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年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[23,24,25,26,27,28,7,29,30,31,32,33],"国画","水墨","立轴","山水","皴法","孤舟","树木","山峦","流水","岩石","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg","","山水画精选",[36,38],"水墨画精选",1229,4,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":61,"material":62,"size":63,"collection":36,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":41},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","元","吴镇","上海博物馆","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[51,52,23,53,54,24,55,27,28,7,56,29,30,57,58,59,60],"高清","名画","书画","长卷","山水画","渔乐","河流","小船","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","纸本,水墨","33x651.6",[36],887,6,{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":76,"material":77,"size":35,"collection":78,"collections":79,"showCount":80,"zanCount":81,"manualWeight":11,"mainColor":82},218621,"han-jiang-du-diao-tu-ma-yuan-218621","寒江独钓图","宋","马远","私人收藏","寒江浩渺，孤舟一叶浮于烟波间。渔翁披蓑戴笠，垂纶独钓，孑然身影似与天地融为一体。近景枯树虬枝如铁，劲挺笔触勾勒出冬日萧瑟；山石以斧劈皴皴擦，棱角分明，冷峻刚硬，与江面空濛形成鲜明对照。画面大片留白，若皑皑白雪覆江天，又似寒雾弥漫四野，将“空”与“寂”推至极致。寥寥数笔，于极简中藏丰盈，孤寂里见超脱。水墨留白之妙尽显，观者于冷寂意境中，可感那份遗世独立的悠然旷达，仿佛听见寒江之上的风，拂过枯枝，掠过孤舟，漾开一圈圈清寂的涟漪。",[51,23,52,25,24,27,26,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2e94c6e14b8cb3f8a3e897c8b3b89c.jpg","绢本,设色","花鸟画精选",[78],696,3,"795548",{"id":84,"slug":85,"title":86,"dynasty":18,"author":19,"museum":87,"description":88,"tags":89,"thumbUrl":93,"material":94,"size":95,"collection":36,"collections":96,"showCount":97,"zanCount":98,"manualWeight":11,"mainColor":82},222101,"shan-shui-ce-shen-zhou-222101","山水册","台北故宫博物院","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。",[51,23,52,53,90,24,27,26,91,31,7,56,92],"册","老树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","纸本设色","37.4x58.8",[36,38],623,1,{"id":100,"slug":101,"title":102,"dynasty":46,"author":103,"museum":87,"description":104,"tags":105,"thumbUrl":109,"material":62,"size":110,"collection":36,"collections":111,"showCount":112,"zanCount":113,"manualWeight":11,"mainColor":41},218740,"shan-shui-tu-ni-zan-218740","山水图","倪瓒","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[51,52,23,53,25,24,27,106,26,107,108,31,29,28,7],"文人画","山石","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[36],579,5,{"id":115,"slug":116,"title":70,"dynasty":71,"author":72,"museum":117,"description":118,"tags":119,"thumbUrl":125,"material":126,"size":127,"collection":128,"collections":129,"showCount":131,"zanCount":66,"manualWeight":11,"mainColor":82},221665,"han-jiang-du-diao-tu-ma-yuan-221665","日本京都国立博物馆","此画是宋代马远创作的一幅山水画。这幅画作者以严谨的铁线描，画一叶扁舟，上有一位老翁俯身垂钓，船旁以淡墨寥寥数笔勾出水纹，四周都是空白。画家画得很少，但画面并不空。反而令人觉得江水浩渺，寒气逼人。而且还觉得空白之处有一种语言难以表述的意趣，是空疏寂静，还是萧条淡泊，真令人思之不尽。这种诗—般耐人寻味的境界，是画家的心灵与自然结合的产物，在艺术上则是利用虚实结合而产生的结果。",[51,52,23,24,120,121,122,28,7,123,124],"留白","一角构图","人物","寒江","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4397a99a1aaf5d5a5c49c8a75c016bec.jpg","绢本，水墨淡彩","纵26.7厘米，横50.6厘米","宋画精选",[128,36,130],"设色画精选",495,{"id":133,"slug":134,"title":135,"dynasty":46,"author":47,"museum":136,"description":137,"tags":138,"thumbUrl":140,"material":141,"size":142,"collection":143,"collections":144,"showCount":145,"zanCount":81,"manualWeight":11,"mainColor":41},220778,"yu-fu-tu-wu-zhen-220778","渔父图","北京故宫博物院","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[51,23,53,24,27,26,28,7,139,31,107,56],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","绢本，墨笔","纵84.7厘米，横29.7厘米","人物画精选",[143,38],434,{"id":147,"slug":148,"title":70,"dynasty":71,"author":149,"museum":87,"description":150,"tags":151,"thumbUrl":154,"material":155,"size":35,"collection":128,"collections":156,"showCount":157,"zanCount":98,"manualWeight":11,"mainColor":82},218922,"han-jiang-du-diao-tu-fan-kuan-218922","范宽","枯树虬枝如铁，在寒风中伸展筋骨，枝桠间似凝着霜雪的清冷。江面浩渺无垠，水波敛去喧嚣，只留一片沉静褐调，将天地空旷铺展到极致。孤舟一叶，钓者独倚，身影与舟楫融入江天，仿佛与自然达成无声默契。笔触简练却含深意，线条勾勒景物骨韵，色调晕染冬日萧寒。没有繁复铺陈，仅以极简元素，便营造出“天地一孤舟”的寂寥与超脱——那是文人心中对宁静的向往，是喧嚣外的片刻澄明，千年后仍能让观者触摸到穿透时光的静谧安然。",[51,23,24,152,26,28,7,91,27,153],"扇面","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ef92a86d76f6756a5cc670fe8e2a88.jpg","绢本",[128],256,{"id":159,"slug":160,"title":161,"dynasty":71,"author":162,"museum":87,"description":163,"tags":164,"thumbUrl":169,"material":170,"size":171,"collection":128,"collections":172,"showCount":173,"zanCount":40,"manualWeight":11,"mainColor":82},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","李唐","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[51,23,52,54,24,27,165,60,26,166,31,28,7,91,56,167,107,168],"书法","小桥","茅屋","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","绢本,水墨","纵25.2厘米，横144.7厘米",[128],237,{"id":175,"slug":176,"title":102,"dynasty":71,"author":72,"museum":177,"description":178,"tags":179,"thumbUrl":180,"material":77,"size":181,"collection":128,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":82},218658,"shan-shui-tu-ma-yuan-218658","维多利亚和阿尔伯特博物馆","虬枝如屈铁，斜出嶙峋崖壁，枯枝疏朗间透着苍劲风骨，垂悬的藤蔓似牵一缕寒烟。山石以斧劈皴斫出棱角分明，刚硬笔触衬得崖岸陡峭。远景以淡墨晕染，山峦隐现于虚渺雾霭，近景石畔或有幽人凭栏，小景点染更显天地空阔。边角构图不逐满幅，留白处藏尽清寂萧瑟，恰是宋人山水的空灵之境。笔底丘壑虽只一角，却以简驭繁、以小见大，藏无尽江山意趣，尽显马远山水的独特韵味——于有限画面中，铺展无限悠远的诗意与哲思，让人于尺幅间窥见宋人的山水情怀与审美境界。",[23,152,24,27,26,91,107,31,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82362b63dc9e0b444518f5ec9c4176a.jpg","25.5x25.7",[128],234,{"id":185,"slug":186,"title":187,"dynasty":71,"author":188,"museum":20,"description":189,"tags":190,"thumbUrl":195,"material":77,"size":196,"collection":36,"collections":197,"showCount":198,"zanCount":98,"manualWeight":11,"mainColor":82},218589,"yue-xia-song-ting-tu-xia-gui-218589","月下松亭图","夏圭","月色如纱，淡墨晕开空濛的夜。虬松枝桠似铁，斜探天际，松针苍劲点染其间，笔意简练却见筋骨。坡岸一隅，草亭静立，檐角轻拂晚风；树下人影依稀，或凭栏凝睇，渺小身影藏着悠远哲思。留白处尽是宋人的雅致空灵，山水的静谧与人文的幽怀交织，如清辉漫过岁月，仍漾着沁人的诗意。画面虽简，却以少胜多，将自然之美与心境之远融于尺幅，似能听见松涛与月色的私语，触到千年之前那缕清寂的幽情。",[191,23,53,25,24,26,192,193,194,7,27],"宋画","松","亭","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a70b337ac97e73bbcb8ee83512b58b6.jpg","58x25",[36],227,{"id":200,"slug":201,"title":202,"dynasty":71,"author":203,"museum":87,"description":204,"tags":205,"thumbUrl":207,"material":77,"size":208,"collection":128,"collections":209,"showCount":5,"zanCount":81,"manualWeight":11,"mainColor":82},218132,"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[51,23,53,26,27,24,28,31,107,29,7,56,206,91,123],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[128,36],{"id":211,"slug":212,"title":213,"dynasty":18,"author":214,"museum":73,"description":215,"tags":216,"thumbUrl":222,"material":223,"size":224,"collection":36,"collections":225,"showCount":226,"zanCount":40,"manualWeight":11,"mainColor":82},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。",[51,23,217,26,218,27,219,220,139,193,28,7,166,31,107,221,60],"设色","工笔","山","水","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","纸本,设色","33.5x65.7cm",[36,130],204,{"id":228,"slug":229,"title":230,"dynasty":71,"author":231,"museum":232,"description":233,"tags":234,"thumbUrl":238,"material":239,"size":240,"collection":128,"collections":241,"showCount":242,"zanCount":81,"manualWeight":11,"mainColor":82},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","刘松年","美国大都会艺术博物馆","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[51,23,52,53,54,218,27,24,26,235,236,107,237,57,28,7,122],"雪","枯树","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","绢本设色","纵41厘米、横241.3厘米",[128,36,130],191,{"id":244,"slug":245,"title":246,"dynasty":247,"author":248,"museum":87,"description":249,"tags":250,"thumbUrl":257,"material":35,"size":35,"collection":35,"collections":258,"showCount":259,"zanCount":260,"manualWeight":11,"mainColor":82},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","五代十国","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[51,52,23,53,54,217,218,251,236,252,28,7,31,122,253,254,255,56,58,256],"江岸","芦苇","寒林","沙洲","初雪","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],179,2,{"id":262,"slug":263,"title":264,"dynasty":46,"author":265,"museum":48,"description":266,"tags":267,"thumbUrl":269,"material":77,"size":270,"collection":36,"collections":271,"showCount":272,"zanCount":81,"manualWeight":11,"mainColor":82},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","盛懋","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[23,53,26,217,268,27,122,31,28,7,56,91,206,24],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[36],175,{"id":274,"slug":275,"title":276,"dynasty":277,"author":278,"museum":87,"description":279,"tags":280,"thumbUrl":282,"material":155,"size":283,"collection":36,"collections":284,"showCount":285,"zanCount":260,"manualWeight":11,"mainColor":82},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","唐","王维","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[51,23,53,54,24,27,165,59,235,26,236,166,31,28,7,193,281],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[36],172,{"id":287,"slug":288,"title":289,"dynasty":71,"author":188,"museum":232,"description":290,"tags":291,"thumbUrl":292,"material":170,"size":293,"collection":36,"collections":294,"showCount":295,"zanCount":98,"manualWeight":11,"mainColor":41},215111,"bu-yu-tu-xia-gui-215111","捕鱼图","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[51,52,23,53,152,24,27,26,28,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[36],145,{"id":297,"slug":298,"title":299,"dynasty":71,"author":72,"museum":20,"description":300,"tags":301,"thumbUrl":302,"material":77,"size":303,"collection":36,"collections":304,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":82},218628,"fan-zhou-tu-ma-yuan-218628","泛舟图","烟波浩渺间，一叶扁舟轻漾于粼粼水面。船中二人，一卧一坐，或醉眠或凝思，与天地相融。远山如黛，淡墨晕染出云气缭绕的朦胧，似隐似现于天际；近岸怪石嶙峋，线条刚劲如铁，皴擦间见苍劲质感。疏疏芦苇随风摇曳，墨色浓淡相宜，添几分野趣生机。\n\n画面以边角构图见巧，留白处尽是烟波浩渺的空濛，引观者思绪飘向远方。笔墨简练却意蕴悠长，水墨晕染与线条勾勒相映成趣，将文人雅士超脱尘嚣的心境凝于方寸扇面。