a034758c32d0f6814f3c6b89c1034.jpg","23.9x24.4cm",[94],{"id":2796,"slug":2797,"title":2798,"dynasty":140,"author":540,"museum":102,"description":2799,"tags":2800,"thumbUrl":2801,"material":200,"size":201,"collection":69,"collections":2802,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":135},236995,"xue-jing-shan-shui-ce-wang-hui-236995","雪景山水册","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。”",[24,83,57,145,58,162,59,148,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b80b1025f221dde693c4dd8c35221.jpg",[69],{"id":2804,"slug":2805,"title":2806,"dynasty":140,"author":2449,"museum":102,"description":2807,"tags":2808,"thumbUrl":2809,"material":130,"size":130,"collection":130,"collections":2810,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[24,83,58,145,312,84,57,59,148,386,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f52947587da7f3f6d7872bc1adb71b.jpg",[],{"id":2812,"slug":2813,"title":2814,"dynasty":140,"author":2815,"museum":52,"description":2816,"tags":2817,"thumbUrl":2818,"material":67,"size":2819,"collection":130,"collections":2820,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":135},234332,"tian-bao-jiu-ru-tu-zhou-fang-cong-234332","天保九如图轴","方琮","此幅是作者根据《诗经•小雅•天保》：“天保定尔，以莫不兴。如山如阜，如冈如陵，如川之方至，以莫不增……如月之恒，如日之升，如南山之寿，不骞不崩，如松柏之茂，无不尔或承”的诗意所绘。图绘高山流水、旭日东升、屋内主人手持如意正接受众人拜贺的情景。本幅意在宣扬臣子祝颂君主及君主“敬天保民”的统治理念。作者以山冈、松树、如意、桃、鹤等被赋予长寿吉祥之意的景物为主人营造了一个可居可游的人间仙境。构图取景深远，画风归属清初“四王”中王原祁所引领的“娄东派”一路。山石树木以干笔枯墨或汁绿色皴擦渲染，墨与色交织，表现出深远的意境和深厚的气韵。此画为乾隆皇帝所赏识，被清内府收藏。",[24,26,29,58,57,59,7,255,181,165,148,213,32,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a999bd621af7ba79747ed64ff6decf0.jpg","纵146.4厘米，横50.5厘米",[],{"id":2822,"slug":2823,"title":2613,"dynasty":140,"author":2824,"museum":52,"description":2825,"tags":2826,"thumbUrl":2827,"material":271,"size":2828,"collection":130,"collections":2829,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":135},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","程正揆","“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。",[23,24,25,56,83,58,57,84,312,85,59,7,60,165,181,228,268,62,213,419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":2831,"slug":2832,"title":2833,"dynasty":140,"author":2449,"museum":52,"description":2834,"tags":2835,"thumbUrl":2836,"material":185,"size":2837,"collection":130,"collections":2838,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":135},233871,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233871","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》。",[24,83,348,145,57,59,7,165,180,445,62,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445edf7b1c27c418f24ac44e35eb046f.jpg","纵32.8cm，横52.8cm",[],{"id":2840,"slug":2841,"title":539,"dynasty":140,"author":540,"museum":102,"description":2842,"tags":2843,"thumbUrl":2844,"material":130,"size":130,"collection":130,"collections":2845,"showCount":73,"zanCount":189,"manualWeight":11,"mainColor":135},229015,"fang-gu-shan-shui-ce-wang-hui-229015","此作用浅绛糅合青绿设色，层层铺展山水意趣。近汀杂木错落，渔舟泛于清波，野意悠然；中景山峦叠翠，飞瀑自岩间垂落，山巅古寺隐于葱郁间，藏露得宜；远景江天浩渺，淡墨晕染远山，虚实相生。\n\n笔墨师法元人，皴擦细腻勾勒出山峦肌理，设色雅致柔和，既带着宋画山川的浑厚静穆，又晕染出江南水乡的温润灵秀，师古而不泥古，将仿古意趣与自然生机相融，尽显清丽雅逸的山水意境。",[24,25,145,58,29,57,59,7,165,268,60,62,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0e0cce94c65cffbabf3b95f530cab5.jpg",[],{"id":2847,"slug":2848,"title":2849,"dynasty":175,"author":238,"museum":102,"description":2850,"tags":2851,"thumbUrl":2852,"material":130,"size":130,"collection":130,"collections":2853,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":135},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,25,56,29,58,28,57,84,312,85,59,7,148,180,445,482,2696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":2855,"slug":2856,"title":2857,"dynasty":140,"author":2858,"museum":102,"description":2859,"tags":2860,"thumbUrl":2862,"material":130,"size":130,"collection":130,"collections":2863,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":135},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","吴宏","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。",[23,24,25,56,83,58,57,59,7,2861,164,60,1017,85,84,312],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F367d279b39c6d14e9d989d272bc2f3b3.jpg",[],{"id":2865,"slug":2866,"title":237,"dynasty":175,"author":2867,"museum":52,"description":2868,"tags":2869,"thumbUrl":2870,"material":2871,"size":2872,"collection":130,"collections":2873,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":135},222429,"shan-shui-tu-li-zhou-li-yong-chang-222429","李永昌","李永昌（生卒年不详），主要活动于明崇祯元年戊辰(公元1628年)至清顺治元年甲申(公元1644年)之司。字周生，号黄海。休宁皂荚树下村人。家境殷实，多藏古物；游历甚广，善于书画。诗亦超迈，著有《画响姜绍书》、《无声诗史》赞其音调清越，阐扬画理与董其昌齐名，是新安四家汪之瑞的老师。画近宗黄子久，远追董巨、二米等南宋诸家，善用董巨山势结构结合米点铺染，并能将沈周的雄浑劲厚和倪瓒的逸笔草草演绎为墨法沉重、生气勃勃的特质。",[23,24,83,57,26,58,59,7,148,165,62,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714cf7213aa4d3425ff5eb21e577c96b.jpg","纸本设色画","101x 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40.6厘米",[],{"id":2895,"slug":2896,"title":2897,"dynasty":78,"author":19,"museum":210,"description":2898,"tags":2899,"thumbUrl":2902,"material":39,"size":2903,"collection":69,"collections":2904,"showCount":73,"zanCount":189,"manualWeight":11,"mainColor":135},218704,"he-ting-shui-ge-tu-yi-ming-218704","荷汀水阁图","一个有学问的人在水榭里看荷花，一个渔夫在沙滩上扭动渔网。远处的山和湖各占一半，使画面平静而清晰。笔法是夏圭的遗产，所以这可能是一位大师的作品。",[23,24,55,25,145,83,57,58,241,2900,125,7,60,183,1312,2901],"汀洲","浅设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60861a88d925828376c2dde8d09dbee.jpg","22.9x23.6",[69],{"id":2906,"slug":2907,"title":2908,"dynasty":140,"author":2909,"museum":298,"description":2910,"tags":2911,"thumbUrl":2912,"material":130,"size":130,"collection":69,"collections":2913,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":2914},203431,"shan-jing-ri-zhang-tu-zhou-huang-ying-zhan-203431","山静日长图轴","黄应湛","层岩叠壑间，松荫覆屋，文人围坐清谈，一派悠然。远处峰峦隐现，楼阁错落林麓，山泉潺潺，飞鸟掠空，尽显山林静穆。笔墨苍润，皴法细腻，山石轮廓以墨线勾勒，复加皴擦点染，树木枝叶繁密，层次分明。设色古朴淡雅，褐赭基调衬出山林幽寂，意境清旷，恰合“山静日长”之闲适，映现文人向往的林泉之趣。",[23,24,25,26,29,57,58,59,7,60,180,165,241,62,182,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49cf864f477c34f0805802e5ff38bd2e.jpg",[69],"84765e",{"id":2916,"slug":2917,"title":2918,"dynasty":175,"author":2919,"museum":102,"description":2920,"tags":2921,"thumbUrl":2922,"material":90,"size":130,"collection":533,"collections":2923,"showCount":2924,"zanCount":11,"manualWeight":11,"mainColor":135},241648,"song-feng-shui-yue-heng-zhu-you-jian-241648","松风水月横","朱由检","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[55,24,25,56,84,312,85,350,1045,7,1041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[533],15,{"id":2926,"slug":2927,"title":2928,"dynasty":50,"author":19,"museum":102,"description":2929,"tags":2930,"thumbUrl":2932,"material":200,"size":201,"collection":130,"collections":2933,"showCount":2924,"zanCount":11,"manualWeight":11,"mainColor":45},238063,"shuang-ya-xi-shui-dan-ye-yi-ming-238063","双鸭戏水单页","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。",[24,25,145,28,29,124,2931,7],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90934f437798f9e47df4e4c133056d21.jpg",[],{"id":2935,"slug":2936,"title":2937,"dynasty":140,"author":297,"museum":52,"description":2938,"tags":2939,"thumbUrl":2940,"material":2941,"size":2942,"collection":130,"collections":2943,"showCount":2924,"zanCount":11,"manualWeight":11,"mainColor":135},234701,"fang-mei-dao-ren-shan-shui-zhou-wang-jian-234701","仿梅道人山水轴","王鉴（1598年—1677年），字玄照，后改字园照，元照，号湘碧，又号香庵主。明末清初著名画家。江苏太仓人，出生于以衣冠诗书著称的太仓王氏家族。崇祯六年（公元1633年）举人，后仕至廉州太守，故称“王廉州”。王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。",[24,26,83,57,324,58,59,7,181,60,213,164,553,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f0d9e69ecf5b32522f0cc3f34bc390.jpg","纸本 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（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。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,83,58,145,324,57,59,7,255,60,213,268,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f490a647d47e37a3f9f7c1094094503.jpg",[],13,{"id":3095,"slug":3096,"title":1954,"dynasty":175,"author":3097,"museum":102,"description":3098,"tags":3099,"thumbUrl":3107,"material":271,"size":130,"collection":130,"collections":3108,"showCount":3093,"zanCount":189,"manualWeight":11,"mainColor":135},234183,"shan-shui-juan-chen-lian-234183","陈廉","陈廉（？－？），字威如，直隶大名府元城县人，民籍，明朝政治人物\n顺天府乡试第八十二名，万历十一年（1583年）癸未科会试第二百八名，登二甲第四十四名进士\n曾祖陈绶，曾任知府；祖父陈鸿雷，曾任镇抚；父陈秉忠，曾任王府审理正。