空灵雅致的意境，尽显南宋山水的诗意哲思，令人心向往之。",[23,52,152,26,24,217,27,28,122,7,92,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa216b268b23e2c63a87ea695ec2fbf8d.jpg","21.5x24",[36],137,{"id":307,"slug":308,"title":309,"dynasty":71,"author":188,"museum":48,"description":310,"tags":311,"thumbUrl":312,"material":170,"size":313,"collection":143,"collections":314,"showCount":315,"zanCount":98,"manualWeight":11,"mainColor":82},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[51,23,52,53,152,24,27,26,56,166,31,28,7,122,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[143],131,{"id":317,"slug":318,"title":319,"dynasty":71,"author":320,"museum":87,"description":321,"tags":322,"thumbUrl":325,"material":77,"size":326,"collection":128,"collections":327,"showCount":328,"zanCount":98,"manualWeight":11,"mainColor":82},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","佚名","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[51,23,53,26,217,24,27,323,324,166,31,28,7,56,193],"柳","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[128,36],125,{"id":330,"slug":331,"title":332,"dynasty":71,"author":333,"museum":136,"description":334,"tags":335,"thumbUrl":339,"material":340,"size":341,"collection":35,"collections":342,"showCount":343,"zanCount":98,"manualWeight":11,"mainColor":41},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","王诜","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[51,23,53,54,24,217,27,218,26,336,337,107,29,31,28,7,338,166,281,221,165,59,60],"渔村","小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","绢本，设色","纵44.5厘米，横219.5厘米",[],124,{"id":34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常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[51,23,53,24,26,31,28,7,56,91,92,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","绢本水墨","23.2x23.8厘米",[128,36,130],100,{"id":406,"slug":407,"title":408,"dynasty":18,"author":362,"museum":409,"description":410,"tags":411,"thumbUrl":413,"material":223,"size":414,"collection":36,"collections":415,"showCount":416,"zanCount":11,"manualWeight":11,"mainColor":41},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","美国弗利尔美术馆","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[51,23,53,54,24,217,26,27,56,28,281,91,31,107,412,7,193,29],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[36,130],97,{"id":418,"slug":419,"title":420,"dynasty":46,"author":47,"museum":232,"description":421,"tags":422,"thumbUrl":425,"material":426,"size":427,"collection":36,"collections":428,"showCount":429,"zanCount":81,"manualWeight":11,"mainColor":41},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[51,23,53,24,27,423,26,28,31,29,252,338,7,424,389],"写意","滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","纸本","39x65",[36,38],96,{"id":431,"slug":432,"title":433,"dynasty":18,"author":434,"museum":435,"description":436,"tags":437,"thumbUrl":441,"material":77,"size":442,"collection":143,"collections":443,"showCount":444,"zanCount":40,"manualWeight":11,"mainColor":82},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","美国克利夫兰艺术博物馆","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[51,23,53,54,26,217,27,122,166,31,28,7,438,29,107,439,167,221,353,440],"楼阁","渔船","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[143,130],91,{"id":446,"slug":447,"title":448,"dynasty":46,"author":47,"museum":136,"description":449,"tags":450,"thumbUrl":452,"material":155,"size":453,"collection":36,"collections":454,"showCount":455,"zanCount":98,"manualWeight":11,"mainColor":82},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[51,23,53,25,24,27,60,28,7,451,281,26],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[36,38],90,{"id":457,"slug":458,"title":459,"dynasty":46,"author":265,"museum":87,"description":460,"tags":461,"thumbUrl":466,"material":77,"size":467,"collection":36,"collections":468,"showCount":469,"zanCount":81,"manualWeight":11,"mainColor":41},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[51,23,24,26,27,31,28,7,193,91,166,462,463,388,464,465],"秋景","岸树","溪面","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[36],87,{"id":471,"slug":472,"title":473,"dynasty":71,"author":265,"museum":87,"description":474,"tags":475,"thumbUrl":390,"material":217,"size":35,"collection":128,"collections":477,"showCount":478,"zanCount":11,"manualWeight":11,"mainColor":41},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[51,23,53,90,217,26,28,7,281,29,31,56,388,476,58],"近树",[128],86,{"id":480,"slug":481,"title":482,"dynasty":18,"author":483,"museum":48,"description":484,"tags":485,"thumbUrl":488,"material":77,"size":489,"collection":143,"collections":490,"showCount":491,"zanCount":11,"manualWeight":11,"mainColor":82},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[23,52,53,25,24,423,217,26,122,28,281,31,206,91,338,7,92,252,486,32,487],"藤蔓","秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[143],80,{"id":493,"slug":494,"title":495,"dynasty":46,"author":320,"museum":73,"description":496,"tags":497,"thumbUrl":498,"material":77,"size":499,"collection":36,"collections":500,"showCount":491,"zanCount":98,"manualWeight":11,"mainColor":82},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[23,24,217,26,31,28,7,91,92,56,60,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[36],{"id":502,"slug":503,"title":135,"dynasty":71,"author":162,"museum":20,"description":504,"tags":505,"thumbUrl":506,"material":507,"size":508,"collection":35,"collections":509,"showCount":510,"zanCount":11,"manualWeight":11,"mainColor":82},290086,"yu-fu-tu-li-tang-290086","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[51,52,23,24,26,25,27,28,7,31,91,92,56,165,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg","未知","Xcm*Xcm",[],78,{"id":512,"slug":513,"title":514,"dynasty":18,"author":19,"museum":20,"description":515,"tags":516,"thumbUrl":518,"material":507,"size":508,"collection":35,"collections":519,"showCount":520,"zanCount":98,"manualWeight":11,"mainColor":41},288067,"chui-diao-tu-shen-zhou-288067","垂钓图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[51,23,52,24,25,53,26,122,33,92,31,465,7,165,60,517],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],76,{"id":522,"slug":523,"title":524,"dynasty":18,"author":525,"museum":20,"description":526,"tags":527,"thumbUrl":530,"material":531,"size":532,"collection":36,"collections":533,"showCount":534,"zanCount":81,"manualWeight":11,"mainColor":41},222050,"xue-jing-tu-zhang-peng-222050","雪景图","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[51,23,24,27,26,25,528,107,236,28,7,438,529],"雪景","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","纸本，设色","97X53cm",[36,38],73,{"id":536,"slug":537,"title":538,"dynasty":71,"author":72,"museum":87,"description":539,"tags":540,"thumbUrl":541,"material":77,"size":542,"collection":35,"collections":543,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":41},218570,"hua-niao-shan-shui-xiao-pin-ce-gu-ting-sui-bo-ma-yuan-218570","花鸟山水小品册-孤艇随波","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[51,23,53,90,24,217,26,28,31,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bca127934b361f3a0e08bbf5466c40.jpg","33*19",[],72,{"id":546,"slug":547,"title":548,"dynasty":71,"author":549,"museum":87,"description":550,"tags":551,"thumbUrl":553,"material":155,"size":35,"collection":128,"collections":554,"showCount":555,"zanCount":11,"manualWeight":11,"mainColor":41},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","赵佶","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[51,52,23,53,90,217,27,26,28,7,236,107,31,552,56],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[128],68,{"id":557,"slug":558,"title":559,"dynasty":18,"author":560,"museum":73,"description":561,"tags":562,"thumbUrl":565,"material":77,"size":566,"collection":36,"collections":567,"showCount":555,"zanCount":11,"manualWeight":11,"mainColor":82},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","文徵明","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[23,53,25,217,26,563,28,7,107,31,564,56,27,218,29],"松树","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[36],{"id":569,"slug":570,"title":571,"dynasty":46,"author":320,"museum":136,"description":572,"tags":573,"thumbUrl":578,"material":77,"size":579,"collection":36,"collections":580,"showCount":555,"zanCount":98,"manualWeight":11,"mainColor":82},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[23,24,26,122,574,236,107,575,7,27,576,577,91,123],"驴","江水","行旅","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[36],{"id":582,"slug":583,"title":584,"dynasty":585,"author":586,"museum":409,"description":587,"tags":588,"thumbUrl":590,"material":426,"size":591,"collection":35,"collections":592,"showCount":555,"zanCount":11,"manualWeight":11,"mainColor":82},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10","清","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[51,23,53,90,24,217,26,236,107,122,7,388,589,28,60],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg","23.4x15.8",[],{"id":594,"slug":595,"title":459,"dynasty":46,"author":320,"museum":136,"description":596,"tags":597,"thumbUrl":598,"material":77,"size":599,"collection":36,"collections":600,"showCount":601,"zanCount":11,"manualWeight":11,"mainColor":82},218217,"qiu-xi-chui-diao-tu-yi-ming-218217","画中的渔夫端坐在边石上，手持鱼竿，凝视着水面，似乎随时都可能有鱼上钩。身后是一片葱郁的树林，秋天的色彩浓郁而温暖。水面上漂浮着几片落叶，显示出季节的变迁。\n\n整幅画流露出一种平和而悠闲的气氛，令人感到身心放松。这也是秋溪垂钓图的独特魅力所在。",[23,24,217,26,91,206,92,31,122,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d078f22a1ebaa637bd9d0770e6f670d.jpg","26x23.7cm",[36],67,{"id":603,"slug":604,"title":605,"dynasty":46,"author":606,"museum":607,"description":608,"tags":609,"thumbUrl":610,"material":170,"size":611,"collection":36,"collections":612,"showCount":613,"zanCount":98,"manualWeight":11,"mainColor":614},219880,"chi-bi-tu-zhang-yuan-219880","赤壁图","张元","费城艺术博物馆","《赤壁图》是金末至大蒙古国时期文学家、诗人元好问创作的一首七言古诗。该诗中，诗人于评论《赤壁图》之逼真传神的同时，着重描述了当年赤壁大战的壮阔，绘画了苏轼泛舟夜游的恬淡，由此抒发了诗人对周瑜和苏轼两位英雄的钦慕赞誉，寄寓了诗人自己哀伤感痛的情思。诗中借对孙权、周瑜的赞美，反衬出面对金国的衰亡，救国无人、回天乏术的慨痛。全诗出语奇肆却章法严整，于跌宕奔放的笔势中时显精彩的思致，情韵兼收。",[23,24,26,28,91,92,27,7,389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d2fe153cd6fbd7f83d76cd44ff2cef.jpg","152.5x72.4",[36],64,"37474F",{"id":616,"slug":617,"title":618,"dynasty":247,"author":619,"museum":20,"description":620,"tags":621,"thumbUrl":623,"material":507,"size":508,"collection":35,"collections":624,"showCount":625,"zanCount":98,"manualWeight":11,"mainColor":82},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[51,52,23,54,217,55,123,28,7,236,252,528,56,122,622],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],62,{"id":627,"slug":628,"title":629,"dynasty":71,"author":188,"museum":20,"description":630,"tags":631,"thumbUrl":632,"material":35,"size":35,"collection":35,"collections":633,"showCount":625,"zanCount":11,"manualWeight":11,"mainColor":41},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[51,23,53,54,24,27,59,60,26,28,281,56,29,107,31,153,7,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":635,"slug":636,"title":637,"dynasty":18,"author":638,"museum":20,"description":639,"tags":640,"thumbUrl":642,"material":155,"size":643,"collection":143,"collections":644,"showCount":645,"zanCount":11,"manualWeight":11,"mainColor":41},238106,"ren-wu-zhou-chen-hong-shou-238106","人物轴","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,53,25,217,218,122,139,641,166,31,7,60],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bd803c589c692c9898d167fa5858a9.jpg","118x55",[143],61,{"id":647,"slug":648,"title":649,"dynasty":18,"author":362,"museum":73,"description":650,"tags":651,"thumbUrl":653,"material":62,"size":654,"collection":36,"collections":655,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":657},219993,"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[51,23,24,25,27,26,28,7,122,563,652,31,388],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[36],55,"F48FB1",{"id":659,"slug":660,"title":661,"dynasty":585,"author":662,"museum":232,"description":663,"tags":664,"thumbUrl":666,"material":62,"size":35,"collection":36,"collections":667,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":41},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","查士标","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[23,24,26,28,7,139,388,389,665,423,27],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[36],{"id":669,"slug":670,"title":289,"dynasty":71,"author":203,"museum":87,"description":671,"tags":672,"thumbUrl":673,"material":77,"size":674,"collection":128,"collections":675,"showCount":656,"zanCount":98,"manualWeight":11,"mainColor":41},218933,"bu-yu-tu-li-cheng-218933","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[51,23,52,53,90,24,27,26,91,28,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[128],{"id":677,"slug":678,"title":679,"dynasty":277,"author":680,"museum":20,"description":681,"tags":682,"thumbUrl":685,"material":35,"size":35,"collection":35,"collections":686,"showCount":687,"zanCount":98,"manualWeight":11,"mainColor":82},231009,"ta-xue-xun-mei-tu-li-zhou-han-huang-231009","踏雪寻梅图立轴","韩滉","淡墨晕开萧寒天地，残雪覆住荒寂山径，老梅枯桠横斜枝头，暗吐细蕊晕开浅淡生机。\n策驴人身裹绯色锦袍，在灰冷雪景中撞出融融暖意，宽斗笠掩去眉眼，只余垂敛悠然的姿态，似正循着暗香缓行。以枯淡墨色皴出山岩残雪，驴蹄轻踏积雪，寥寥数笔便勾勒出冬日清寂意趣，简淡笔触藏着雅逸文思。\n水墨铺就荒寒底色，一点艳红点亮画面，冷暖对冲间，将踏雪探春的幽居雅兴融在萧寒景致中，淡远空灵，尽显文人冬日寻幽的诗意闲情。",[51,683,23,53,25,217,122,574,684,235,7,26],"古画","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38b2ea6613a1a34c5f1e5c9936e5a58.jpg",[],52,{"id":689,"slug":690,"title":691,"dynasty":46,"author":320,"museum":87,"description":692,"tags":693,"thumbUrl":694,"material":77,"size":695,"collection":36,"collections":696,"showCount":687,"zanCount":98,"manualWeight":11,"mainColor":82},219963,"feng-yu-gui-zhou-tu-yi-ming-219963","风雨归舟图","绘风浪中艄公送客渡江的情形，主人在江阁中呈翘首企盼之态，风与浪态势十足，是元人表现风雨的佳作。",[51,23,24,25,26,28,7,91,193,31,27,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c48f767776e83b70b453ae534c22dee.jpg","156.6x96.1厘米",[36],{"id":698,"slug":699,"title":408,"dynasty":71,"author":320,"museum":87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秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[51,23,53,24,217,26,28,31,56,91,27,665,388,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[128,36],{"id":706,"slug":707,"title":708,"dynasty":71,"author":188,"museum":87,"description":709,"tags":710,"thumbUrl":711,"material":77,"size":712,"collection":36,"collections":713,"showCount":687,"zanCount":11,"manualWeight":11,"mainColor":41},218682,"han-xi-chui-diao-tu-xia-gui-218682","寒溪垂钓图","这幅画描绘的是月光下的寒流，隐者披头散发，环境非同一般，笔触特别冰冷，署名夏圭。",[51,23,53,152,24,27,26,28,31,563,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb060226a5cefc9cdcb37f39b8b4c4a.jpg","24.5x25.7cm",[36],{"id":715,"slug":716,"title":717,"dynasty":46,"author":47,"museum":136,"description":718,"tags":719,"thumbUrl":720,"material":141,"size":142,"collection":35,"collections":721,"showCount":722,"zanCount":11,"manualWeight":11,"mainColor":41},234099,"yu-fu-tu-zhou-wu-zhen-234099","渔父图轴","在中国古代，渔、樵、耕、读，常常被文人士大夫视为理想化的生活方式，并常被用作文艺作品的主题，以表达作者避世遁隐的愿望，其中尤以“渔隐”的素材最为普遍。时至元代，汉族文人仕进无门，社会地位骤降，江南士人遭遇尤甚。于是，“渔隐”就更频繁地出现在绘画作品中，其中以吴镇的《渔父图》最为典型。吴镇善作“渔隐”题材的山水画，传世《渔父图》即有多幅，此图是其中较有代表性的一幅。图中描绘江南水乡景色，平冈丛树，一渔父驾小舟逍遥于湖弯水色之间。全图墨色苍润，山石、树木、枝叶都注意到了墨色浓淡的交替运用，借以表现层次关系并突出主要物象。笔法多变，皴擦点染，均可看出作者高超的控笔能力。湖山间幽僻清寂的意境跃然纸上，给人以远离尘俗之感。吴镇的《渔父图》大都以秀劲潇洒的草书《渔父群》相配，诗、书、画相得益彰。即如此图中所书：“目斷煙波青有無，霜凋楓葉錦模糊。千尺浪，四鰓鱸，詩筒相對酒葫蘆。”诗为画图点睛，真切地表达出 “一叶随风万里身”的隐逸情思。",[23,53,25,24,27,59,60,26,28,31,91,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg",[],49,{"id":724,"slug":725,"title":726,"dynasty":71,"author":188,"museum":232,"description":727,"tags":728,"thumbUrl":729,"material":730,"size":731,"collection":35,"collections":732,"showCount":722,"zanCount":11,"manualWeight":11,"mainColor":41},221508,"bu-yu-tu-tuan-shan-ye-xia-gui-221508","捕鱼图团扇页","按《捕鱼图》团扇页题签，此画传为南宋画家夏圭所作。有学者认为可能是明代画家的作品。夏珪腕力刚劲，运笔迅速，与此画文静秀逸的笔法不同；《捕鱼图》人物温雅的面容，简洁而细腻的衣纹，也不是夏珪的风格，反而与马远的画风一致。尽管《捕鱼图》可能不是宋代作品，但画得依然很出色，能妙笔入神，情景交融，表现出雅静虚和的韵味。",[51,23,152,24,27,26,28,7,56,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90038fa4d4f5868eee3e4e06e13086.jpg","绢本 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平事迹和照片。这本书是由佚名编著的，出版于清朝末年。\n\n《历代名人图像册》共分为五卷，每卷都以一个主题为线索，按时间顺序记录了许多著名人物的生平事迹和照片。其中，第一卷记录了中国古代的著名人物，第二卷记录了中国近代的著名人物，第三卷记录了中国现代的著名人物，第四卷记录了世界各国的著名人物，第五卷记录了清朝时期的著名人物。\n\n《历代名人图像册》是一部非常有价值的参考书，对于了解中国历史和文化有着重要的意义。这本书在当时是非常受欢迎的，并且至今仍被广泛使用。",[23,217,90,122,7,853,892,60],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e42f4a5701f36ca6e9dd38e25d06d7.jpg",[143],{"id":896,"slug":897,"title":898,"dynasty":71,"author":899,"museum":20,"description":900,"tags":901,"thumbUrl":902,"material":507,"size":508,"collection":35,"collections":903,"showCount":904,"zanCount":98,"manualWeight":11,"mainColor":82},289883,"mu-niu-tu-mu-xi-289883","牧牛图","牧溪","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[51,52,23,25,24,122,351,236,528,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aebcdcc31240055baee615d070987a9.jpg",[],35,{"id":906,"slug":907,"title":908,"dynasty":18,"author":797,"museum":20,"description":909,"tags":910,"thumbUrl":911,"material":35,"size":35,"collection":35,"collections":912,"showCount":904,"zanCount":98,"manualWeight":11,"mainColor":41},228423,"fang-song-yuan-ce-ye-12-kai-lan-ying-228423","仿宋元册页12开","此作用笔苍秀老辣，绘几株古松虬曲苍劲，枯枝嶙峋间点缀松针，尽显古木饱经风霜之态。淡墨晕染远山，留白铺就烟岚空濛，将天地山水的空阔清远晕染开来。右下角溪湾扁舟静泊，渔翁垂坐，简笔勾勒出林下幽居的闲逸图景。\n\n整作以干笔皴擦写就林木古拙意趣，淡彩轻敷浅染坡岸，虚实相生间，融宋元山水的萧散简淡于笔底，将幽寂隐逸的文人意趣藏于淡远空濛的景致中，寥寥数笔便托出天地间静穆旷远的林下清境，尽显山水苍劲空灵的韵致。",[23,53,90,217,24,27,26,91,28,7,107,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8946bfefdc5cc70a0b0588ed9a63688e.jpg",[],{"id":914,"slug":915,"title":916,"dynasty":71,"author":203,"museum":20,"description":917,"tags":918,"thumbUrl":920,"material":507,"size":508,"collection":35,"collections":921,"showCount":922,"zanCount":98,"manualWeight":11,"mainColor":82},288227,"han-jiang-diao-ting-tu-zhuang-biao-li-cheng-288227","寒江钓艇图（装裱）","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[52,23,55,25,24,27,28,7,26,236,107,31,528,123,919],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda17c8d4d4176bfba2ffea8afab0c08a.jpg",[],34,{"id":924,"slug":925,"title":926,"dynasty":247,"author":619,"museum":20,"description":620,"tags":927,"thumbUrl":929,"material":507,"size":508,"collection":35,"collections":930,"showCount":922,"zanCount":11,"manualWeight":11,"mainColor":41},287367,"jiang-xing-chu-xue-tu-yuan-tu-zhao-gan-287367","江行初雪图(原图)",[23,52,53,26,31,28,7,56,528,217,218,27,165,928,60],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f85e6f1509e6c29923b9c1726de7f4.jpg",[],{"id":932,"slug":933,"title":934,"dynasty":71,"author":320,"museum":20,"description":935,"tags":936,"thumbUrl":937,"material":35,"size":35,"collection":35,"collections":938,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":41},227936,"feng-yu-gui-zhou-tu-ye-yi-ming-227936","风雨归舟图页","这幅扇面以淡墨晕染出烟笼远岫，山影在濛濛水雾里晕开，似有风雨欲来的湿冷之意漫过江天。近岸老树虬曲偃仰，枝桠带风，坡石苍润间杂生的丛草随势披拂，暗合风动之姿。\n\n江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[51,23,53,152,24,217,26,27,28,7,107,29,31,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],33,{"id":941,"slug":942,"title":943,"dynasty":944,"author":945,"museum":20,"description":946,"tags":947,"thumbUrl":953,"material":507,"size":508,"collection":954,"collections":955,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":614},225725,"bridge-in-the-rain-after-hiroshige-october-november-fan-gao-225725","Bridge in the rain after Hiroshige (October - November )","不详","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[948,949,950,217,951,952,389,122,58,7],"油画","临摹","浮世绘","桥","雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F337d72a832471d826298eec3e42253f3.jpg","油画精选",[954],{"id":957,"slug":958,"title":959,"dynasty":71,"author":960,"museum":961,"description":962,"tags":963,"thumbUrl":964,"material":155,"size":965,"collection":35,"collections":966,"showCount":967,"zanCount":11,"manualWeight":11,"mainColor":82},221604,"gui-yu-tu-liang-kai-221604","归渔图","梁楷","美国弗瑞尔美术馆","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[51,52,23,24,217,26,236,281,56,28,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],32,{"id":969,"slug":970,"title":971,"dynasty":18,"author":972,"museum":87,"description":973,"tags":974,"thumbUrl":975,"material":62,"size":976,"collection":38,"collections":977,"showCount":978,"zanCount":11,"manualWeight":11,"mainColor":41},290870,"liu-tang-yu-ting-zhou-chou-ying-290870","柳塘渔艇轴","仇英","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,25,24,26,56,28,33,31,7,281,60,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f02bdef353d8b20aa856b160f3841a4.jpg","102.9x47.2",[38],31,{"id":980,"slug":981,"title":982,"dynasty":277,"author":983,"museum":20,"description":984,"tags":985,"thumbUrl":986,"material":507,"size":508,"collection":35,"collections":987,"showCount":978,"zanCount":98,"manualWeight":11,"mainColor":41},287838,"ren-wu-miao-pin-li-zhou-zhang-xuan-287838","人物妙品立轴","张萱","张萱（约1553~1636),，一作（1557～1641）\n明著名目录学家、藏书家、书法家。字孟奇，号九岳山人、青真居士，别号西园。