母刘氏",[23,24,25,56,83,58,57,59,7,60,61,3100,62,3101,3102,182,3103,325,3104,1260,3105,626,445,3106,1550,2061],"山峰","远岫","丛林","丘壑","坡地","层峦叠嶂","平畴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],{"id":3110,"slug":3111,"title":3112,"dynasty":140,"author":2449,"museum":102,"description":3113,"tags":3114,"thumbUrl":3117,"material":130,"size":130,"collection":130,"collections":3118,"showCount":3093,"zanCount":11,"manualWeight":11,"mainColor":135},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","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。",[23,24,56,83,58,57,59,7,165,148,213,268,62,469,3101,482,588,3115,3116,147],"峭壁","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":3120,"slug":3121,"title":3122,"dynasty":18,"author":3123,"museum":102,"description":3124,"tags":3125,"thumbUrl":3128,"material":200,"size":201,"collection":130,"collections":3129,"showCount":3093,"zanCount":11,"manualWeight":11,"mainColor":45},231753,"mu-ma-tu-ping-feng-di-yi-ping-zhang-gu-chuan-deng-bo-231753","牧马图屏风第一屏","长谷川等伯","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",[23,24,25,3126,29,28,457,30,148,59,589,7,3127],"屏风","牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],{"id":3131,"slug":3132,"title":3133,"dynasty":140,"author":2199,"museum":102,"description":3134,"tags":3135,"thumbUrl":3136,"material":271,"size":130,"collection":130,"collections":3137,"showCount":3093,"zanCount":11,"manualWeight":11,"mainColor":2998},222802,"lu-yan-tu-zhou-bian-shou-min-222802","芦雁图轴","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。",[23,24,83,86,2202,284,7,26,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269e93d8e4723c6b4ddb0e7d66b5c983.jpg",[],{"id":3139,"slug":3140,"title":3141,"dynasty":50,"author":3142,"museum":1881,"description":3143,"tags":3144,"thumbUrl":3145,"material":3146,"size":3147,"collection":130,"collections":3148,"showCount":3093,"zanCount":189,"manualWeight":11,"mainColor":130},220658,"you-ting-yuan-xiu-tu-tao-xuan-220658","幽亭远岫图","陶铉","《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。",[23,24,55,26,83,57,58,165,148,638,32,7,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","水墨,纸本,立轴","画心：58×31.7厘米 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横26.6厘米",[41],{"id":3159,"slug":3160,"title":539,"dynasty":175,"author":176,"museum":298,"description":3161,"tags":3162,"thumbUrl":3163,"material":130,"size":130,"collection":69,"collections":3164,"showCount":3093,"zanCount":11,"manualWeight":11,"mainColor":3165},203456,"fang-gu-shan-shui-ce-dong-qi-chang-203456","这幅册页书画相映，笔墨间流淌着古雅清韵。山水构图简远空灵，山峦以淡墨皴擦出深浅层次，线条如书法般灵动婉转，树木疏朗有致，几间小屋隐于林麓水畔，似藏幽居之趣。墨色清润虚实相生，尽显“平淡天真”的文人意趣，师法宋元而自出机杼，于仿古中见个人笔意。左侧书法笔势流畅，与山水气韵相契，书画互衬更添雅致。整体画面疏秀旷远，仿佛可感林泉之静，尽得文人画逸致风骨。",[23,145,83,57,84,85,58,59,313,148,213,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d5fb0f235db2ee56340f47f4db6f0.jpg",[69],"9e927d",{"id":3167,"slug":3168,"title":3169,"dynasty":140,"author":3170,"museum":102,"description":3171,"tags":3172,"thumbUrl":3178,"material":200,"size":201,"collection":130,"collections":3179,"showCount":3180,"zanCount":11,"manualWeight":11,"mainColor":135},240410,"deng-shi-ru-xin-zhou-shi-zhou-deng-shi-ru-240410","邓石如新洲诗轴","邓石如","邓石如 1743-1805。安徽怀宁人。单名邓琰，字石如，因避讳以字行，又字顽伯、号完白山人、完白山民、古浣、古浣子、游笈道人，又有凤水渔长、龙山樵长、顽道人。斋堂为铁砚山房。布衣。少好篆刻，为寿州寿春书院诸生，後客梅鏐府，因得纵观历代吉金石刻，徠用洎功頭樤八年，遂工四体书。篆法以二李为宗，而纵横阖辟之妙则得之史籀，稍参隶意，杀锋以取劲折，分书则遒丽淳质，变化不可方物，结体极严整而浑融天迹。篆刻初宗二汉，後以小篆入印，刀法圆转苍。",[84,26,3173,2214,1041,3174,3175,3176,3177,106,7,1045,85],"隶书","帆","沙","城","木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5fd049f5e081db1b2468fc63d1e1b9.jpg",[],12,{"id":3182,"slug":3183,"title":3184,"dynasty":50,"author":3185,"museum":52,"description":3186,"tags":3187,"thumbUrl":3188,"material":90,"size":3189,"collection":533,"collections":3190,"showCount":3180,"zanCount":189,"manualWeight":11,"mainColor":135},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","赵雍","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。",[23,56,25,84,312,83,85,636,162,59,7,34,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[533],{"id":3192,"slug":3193,"title":3194,"dynasty":140,"author":2070,"museum":102,"description":3195,"tags":3196,"thumbUrl":3197,"material":130,"size":130,"collection":130,"collections":3198,"showCount":3180,"zanCount":11,"manualWeight":11,"mainColor":135},239337,"xue-jing-shan-shui-zhou-tang-dai-239337","雪景山水轴","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。",[24,25,26,83,29,57,58,59,7,162,445,213,62,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57adb7a240be0b5f75cfe5857e8c0fde.jpg",[],{"id":3200,"slug":3201,"title":3202,"dynasty":140,"author":3011,"museum":102,"description":3203,"tags":3204,"thumbUrl":3205,"material":130,"size":130,"collection":130,"collections":3206,"showCount":3180,"zanCount":11,"manualWeight":11,"mainColor":135},238240,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238240","山静日长图册","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》。",[24,29,83,58,57,145,59,7,588,482,30,268,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6c5a108e9c64dea7e1e7ec17100c74.jpg",[],{"id":3208,"slug":3209,"title":3202,"dynasty":140,"author":3011,"museum":102,"description":3203,"tags":3210,"thumbUrl":3213,"material":130,"size":130,"collection":130,"collections":3214,"showCount":3180,"zanCount":11,"manualWeight":11,"mainColor":135},238232,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238232",[55,24,25,145,29,57,58,59,7,3211,60,638,126,61,3212,164],"茅舍","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18dd9df66367d82542672b8b337dc484.jpg",[],{"id":3216,"slug":3217,"title":716,"dynasty":140,"author":3218,"museum":52,"description":3219,"tags":3220,"thumbUrl":3221,"material":271,"size":130,"collection":130,"collections":3222,"showCount":3180,"zanCount":11,"manualWeight":11,"mainColor":135},237191,"shan-shui-ce-sun-yi-237191","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。",[24,58,145,29,57,59,313,350,148,7,165,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed226bcb7451e0855a0e8ac8e024d137.jpg",[],{"id":3224,"slug":3225,"title":3226,"dynasty":140,"author":3227,"museum":102,"description":3228,"tags":3229,"thumbUrl":3230,"material":130,"size":130,"collection":130,"collections":3231,"showCount":3180,"zanCount":11,"manualWeight":11,"mainColor":135},234677,"shan-shui-ce-ye-tong-yu-xiu-234677","山水册页","佟毓秀","佟毓秀生卒年不详，字钟山，襄平（今辽宁辽阳）人，汉军正蓝旗人。\n光绪版《中国人名大辞典》云佟氏“仕至甘肃巡抚，善画山水。”除甘肃巡抚，佟毓秀还在康熙二十七年（1688）出仕云南巡抚。\n《中国美术家人名辞典》称其：“曾游钱封之门。山水率笔纵横排奡，与蓝瑛相似，惟嫌气格过于粗豪。老年又以枯涩见长。卒年八十余。”钱封工画山水，落笔高古，品格绝尘，一时名人从游者众。蓝瑛明末清初名山水画家，宗法宋元，又自成一家，落笔秀润，晚年笔力苍劲，气象峻迈。从辞书上悉，佟毓秀的山水是以粗率为特点的。",[24,83,145,58,165,148,164,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d83db5cfac4b04eaabd238ebe03ace5.jpg",[],{"id":3233,"slug":3234,"title":2170,"dynasty":140,"author":540,"museum":52,"description":3235,"tags":3236,"thumbUrl":3237,"material":557,"size":130,"collection":130,"collections":3238,"showCount":3180,"zanCount":11,"manualWeight":11,"mainColor":135},234305,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234305","王翚（1632－1717），字石谷，号象文，一号臞樵、乌目山人、耕烟散人、耕烟外史、清晖主人、清晖老人、剑门樵客、耕烟野老、耕烟老人、天放闲人、雪笠道人、海虞山樵等。江苏常熟人。一代山水大家，开创“虞山画派”，有“画圣”之誉。与王时敏、王鉴、王原祁并称“四王”；合吴历、恽寿平，世称“清六家”。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，为“虞山派”之首。",[24,25,145,29,57,179,58,59,7,60,164,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246786c908a5af84ff097e5edaba0cbb.jpg",[],{"id":3240,"slug":3241,"title":3242,"dynasty":140,"author":3243,"museum":1966,"description":3244,"tags":3245,"thumbUrl":3246,"material":167,"size":3247,"collection":130,"collections":3248,"showCount":3180,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,24,83,57,58,59,7,181,60,213,61,1714,180,728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ca2fc160f4ec5491402f8bad41d44.jpg","32cmx99cm",[],{"id":3250,"slug":3251,"title":3252,"dynasty":140,"author":3253,"museum":52,"description":3254,"tags":3255,"thumbUrl":3256,"material":3257,"size":3258,"collection":533,"collections":3259,"showCount":3260,"zanCount":11,"manualWeight":11,"mainColor":135},241079,"jie-lu-ku-shu-fu-zhou-weng-tong-he-241079","节录枯树赋轴","翁同龢","翁同龢（1830年~1904年），字叔平，号松禅， 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几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[24,25,751,28,29,124,2931,1130,7,313,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],{"id":3353,"slug":3354,"title":3355,"dynasty":140,"author":3356,"museum":102,"description":3357,"tags":3358,"thumbUrl":3359,"material":200,"size":201,"collection":130,"collections":3360,"showCount":3260,"zanCount":11,"manualWeight":11,"mainColor":135},224576,"song-he-bo-tao-cheng-shan-qing-ren-224576","松鹤波涛成扇","清人","苍松虬枝蟠曲，墨色沉凝勾勒出古木苍劲，针毫细密如攒聚霜雪。两只仙鹤姿态隽秀，一鹤引颈唳空，似欲振翅穿云，一鹤垂首理羽，悠然栖于松畔。侧边细笔晕出水波层叠，柔浪轻漾将松间清旷揉入烟波浩渺之中。