博罗（今广东惠州）人。",[51,52,23,53,25,24,122,165,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea66597610210738da45d8368e9ab48c.jpg",[],{"id":989,"slug":990,"title":991,"dynasty":71,"author":992,"museum":20,"description":993,"tags":994,"thumbUrl":995,"material":35,"size":35,"collection":35,"collections":996,"showCount":978,"zanCount":98,"manualWeight":11,"mainColor":82},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","马和之","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[51,23,53,152,217,26,28,122,139,56,575,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],{"id":998,"slug":999,"title":1000,"dynasty":46,"author":1001,"museum":20,"description":1002,"tags":1003,"thumbUrl":1005,"material":507,"size":508,"collection":35,"collections":1006,"showCount":1007,"zanCount":11,"manualWeight":11,"mainColor":82},289557,"qiu-lin-chui-diao-tu-zhu-ze-min-289557","秋林垂钓图","朱泽民","此作用边角构图，将虬曲苍劲的秋林置于右畔，枯枝干皴擦点染兼用，残叶附枝尽显清秋萧索，古木盘根错节，苍浑老辣尽显笔墨力道。左侧湖面留白虚旷，一叶扁舟静浮其上，渔人垂竿独钓，身影简淡幽寂。淡墨晕开烟水空蒙，虚实相映间铺展出清远荒寒的意境。\n\n画面题诗与景致互为生发，暗合文人隐逸寄怀的意趣，以简淡笔墨写尽萧散闲远之致，将避世丘壑、寄情烟水的心境藏在荒疏秋景中，尽显元画尚意之风，淡远空灵间余韵悠长。",[23,152,24,26,28,465,1004,236,56,7],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52156813f428828135eb7b9e71828e15.jpg",[],30,{"id":1009,"slug":1010,"title":1011,"dynasty":585,"author":1012,"museum":136,"description":1013,"tags":1014,"thumbUrl":1017,"material":35,"size":1018,"collection":35,"collections":1019,"showCount":1020,"zanCount":98,"manualWeight":11,"mainColor":41},223222,"geng-zhi-tu-ce-jiao-bing-zhen-223222","耕织图册","焦秉贞","《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。",[23,218,217,90,351,122,7,1015,26,1016],"农田","农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c2295c618cbfb9ca0d09285cc0220c5.jpg","34.7cm×27.7cm",[],28,{"id":1022,"slug":1023,"title":1024,"dynasty":71,"author":149,"museum":87,"description":1025,"tags":1026,"thumbUrl":1027,"material":1028,"size":1029,"collection":35,"collections":1030,"showCount":1020,"zanCount":11,"manualWeight":11,"mainColor":41},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[51,23,52,53,90,26,27,24,122,28,7,91,31,235,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":1032,"slug":1033,"title":1034,"dynasty":18,"author":320,"museum":1035,"description":1036,"tags":1037,"thumbUrl":1038,"material":77,"size":1039,"collection":36,"collections":1040,"showCount":1041,"zanCount":11,"manualWeight":11,"mainColor":82},217918,"liu-an-xue-yu-tu-yi-ming-217918","柳岸雪渔图","耶鲁大学艺术博物馆","柳岸雪渔图是明朝时期的一幅绘画作品，作者不详。这幅画描绘了一个冬天的景象，一位渔夫正在雪地里钓鱼。画面中的柳树上积了厚厚的一层雪，而渔夫则穿着厚厚的衣服，站在寒冷的柳岸边。他手里拿着鱼竿，似乎正在等待鱼儿上钩。\n\n这幅画被认为是明朝时期绘画艺术的代表作之一，因为它体现了当时绘画艺术的特点：细致、精细、写实。画面中的每一个细节都被精心描绘，比如渔夫的衣服、柳树的枝叶、雪地的花纹。\n同时，这幅画还体现了明朝时期艺术家对自然界的热爱。画中的冬天景象并不寒冷而残酷，相反，它给人以温馨、宁静的感觉。渔夫手边的鱼缸里放着一条活鱼，这也许意味着他已经成功地钓到了鱼，并且生活充满希望。\n\n总的来说，柳岸雪渔图是一幅描绘冬天景象的优秀绘画作品，它展现了明朝时期艺术家的精湛画技和对自然界的热爱。",[23,24,217,152,26,751,665,235,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f30799baed7df89bbb654c278069a2.jpg","26.5x30.5cm",[36],27,{"id":1043,"slug":1044,"title":1045,"dynasty":944,"author":1046,"museum":20,"description":1047,"tags":1048,"thumbUrl":1051,"material":35,"size":35,"collection":35,"collections":1052,"showCount":1053,"zanCount":98,"manualWeight":11,"mainColor":82},226542,"du-diao-tu-jiang-xi-meng-226542","独钓图","姜希孟","纸本，墨笔，56*36cm，东京国立博物馆藏。图绘河边杂草丛生，枯木二棵，枝杆张牙舞爪，沧桑孤傲；河面上一老者船头独自垂钓，静谧详和；远处水面广阔，画面透着冷寂之意境。姜希孟，朝鲜王朝的士大夫画家，宫廷画师。",[51,23,53,24,423,27,26,236,28,7,338,389,1049,1050],"岸石","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],26,{"id":1055,"slug":1056,"title":1057,"dynasty":585,"author":1058,"museum":48,"description":1059,"tags":1060,"thumbUrl":1061,"material":426,"size":1062,"collection":35,"collections":1063,"showCount":1053,"zanCount":98,"manualWeight":11,"mainColor":41},219856,"ba-jing-shan-shui-tu-2-gong-xian-219856","八景山水图-2","龚贤","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[23,24,27,26,28,166,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc456411e76e601da956e5ada940eb00f.jpg","24.4x49.7厘米",[],{"id":1065,"slug":1066,"title":1067,"dynasty":18,"author":1068,"museum":48,"description":1069,"tags":1070,"thumbUrl":1073,"material":223,"size":1074,"collection":35,"collections":1075,"showCount":1076,"zanCount":98,"manualWeight":11,"mainColor":41},214671,"san-jue-tu-4-yao-shou-214671","三绝图-4","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[23,24,26,27,28,7,236,563,252,388,1071,1072,338,60],"近石","湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41a69055627a18111545189016a9a46.jpg","纵31.2 厘米 横48.3 厘米",[],25,{"id":1078,"slug":1079,"title":1080,"dynasty":46,"author":1081,"museum":87,"description":1082,"tags":1083,"thumbUrl":1085,"material":1086,"size":1087,"collection":35,"collections":1088,"showCount":1089,"zanCount":98,"manualWeight":11,"mainColor":82},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","唐棣","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[51,23,53,52,26,217,27,56,28,7,439,122,29,107,1084,389],"烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","绢","纵160.1 横106.2 公分",[],24,{"id":1091,"slug":1092,"title":691,"dynasty":71,"author":320,"museum":20,"description":1093,"tags":1094,"thumbUrl":1095,"material":507,"size":508,"collection":35,"collections":1096,"showCount":1097,"zanCount":11,"manualWeight":11,"mainColor":82},290229,"feng-yu-gui-zhou-tu-yi-ming-290229","该画描绘近处巨岗高树，中部为广漠的江河，并置沙渚、坡岸、板桥、行舟、人物等，远处山峦耸峙，景色具有江南水乡山崇水阔的特点。",[23,55,28,7,353,30,31,29,24,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f808637e953e29f61f9cc677ffd081.jpg",[],22,{"id":1099,"slug":1100,"title":1101,"dynasty":18,"author":483,"museum":20,"description":1102,"tags":1103,"thumbUrl":1104,"material":507,"size":508,"collection":35,"collections":1105,"showCount":1097,"zanCount":11,"manualWeight":11,"mainColor":82},287799,"ren-wu-yi-wu-wei-287799","人物一","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[51,23,24,122,789,7,751,91,576,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4c1954e8fb2a5e143379421bc0fea1.jpg",[],{"id":1107,"slug":1108,"title":1109,"dynasty":585,"author":1110,"museum":20,"description":1111,"tags":1112,"thumbUrl":1113,"material":35,"size":35,"collection":35,"collections":1114,"showCount":1097,"zanCount":11,"manualWeight":11,"mainColor":41},239055,"shan-shui-hua-niao-ce-yang-jin-239055","山水花鸟册","杨晋","此帧以淡墨绘就江乡秋景，浅滩芦荻丛生，扁舟渔翁垂竿独钓，自在悠然。右侧汀上古木倚石，野趣天成。远景山峦以简笔晕染，空濛悠远，雁阵掠过长空，更衬江天寥廓。\n\n留白铺就无尽秋意，笔墨秀雅清润，萧疏淡远间尽显闲逸襟怀。题诗与画作相映，将秋日江乡的清冷疏旷，与渔樵忘机的隐逸之思相融，尽显文人画平淡天真的意趣，悠悠古韵沁入纸面。",[23,24,90,27,26,28,7,281,92,194,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91d92407b63081d12b841b16dc7887d.jpg",[],{"id":1116,"slug":1117,"title":1118,"dynasty":71,"author":162,"museum":20,"description":1119,"tags":1120,"thumbUrl":1121,"material":35,"size":35,"collection":35,"collections":1122,"showCount":1097,"zanCount":11,"manualWeight":11,"mainColor":41},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[51,52,23,53,54,949,27,24,217,165,60,26,28,7,31,107,29,92,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":1124,"slug":1125,"title":1126,"dynasty":46,"author":1001,"museum":136,"description":1127,"tags":1128,"thumbUrl":1129,"material":1130,"size":1131,"collection":35,"collections":1132,"showCount":1097,"zanCount":11,"manualWeight":11,"mainColor":82},221825,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-221825","秋林垂钓图页","画上一老翁坐于船头专心致志钓鱼，岸上二株松树耸立，画面简洁、幽静。朱德润，字泽民，号睢阳山人，善诗文，工书法，格调遒丽。",[51,23,53,152,24,26,91,28,7,56,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc2f13a87dfedf73b5dab0419e4fad5.jpg","绢本，水墨","28.1X26.6cm",[],{"id":1134,"slug":1135,"title":1136,"dynasty":585,"author":1137,"museum":48,"description":1138,"tags":1139,"thumbUrl":1140,"material":35,"size":35,"collection":36,"collections":1141,"showCount":1097,"zanCount":11,"manualWeight":11,"mainColor":1142},201849,"qing-zhou-du-diao-tu-zhou-chen-shuo-201849","轻舟独钓图轴","陈说","水墨晕染间，峰峦被云雾轻笼，山石以皴法勾勒纹理，显苍劲质感。近岸古松盘曲，枝桠斜逸；溪中乱石堆叠，流水隐现；远处孤舟独泊，蓑笠翁垂纶静坐，渔隐之趣盎然。笔墨简淡却意韵悠长，山水静谧与渔者闲适交织，尽显文人向往的超然心境。",[24,27,26,28,7,56,91,31,92,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a46417c3d75d84df9677da9ae142436.jpg",[36],"b69e82",{"id":1144,"slug":1145,"title":1146,"dynasty":71,"author":320,"museum":20,"description":1147,"tags":1148,"thumbUrl":1150,"material":507,"size":508,"collection":35,"collections":1151,"showCount":1152,"zanCount":11,"manualWeight":11,"mainColor":82},289123,"qiu-xi-dai-du-tu-yi-ming-289123","秋溪待渡图","此作用淡墨晕染出溪山空濛之境，秋意萧索尽显。坡岸怪石错落，寒林枯木笔法劲挺，苍松皴擦老辣，枝桠虬劲苍古。板桥之上行旅缓步，溪面孤舟横斜，渔人收缆待渡，山居隐于山坳雾色之间，寥寥数笔便将幽寂秋山的动静意趣铺陈开来。\n\n整幅画作以简驭繁，笔意清润秀雅，把秋日水滨的淡寂清远尽数勾勒，暗含寄情林泉的隐逸意趣，尽显山水小品的雅致格调。",[51,23,52,55,24,27,166,31,28,7,91,107,1149,122,438],"秋溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b4f46cd6f4dab3412b29b0d5d7b246a.jpg",[],21,{"id":1154,"slug":1155,"title":1156,"dynasty":585,"author":1157,"museum":20,"description":1158,"tags":1159,"thumbUrl":1160,"material":35,"size":35,"collection":143,"collections":1161,"showCount":1152,"zanCount":11,"manualWeight":11,"mainColor":41},238940,"hua-guan-gui-yu-zhou-hua-guan-238940","华冠归渔轴","华冠","华冠 (公元18世纪)〔清〕原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。\n原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。乾隆帝南巡，写御容称赏，旋征召入都，供绘事，为藩邸所赏，声溢公卿，归里后求画者麇至。年七十余尝画邑庙径丈仙像壁画。