\n\n旧纸泛黄晕开岁月痕迹，木骨凝住旧时光阴，整幅小品将祥瑞意趣藏在简净笔墨里，把林泉野趣收于盈尺扇面。落笔克制却意韵悠长，雅致笔墨与吉庆意涵相融，是耐人品味的小品佳构。",[24,25,751,29,83,28,350,1176,124,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bc17a44121d5340a0e044499da1455.jpg",[],{"id":3362,"slug":3363,"title":3364,"dynasty":78,"author":3365,"museum":102,"description":3366,"tags":3367,"thumbUrl":3368,"material":215,"size":130,"collection":130,"collections":3369,"showCount":3260,"zanCount":11,"manualWeight":11,"mainColor":135},218071,"bai-miao-luo-han-tu-ce-5-li-gong-lin-218071","白描罗汉图册-5","李公麟","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。",[23,55,24,25,145,702,27,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262b2b0f0629608c10091962dc2af4a5.jpg",[],{"id":3371,"slug":3372,"title":3373,"dynasty":140,"author":297,"museum":298,"description":3374,"tags":3375,"thumbUrl":3376,"material":302,"size":3377,"collection":130,"collections":3378,"showCount":3260,"zanCount":11,"manualWeight":11,"mainColor":135},216982,"fang-song-yuan-shan-shui-ce-5-wang-jian-216982","仿宋元山水册-5","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,348,2173,29,57,83,59,7,181,60,180,213,419,255,62,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869a411b8f05c5295dbd50546c1ce7f4.jpg","纵55.4厘米，横36.0厘米",[],{"id":3380,"slug":3381,"title":3382,"dynasty":175,"author":3383,"museum":102,"description":3384,"tags":3385,"thumbUrl":3386,"material":215,"size":130,"collection":130,"collections":3387,"showCount":3260,"zanCount":11,"manualWeight":11,"mainColor":45},216315,"xi-xiang-ji-zhen-ben-tu-ce-10-chen-hong-shou-216315","西厢记真本图册-10","陈洪绶","墨线如铁，勾出棕榈曳影，人物凭坐凝思，衣纹简劲却藏温婉之态。右侧水际云生，题字暗合西厢情节，山水与人物相映，静中藏幽情。笔力古拙奇崛，造型独运匠心，每根线条皆见筋骨，将故事里的细腻心绪凝于尺幅。画面分栏却气韵相连，古雅氛围漫溢，细节处藏叙事之妙，尽显传统绘画的韵致与张力，引人沉湎于古典情境之中。",[24,25,145,702,30,1164,148,313,7,58,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0893984422c01e4c9df8e342609ccfab.jpg",[],{"id":3389,"slug":3390,"title":3391,"dynasty":175,"author":3392,"museum":102,"description":3393,"tags":3394,"thumbUrl":3396,"material":90,"size":130,"collection":533,"collections":3397,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":135},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 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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”",[23,312,84,56,83,85,125,3395,7,889,602,34,1043],"莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg",[533],{"id":3399,"slug":3400,"title":3401,"dynasty":175,"author":19,"museum":102,"description":3402,"tags":3403,"thumbUrl":3405,"material":200,"size":201,"collection":130,"collections":3406,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":135},238574,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238574","明人升平翊赞图并书赞册","此作以工笔重彩铺展神界仪典：右侧巨象驮龙踏浪而行，绯云漫卷海天，朝日熔金于沧溟之上。左侧主尊为宝幡明烛簇拥，甲胄神将踏云列阵，煊赫仪仗有序排布，下方水神蛟众逐浪随行。\n设色浓丽古雅，线条劲细流畅，以云涛分割场景，将天神巡临、水族迎候的恢宏场面铺陈开来。仙云柔婉舒卷，浪涛层叠带势，神兽威仪俨然，人物衣冠华整，仪仗森然尽显神界庄严雍容，将升平祥瑞之意蕴藏于山海云涛之间，尽显天界巡游的煊赫气象与山海灵韵。",[24,29,28,145,27,88,30,106,7,3404],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe8f349a67ede1d707df1efbbe08115.jpg",[],{"id":3408,"slug":3409,"title":716,"dynasty":140,"author":1754,"museum":102,"description":1755,"tags":3410,"thumbUrl":3411,"material":130,"size":130,"collection":130,"collections":3412,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":135},238144,"shan-shui-ce-yun-xi-238144",[24,29,83,57,145,59,7,61,213,60,325,182,32,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f3ef880ac7f04f143208f381793708.jpg",[],{"id":3414,"slug":3415,"title":3416,"dynasty":140,"author":2449,"museum":102,"description":3417,"tags":3418,"thumbUrl":3419,"material":130,"size":130,"collection":130,"collections":3420,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":135},236578,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236578","樝梅壑山水十帧","查士标（1615—1698），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。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》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 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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，终年三十六岁，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。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。",[23,84,312,56,85,162,1041,1045,1043,59,7,3505,106,3404,3506],"天","地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be7a94c8a0c1162eee63a9d2c0330ac.jpg",[],{"id":3510,"slug":3511,"title":3512,"dynasty":140,"author":3513,"museum":102,"description":3514,"tags":3515,"thumbUrl":3516,"material":130,"size":130,"collection":533,"collections":3517,"showCount":3482,"zanCount":11,"manualWeight":11,"mainColor":135},240312,"jie-lin-dong-qi-chang-lan-ting-xu-ye-li-shang-lin-240312","节临董其昌兰亭序页","李上林","李上林，江南如皋（今江蘇省如皋市）人。監生，明萬曆年間（1573年～1620年）以德州同知委署新泰。\n愛民如子，當時正值歲歉，請求賑濟，先向鄰縣借來粟米，新泰縣民賴以保全性命。不久對本縣進行改革：“除無名之費，定徵輸之條，嚴治左右，寬恤裏甲，修築石城，杜絕開採。”又置公學田地三頃八十二畝。李在任五年間，“桑麻遍野，邑無逃亡。”本縣士民為之立生祠祀之。祀《名宦》。李工詩，其步高如山韻所作《秋日登新甫山有感》詩刻於蓮花山雲孤寺正殿西溪摩崖之上，至今清晰可見",[84,312,324,85,59,2695,638,7,313,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069cf3c2e28e5b843e3ea77d2e4b3a7.jpg",[533],{"id":3519,"slug":3520,"title":3521,"dynasty":175,"author":3522,"museum":102,"description":3523,"tags":3524,"thumbUrl":3525,"material":200,"size":201,"collection":130,"collections":3526,"showCount":3482,"zanCount":11,"manualWeight":11,"mainColor":135},237967,"shan-shui-shan-ye-sun-zhi-237967","山水扇页","孙枝","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。",[24,25,751,58,83,57,59,7,148,445,181,268,32,228,386,183,1551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],{"id":3528,"slug":3529,"title":3530,"dynasty":175,"author":3531,"museum":102,"description":3532,"tags":3533,"thumbUrl":3534,"material":130,"size":130,"collection":130,"collections":3535,"showCount":3482,"zanCount":11,"manualWeight":11,"mainColor":45},237904,"zhi-shan-shui-shan-mian-zhang-zhen-237904","之山水扇面","张震","这幅山水以浅绛晕染，借扇面弧势铺展丘壑。主峰层叠耸峙，以披麻皴写山石肌理，苔点错落，衬出苍莽浑厚的质感。近坡虬松林立，浓荫下隐有策杖行旅，寥寥数笔便点出林泉雅游之趣。远景平岗澹墨轻扫，水色空濛，将山林幽寂的余韵缓缓铺陈。画面虚实相生，把高远、深远二境收拢于盈尺扇面，笔墨简净却意致悠长。题识朱印错落排布，与山水景致融为一体，尽显文人山水的清逸雅致，恍如铺开一卷可居可游的林泉之梦。",[24,751,58,29,57,59,7,60,180,165,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f363044a14a43d44463eea09649abc4.jpg",[],{"id":3537,"slug":3538,"title":3539,"dynasty":140,"author":3540,"museum":102,"description":3541,"tags":3542,"thumbUrl":3543,"material":130,"size":130,"collection":69,"collections":3544,"showCount":3482,"zanCount":11,"manualWeight":11,"mainColor":135},236507,"sun-shan-shui-ce-wang-ji-236507","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[55,24,25,145,83,29,58,59,7,60,213,146,183,61,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c33fe3c63a07639da94923c962c0cc.jpg",[69,71],{"id":3546,"slug":3547,"title":3548,"dynasty":175,"author":3549,"museum":102,"description":3550,"tags":3551,"thumbUrl":3552,"material":130,"size":130,"collection":130,"collections":3553,"showCount":3482,"zanCount":11,"manualWeight":11,"mainColor":135},235844,"jin-shan-tu-ye-wang-gu-xiang-235844","金山图页","王谷祥","此作用笔极简，右侧设色清浅柔润，以青绿轻染江心孤丘，苍松错落覆于山巅，寥寥数笔点出江中片帆、汀渚小石，大幅留白铺陈出扬子江的空阔辽远，将金山浮于江心的缥缈灵秀尽数展现。\n\n左侧行书题跋笔意隽秀挺劲，文辞详述金山形胜，书画合璧，以文衬景，把江南名刹的烟水诗意娓娓道来，淡墨轻岚间藏着悠远清宁的山水逸情，尽显淡雅疏朗的文人审美意趣。",[24,25,2173,83,29,312,84,58,59,60,165,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c3a799516fa8158ff1c5f6ac466aec.jpg",[],{"id":3555,"slug":3556,"title":874,"dynasty":140,"author":3557,"museum":102,"description":3558,"tags":3559,"thumbUrl":3560,"material":130,"size":130,"collection":130,"collections":3561,"showCount":3482,"zanCount":11,"manualWeight":11,"mainColor":135},235555,"shan-shui-tu-zhou-fang-shi-shu-235555","方士庶","此作用笔苍秀，以干笔皴擦铺陈山峦肌理，淡墨晕染出山岚清润，层层峰岭自远及近次第铺展，留白处云烟萦绕，将高远、平远之境相融，尽显山川浑厚华滋之态。\n\n近取景致生动，溪桥村舍错落林间，田埂蜿蜒、林木扶苏，带着江南乡野的温润烟火，隐见山居幽闲之趣。右上角题诗入画，诗境呼应山色，文气糅合笔情墨韵，将文人耽恋林泉的隐逸襟怀藏入苍林烟霭，清寂淡远，尽显山水间的静穆诗意。",[24,25,26,83,29,58,59,7,60,213,181,419,63,314,180,552,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3983639ac95ee53718e2c68a08aeaa3f.jpg",[],{"id":3563,"slug":3564,"title":3565,"dynasty":140,"author":19,"museum":102,"description":3566,"tags":3567,"thumbUrl":3569,"material":130,"size":130,"collection":130,"collections":3570,"showCount":3482,"zanCount":11,"manualWeight":11,"mainColor":45},235301,"gao-feng-han-xue-jing-shan-shui-tu-zhou-yi-ming-235301","高凤翰雪景山水图轴","此作用浅绛设色铺就雪冬胜景，以平远视角层层铺陈。近岸枯松虬劲、茅舍隐于坡坳，寒溪曲折穿绕山涧，将视线引向遥岑。山峦皆以淡墨晕染，留白托出覆雪，赭石轻敷坡麓，晕开雪后初霁的温润暖意。枯笔勾勒寒木，萧疏间尽显冬意萧寒。\n\n画面题诗与绘境相融，文气浸润山水，把冬日山野的辽远空寂，幽居的静穆淡远尽数铺展。