兼工山水、木石、花卉。",[23,53,25,24,122,7,56,165,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea2c454a335712a9a7ee2339f38b2fe.jpg",[143,38],{"id":1163,"slug":1164,"title":806,"dynasty":18,"author":807,"museum":136,"description":808,"tags":1165,"thumbUrl":1166,"material":811,"size":812,"collection":35,"collections":1167,"showCount":1152,"zanCount":11,"manualWeight":11,"mainColor":41},233471,"ren-wu-hua-hui-ce-xu-wei-233471",[23,53,90,24,423,122,28,7,56,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958d611c7f15a82d83dc81af02689a19.jpg",[],{"id":1169,"slug":1170,"title":1171,"dynasty":18,"author":1172,"museum":87,"description":1173,"tags":1174,"thumbUrl":1177,"material":94,"size":1178,"collection":35,"collections":1179,"showCount":1152,"zanCount":11,"manualWeight":11,"mainColor":82},222176,"han-jiang-diao-ting-zhou-lu-zhi-222176","寒江钓艇轴","陆治","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[51,52,23,53,25,217,218,123,28,7,236,1175,528,122,1176],"竹子","钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe21dd60fea833be1aafb87910d35216.jpg","65.7x36.6厘米",[],{"id":1181,"slug":1182,"title":1183,"dynasty":46,"author":265,"museum":136,"description":1184,"tags":1185,"thumbUrl":1186,"material":239,"size":1187,"collection":35,"collections":1188,"showCount":1189,"zanCount":11,"manualWeight":11,"mainColor":41},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[23,53,24,26,122,29,28,7,165,60,27,31,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],20,{"id":1191,"slug":1192,"title":1193,"dynasty":18,"author":797,"museum":87,"description":1194,"tags":1195,"thumbUrl":1196,"material":94,"size":1197,"collection":35,"collections":1198,"showCount":1199,"zanCount":11,"manualWeight":11,"mainColor":41},222590,"shan-xi-chui-diao-lan-ying-222590","山溪垂钓","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。",[51,23,24,27,90,26,28,31,107,29,56,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1348f20030503526ea86f64463499e.jpg","72.1x44",[],19,{"id":1201,"slug":1202,"title":1203,"dynasty":46,"author":1081,"museum":20,"description":1204,"tags":1205,"thumbUrl":1206,"material":507,"size":508,"collection":35,"collections":1207,"showCount":1208,"zanCount":11,"manualWeight":11,"mainColor":82},290131,"xi-shan-yan-ting-tu-tang-di-290131","溪山烟艇图","溪畔草亭中，一人弹阮，三人聆听著。小径上，僮子送酒而来。溪上，有人敞胸坐于船头，富有野逸消遥的乐趣。坡石用云头皴，圆润稳厚，有着郭熙一派的面目。",[23,24,26,28,236,107,221,27,56,91,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46212bb032f1cc623ce1508a316867b1.jpg",[],18,{"id":1210,"slug":1211,"title":1212,"dynasty":585,"author":1213,"museum":136,"description":1214,"tags":1215,"thumbUrl":1217,"material":531,"size":1218,"collection":35,"collections":1219,"showCount":1208,"zanCount":11,"manualWeight":11,"mainColor":41},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[51,23,54,24,218,852,60,122,439,31,29,252,281,56,26,366,465,1216,739,751,7,28],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":1221,"slug":1222,"title":1223,"dynasty":18,"author":362,"museum":20,"description":1224,"tags":1225,"thumbUrl":1229,"material":35,"size":35,"collection":35,"collections":1230,"showCount":1208,"zanCount":11,"manualWeight":11,"mainColor":82},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[51,23,54,24,27,218,26,31,28,7,122,281,29,193,56,252,1226,1227,439,1228,440],"岸芷","汀草","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":1232,"slug":1233,"title":1118,"dynasty":71,"author":162,"museum":20,"description":1119,"tags":1234,"thumbUrl":1235,"material":35,"size":35,"collection":35,"collections":1236,"showCount":1208,"zanCount":11,"manualWeight":11,"mainColor":41},227771,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227771",[51,52,23,53,54,949,27,24,26,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f76f964392cf441413ed6978a2135.jpg",[],{"id":1238,"slug":1239,"title":1240,"dynasty":71,"author":1241,"museum":232,"description":1242,"tags":1243,"thumbUrl":1244,"material":340,"size":1245,"collection":35,"collections":1246,"showCount":1208,"zanCount":11,"manualWeight":11,"mainColor":1247},221471,"xi-sai-yu-she-tu-juan-li-jie-221471","西塞渔舍图卷","李结","此图为画家李结归隐湖州苕霅西塞山居的理想生活之景。绘丘岭起伏，水碧山青，草木葱茸，沟壑清晰，坡脚石块高低起休，溪水围岸而流。庄园依山傍水，高士放怀得失。李结，字次山，善诗文绘画。",[51,23,53,54,26,56,28,7,31,166,217,27,193,281,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d95a85cebca99604ce1166ce014ea99.jpg","40.2*135.5CM",[],"FDD835",{"id":1249,"slug":1250,"title":1251,"dynasty":71,"author":320,"museum":87,"description":1252,"tags":1253,"thumbUrl":1254,"material":77,"size":1255,"collection":36,"collections":1256,"showCount":1208,"zanCount":11,"manualWeight":11,"mainColor":41},218976,"xue-tang-chui-diao-tu-yi-ming-218976","雪塘垂钓图","这是一幅柳宗元诗歌《江雪》的画作，画中的渔夫带着嘀嗒声在江雪的天空中独自捕鱼。心情是空虚和冷漠的，笔触是清晰和减少的。虽然不一定是宋代，但可以追溯到元代。",[51,23,53,90,24,217,218,27,235,26,236,28,7,122,389,219,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60d2b0f61e8804c3f763b7d1d90dc6.jpg","23.8x25.5",[36],{"id":1258,"slug":1259,"title":102,"dynasty":71,"author":320,"museum":87,"description":1260,"tags":1261,"thumbUrl":1262,"material":77,"size":35,"collection":36,"collections":1263,"showCount":1208,"zanCount":98,"manualWeight":11,"mainColor":41},218693,"shan-shui-tu-yi-ming-218693","烟波浩渺间，一叶扁舟轻泛，舟中人影依稀，似与水色相融。右侧松枝虬曲，墨色浓淡交错，松针如丝倚石而立；山石皴法简练，与浅草相映，添了几分野趣。远山如黛，晕染在淡雾里，似天地间的留白，引视野向无尽悠远。\n\n整幅画以淡墨铺陈，虚实相生：静穆中藏灵动——水面微澜、松枝轻颤，皆在笔墨间流转。不刻意渲染，却于简约中见深远，静谧中显生机。仿佛能听见风声掠松梢，见水波拍舟舷，沉湎于自然与心灵的契合，尽得宋人山水中的诗意栖居之趣。",[51,23,52,24,217,26,27,28,7,91,388,389,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd413e20f9a81db648f7fa8472822843b.jpg",[36],{"id":1265,"slug":1266,"title":1267,"dynasty":46,"author":1081,"museum":20,"description":1082,"tags":1268,"thumbUrl":1270,"material":507,"size":508,"collection":35,"collections":1271,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":82},290938,"yan-bo-yu-le-tu-zhou-tang-di-290938","烟波渔乐图轴",[23,25,26,28,7,56,31,30,29,122,24,27,1269,60],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858ac81a99306eb333045f1353f5a4ea.jpg",[],17,{"id":1274,"slug":1275,"title":691,"dynasty":71,"author":320,"museum":20,"description":1093,"tags":1276,"thumbUrl":1278,"material":507,"size":508,"collection":35,"collections":1279,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":82},290228,"feng-yu-gui-zhou-tu-yi-ming-290228",[23,52,53,55,24,27,353,1277,29,31,28,7],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbb9931dc8c8d644cebbb3637b2a6ce.jpg",[],{"id":1281,"slug":1282,"title":1283,"dynasty":71,"author":960,"museum":20,"description":1284,"tags":1285,"thumbUrl":1288,"material":507,"size":508,"collection":35,"collections":1289,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":82},289455,"dai-xue-gui-yu-tu-liang-kai-289455","戴雪归渔图","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[23,152,24,26,91,281,7,528,1286,1287],"渔者","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b8b1f2538144ea090b404283cfbe23.jpg",[],{"id":1291,"slug":1292,"title":86,"dynasty":585,"author":662,"museum":20,"description":1293,"tags":1294,"thumbUrl":1295,"material":35,"size":35,"collection":36,"collections":1296,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":41},239325,"shan-shui-ce-cha-shi-biao-239325","此作用淡墨晕染江天，留白铺就悠远空濛之境。岸畔垂柳依依轻拂水面，三两渔舟泛于烟波之上，尽显江南春日出尘之致。笔致松秀简淡，摒弃繁复皴擦，以极简笔墨勾勒出萧散清远的山水意趣。\n\n左侧行书题诗与画意呼应，笔墨温润舒展，诗书与绘事相得益彰，文气盎然。整幅作品将文人画简淡天真的审美意趣尽显无遗，把春日春江的静穆柔婉融于尺幅之间，淡而弥永，余韵悠长，尽显隐逸安然的林下之风。",[23,53,90,59,24,27,26,28,7,29,389,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9afb62b36cf20a64628c29321c4312.jpg",[36],{"id":1298,"slug":1299,"title":1300,"dynasty":18,"author":320,"museum":20,"description":1301,"tags":1302,"thumbUrl":1303,"material":35,"size":35,"collection":35,"collections":1304,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":41},237636,"song-xu-xue-jiang-du-diao-tu-zhou-yi-ming-237636","宋旭雪江独钓图轴","此作用淡墨留白晕染出萧寒江雪，山峦素裹银装，留白衬出积雪的厚重莹润，远山淡渺隐于寒雾，虚实相生，铺就江天空阔辽远的冬日底色。近岸枯木凝雪，虬枝劲挺，虽带冬日萧索却不失清刚之态。滩头寒石隐现，细流凝冰，愈发衬出江风凛冽。扁舟泊于岸侧，渔翁瑟缩船头独钓，于天地冷寂间，晕开一缕孤高隐逸的意趣。全画笔法秀雅简淡，以极简笔墨勾勒出江雪寒林的荒寒之美，将幽人寄情山水、孤高自适的襟怀融于冷寂雪景之中。",[23,24,25,27,26,528,28,7,236,166,107,57,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc940a1841726368ad68f75503a2d9d9f.jpg",[],{"id":1306,"slug":1307,"title":1308,"dynasty":18,"author":1309,"museum":20,"description":1310,"tags":1311,"thumbUrl":1312,"material":426,"size":1313,"collection":35,"collections":1314,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":82},232635,"xi-shan-xing-lv-tu-leng-qian-232635","溪山行旅图","冷谦","冷谦，元末明初武陵人，字启敬，道号龙阳子，初为僧人，后习儒，入道隐杭州吴山，博学，精通易经。著有琴书《琴声十六法》、养生学著作《修龄要指》。明朝协律郎。据说与刘秉忠相交，担任协律郎时已经年过百岁。世传其化鹤入瓶，事甚诡异。",[51,23,53,24,122,574,26,29,7,577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fcf4a51cb2d9205e685b3b317e840a0.jpg","45x33厘米",[],{"id":1316,"slug":1317,"title":202,"dynasty":18,"author":1172,"museum":20,"description":1318,"tags":1319,"thumbUrl":1320,"material":35,"size":35,"collection":35,"collections":1321,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":82},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[23,53,25,18,217,218,28,7,236,123,528,60,26,1176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],{"id":1323,"slug":1324,"title":1325,"dynasty":71,"author":320,"museum":20,"description":1326,"tags":1327,"thumbUrl":1329,"material":507,"size":508,"collection":35,"collections":1330,"showCount":1331,"zanCount":11,"manualWeight":11,"mainColor":82},289456,"feng-yu-gui-yu-tu-yi-ming-289456","风雨归渔图","近岸苍松虬曲扎根崖石，枝梢垂曳自带野逸之姿，坡坳间茅舍隐现，暗合村居幽寂。阔远江面烟波轻笼，两位渔翁策杖徐行浅滩，似趁风雨初收，踏浪而归。远景山峦晕在空濛烟霭中，与水色交融成一片淡墨朦胧，天际群雁振翅南飞，更衬江天寥廓清寂。\n\n全作用墨简淡空灵，以皴擦晕染绘就江南水泽的烟雨诗意，将渔人晚归的闲逸野趣融于山水空蒙间，笔简意丰，尽显山水以景抒情的含蓄禅味，藏着悠然江湖的澹远况味。",[23,55,24,27,281,28,7,91,31,353,1328,60],"渔归","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d3f50e0cdd0cba0d145687dd5f0552.jpg",[],16,{"id":1333,"slug":1334,"title":1335,"dynasty":71,"author":320,"museum":136,"description":1336,"tags":1337,"thumbUrl":1338,"material":155,"size":1339,"collection":35,"collections":1340,"showCount":1331,"zanCount":11,"manualWeight":11,"mainColor":41},234003,"feng-yu-gui-zhou-ye-yi-ming-234003","风雨归舟页","此图描绘风雨中江边的景象。 风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 全天的浓烈和浓重都恰到好处，水墨是典型的南宋风格。",[23,53,90,24,217,27,26,28,29,107,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090650b9f7490bc6479d959f1e649073.jpg","25.6×25.3cm",[],{"id":1342,"slug":1343,"title":1344,"dynasty":944,"author":1345,"museum":20,"description":1346,"tags":1347,"thumbUrl":1348,"material":35,"size":35,"collection":35,"collections":1349,"showCount":1331,"zanCount":11,"manualWeight":11,"mainColor":41},231662,"da-zheng-yuan-nian-xiao-xiang-ba-jing-heng-shan-da-guan-231662","大正元年 潇湘八景","横山大观","素白雪色晕染铺陈，将天地晕作一色，几处青绿山棱划破苍茫冷寂，带着残冬将息的生机。画面以大量留白拉扯开江野暮雪的辽远空茫。\n\n下方渔翁戴笠披蓑，垂竿静立，身侧小童默然相伴，暖棕衣料在一片素白里晕开澹澹烟火气。将东方禅意的空寂与隐逸闲情揉为一处，水墨晕染与浮世绘质感相融，于荒寒天地间刻画出悠然静穆的一隅，把清冷悠然藏在留白与淡彩之间，唤起心底对辽远天地间闲逸之趣的共鸣。",[51,23,217,26,528,122,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9640f36885bbe464aa57c33c0f8baee.jpg",[],{"id":1351,"slug":1352,"title":1353,"dynasty":944,"author":320,"museum":20,"description":1354,"tags":1355,"thumbUrl":1358,"material":35,"size":35,"collection":35,"collections":1359,"showCount":1331,"zanCount":11,"manualWeight":11,"mainColor":41},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[51,23,53,54,217,218,832,26,122,438,28,7,789,139,1356,1357,31,56,166,193],"云","红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":1361,"slug":1362,"title":1363,"dynasty":71,"author":320,"museum":20,"description":1364,"tags":1365,"thumbUrl":1368,"material":35,"size":35,"collection":35,"collections":1369,"showCount":1331,"zanCount":11,"manualWeight":11,"mainColor":41},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[51,23,53,1366,24,217,26,28,29,1367,31,388,7,193],"册页","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":1371,"slug":1372,"title":1373,"dynasty":71,"author":320,"museum":20,"description":1374,"tags":1375,"thumbUrl":1377,"material":35,"size":35,"collection":35,"collections":1378,"showCount":1331,"zanCount":11,"manualWeight":11,"mainColor":82},227361,"lou-guan-sha-ting-chui-diao-tu-yi-ming-227361","楼观沙汀垂钓图","在文人画里，一切都在情不自禁地轻轻飘动着。宋画是广阔的，岂止在视觉感受上，从题材、内容到形式都在自由组合中与审美达成了会心一笑似的默契和经典。宋画是现实的，就像刚刚从老庄的思想里走出，又误入了风景或花鸟的旋律。",[51,23,53,25,217,26,122,218,27,28,7,281,107,1376,31,56],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437e8c42c3072d6bf3d4366c3df1f44c.jpg",[],{"id":1380,"slug":1381,"title":1382,"dynasty":18,"author":1383,"museum":20,"description":1384,"tags":1385,"thumbUrl":1386,"material":507,"size":508,"collection":35,"collections":1387,"showCount":1388,"zanCount":11,"manualWeight":11,"mainColor":82},236674,"feng-yu-gui-zhou-shan-cheng-jia-sui-236674","风雨归舟扇","程嘉燧","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[152,24,27,26,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f836136c780bcfcd7ed38e8f68a3d9.jpg",[],15,{"id":1390,"slug":1391,"title":1392,"dynasty":71,"author":320,"museum":87,"description":1393,"tags":1394,"thumbUrl":1395,"material":77,"size":1396,"collection":36,"collections":1397,"showCount":1388,"zanCount":98,"manualWeight":11,"mainColor":41},218846,"qing-xi-wan-du-tu-yi-ming-218846","清溪晚渡图","这幅画描绘了一个船夫在日落时分回家休息的情景，风景开阔，意境清远。在这幅画中，笔触更加平直，少了些许杂质，这是效仿夏圭的做法。",[51,23,53,90,24,27,217,26,31,28,7,29,552,56,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba687b7e6c7bcc95dbb8bab0b4918ba.jpg","22.8x23.8",[36],{"id":1399,"slug":1400,"title":1401,"dynasty":585,"author":1110,"museum":136,"description":1402,"tags":1403,"thumbUrl":1404,"material":35,"size":1405,"collection":1406,"collections":1407,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":41},237772,"yang-jin-shi-gu-qi-niu-tu-zhou-yang-jin-237772","杨晋石谷骑牛图轴","此图款题为“画白石翁诗意”，所提“白石翁”是明代吴门画派的创始人沈周，晚号白石翁，人称白石先生。所画者为王翠，字石谷，号耕烟散人，为清初“虞山派”创立者，而作者即是早期虞山派的佼佼者，经常与师同绘画作。此图中王翠头戴斗笠，身垫蓑衣，骑于牛背之上，缓缓而行，像是雨过天晴之后，徜徉于乡野小径。墨色轻润，渲染有致，勾画简洁，却神韵俱足，充满诗情画意。",[23,53,25,217,218,122,351,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84915670167119b90b18a3de51665151.jpg","81.6×33.5","书法精选",[1406],14,{"id":1410,"slug":1411,"title":1412,"dynasty":585,"author":1413,"museum":1414,"description":1415,"tags":1416,"thumbUrl":1418,"material":223,"size":35,"collection":35,"collections":1419,"showCount":1408,"zanCount":98,"manualWeight":11,"mainColor":41},214813,"shan-shui-hua-hui-tu-ce-6-gao-feng-han-214813","山水花卉图册-6","高凤翰","日本大阪市立美术馆","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[51,52,23,24,217,90,27,236,166,31,167,92,91,528,26,1417,7],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5645da02a8b8b4685060ad00c3bc0b.jpg",[],{"id":1421,"slug":1422,"title":1126,"dynasty":46,"author":1001,"museum":136,"description":1127,"tags":1423,"thumbUrl":1425,"material":155,"size":1426,"collection":35,"collections":1427,"showCount":1428,"zanCount":11,"manualWeight":11,"mainColor":41},233204,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-233204",[52,23,53,24,27,26,1424,139,28,7,465,1004],"林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4212db7815938d8172fc55510bf7a.jpg","28.1X26.6cm厘米",[],13,{"id":1430,"slug":1431,"title":1432,"dynasty":585,"author":1433,"museum":761,"description":1434,"tags":1435,"thumbUrl":1436,"material":223,"size":1437,"collection":35,"collections":1438,"showCount":1428,"zanCount":11,"manualWeight":11,"mainColor":41},217209,"fang-gu-shan-shui-shi-er-kai-jiu-wang-hui-217209","仿古山水十二开(九)","王翚","此册王翚仿古十二开",[23,90,24,26,27,28,7,193,29,30,31,56,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a728094980b72bfbfe1b0b26043764.jpg","25x35.4cm",[],{"id":1440,"slug":1441,"title":1442,"dynasty":585,"author":1443,"museum":20,"description":1444,"tags":1445,"thumbUrl":1448,"material":507,"size":508,"collection":35,"collections":1449,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":41},288134,"shan-cun-yu-jing-tu-wang-yuan-qi-288134","山村雨景图","王原祁","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[23,53,25,24,26,27,1446,1447,166,31,30,29,237,7,165,60],"山村","雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294c5e833fb6388c6d67ccaaee06df6d.jpg",[],12,{"id":1452,"slug":1453,"title":1454,"dynasty":71,"author":320,"museum":20,"description":1455,"tags":1456,"thumbUrl":1458,"material":35,"size":35,"collection":35,"collections":1459,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":82},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[51,23,53,54,52,217,218,27,235,56,26,28,7,166,31,91,122,281,92,1457,439],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":1461,"slug":1462,"title":1463,"dynasty":585,"author":320,"museum":20,"description":1464,"tags":1465,"thumbUrl":1469,"material":426,"size":35,"collection":35,"collections":1470,"showCount":1450,"zanCount":98,"manualWeight":11,"mainColor":41},215554,"bai-miao-jie-tou-mai-mai-hua-ce-2-yi-ming-215554","白描街头买卖画册-2","简练白描线条勾勒出街头挑担人的鲜活身影。宽檐斗笠遮去半面神色，衣褶随步履轻晃，线条如流水般晕开衣料垂坠与肩背弧度；扁担两端竹篮悬垂，篾纹细密交错，似藏着市井营生的细碎暖意。人物姿态沉稳，步履间透着奔波韧劲，无色彩渲染却以线的虚实疏密，凝住生活烟火气。寥寥数笔定格买卖日常瞬间，旧时光里的市井鲜活与平凡力量，在素净纸页间静静流淌，引观者窥见人间烟火的本真模样。",[51,852,90,122,7,853,892,1466,1467,1468],"担子","竹篮","街头买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c9c174b79e89f3af58ee2cb1e1d3ba.jpg",[],{"id":1472,"slug":1473,"title":1474,"dynasty":585,"author":1475,"museum":73,"description":1476,"tags":1477,"thumbUrl":1478,"material":62,"size":35,"collection":35,"collections":1479,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":41},214496,"shui-mo-tu-ce-7-zheng-min-214496","水墨图册-7","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[51,23,24,90,59,165,27,28,26,29,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b1bc4021653f8b46f160971f4c0fc4.jpg",[],{"id":1481,"slug":1482,"title":1483,"dynasty":18,"author":1484,"museum":48,"description":1485,"tags":1486,"thumbUrl":10,"material":35,"size":35,"collection":36,"collections":1487,"showCount":1450,"zanCount":11,"manualWeight":11,"mainColor":1488},203172,"cang-zhou-tu-yong-ce-wang-wen-203172","沧洲图咏册","王问","画面以水墨写意出沧洲胜境，近岸苍树以浓墨点染，枝干虬劲，叶态生动。水面孤舟一叶，蓑笠之人隐于舟中，似在静赏山水，又若沉思。远景山峦层叠，淡墨勾勒间云雾轻笼，尽显空濛悠远之韵。笔墨简括却意境丰盈，画风清疏雅致，将文人渔隐的闲适心境融入自然，传递出超脱尘俗的逸趣。",[23,24,26,28,7,90,29,27,51],[36],"a69e81",{"id":1490,"slug":1491,"title":1492,"dynasty":944,"author":1493,"museum":20,"description":1494,"tags":1495,"thumbUrl":1496,"material":507,"size":508,"collection":35,"collections":1497,"showCount":1498,"zanCount":11,"manualWeight":11,"mainColor":82},231586,"shi-ting-shi-dai-han-jiang-du-diao-shan-shui-tu-shou-ye-zheng-xin-231586","室町时代 寒江独钓山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[51,23,217,26,28,7,56,25,27,1175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac31b21b8cc2a0b86321841e63b6c93.jpg",[],11,{"id":1500,"slug":1501,"title":1502,"dynasty":585,"author":1503,"museum":20,"description":1504,"tags":1505,"thumbUrl":1506,"material":531,"size":35,"collection":35,"collections":1507,"showCount":1508,"zanCount":11,"manualWeight":11,"mainColor":41},235038,"hua-ji-chan-yin-tu-ce-xiao-chen-235038","滑稽禅隐图册","萧晨","萧晨（生卒年不详），字灵曦，号中素，江苏扬州人。清初画家，李寅弟子，善画山水、人物，画雪景最为有名。虽以卖画为生，但时以诗人自居。",[23,53,90,217,122,26,7,60,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92bc5b6aca3c2e2368efdab2a47ba8b5.jpg",[],10,{"id":1510,"slug":1511,"title":1512,"dynasty":944,"author":1513,"museum":20,"description":1514,"tags":1515,"thumbUrl":1517,"material":507,"size":508,"collection":35,"collections":1518,"showCount":1508,"zanCount":11,"manualWeight":11,"mainColor":82},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[51,23,53,1516,24,27,26,28,7,193,563,108,388,1071,56],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],{"id":1520,"slug":1521,"title":1522,"dynasty":71,"author":1523,"museum":136,"description":1524,"tags":1525,"thumbUrl":1526,"material":340,"size":1527,"collection":35,"collections":1528,"showCount":1508,"zanCount":11,"manualWeight":11,"mainColor":82},221683,"kong-dong-wen-dao-tu-quan-juan-yang-shi-chang-221683","崆峒问道图全卷","杨世昌","绘轩辕黄帝访仙人广成子于陕西崆峒山，询问治身成仙术之传奇故事。画中一石榻铺兽皮，一长髯仙人斜坐榻上睨目倾听，右下跪一朱衣王者，执笏陈辞，诚恳严肃。杨世昌，金代道士，善画人物、山水。",[51,23,53,54,24,59,928,165,28,7,60,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a0cfaddf2cb41c45042705e95729b8a.jpg","纵28.2厘米，横49.5厘米",[],{"id":1530,"slug":1531,"title":1532,"dynasty":585,"author":1533,"museum":136,"description":1534,"tags":1535,"thumbUrl":1536,"material":531,"size":1537,"collection":35,"collections":1538,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":41},233377,"hua-shen-lin-yuan-feng-shan-diao-tu-zhou-xu-gu-233377","画沈麟元篈山钓徒轴","虚谷","图绘梅鹤双清之景。茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。",[23,53,25,24,217,122,26,92,31,7,60,165,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec751d2727b05081fc4bed5c706e39f4.jpg","纵248.7厘米，横121.1厘米",[],9,{"id":1541,"slug":1542,"title":1543,"dynasty":585,"author":320,"museum":136,"description":1544,"tags":1545,"thumbUrl":1553,"material":217,"size":35,"collection":35,"collections":1554,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":41},217313,"gu-xiu-wu-shi-san-can-tu-ce-4-yi-ming-217313","顾绣·五十三参图册-4","这幅顾绣作品以针代笔，将修行场景凝于丝缕间。一侧鹿踏祥云，老者衣袂翩跹，童子紧随；另一侧行者戴笠持杖，缓步郊野，童子仰头望之，神态毕肖。绣线劈丝如发，设色雅致温润，人物动态鲜活，场景清幽自然。画面分帧却气韵连贯，传递出善财童子参访善知识的虔诚，与寻访途中的悠然意趣。