简淡笔法写尽冷逸雅致，将文人幽栖林下的安然意趣，藏进这片素裹山河之中，尽显清旷出尘的冬日诗意。",[24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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》",[55,24,25,145,83,57,58,59,7,148,165,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199e373a36592cff98d9b99deebcf353.jpg",[],{"id":3651,"slug":3652,"title":3521,"dynasty":140,"author":3653,"museum":102,"description":3654,"tags":3655,"thumbUrl":3656,"material":200,"size":201,"collection":130,"collections":3657,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":135},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。",[24,25,751,83,58,57,59,148,7,183,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef36f243b6f7752b786cafb501caa1ec.jpg",[],{"id":3659,"slug":3660,"title":716,"dynasty":175,"author":1547,"museum":102,"description":3661,"tags":3662,"thumbUrl":3663,"material":130,"size":130,"collection":130,"collections":3664,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":135},235824,"shan-shui-ce-li-liu-fang-235824","此作用笔取法米氏云山，以淡墨晕染铺就烟霭空濛之境。远山如黛隐现于云气间，似有若无，尽显朦胧悠远之致。近岸浅滩错落，林木萧疏朴拙，村居隐于林下，野意悠然自生。\n笔墨干湿互济，以浓淡墨色晕染烘托出江南水乡的氤氲诗意，不见繁复勾勒，却将烟岚流荡之态尽现纸面。题画文辞呼应画意，尽显作者对米家山水意趣的追慕，以简淡笔墨写就林泉幽居之雅，不重具象描摹，而重写意传神，将文人寄情丘壑的幽怀融于尺幅之间，整幅淡远空灵，余韵悠长，尽显文人山水的写意风神。",[24,25,145,83,58,59,7,148,213,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8c27eb6646485221b61effc069f39a.jpg",[],{"id":3666,"slug":3667,"title":3668,"dynasty":78,"author":19,"museum":52,"description":3669,"tags":3670,"thumbUrl":3671,"material":337,"size":3672,"collection":130,"collections":3673,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":45},234007,"liu-tang-fan-yue-ye-yi-ming-234007","柳塘泛月页","图为岸边垂柳，荷叶浮于水面，月牙儿高，小船缓缓行，主人坐几条前，对面坐侍者，小伙子在 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笔墨柔滑，轮廓细腻，色彩淡雅，但柳枝荷叶的分布缺乏密度变化，不尽如人意。",[24,751,29,28,30,1164,588,2260,34,889,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cecd49483a77fc4fd6f91a0589d93a3.jpg","23.2x25cm",[],{"id":3675,"slug":3676,"title":3677,"dynasty":140,"author":3678,"museum":102,"description":3679,"tags":3680,"thumbUrl":3682,"material":130,"size":130,"collection":130,"collections":3683,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":135},232894,"chu-ji-tu-li-zhou-guan-zhen-tai-232894","雏鸡图立轴","管镇泰","此画构图简练，为雏鸡,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。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。",[23,24,83,26,86,3681,930,7,287],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c2e9efaf71e2689a3a532d8d172ad8.jpg",[],{"id":3685,"slug":3686,"title":3687,"dynasty":18,"author":3688,"museum":102,"description":3689,"tags":3690,"thumbUrl":3692,"material":200,"size":201,"collection":130,"collections":3693,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":135},231584,"shi-ting-shi-dai-po-mo-shan-shui-tu-xue-zhou-231584","室町时代 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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。",[23,24,55,26,3691,83,57,25,312,84,85,58,268,148,59,7,165],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":3695,"slug":3696,"title":3697,"dynasty":140,"author":2340,"museum":210,"description":3698,"tags":3699,"thumbUrl":3700,"material":90,"size":3701,"collection":130,"collections":3702,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":45},231528,"fan-zhao-gui-yun-tu-dong-bang-da-231528","返照归云图","董邦达(1699-1769)清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，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、虔山派之间。与董源、董其昌并列。",[24,348,57,29,59,7,106,602,148,62,889],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f125d5afb06632e727c6826a0b7fadd.jpg","251.1cmX158.6cm",[],{"id":3704,"slug":3705,"title":3706,"dynasty":140,"author":2542,"museum":281,"description":3707,"tags":3708,"thumbUrl":3709,"material":302,"size":130,"collection":130,"collections":3710,"showCount":275,"zanCount":189,"manualWeight":11,"mainColor":135},214376,"tian-guang-yun-jing-tu-ce-2-zhu-da-214376","天光云景图册-2","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。",[23,24,25,145,83,57,58,445,213,181,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8a3a81d0177f65a761a58e690d7eba.jpg",[],{"id":3712,"slug":3713,"title":3714,"dynasty":140,"author":3715,"museum":102,"description":3716,"tags":3717,"thumbUrl":3719,"material":200,"size":201,"collection":130,"collections":3720,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":3721},241399,"bai-hua-zhou-chun-qing-qi-jue-zhou-ruan-yuan-241399","白花洲春晴七绝轴","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。",[84,312,26,85,29,2214,3176,1045,7,3718,59],"烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc7ecaab75e3b90d8efb1dc2be883d5.jpg",[],"FF9800",{"id":3723,"slug":3724,"title":3725,"dynasty":140,"author":3726,"museum":102,"description":3727,"tags":3728,"thumbUrl":3729,"material":200,"size":201,"collection":69,"collections":3730,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":135},239499,"lv-bi-shan-shui-ce-lv-bi-239499","吕璧山水册","吕璧","此作为书画对开，右侧绘平远水色：浅滩岸柳扶风，枝叶含烟，湖面扁舟轻泛，渔人悠然。远山以淡墨晕染，虚实掩映，尽显江南水泽清旷空濛之致，笔墨秀润简约，意境幽寂淡远。左侧行书题诗，笔意疏朗俊逸，墨色浓淡相宜，诗境与画境呼应相合，将文人画诗画交融的意趣挥洒尽致，尽显清雅简淡的文人心境与审美意涵。",[24,25,145,83,58,57,59,7,269,268,312,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e148bed07c3295c76c3c1c3fd874cf.jpg",[69,71],{"id":3732,"slug":3733,"title":3734,"dynasty":140,"author":3735,"museum":102,"description":3736,"tags":3737,"thumbUrl":3738,"material":130,"size":130,"collection":130,"collections":3739,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":135},239416,"fang-gu-shan-shui-ping-qin-zu-yong-239416","仿古山水屏","秦祖永","此作用淡墨晕染山峦，似覆薄雪，浅赭留白铺就清寒山野底色。枯木虬劲萧疏，错落村居隐于山石林麓间，行旅身影点缀溪桥山道，让空寂冬景暗蕴烟火生机。\n\n笔墨简淡秀润，以干笔皴擦勾勒山石肌理，脱却繁缛雕琢，尽显文人画雅逸格调。题诗与雪景画意呼应，以仿古笔法写冬日山居，既有古雅意趣，又自出机杼，将清寒冷寂的山野氛围与悠然乡居意趣相融，意境清寂出尘。",[24,29,57,179,26,58,59,7,165,148,213,325,457,30,445,32,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],{"id":3741,"slug":3742,"title":3401,"dynasty":175,"author":19,"museum":102,"description":3743,"tags":3744,"thumbUrl":3745,"material":200,"size":201,"collection":130,"collections":3746,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":135},238570,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238570","此作为工笔重彩宗教绘事，佛道同构，气象浑融。云端诸佛身覆头光，衣袂翩跹，宝相端严；世俗神祇冠服整肃，列阵云间，威仪自生。下方江海翻涌，白虬破水腾挪，浪涛皴擦细腻灵动。青赭施色古雅沉厚，石青石朱晕染出华贵质感，线条细劲流转，勾画出神佛仙真的超脱之态与山海灵秀。画面将宗教神性与世俗意趣交织一处，尽显宗教绘画的典型风貌，是佛道合流审美之下的精工佳制。",[24,29,28,30,58,88,106,3404,1041,59,7,60,27,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c5a52ce8ee0710cef5ecea7fd5b37c.jpg",[],{"id":3748,"slug":3749,"title":716,"dynasty":140,"author":2070,"museum":102,"description":3750,"tags":3751,"thumbUrl":3752,"material":130,"size":130,"collection":130,"collections":3753,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":135},238205,"shan-shui-ce-tang-dai-238205","此作为青绿设色的江南夏景，山峦层叠以石青、石绿晕染，间以赭石提点坡岸，草木蓊郁的盛夏之意呼之欲出。近岸林木扶疏，屋舍隐于浓荫之下，开阔水面映着淡晕远山，将山居清旷闲适铺陈开来。\n\n搭配题诗书画合璧，诗句与画境两两呼应，把江南夏日水村的安谧悠然尽数定格。笔致秀雅清润，兼具院体画的精致妍丽与文人山水的澹远意趣，观之如沐熏风，恍若踏入这幽寂又充满生机的世外洲渚，尽览水乡闲逸之致。",[24,29,267,57,145,58,59,148,7,165,61,164,228,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e8ef9ddf63f7acbc3c067569205b9a.jpg",[],{"id":3755,"slug":3756,"title":716,"dynasty":140,"author":1754,"museum":102,"description":1755,"tags":3757,"thumbUrl":3759,"material":130,"size":130,"collection":130,"collections":3760,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":135},238139,"shan-shui-ce-yun-xi-238139",[24,29,57,145,58,59,7,165,181,148,1476,3758,313,386,419],"黄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345590e9287c67a0fd54122250c5b6a4.jpg",[],{"id":3762,"slug":3763,"title":2170,"dynasty":140,"author":19,"museum":102,"description":3764,"tags":3765,"thumbUrl":3766,"material":130,"size":130,"collection":130,"collections":3767,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":135},236070,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236070","此作以淡墨浅绛绘就山居秋景，高远层峦以披麻皴写就，烟岚轻笼远山，虚实相生间拓开幽渺意境。近岸林木枯荣交错，苍松与落叶杂树错落生姿，林麓间茅舍隐现，清溪蜿蜒环合，衬出山野幽寂安闲。右上角题识朱印相映，诗画交融，暗合文人寄兴山水的雅趣。笔墨秀润松灵，勾勒皴擦兼具法度，淡墨晕染出空濛氤氲的清秋氛围，将山居闲逸之态融于山水间。简淡中见苍润，清和悠远，尽显传统山水的抒情意致，藏着林下幽居的恬然诗意。",[24,25,145,83,57,179,58,59,7,148,165,62,183,60,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2801cbb27b7da50b448aa8767dbe9c.jpg",[],{"id":3769,"slug":3770,"title":3771,"dynasty":175,"author":2097,"museum":102,"description":3772,"tags":3773,"thumbUrl":3774,"material":130,"size":130,"collection":130,"collections":3775,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":135},235685,"shan-shui-hua-hui-ce-xiang-sheng-mo-235685","山水花卉册","此作以淡墨晕染远山，如笼轻烟，隐现于空濛水汽之间，平远水面留白铺陈，漾开冷寂空阔的江天寒意。近岸古松虬曲苍劲，积雪凝梢，枯笔写尽枝干嶙峋之态，松针覆雪仍见清挺之姿，凛凛风骨跃然纸上。\n\n画面简淡秀雅，以留白造境，寥寥笔墨便将雨中江渚的萧寒清旷铺展开来，再佐以题印点缀，诗画相融，尽显静穆澹远的文人意趣，将冬日江天的幽寂之美藏于极简笔墨中，冷澹空濛，余韵悠长。",[24,83,145,58,269,59,7,148,57,702,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbced07023bb716611aacdd4b768ab0d8.jpg",[],{"id":3777,"slug":3778,"title":3779,"dynasty":175,"author":3780,"museum":102,"description":3781,"tags":3782,"thumbUrl":3783,"material":200,"size":201,"collection":130,"collections":3784,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":45},234837,"shan-shui-shan-wei-zhi-huang-234837","山水扇","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。",[24,25,751,57,83,58,59,7,60,213,62,325,457],"https:\u002F\u002Foss.chuangqi.stor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号山启(《中国美术家人名辞典》作字心楷)，上元（今江苏南京）人，生卒年不详。\n龚贤(1618-1689)弟子，能诗善画。山水得龚贤正传，画风似乃师，墨法精到，唯缺劲健勾勒之笔，所见龚画中有款印确真而画笔平弱者，可能是其代笔之作。",[24,25,145,83,312,58,165,269,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0eaa7a87b7ac9157db6bf743b98cc8.jpg",[],{"id":4071,"slug":4072,"title":4073,"dynasty":175,"author":4074,"museum":102,"description":4075,"tags":4076,"thumbUrl":4077,"material":130,"size":130,"collection":130,"collections":4078,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},235838,"yu-shan-tu-ye-lu-shi-dao-235838","虞山图页","陆师道","此作为诗画合璧的小品佳构。右侧绘烟波丘林，淡墨轻皴的远山如晕染的眉黛，晕开在水天之际。近岸坡渚错落延展，苍松虬枝斜出崖侧，山居藏于岩麓林樾间，三两江帆浮沉烟波，清浅设色晕染出江南林泉的空濛柔婉。\n左侧题诗笔致秀逸，诗文与画境相契，把林泉幽怀细细道来。整作笔墨简淡却意韵醇厚，以极简铺陈，勾勒出文人心中的栖居雅境，淡而不薄，简不尽意，将江南山水的温婉清和与林泉高致融于尺幅，尽显幽寂淡远的文人意趣，让观览者坠入这份江南丘林的闲静雅思中。",[24,29,58,57,145,59,7,60,241,754,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33068c99d67a90c296175336686a30f5.jpg",[],{"id":4080,"slug":4081,"title":4082,"dynasty":175,"author":4074,"museum":102,"description":4083,"tags":4084,"thumbUrl":4085,"material":130,"size":130,"collection":130,"collections":4086,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},235837,"shan-quan-dong-tu-ye-lu-shi-dao-235837","善权洞图页","以淡赭轻铺山峦，层叠丘壑间晕染柔雅，细笔点苔缀林，古松苍劲欹斜，山坳楼宇隐现于烟岚之中，幽寂空灵尽显洞天清旷。\n\n书画合璧，笔致清隽秀雅，以写意笔法铺展林泉胜景，不重精雕细刻，却将幽隐丘壑的澹然意趣娓娓铺陈。笔墨间浸润文人情思，简淡萧疏的格调里，尽显林泉高致，将山水灵秀与古雅意蕴融于尺幅，尽显师法自然又饱含文心的画中真意。",[24,25,145,29,57,312,85,84,58,59,7,60,180,165,183,973,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93a23db8a02747d1835698287b7243e.jpg",[],{"id":4088,"slug":4089,"title":359,"dynasty":175,"author":4090,"museum":102,"description":4091,"tags":4092,"thumbUrl":4093,"material":130,"size":130,"collection":130,"collections":4094,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},235452,"shan-shui-tu-ce-pan-zheng-235452","潘徵","此作用干笔淡墨写就，近岸苍松挺劲，坡石以短披麻皴绘出朴拙质感，留白作汀洲水色，烟水空濛间远林隐隐澹澹。山岩盘桓而上，矾头堆叠出嶙峋山势，山腰幽居藏于葱郁林木间，暗合文人幽栖寄怀之趣。\n\n笔墨层次清雅秀润，勾勒皴擦间兼具元人山水的萧散简远，又带着温润整饬的意韵，将平远、深远景致相融，缓缓铺展山野幽寂的林下之趣，观之如身临幽栖林泉，心神自可沉潜于这静穆淡远的意境之中。",[55,24,25,145,83,57,58,59,7,148,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf82c4fd6630bb7f02cf054c62233f0.jpg",[],{"id":4096,"slug":4097,"title":716,"dynasty":140,"author":2340,"museum":52,"description":4098,"tags":4099,"thumbUrl":4100,"material":130,"size":130,"collection":130,"collections":4101,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},234792,"shan-shui-ce-dong-bang-da-234792","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。",[24,25,145,83,57,58,59,7,60,61,62,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F236be7196d6ef9cf365f8f88faac5787.jpg",[],{"id":4103,"slug":4104,"title":4105,"dynasty":140,"author":4106,"museum":52,"description":4107,"tags":4108,"thumbUrl":4109,"material":509,"size":4110,"collection":130,"collections":4111,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},234473,"he-ting-fan-ting-shan-wu-da-cheng-234473","荷汀泛艇扇","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题跋：旧藏宋人集册，有此一帧，不署画款，爱其疏散有致，约略拟此。黼卿大兄大人雅鉴。吴大澂。\u2028 画中的文人坐于船上泛舟荷汀欣赏夏季美景，船上放着一函书，渔夫轻快地划着船，好一个闲适的生活！",[24,25,751,29,83,58,1130,268,30,148,286,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e31b3a65d44a24549835378870184a1.jpg","19.5cmx53.7cm",[],{"id":4113,"slug":4114,"title":4115,"dynasty":140,"author":4116,"museum":52,"description":4117,"tags":4118,"thumbUrl":4119,"material":67,"size":4120,"collection":130,"collections":4121,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},234189,"jin-jie-ren-hua-xiang-ding-gao-234189","靳介人画像","丁皋","画面表现的是暮春时节，茅亭绿柳，渚清荷新，一士人左手执卷，右手扶膝，正襟危坐于岸边石凳上，身旁石几上置书函、茗盏之属，一小童执扇对炉烹茶。环境清新雅逸，文人雅士闲适的生活情景跃然纸上。\n从题跋内容分析，画中主人公靳介人为官吏，但具体行状不详，尚待进一步考察。画中人物的表现方法与波臣派风格略有差异，面部平涂较多，皴染不足，故而显得较平，但眉宇间神气盎然，亦为传神之佳作。在波臣派作品中，将人物置于山水之间的肖像画多为合作之画，有喧宾夺主者，有人、景布置不谐者，而此图情景合一，将人融于景物之中，通过环境衬托人物清逸的品质，无疑是一件成功之作。",[23,24,25,28,29,30,588,7,125,165,313,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf56539146803162af663c1bb64e0bbb.jpg","纵36厘米，横131.8厘米",[],{"id":4123,"slug":4124,"title":716,"dynasty":140,"author":2130,"museum":52,"description":4125,"tags":4126,"thumbUrl":4128,"material":185,"size":4129,"collection":130,"collections":4130,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},233971,"shan-shui-ce-gong-xian-233971","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。",[24,25,83,58,145,57,268,482,4127,7],"平滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20adfe13e849b614862c61cfe28f9512.jpg","纵22.2厘米，横33.2厘米",[],{"id":4132,"slug":4133,"title":4134,"dynasty":78,"author":19,"museum":102,"description":4135,"tags":4136,"thumbUrl":4141,"material":130,"size":130,"collection":130,"collections":4142,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","秋江瞑泊图","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。",[23,55,24,25,337,83,29,348,57,85,59,7,60,268,4137,4138,4139,62,4140,933],"停泊","江岸","暮色","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":4144,"slug":4145,"title":4146,"dynasty":828,"author":19,"museum":102,"description":4147,"tags":4148,"thumbUrl":4149,"material":200,"size":201,"collection":130,"collections":4150,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":45},227117,"hai-shou-pu-tao-wen-jing-zhi-fu-jian-1-yi-ming-227117","海兽葡萄纹镜之附件-1","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[29,58,28,59,7,60,2061,2663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6d8d9f78003218873fad34b454f55c.jpg",[],{"id":4152,"slug":4153,"title":4154,"dynasty":18,"author":19,"museum":102,"description":4155,"tags":4156,"thumbUrl":4157,"material":130,"size":130,"collection":130,"collections":4158,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},225320,"fu-shi-hui-62-yi-ming-225320","浮世绘62","寒波漾着清蓝，木桥曲折如带牵起两岸雪色。旅人戴笠踏霜，牵驮货的瘦马缓行桥上，肩头落雪未掸，羁途匆匆。右侧茅庐雪压檐角，孤松疏枝擎着碎雪，静看行旅。远山素裹银装，暖调淡霞晕开在雪巅，冷暖撞色晕开清寂氛围。\n\n画面将冬日行旅的萧索，融在雪国水乡的静穆里，笔调雅致温婉，把冬郊羁愁与初雪诗意揉作一处，铺展出让人沉醉的雪国侘寂之美。",[2973,29,2974,398,703,457,213,60,7,59,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd748d6b44a119d42d7ca22eda0f7f54f.jpg",[],{"id":4160,"slug":4161,"title":4162,"dynasty":140,"author":1150,"museum":102,"description":4163,"tags":4164,"thumbUrl":4165,"material":130,"size":130,"collection":130,"collections":4166,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","仿一峰山水","此帧全景山水层峦叠嶂，逶迤连绵，尽显浑穆苍茫的山水元气。以干笔积墨之法，以披麻皴反复皴擦山峦，笔墨苍厚华滋，细密间见疏朗之致。河谷间村舍错落隐于林木，松荫下茅舍临水枕溪，板桥横陈浅滩，将山居隐逸的澹然意趣藏于丘壑之中。画作追摹前贤笔意却自出机杼，以熟后生的笔法调和苍润，在繁密构图里经营疏密节奏，将端稳气质与林下幽居的清雅意韵相融，尽显文人山水的静穆悠长。",[23,24,25,26,58,29,57,59,7,181,60,165,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":4168,"slug":4169,"title":4170,"dynasty":175,"author":4171,"museum":298,"description":4172,"tags":4173,"thumbUrl":4174,"material":90,"size":4175,"collection":130,"collections":4176,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},222491,"shang-bo-hua-ji-xuan-36-16-zhang-lu-222491","上博画集选36-16","张路","张路（1464—1538 ，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。",[23,24,25,83,702,30,105,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b768265b05d7ffc51efeb11674ae5ed.jpg","55.88厘米 27.94厘米",[],{"id":4178,"slug":4179,"title":4180,"dynasty":140,"author":19,"museum":281,"description":4181,"tags":4182,"thumbUrl":4184,"material":302,"size":130,"collection":130,"collections":4185,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":135},216243,"shi-quan-tu-ce-1-yi-ming-216243","十犬图册-1","此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。画法工整，具有一定的程式。对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[23,24,25,145,83,29,28,312,4183,286,7],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd694739d493966f841d319affc4d18dd.jpg",[],{"id":4187,"slug":4188,"title":4189,"dynasty":140,"author":4190,"museum":102,"description":4191,"tags":4192,"thumbUrl":4206,"material":200,"size":201,"collection":130,"collections":4207,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":135},241359,"shi-ping-wang-chun-ling-241359","诗屏","王春龄","此作用红格缠枝花边笺纸书写，格调雅致。小楷清隽端秀，点画工稳匀净，排布舒朗利落，墨色妍润沉静，尽显扎实笔墨功底。\n内容为题咏古玉与暮春感怀的自作绝句，将文士摩挲古物的幽然心曲、伤春惜景的缱绻清愁落于毫端，书文相融，笔底自带冲淡娴雅的书卷气。