顾绣特有的细腻针法，让衣纹的褶皱、鹿的肌理、郊野的草木皆显生动，于方寸间藏修行之境，见工艺之精，尽显“以线代墨”的独特艺术魅力。",[1546,1547,217,218,90,122,1548,1356,139,220,7,1549,1550,1551,1552,60],"顾绣","刺绣","鹿","小孩","拐杖","山坡","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b1b24bd78f5120284a3a2e41180a97.jpg",[],{"id":1556,"slug":1557,"title":1558,"dynasty":18,"author":362,"museum":87,"description":1559,"tags":1560,"thumbUrl":1564,"material":223,"size":1565,"collection":35,"collections":1566,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":41},216088,"tai-ping-le-shi-tu-ce-8-dai-jin-216088","太平乐事图册-8","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[23,53,90,217,218,122,351,29,529,7,1561,1562,1016,1563,367],"土地","斗笠","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038c2970b7ee8eae6f36c8f6102b3f0b.jpg","22.8x22cm",[],{"id":1568,"slug":1569,"title":1570,"dynasty":1571,"author":1572,"museum":48,"description":1573,"tags":1574,"thumbUrl":1577,"material":35,"size":35,"collection":36,"collections":1578,"showCount":1539,"zanCount":11,"manualWeight":11,"mainColor":1579},202993,"shan-shui-tu-zhou-hu-pei-heng-202993","山水图轴","近代","胡佩衡","这幅山水图以水墨写意营造悠远意境，峰峦叠嶂间云雾缭绕，墨色浓淡相衬，皴擦点染兼具，山石肌理尽显苍劲。近景松枝虬劲，临水而立；中景流水潺潺，小桥横卧，一蓑笠翁独钓其间，添得几分闲适。远山隐现，古塔尖顶破云而出，与苍茫山势相映成趣。整幅画气韵生动，既有传统山水的笔墨韵味，又透出清寂悠远的文人气息，将自然之美与心境之静融于一纸。",[23,24,26,27,166,28,7,1575,1576,221,25,51],"古塔","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963d007aa8f0f5bce725b838f647933f.jpg",[36],"d0c8b1",{"id":1581,"slug":1582,"title":1583,"dynasty":18,"author":320,"museum":20,"description":1584,"tags":1585,"thumbUrl":1587,"material":35,"size":35,"collection":35,"collections":1588,"showCount":1589,"zanCount":11,"manualWeight":11,"mainColor":82},239310,"cha-shao-liang-mo-bi-yu-fu-tu-shan-mian-yi-ming-239310","查劭良墨笔渔父图扇面","此作用金笺墨笔绘就江渚幽居之景，疏柳欹斜，条叶舒展含风，湖石错落映带浅滩。扁舟横泊，渔父隐于舱中，静享江天寥廓闲逸。\n\n笔墨简逸苍润，以写意之笔勾勒点染，脱尽繁缛，淡墨晕染出江南水畔清寂空疏的氛围。题识与画境相融，以极简笔意藏起江湖渔隐的恬然自适，寥寥数笔便将幽独萧散的隐逸之思烘托尽致，尽显文人画以画明志、遣兴抒怀的精妙意韵。",[23,152,24,1586,27,26,28,7,56,751,107,58],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496ed84ecdee9172809f4eaddc0f3c5e.jpg",[],8,{"id":1591,"slug":1592,"title":1593,"dynasty":18,"author":797,"museum":20,"description":1594,"tags":1595,"thumbUrl":1596,"material":35,"size":35,"collection":35,"collections":1597,"showCount":1589,"zanCount":11,"manualWeight":11,"mainColor":41},234629,"fang-wu-zhen-shan-shui-shan-ye-lan-ying-234629","仿吴镇山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。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。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[23,52,152,26,24,27,949,28,7,91,107,31,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf73c7eda271481e6185734fa3c895cd.jpg",[],{"id":1599,"slug":1600,"title":1601,"dynasty":18,"author":1602,"museum":20,"description":1603,"tags":1604,"thumbUrl":1605,"material":507,"size":508,"collection":35,"collections":1606,"showCount":1589,"zanCount":11,"manualWeight":11,"mainColor":41},230991,"yu-le-tu-zhou-chen-230991","渔乐图","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[23,53,26,56,218,27,24,217,28,7,31,166,165,59,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d5492e12e7ca9101bce747991b1ada.jpg",[],{"id":1608,"slug":1609,"title":1610,"dynasty":18,"author":1611,"museum":20,"description":1612,"tags":1613,"thumbUrl":1615,"material":507,"size":508,"collection":35,"collections":1616,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":41},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[23,25,24,27,26,235,153,465,28,7,236,107,438,237,1614],"桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],7,{"id":1619,"slug":1620,"title":1621,"dynasty":585,"author":1622,"museum":20,"description":1623,"tags":1624,"thumbUrl":1626,"material":35,"size":35,"collection":35,"collections":1627,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":41},238210,"duan-yang-gu-shi-ce-zhi-cai-yao-cao-xu-yang-238210","端阳故事册之采药草","徐扬","青绿山坳间，飞瀑流泉衬出林野幽寂。四人各循其处，将端午采药的日常铺展在丘壑间。松下负锄者提篮缓行，山道上背药疾走，溪滩幼童俯身撷取草木。\n\n笔墨工秀兼具，浅绛晕染山石肌理，苍松虬曲古拙，衣褶简练灵动，人物神态专注鲜活。将节令风俗融于林泉丘壑，以雅致设色晕染出清润山居图景，既有院体的精致工细，又饱含文人山水的悠远意境，细腻还原古人端午采药避秽的传统风貌，将俗常节令化作诗意悠然的田园意趣。",[52,23,53,90,217,218,122,26,31,29,107,7,1625],"草药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf8531b01438040ab03a629f24d6f8f.jpg",[],{"id":1629,"slug":1630,"title":1631,"dynasty":585,"author":1632,"museum":136,"description":1633,"tags":1634,"thumbUrl":1635,"material":35,"size":35,"collection":143,"collections":1636,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":41},237128,"shan-shui-tu-ce-yao-song-237128","山水图册","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。",[23,53,90,24,217,26,122,7,281,56,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf3105743d973fa8551c40b96dd6089.jpg",[143],{"id":1638,"slug":1639,"title":86,"dynasty":18,"author":1383,"museum":20,"description":1640,"tags":1641,"thumbUrl":1642,"material":35,"size":35,"collection":35,"collections":1643,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":41},235972,"shan-shui-ce-cheng-jia-sui-235972","此作用笔极简淡空灵，右侧江岸柳丝垂曳，扁舟横卧，舟中一人静默独坐，远山以淡墨轻扫晕染，留白铺就出悠悠江天，萧散清寂之意扑面而来。左侧小楷题诗与画境呼应，将幽栖江上、洗耳忘世的隐逸心境缓缓铺陈。整体笔墨松秀简远，以少胜多，将山水之境与文人避世孤高的情怀相融，尽显尚淡尚简的文人意趣，诗画共生，勾勒出静穆孤高的出世之境，淡远悠长的余韵萦于纸间。",[23,53,90,852,24,59,60,26,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40651cb5e6ba690152fdc31a26835ca1.jpg",[],{"id":1645,"slug":1646,"title":1647,"dynasty":1571,"author":1648,"museum":48,"description":1649,"tags":1650,"thumbUrl":1655,"material":35,"size":35,"collection":36,"collections":1656,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":1657},203399,"chun-jiang-yan-yu-tu-zhou-wu-shi-xian-203399","春江烟雨图轴","吴石仙","烟雨笼春江，雾气轻漫四野。远山隐于朦胧间，近树以湿笔晕染，枝叶含烟。江面帆影绰绰，岸边屋舍错落，孤舟蓑笠翁静对烟波，似忘尘嚣。画家以淡墨层层渲染，皴擦结合显山石湿润肌理，色彩素雅却韵致悠长，将江南水乡的温婉朦胧与宁静致远之境凝于尺幅，尽显烟雨山水的独特情韵。",[23,26,24,27,28,7,1651,1652,1653,56,1654,31,51],"烟雨","湿笔","屋舍","春江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1cf24e9af771b795e1c6b961d904f97.jpg",[36],"917b68",{"id":1659,"slug":1660,"title":1661,"dynasty":585,"author":1662,"museum":48,"description":1663,"tags":1664,"thumbUrl":1666,"material":35,"size":35,"collection":36,"collections":1667,"showCount":1617,"zanCount":98,"manualWeight":11,"mainColor":1668},202237,"xi-shan-xi-zhao-tu-zhou-wu-qing-yun-202237","溪山夕照图轴","吴庆云","画面以水墨晕染出溪山的朦胧韵致，夕阳余晖轻洒层峦，暖金与深黛的林木相映成趣。溪畔木屋错落，几人凭栏闲话，添生活意趣；一叶孤舟泛于水面，蓑笠翁身影悠然，似与山水相融。笔墨间兼具传统皴擦点染之妙，设色淡雅却见层次，将夕照时分的静谧与生机巧妙交织，尽显自然之美与文人雅怀。",[23,26,24,217,28,7,552,27,1665,51],"文人意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58528fc13457cb5ff2de62853fd11051.jpg",[36],"a69f99",{"id":1670,"slug":1671,"title":351,"dynasty":277,"author":1672,"museum":20,"description":1673,"tags":1674,"thumbUrl":1675,"material":507,"size":508,"collection":35,"collections":1676,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":41},289998,"niu-dai-song-289998","戴嵩","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。弟戴峄，擅画水牛。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”，传世作品有《斗牛图》",[52,23,24,122,351,60,165,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc560693cbfd068e1b840d78eb3a8a71f.jpg",[],{"id":1678,"slug":1679,"title":1680,"dynasty":585,"author":1681,"museum":20,"description":1682,"tags":1683,"thumbUrl":1684,"material":507,"size":508,"collection":35,"collections":1685,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":41},287354,"shan-shui-tu-ce-9-wang-gai-287354","山水图册-9","王槩","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[23,90,26,28,7,236,107,528,24,217,165,60,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dffed0f34415aaddf411aa07e729e70.jpg",[],{"id":1687,"slug":1688,"title":86,"dynasty":585,"author":1689,"museum":20,"description":1690,"tags":1691,"thumbUrl":1692,"material":35,"size":35,"collection":35,"collections":1693,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":41},238140,"shan-shui-ce-yun-xi-238140","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。",[23,24,27,26,28,7,236,107,31,388,237,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d48b2ed33b731d2b7fc787c0de2a210.jpg",[],{"id":1695,"slug":1696,"title":1697,"dynasty":585,"author":1698,"museum":20,"description":1699,"tags":1700,"thumbUrl":1701,"material":35,"size":35,"collection":35,"collections":1702,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":41},237135,"shan-shui-ren-wu-ce-7-shang-guan-zhou-237135","山水人物册7","上官周","上官周（1665－1749后），福建长汀南山官坊人，原名世显，后改名周，字文佐，号竹庄，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。所著《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。上官周自幼聪颖，治艺勤奋，学识渊博，擅长诗文、书法、篆刻，尤精于画。",[23,53,90,24,59,60,26,28,122,684,388,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9939f8678e0e401c8bc09686555c5070.jpg",[],{"id":1704,"slug":1705,"title":1706,"dynasty":585,"author":320,"museum":136,"description":1707,"tags":1708,"thumbUrl":1709,"material":239,"size":1710,"collection":35,"collections":1711,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":82},234899,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234899","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[23,53,90,24,217,26,27,59,28,7,29,32,31,58,563,60,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ad99601fd92d64dfce53d08f3e5d05.jpg","25.7×33厘米",[],{"id":1713,"slug":1714,"title":1715,"dynasty":585,"author":1716,"museum":87,"description":1717,"tags":1718,"thumbUrl":1719,"material":1720,"size":1721,"collection":35,"collections":1722,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":41},223107,"qing-jiang-chui-diao-dong-bang-da-223107","清江垂钓","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。",[51,23,24,27,90,26,91,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6eb1924499d01475773b779b11c98ba.jpg","白纸本","12.5x16厘米",[],{"id":1724,"slug":1725,"title":1726,"dynasty":18,"author":1727,"museum":48,"description":1728,"tags":1729,"thumbUrl":1730,"material":35,"size":35,"collection":36,"collections":1731,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":1732},203386,"za-hua-ce-xu-duan-ben-203386","杂画册","徐端本","水墨晕染的远山层叠空濛，近岸枯树以浓墨点染，虬枝苍劲。水岸孤舟静泊，蓑笠翁独对江天，清寂意趣尽显。山峦用淡墨皴擦，线条简练见笔力；右侧行书题跋流畅洒脱，朱红印章相映成趣，书画相生。整体格调疏淡空灵，写意山水的悠远神韵扑面而来。",[23,24,26,28,7,27,59,60,90,53,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9b03252dd5f56c88cac2583e0cef225.jpg",[36],"d5c0ab",{"id":1734,"slug":1735,"title":1736,"dynasty":585,"author":1662,"museum":48,"description":1737,"tags":1738,"thumbUrl":1739,"material":35,"size":35,"collection":35,"collections":1740,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":1741},202326,"xi-qiao-yan-yu-tu-zhou-wu-qing-yun-202326","溪桥烟雨图轴","画面烟水氤氲，远山隐于薄雾，墨色由淡至浓晕染出层叠朦胧。近岸茅舍临流，木栏疏朗；溪上小桥横卧，行人影绰；水面孤舟轻漾，蓑笠渔者静对烟波。笔墨以水墨为基，兼施淡彩，雨雾用湿墨渲染得湿润欲滴，树木简笔点染见生机，山石凭墨色浓淡显肌理，少皴法却富层次。