方寸之间藏尽清儒的审美意趣，是一件书文俱佳的小品佳作。",[2510,84,85,34,602,728,4193,1043,4194,59,4195,4196,1045,1041,753,4197,4026,4198,4199,7,4200,4201,4202,4203,4204,4205],"杨柳","田","桐","鸦","陌","晓莺","晴日","金","细花","露","土","荆山","古玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb452b73b016f82b7badd8b2556069.jpg",[],{"id":4209,"slug":4210,"title":4211,"dynasty":175,"author":4212,"museum":102,"description":4213,"tags":4214,"thumbUrl":4216,"material":90,"size":130,"collection":533,"collections":4217,"showCount":153,"zanCount":189,"manualWeight":11,"mainColor":135},241087,"you-chong-hua-si-shi-juan-chen-yi-241087","游崇化寺诗卷","陈沂","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。\n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。",[175,312,84,56,636,59,106,7,4215,1043,85],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[533],{"id":4219,"slug":4220,"title":4221,"dynasty":140,"author":4222,"museum":102,"description":4223,"tags":4224,"thumbUrl":4225,"material":90,"size":130,"collection":533,"collections":4226,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":135},240112,"shi-ye-wang-shi-zhen-240112","诗页","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。",[312,84,85,83,58,241,106,2992,162,198,269,2214,3176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[533],{"id":4228,"slug":4229,"title":4230,"dynasty":140,"author":4231,"museum":102,"description":4232,"tags":4233,"thumbUrl":4234,"material":200,"size":201,"collection":130,"collections":4235,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":135},238943,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238943","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[24,29,28,145,30,165,638,125,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92fe832f418592eedce9c88a854118bb.jpg",[],{"id":4237,"slug":4238,"title":716,"dynasty":140,"author":4049,"museum":102,"description":4050,"tags":4239,"thumbUrl":4240,"material":200,"size":201,"collection":130,"collections":4241,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":135},238089,"shan-shui-ce-lu-yao-238089",[24,83,145,57,58,148,213,183,62,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc73e6202d0318b3f676928daf5810cc.jpg",[],{"id":4243,"slug":4244,"title":4245,"dynasty":175,"author":4246,"museum":298,"description":4247,"tags":4248,"thumbUrl":4249,"material":509,"size":4250,"collection":130,"collections":4251,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":135},237267,"shen-hao-shan-shui-tu-ce-shen-hao-237267","沈灏山水图册","沈颢","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。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。",[24,25,55,145,83,57,58,59,148,181,7,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dd60538f0f673a1a97b9f647aa6e14.jpg","15.2x23.6厘米",[],{"id":4253,"slug":4254,"title":716,"dynasty":140,"author":4255,"museum":102,"description":4256,"tags":4257,"thumbUrl":4258,"material":130,"size":130,"collection":130,"collections":4259,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":135},236078,"shan-shui-ce-shen-zong-jing-236078","沈宗敬","此作用淡墨铺陈平远之境，近岸林木错落，苍松虬劲、杂木清疏，枝叶以细笔勾勒，尽显萧疏清挺之姿。草亭依水傍树，孑然独立，晕染出幽寂空疏的林下氛围。远景以浅墨轻描汀洲远山，留白化作浩渺烟波，铺就水天寥阔的空濛诗意。\n\n全作用笔松秀简淡，干笔皴擦写就山石肌理，墨色层次浅淡雅致，将江畔清秋的旷远幽寂尽数铺陈，带着文人画独有的闲散静穆意趣，以极简笔墨寄寓林泉雅兴，尽显淡远清空的山水诗意。",[24,25,145,83,57,58,148,165,59,313,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc539533c0934aef926a7927754144c86.jpg",[],{"id":4261,"slug":4262,"title":4263,"dynasty":140,"author":4264,"museum":102,"description":4265,"tags":4266,"thumbUrl":4267,"material":130,"size":130,"collection":130,"collections":4268,"showCount":153,"zanCount":189,"manualWeight":11,"mainColor":135},235930,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235930","湖山梵刹图册","潘恭寿","此作以浅绛晕染湖山，远景山峦淡赭轻敷，烟岚清濛间透着秀润雅致。中景洲渚林木葱郁，朱红梵刹隐于苍林，黛瓦朱栏点破翠色，暗合梵刹主题。近景湖面空阔无波，几叶扁舟悠然浮于水面，留白铺就湖天寥廓意境。\n\n右上题诗与景致相得益彰，诗画交融尽显文人雅趣。笔墨柔隽清逸，铺展出江南湖山的静穆禅境，将山水灵秀与古刹幽宁融为一体，淡远空灵中饱含出尘之致，尽显清丽简淡的幽远意韵。",[24,25,145,29,58,57,59,7,241,754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a4467cb30a9dd1383768899c6102bd.jpg",[],{"id":4270,"slug":4271,"title":716,"dynasty":175,"author":1547,"museum":102,"description":4272,"tags":4273,"thumbUrl":4274,"material":130,"size":130,"collection":130,"collections":4275,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":45},235149,"shan-shui-ce-li-liu-fang-235149","此作以元人笔意为宗，淡墨晕染远山，枯笔轻擦出山峦肌理，空灵淡远，尽显简淡萧散的古意。近岸林木错落舒展，茅舍隐于林泽汀洲之间，留白代水，晕染出空濛的江南水岸意趣。\n\n笔墨干湿互用，墨色柔缓过渡层次分明，带着文人画的书卷清气，将幽居山水间的静谧诗意缓缓铺陈，仿若可见林下幽人与烟霞相伴的隐逸日常，尽显晚明文人山水画的抒情特质，藏着平淡天真的林下襟怀。",[24,83,58,57,145,59,7,148,213,638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4ae7ce33de72aca2dd40054d3c1555c.jpg",[],{"id":4277,"slug":4278,"title":4279,"dynasty":140,"author":806,"museum":102,"description":4280,"tags":4281,"thumbUrl":4283,"material":200,"size":201,"collection":130,"collections":4284,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":45},234944,"yue-man-qing-you-ce-chen-mei-234944","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,145,28,29,30,1164,241,588,2358,2355,125,7,4282],"花草","ht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本幅无款印。\n清《石渠宝笈续编》著录。",[23,24,55,25,28,29,124,1130,125,637,7,85,84,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be29216666561141745ebb74a270e35.jpg",[],{"id":4335,"slug":4336,"title":4337,"dynasty":140,"author":19,"museum":52,"description":4338,"tags":4339,"thumbUrl":4342,"material":29,"size":130,"collection":130,"collections":4343,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":135},217303,"gu-xiu-wu-shi-san-can-tu-ce-14-yi-ming-217303","顾绣·五十三参图册-14","云气氤氲间，左页仙人驾青虬踏虚而来，鳞爪飞扬带起赤色飘带，与崖边童子遥相呼应；右页佛陀趺坐莲台，莲瓣层叠如碧波绽放，侧旁稚童捧物趋近，似呈供养之礼。梅枝斜逸、山石清奇，水波与祥云勾勒出空灵之境。顾绣针丝如笔，设色清妍，将佛教故事中的庄严与灵动融于尺幅，每一处细节皆见匠心，既显信仰之虔诚，又含尘世之趣，尽显传统绣绘结合的雅致韵味。",[2662,29,145,27,30,88,809,4340,164,60,85,7,3604,4341],"祥云","梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ecaa6be5186756685112a2299a736b.jpg",[],{"id":4345,"slug":4346,"title":4347,"dynasty":140,"author":4348,"museum":4349,"description":4350,"tags":4351,"thumbUrl":4353,"material":4354,"size":4355,"collection":533,"collections":4356,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":135},241090,"wu-yan-shi-zhou-jiang-chen-ying-241090","五言诗轴","姜宸英","四川省博物馆","姜宸英（1628－1699年），明末清初书法家、史学家，与 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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。",[24,58,29,57,145,59,7,181,60,213,62,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a9ff639abaf69328690c9f4ea70572.jpg",[],{"id":4619,"slug":4620,"title":716,"dynasty":140,"author":4049,"museum":102,"description":4050,"tags":4621,"thumbUrl":4622,"material":200,"size":201,"collection":130,"collections":4623,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},238088,"shan-shui-ce-lu-yao-238088",[24,83,145,57,58,59,7,60,213,638,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e347eb14f025ed80671dcebce45ebc.jpg",[],{"id":4625,"slug":4626,"title":359,"dynasty":140,"author":4627,"museum":102,"description":4628,"tags":4629,"thumbUrl":4630,"material":200,"size":201,"collection":130,"collections":4631,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":45},237774,"shan-shui-tu-ce-ye-xin-237774","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。",[24,25,145,83,58,59,7,268,62,84,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8da92f1bca2145e7c80834df17da18d.jpg",[],{"id":4633,"slug":4634,"title":716,"dynasty":140,"author":4635,"museum":102,"description":4636,"tags":4637,"thumbUrl":4638,"material":200,"size":201,"collection":130,"collections":4639,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},237523,"shan-shui-ce-chen-zi-237523","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。",[24,25,145,29,57,84,312,58,59,7,148,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20fc3755c27f523ffab13471a560c60.jpg",[],{"id":4641,"slug":4642,"title":3771,"dynasty":175,"author":4643,"museum":102,"description":4644,"tags":4645,"thumbUrl":4647,"material":200,"size":201,"collection":130,"collections":4648,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},237505,"shan-shui-hua-hui-ce-jiang-shou-cheng-237505","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。",[24,25,145,702,83,84,268,432,4646,58,60,62,7,409],"渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc17cfcf01e8bdb2865273740062cde5.jpg",[],{"id":4650,"slug":4651,"title":716,"dynasty":140,"author":2449,"museum":102,"description":2567,"tags":4652,"thumbUrl":4653,"material":130,"size":130,"collection":130,"collections":4654,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},237100,"shan-shui-ce-cha-shi-biao-237100",[24,83,145,58,165,269,7,183,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310d942eb858d8259d0a87f8eb0260fc.jpg",[],{"id":4656,"slug":4657,"title":4463,"dynasty":175,"author":4464,"museum":102,"description":4465,"tags":4658,"thumbUrl":4659,"material":130,"size":130,"collection":130,"collections":4660,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},236638,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236638",[24,25,145,83,29,58,57,241,268,59,7,148,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6c1b764d1d0c5c68ad65722b2106ca.jpg",[],{"id":4662,"slug":4663,"title":716,"dynasty":140,"author":4664,"museum":102,"description":4665,"tags":4666,"thumbUrl":4667,"material":337,"size":130,"collection":130,"collections":4668,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},236500,"shan-shui-ce-cheng-ming-236500","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。",[24,83,57,145,58,59,7,213,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091bb745afb2a41105dfda97ead3490b.jpg",[],{"id":4670,"slug":4671,"title":716,"dynasty":140,"author":3645,"museum":102,"description":4672,"tags":4673,"thumbUrl":4674,"material":200,"size":201,"collection":130,"collections":4675,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},235327,"shan-shui-ce-wen-dian-235327","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 [1] 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。",[24,25,145,702,83,58,268,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a0e4e352c6d8bfd36100745cf16de6f.jpg",[],{"id":4677,"slug":4678,"title":716,"dynasty":140,"author":1150,"museum":102,"description":4679,"tags":4680,"thumbUrl":4681,"material":130,"size":130,"collection":130,"collections":4682,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},235105,"shan-shui-ce-wang-yuan-qi-235105","此作以开合之景铺陈丘壑，近岸林木错落，山居藏于深篁，行人策蹇徐行，野趣自生；中崖崔嵬蓊郁，水湾汀渚勾连景深；远景烟波澹澹，以淡墨晕染远山，留白拓出空蒙悠远之境。\n笔墨承袭娄东一派，干笔积墨皴擦苍润浑厚，墨色层叠通透，浅赭敷色清隽雅致，揉合江南山水秀逸与山川厚重温润，于细密笔触间藏着林泉悠游的文人意趣，尽显正统山水的沉静古韵，将幽居林壑的雅兴融于尺幅之中。",[24,25,145,57,83,58,59,7,60,165,164,553,2143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fb96223967675c054e83d8e58173349.jpg",[],{"id":4684,"slug":4685,"title":4686,"dynasty":140,"author":4687,"museum":102,"description":4688,"tags":4689,"thumbUrl":4690,"material":130,"size":130,"collection":130,"collections":4691,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},234358,"you-niao-shi-tu-ce-jin-kun-234358","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[24,25,145,29,312,85,58,148,7,183,2298,2144,2605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad041c21a79ac98fee5e6b835d4b67d.jpg",[],{"id":4693,"slug":4694,"title":4695,"dynasty":18,"author":19,"museum":102,"description":4696,"tags":4697,"thumbUrl":4698,"material":200,"size":201,"collection":130,"collections":4699,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":45},231642,"shi-ting-shi-dai-jiu-tu-ping-feng-di-2-ping-yi-ming-231642","室町时代 厩图屏风第2屏","画面分野有致，左畔厩房静立，三匹良骏或垂首小憩或昂首敛息，系马木构细节妥帖，尽现驯牧日常。廊台之上，衣冠雅致的男女或闲坐低语，或垂首休憩，伴以嬉游的小犬，松弛的闲淡氛围漫开。\n\n右侧苍松虬劲盘绕，山池蜿蜒，白羽天鹅悠然浮于水面，幽谧野趣扑面而来。整作以柔缓的矿物淡彩晕染，线条朴拙细腻，将私邸日常闲情与郊野清趣相融，褪去刻意的华贵铺陈，只留平和温润的生活质感，尽显世俗雅致的日常况味。",[29,28,3126,457,30,180,929,4183,386,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ccec7581d9a234ccb97692f6269b1.jpg",[],{"id":4701,"slug":4702,"title":4703,"dynasty":140,"author":383,"museum":102,"description":4704,"tags":4705,"thumbUrl":4706,"material":4707,"size":4708,"collection":130,"collections":4709,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":2998},224411,"shu-hua-shi-liu-kai-12-wang-shi-min-224411","书画十六开-12","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。",[23,24,25,145,312,83,602,34,1130,125,126,704,146,198,4202,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84aedfa28e75d33e856affa0fda90d1.jpg","墨色绢本","48x32",[],{"id":4711,"slug":4712,"title":4713,"dynasty":140,"author":4538,"museum":52,"description":4714,"tags":4715,"thumbUrl":4720,"material":130,"size":4721,"collection":130,"collections":4722,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":135},223181,"geng-zhi-tu-ce-jiao-bing-zhen-223181","耕织图册","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,25,28,29,30,4716,60,4717,4718,7,4719,482,932],"农田","农具","耕作","土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5523a5f6fb4d9c6cfba36e07de3f38cb.jpg","34.7cm×27.7cm",[],{"id":4724,"slug":4725,"title":4726,"dynasty":140,"author":19,"museum":102,"description":4727,"tags":4728,"thumbUrl":4729,"material":39,"size":130,"collection":130,"collections":4730,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":114},218119,"fu-hua-luo-han-jiu-zhang-lao-xiang-5-yi-ming-218119","佛画·罗汉九长老像-5","佚名的佛画 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是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,24,27,29,28,30,148,164,7,3974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9042b0479b68821858f712e9f660642.jpg",[],{"id":4732,"slug":4733,"title":539,"dynasty":175,"author":176,"museum":298,"description":4734,"tags":4735,"thumbUrl":4736,"material":130,"size":130,"collection":69,"collections":4737,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":3165},203450,"fang-gu-shan-shui-ce-dong-qi-chang-203450","此册页笔墨清润疏朗，以淡墨晕染山水，山石勾勒简约见骨，皴擦间透出苍润质感。近景树木点染灵动，水畔小屋隐于林麓，远景山峦层叠，虚实相生间营造空濛悠远之境。左侧书法笔势流畅，与山水笔墨呼应，书画一体尽显文人书卷气。作品不重写实而重神韵，仿古中见个人意趣，传递平淡天真的审美追求。",[23,24,25,145,83,57,58,59,7,148,213,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23aa82e44cde290d191d0410a2c35585.jpg",[69],{"id":4739,"slug":4740,"title":4741,"dynasty":78,"author":1013,"museum":298,"description":4742,"tags":4743,"thumbUrl":4744,"material":130,"size":130,"collection":130,"collections":4745,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":4746},201312,"shuang-fu-tu-ye-zhao-bo-su-201312","双凫图页","苇丛疏斜，墨笔勾描间佐淡彩晕染，铺陈出水岸清旷之境。双凫相依，一昂首顾盼有神，一低头啄食憨然，翎羽纹理细腻入微，姿态鲜活如生。画面构图简远，留白透气，以极简之景传悠远诗意，尽显南宋院体画的雅致空灵。笔意温润，设色清和，于方寸间见生机流动，仿佛可闻苇叶婆娑，观禽鸟悠然之态，静享自然静谧之美。",[28,29,124,145,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a94d0710f172817949d5db7d8f1cded.jpg",[],"b09983",{"id":4748,"slug":4749,"title":4750,"dynasty":175,"author":19,"museum":102,"description":4751,"tags":4752,"thumbUrl":4758,"material":200,"size":201,"collection":130,"collections":4759,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":135},249948,"jing-tai-kuan-qia-si-fa-lang-yu-gang-yi-ming-249948","景泰款掐丝珐琅鱼缸","器型饱满圆融，沉稳雅致。深邃霁蓝铺底，缀满如碎钻星子的圆点，晕开华贵底色。金彩开光勾勒出一方方莲塘小景，粉荷绽露娇容，碧叶随波舒展，水禽闲立汀洲，水草轻曳生姿。掐丝婉转流畅，将夏日荷塘的清逸雅致凝于缸身，色彩明丽鲜妍，填色匀净细腻。铜口质朴古雅，底部回纹圈衬，晕开古朴意趣。\n\n整器将富丽华贵与清雅意趣相融，掐丝珐琅工艺尽显精妙，静赏间仿佛能闻塘间荷香，窥见水漾清风，藏着造物的匠心巧思。",[4457,4753,4754,4755,29,125,4756,7,33,4757,124,2663],"掐丝珐琅","珐琅器","铜制","仙鹤","开光装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffef7630b9fa2da9d9c62cdc635e119c.jpg",[],{"id":4761,"slug":4762,"title":4221,"dynasty":175,"author":4763,"museum":102,"description":4764,"tags":4765,"thumbUrl":4767,"material":200,"size":201,"collection":130,"collections":4768,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":135},240123,"shi-ye-liu-su-240123","刘塐","此幅行书诗页笔意取法晋唐，萧散简远，尽显文人随性之姿。字形欹正相生，牵丝映带间流转自如，笔墨枯湿浓淡错落，隽秀清雅。\n诗书合璧，以自作春日寄怀之诗入书，将探春闲情融于笔墨寸尺间，下笔松灵圆活，不见刻意雕琢。通篇气息淡远疏朗，尽显尚韵尚意的书法特质，寥寥数行便将文人春日感怀的逸趣尽数铺陈，是小品书法里诗书相融的佳制。",[25,84,312,85,728,753,2992,1045,1043,1041,147,4766,7,59],"孤灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a8f44ea41c0aa32ae63c9c10aad4c.jpg",[],{"id":4770,"slug":4771,"title":3725,"dynasty":140,"author":3726,"museum":102,"description":4772,"tags":4773,"thumbUrl":4774,"material":200,"size":201,"collection":130,"collections":4775,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":135},239506,"lv-bi-shan-shui-ce-lv-bi-239506","这帧册页书画合璧，意境悠然。右侧山水以淡墨晕染出层叠远山，峰峦似笼着薄雾般朦胧清润，近渚之上几株苍松杂木挺秀遒劲，枝叶疏密有致，静立如世外君子。水面空明无澜，岸畔横露板桥一角，愈发衬出江天寥廓安寂。\n\n左侧题诗笔致清逸，字句与画境呼应，将秋山行旅的幽寂况味缓缓铺陈。整幅以水墨淡绘，没有繁复皴擦，留白晕染间铺展萧散淡远的秋江林峦之景，将秋日山林的清寂冷隽藏于尺幅，尽显文人寄情山水、澄怀观道的澹然意趣。",[24,25,145,83,312,85,57,58,59,7,148,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4e2f85cebf0611c80c33fbcda7d921.jpg",[],{"id":4777,"slug":4778,"title":716,"dynasty":140,"author":4779,"museum":102,"description":4780,"tags":4781,"thumbUrl":4782,"material":130,"size":130,"collection":130,"collections":4783,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":135},239042,"shan-shui-ce-wu-lin-239042","吴麐","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[24,83,57,145,58,59,7,60,213,183,314,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a99f8a2da72b6fb9ea752e95041a9f.jpg",[],{"id":4785,"slug":4786,"title":3779,"dynasty":140,"author":4787,"museum":102,"description":4788,"tags":4789,"thumbUrl":4790,"material":200,"size":201,"collection":130,"collections":4791,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":135},239001,"shan-shui-shan-shen-qi-239001","沈祁","沈祁[清]字雨公，嘉定（今属上海市）人。工绘事，笔墨苍老。",[751,24,25,55,58,83,57,59,7,60,1344,61,62,1260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bf8d1665857abceae309b89a5e6a08.jpg",[],{"id":4793,"slug":4794,"title":716,"dynasty":140,"author":2340,"museum":102,"description":4599,"tags":4795,"thumbUrl":4796,"material":200,"size":201,"collection":130,"collections":4797,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":135},238703,"shan-shui-ce-dong-bang-da-238703",[24,55,145,83,57,58,59,7,148,213,165,32,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f2ec0295e68e271efd8d390eac90e3c.jpg",[],{"id":4799,"slug":4800,"title":716,"dynasty":140,"author":2340,"museum":102,"description":4599,"tags":4801,"thumbUrl":4802,"material":200,"size":201,"collection":130,"collections":4803,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":135},238702,"shan-shui-ce-dong-bang-da-238702",[24,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清代官员。字东长，号悔庐。东昌府人（今聊城市东昌府区人）。邓基哲子。",[24,25,26,312,84,85,638,4960,4961,4962,7,529],"白鸥","东山","路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0477809e4096a5437fbedbf114e5b8df.jpg",[],{"id":4966,"slug":4967,"title":3997,"dynasty":140,"author":4968,"museum":102,"description":4969,"tags":4970,"thumbUrl":4971,"material":200,"size":201,"collection":130,"collections":4972,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},240271,"shi-zhou-wang-qi-wo-240271","王启沃","王启沃（生卒年不详），字心乃，系王士琦之子、王象蒙之曾孙。清康熙十一年壬子（公元1672年）举人，康熙十五年丙辰（公元1676年）进士。官内阁中书舍人。",[84,312,26,59,7,162,313,2695,3404,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c59ad37f430b6a7f39a4591906cb7c.jpg",[],{"id":4974,"slug":4975,"title":716,"dynasty":140,"author":2340,"museum":102,"description":4599,"tags":4976,"thumbUrl":4977,"material":200,"size":201,"collection":130,"collections":4978,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},238689,"shan-shui-ce-dong-bang-da-238689",[24,25,83,145,57,58,59,7,148,181,147,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb5e81de8681eeed35879b2e28ae6a6.jpg",[],{"id":4980,"slug":4981,"title":4041,"dynasty":140,"author":2190,"museum":102,"description":4042,"tags":4982,"thumbUrl":4983,"material":200,"size":201,"collection":130,"collections":4984,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},238407,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238407",[24,25,145,29,58,59,7,268,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d5cf63d2c345c6cd6408086c8347d2.jpg",[],{"id":4986,"slug":4987,"title":716,"dynasty":140,"author":4988,"museum":210,"description":4989,"tags":4990,"thumbUrl":4991,"material":29,"size":4992,"collection":130,"collections":4993,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},238270,"shan-shui-ce-zhang-yan-238270","张演","江波澹澹铺展，两岸危崖崚嶒，云气在峰峦间缓缓晕开，晕染出空濛悠远的氛围感。近岸苍松虬曲盘绕，浓荫如盖，掩映几处临水山居。轩窗内雅士凭栏静坐，将满江山色尽揽眼底，江心水榭层檐叠立，与山居遥遥相映。\n\n设色清润秀雅，山石勾勒皴擦兼具，既见岩崖厚重质感，又晕染出氤氲水汽。整幅将幽居闲赏的林下之趣，融于烟波江山间，把水岸雅致栖居绘得诗意盎然，尽显清寂安闲的文人雅韵。",[24,29,58,145,57,241,268,60,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c640e24f4c116f748389253f25db9ee.jpg","37.1x31.7",[],{"id":4995,"slug":4996,"title":716,"dynasty":140,"author":4988,"museum":210,"description":4997,"tags":4998,"thumbUrl":4999,"material":29,"size":4992,"collection":130,"collections":5000,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},238261,"shan-shui-ce-zhang-yan-238261","此作用淡墨晕染远景云山，崖壁以披麻皴写就，留白烘出烟岚云气，虚实相映间尽显林泉空濛之态。近景苍松翠柏错落簇拥山居，屋中二人对坐清谈，将文人雅兴寄于林壑幽居之中。\n\n设色浅淡清润，山石皴法秀雅温润，林木疏密有致，掩映出隐逸悠然的山居日常。画面静穆淡远，把出世幽寂与雅集闲趣融为一体，尽显寄情丘壑的文人意趣，将江南山居的清寂闲雅铺陈开来。",[24,29,58,145,57,59,7,148,313,61,30,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3afabc94eb74caaf779a5438b23437.jpg",[],{"id":5002,"slug":5003,"title":716,"dynasty":140,"author":3735,"museum":102,"description":4834,"tags":5004,"thumbUrl":5005,"material":200,"size":201,"collection":130,"collections":5006,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},238005,"shan-shui-ce-qin-zu-yong-238005",[24,25,145,83,58,312,59,7,165,3070,268,60,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa501a215f1a03109db62ef8cc17f7640.jpg",[],{"id":5008,"slug":5009,"title":5010,"dynasty":140,"author":5011,"museum":102,"description":5012,"tags":5013,"thumbUrl":5014,"material":200,"size":201,"collection":130,"collections":5015,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},236204,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236204","避暑山庄三十六景图书诗成扇","王际华","王际华（1717—1776），字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。\n字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。乾隆十年一甲三名进士，授编修。十三年，大考翰詹，擢侍读学士、上书房行走。广东旧设两学政，十五年，以侍读程岩督广韶学政，际华督肇高学政，旋用岩议裁并，以忧归。服除，起原官。三迁至侍郎，历工、刑、兵、户、吏诸部。在兵部，疏言：“武乡会试旧例，外场挑双好、单好、合式三类入内场，双、单好列东号，合式列西号。不肖者见列西号，知不能幸中，纷纷求出。即有归号，终日喧哗。请嗣后武乡会试，但挑双、单好，毋更挑合式。”在吏部，疏请在京文武官吏议处，及各部会议外省文武官吏议处，当分别定限，皆如所议。三十四年，迁礼部尚书。三十八年，加太子少傅，调户部尚书。四十一年，卒，赠太子太保，谥文庄。赐其子朝梧内阁中书，官至山东兖沂曹道。",[24,751,29,57,58,148,313,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3a1eaff76b9f767ac05be50cc3e8af.jpg",[],{"id":5017,"slug":5018,"title":5019,"dynasty":175,"author":5020,"museum":102,"description":5021,"tags":5022,"thumbUrl":5023,"material":130,"size":130,"collection":130,"collections":5024,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},233492,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233492","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[175,24,25,145,2974,29,2663,33,147,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca28fae73d5c24d6c17f49bf162aa220.jpg",[],{"id":5026,"slug":5027,"title":5028,"dynasty":140,"author":19,"museum":102,"description":4908,"tags":5029,"thumbUrl":5031,"material":200,"size":201,"collection":130,"collections":5032,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},229658,"yu-zhi-geng-zhi-tu-shi-ba-yang-mo-yi-ming-229658","御制耕织图诗拔秧墨",[4910,4911,28,30,148,7,555,5030],"农作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0024d2709591ee66241a7c9a47079a.jpg",[],{"id":5034,"slug":5035,"title":5036,"dynasty":175,"author":19,"museum":102,"description":5037,"tags":5038,"thumbUrl":5039,"material":5040,"size":130,"collection":130,"collections":5041,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},216617,"xuan-da-shan-xi-san-zhen-tu-42-yi-ming-216617","宣大山西三镇图-42","万历三十一年秘阁本",[23,24,29,267,28,58,59,7,1017,457,84,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaecd3d50679642fa0b5268749daf0f1.jpg","设色,绢本",[],{"id":5043,"slug":5044,"title":5045,"dynasty":175,"author":19,"museum":102,"description":5046,"tags":5047,"thumbUrl":5048,"material":39,"size":130,"collection":130,"collections":5049,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},216581,"xuan-da-shan-xi-san-zhen-tu-59-yi-ming-216581","宣大山西三镇图-59","明万历三十一年秘阁本",[23,24,29,58,57,84,85,59,7,1226,386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d8d61b1179a01d8e4e40b851db4a084.jpg",[],{"id":5051,"slug":5052,"title":5053,"dynasty":175,"author":19,"museum":102,"description":5046,"tags":5054,"thumbUrl":5056,"material":39,"size":130,"collection":130,"collections":5057,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},216557,"xuan-da-shan-xi-san-zhen-tu-84-yi-ming-216557","宣大山西三镇图-84",[23,24,29,58,701,59,7,1226,5055,457],"城邑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c125ecd41337a3dd69fba2748bc365.jpg",[],{"id":5059,"slug":5060,"title":5061,"dynasty":175,"author":19,"museum":102,"description":5046,"tags":5062,"thumbUrl":5063,"material":39,"size":130,"collection":130,"collections":5064,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},216534,"xuan-da-shan-xi-san-zhen-tu-108-yi-ming-216534","宣大山西三镇图-108",[23,24,25,267,29,58,28,59,7,457,30,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c6b0ef5ea43875b11600b3247a701a.jpg",[],{"id":5066,"slug":5067,"title":5068,"dynasty":175,"author":19,"museum":102,"description":5046,"tags":5069,"thumbUrl":5071,"material":39,"size":130,"collection":130,"collections":5072,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},216529,"xuan-da-shan-xi-san-zhen-tu-112-yi-ming-216529","宣大山西三镇图-112",[23,24,29,28,58,701,59,7,457,30,386,60,1226,5070],"帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3934a9f2de4bd0212f416711164bf52d.jpg",[],{"id":5074,"slug":5075,"title":5076,"dynasty":175,"author":19,"museum":102,"description":5046,"tags":5077,"thumbUrl":5078,"material":39,"size":130,"collection":130,"collections":5079,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},216494,"xuan-da-shan-xi-san-zhen-tu-147-yi-ming-216494","宣大山西三镇图-147",[23,24,25,29,267,58,59,7,242,165,703,457,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f0d3fb792571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