整体气韵清润雅致，江南烟雨的迷离诗意扑面而来，仿佛能闻雨打枝叶之声，观之如置身烟水空濛的江南一隅。",[23,24,217,26,166,31,28,7,1651,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7cec88730b9daa8dfac53d62dec359.jpg",[],"a2988b",{"id":1743,"slug":1744,"title":86,"dynasty":585,"author":1689,"museum":20,"description":1745,"tags":1746,"thumbUrl":1747,"material":35,"size":35,"collection":35,"collections":1748,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":41},238151,"shan-shui-ce-yun-xi-238151","此作画境淡远清和，烟峦笼于薄雾，似隐似现晕开悠远底色。危崖夹溪对峙，古松虬枝盘曲，掩映半山朱楼，浅绛敷色晕染山石，苍秀笔墨勾勒出岩崖肌理，温润雅致间带着沉凝质感。\n\n溪面波痕轻泛，扁舟随水漾开，渔翁垂纶闲坐，童子静立身侧，寥寥数笔点出世外幽居的散淡闲情。章法开合有度，将林泉丘壑与林下襟怀相融，笔墨简净而意趣悠长，静穆萧散中尽显文人山水的雅逸襟致。",[23,217,27,90,26,438,28,7,31,107,29,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1797c7f3006e9261bb9a7c8f0b1dcb89.jpg",[],{"id":1750,"slug":1751,"title":1752,"dynasty":18,"author":1753,"museum":136,"description":1754,"tags":1755,"thumbUrl":1756,"material":426,"size":1757,"collection":35,"collections":1758,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":41},236482,"shan-shui-ren-wu-ce-guo-fen-ya-236482","山水人物册","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[23,24,90,852,26,122,28,7,684,91,31,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb202a7336136f338bf6b7017558691.jpg","纵38.8厘米，横60.4厘米",[],{"id":1760,"slug":1761,"title":1762,"dynasty":18,"author":320,"museum":20,"description":1763,"tags":1764,"thumbUrl":1765,"material":507,"size":508,"collection":35,"collections":1766,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":41},235835,"jiang-song-shan-shui-zhou-yi-ming-235835","蒋嵩山水轴","此作用留白铺就江天悠远意境，近岸枯木斜出，疏枝缀萼，垂条摇曳含着晚来秋意，坡岸蒹葭苍苍，野趣横生。中景扁舟一叶，渔翁俯身整理渔具，身形简括却神态安然，渔网静卧船头，漾出江上生计的闲散况味。远景汀洲以淡墨晕染，烟水空濛，将江天辽阔藏在留白之中。全作以水墨浓淡分出层次，笔意纵逸简淡，未作繁复皴染，寥寥笔墨写尽江乡清寂诗意，将江湖渔隐的安闲雅致融在烟水之间，观之如临清秋江渚，幽淡闲远的意境扑面而来。",[23,53,52,25,24,26,28,7,751,57,665,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75688a21c81c1a5d4b199bb00f6a0ed2.jpg",[],{"id":1768,"slug":1769,"title":1770,"dynasty":585,"author":1771,"museum":136,"description":1772,"tags":1773,"thumbUrl":1774,"material":531,"size":1775,"collection":35,"collections":1776,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":41},233447,"ren-wu-shan-shui-ce-luo-pin-233447","人物山水册","罗聘","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[23,53,90,24,217,122,26,139,7,577,92,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe9195b07b86cf1f7afa6179f485290.jpg","纵24.2厘米，横30.7厘米",[],{"id":1778,"slug":1779,"title":1780,"dynasty":944,"author":320,"museum":20,"description":1781,"tags":1782,"thumbUrl":1785,"material":35,"size":35,"collection":35,"collections":1786,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":41},225329,"fu-shi-hui-80-yi-ming-225329","浮世绘80","初雪轻覆隅田湾，澄澈蓝波托着覆雪渔舟，舱顶积雪似凝霜，静泊水面晕开冬日清寂。汀渚林木素白裹着苍绿，柔化了凛冬寒意。远处滩涂农夫负薪徐行，把烟火暖意揉进淡远暮色里。\n\n画作以平远构图铺展近郊冬景，雅致设色晕染出清冷疏朗氛围，将幽寂冬色与俗世温情相融，把寻常冬日常景，绘成诗意栖居的画卷，尽显风景绘的侘寂美学，定格下日常风物里的清宁温柔。",[950,1783,217,26,28,7,194,193,31,139,235,1784,56],"木刻","鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d053a755b841d51128d3cdce096bf3c.jpg",[],{"id":1788,"slug":1789,"title":1790,"dynasty":585,"author":1058,"museum":48,"description":1791,"tags":1792,"thumbUrl":1793,"material":1794,"size":1795,"collection":35,"collections":1796,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":41},222617,"shan-shui-ba-jing-7-gong-xian-222617","山水八景-7","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[51,23,24,27,26,28,7,166,31,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa752e449fa9c8910dd0ea8b775ce48cd.jpg","纸","纵24.4 厘米 横49.7 厘米",[],{"id":1798,"slug":1799,"title":1800,"dynasty":585,"author":586,"museum":48,"description":1801,"tags":1802,"thumbUrl":1803,"material":35,"size":35,"collection":35,"collections":1804,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":1805},202440,"qing-xi-chui-diao-tu-zhou-hua-yan-202440","清溪垂钓图轴","画面中山峦层叠，云雾如缕缠绕峰腰，墨色浓淡交织出丘壑深浅之韵。岸边树木枝干虬劲，叶丛以泼墨点染，或浓或淡，姿态疏朗有致；水面孤舟轻泛，蓑笠翁静倚船舷，垂竿于清溪之上，神情悠然自适。笔墨灵动洒脱，线条兼具柔婉与刚劲，水墨晕染自然，皴擦间显山石肌理，整体意境清寂淡远，尽显渔隐之趣，仿佛引观者步入尘外幽境，心随流水缓，意伴闲云舒。",[23,24,26,28,7,27,56,29,221,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F241ba1b63c09b94851c679cb7b0a2ffe.jpg",[],"ccc5bd",{"id":1807,"slug":1808,"title":1809,"dynasty":585,"author":320,"museum":20,"description":1810,"tags":1811,"thumbUrl":1814,"material":507,"size":508,"collection":35,"collections":1815,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":82},257906,"qing-hua-han-jiang-du-diao-tu-bi-yan-hu-yi-ming-257906","青花寒江独钓图鼻烟壶","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[1812,853,1813,26,28,56,166,31,7,123],"陶瓷","青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff833b10396ab6031d530ca386313864e.jpg",[],{"id":1817,"slug":1818,"title":1819,"dynasty":585,"author":1698,"museum":20,"description":1820,"tags":1821,"thumbUrl":1822,"material":507,"size":508,"collection":35,"collections":1823,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},239490,"shan-shui-ce-3-shang-guan-zhou-239490","山水册3","上官周（1665年—1752年），原名世显，后改名周，字文佐，号竹庄，福建长汀南山官坊人，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。\n山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。",[23,53,90,24,27,26,28,91,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1852e608baf86edefaabe4cdc812fe80.jpg",[],{"id":1825,"slug":1826,"title":86,"dynasty":585,"author":662,"museum":20,"description":1827,"tags":1828,"thumbUrl":1830,"material":507,"size":508,"collection":35,"collections":1831,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},239330,"shan-shui-ce-cha-shi-biao-239330","查士标，查士标（1615-1698） 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生活的温度，让寻常的买卖场景，成为时光里生动的印记。",[51,852,90,122,853,1964,7],"买卖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F280145d3db912c7723a905579ecc4df3.jpg",[],{"id":1968,"slug":1969,"title":1970,"dynasty":585,"author":320,"museum":20,"description":1971,"tags":1972,"thumbUrl":1973,"material":426,"size":35,"collection":35,"collections":1974,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":41},215409,"bai-miao-jie-tou-mai-mai-hua-ce-147-yi-ming-215409","白描街头买卖画册-147","素纸间线条婉转，织就一幅市井劳作的剪影。戴笠人衣袂似覆轻絮，身姿前倾时臂弯绷紧，牵引着网状物的轮廓在纸上舒展，动态感呼之欲出。脚下木架的榫卯、旁侧陶罐的肌理，皆以简练笔触一一铺陈，无华彩却见真章。人物眉眼虽简，却藏着专注的力道，每道线条都浸着街头买卖的烟火气。白描的清隽与生活的鲜活在此碰撞，寻常劳作场景被赋予细腻温度，仿佛能触到木架的糙感、嗅到陶罐的朴味，将往昔市井的生动瞬间凝于笔端，留待观者细品。",[51,852,90,122,7,1878,853,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c0f538e03ab45ef7cb85f58c14464e.jpg",[],{"id":1976,"slug":1977,"title":1978,"dynasty":585,"author":1979,"museum":761,"description":1980,"tags":1981,"thumbUrl":1982,"material":223,"size":35,"collection":35,"collections":1983,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":41},214989,"ren-wu-tu-ce-7-gu-jian-long-214989","人物图册-7","顾见龙","画面绘二僧，一立一坐。立者斗笠覆首，宽袍缓带，手拄锡杖，身形挺拔却藏几分悠然；坐者蜷身于地，衣袂堆叠如流云，怀抱软物似入浅眠，神态憨然松弛。淡墨线条勾勒衣纹，或轻或重，流转间见布料质感；肤色与衣袍以素色晕染，层次淡雅却显温润。二人虽动静有别，却共融于清寂氛围中，似是山间禅居的片刻闲逸，笔墨间藏着对日常禅意的细腻捕捉，尽显雅致与生活气息。",[51,23,53,90,852,217,122,7,892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393b41744df5f374986252a6f45fed26.jpg",[],{"id":1985,"slug":1986,"title":45,"dynasty":46,"author":47,"museum":48,"description":1987,"tags":1988,"thumbUrl":1989,"material":35,"size":35,"collection":36,"collections":1990,"showCount":81,"zanCount":98,"manualWeight":11,"mainColor":1991},201419,"yu-fu-tu-juan-wu-zhen-201419","烟水弥漫处，孤舟一叶浮于江面，蓑笠渔翁静坐船头，神态悠然似忘尘。近岸芦苇轻摇，远山以湿墨皴擦，山峦起伏隐于雾霭，笔墨苍厚中见清逸之韵。渔父形象寄寓超脱世俗的隐逸之志，卷中题跋书法流畅，与画面相得益彰，文画交融更添雅趣。整卷意境静谧淡远，水晕墨章间流淌着渔樵之趣，尽显元人山水的空灵神韵。",[24,26,28,7,27,56,54,165,60,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656dc269354a1443cccfdab097ee39e0.jpg",[36],"a99c8f",{"id":1993,"slug":1994,"title":1995,"dynasty":18,"author":1996,"museum":20,"description":1997,"tags":1998,"thumbUrl":1999,"material":507,"size":508,"collection":35,"collections":2000,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":41},237505,"shan-shui-hua-hui-ce-jiang-shou-cheng-237505","山水花卉册","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[23,53,90,852,24,165,28,7,338,26,29,32,220,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc17cfcf01e8bdb2865273740062cde5.jpg",[],{"id":2002,"slug":2003,"title":1631,"dynasty":585,"author":1632,"museum":20,"description":2004,"tags":2005,"thumbUrl":2006,"material":507,"size":508,"collection":35,"collections":2007,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":41},237484,"shan-shui-tu-ce-yao-song-237484","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[23,53,90,24,59,27,26,28,7,29,57,388,665,764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4bc78d7045ee7e17f24abd8173b8bf.jpg",[],{"id":2009,"slug":2010,"title":2011,"dynasty":585,"author":320,"museum":20,"description":2012,"tags":2013,"thumbUrl":2014,"material":35,"size":35,"collection":35,"collections":2015,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":657},230308,"li-dai-ming-ren-tu-xiang-yi-ming-230308","历代名人图像","此作朴拙灵动，是典型的民间工笔设色风貌。画面中主人宽袍斗笠，虬髯乍起，怒目挑眉，神情倨傲疏狂，右手摊开似在高声斥骂。两名仆从神态迥异，红衣童子负弓背篓，满脸不耐不屑，侧头顶撞主人；另一名童子探身附耳，神色狡黠。\n\n设色浓淡相宜，红蓝撞色醒目亮眼，将主仆间的张力烘托得淋漓尽致。构图留白恰到好处，以简练线条勾勒人物轮廓，舍去背景衬托，把所有目光聚焦在人物互动之上，带着浓厚的市井民俗意趣，以直白鲜活的造型，将古人鲜活情态定格纸面，拙中藏巧，尽显民间画师对人情世态的敏锐体察。",[23,53,217,218,122,892,60,7,853],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd56a3230b1326aaaf1ac770b0ecfe659.jpg",[],{"id":2017,"slug":2018,"title":2019,"dynasty":944,"author":320,"museum":20,"description":2020,"tags":2021,"thumbUrl":2027,"material":507,"size":508,"collection":35,"collections":2028,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":41},225555,"fu-shi-hui-21-yi-ming-225555","浮世绘21","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[950,1783,852,122,2022,7,2023,2024,2025,2026],"美人","武士","服饰","建筑局部","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47a3990c70467cb43b02ef82f9beb923.jpg",[],{"id":2030,"slug":2031,"title":2032,"dynasty":585,"author":786,"museum":20,"descriptio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五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[2167,2168,217,26,122,28,7,31,56],"内画","鼻烟壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa47fc9ed8137836d1d4bedd5efff2cd.jpg",[],{"id":2172,"slug":2173,"title":2174,"dynasty":18,"author":2175,"museum":136,"description":2176,"tags":2177,"thumbUrl":2180,"material":426,"size":35,"collection":1406,"collections":2181,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":41},240997,"shu-yi-lu-tang-ye-ji-lian-ju-juan-zhu-ying-deng-240997","书宜禄堂夜集联句卷","朱应登","此狂草长卷笔墨纵逸酣畅，字势奇宕舒展。牵丝映带间流转自然，将唱和雅兴寄寓于笔墨节律。布白疏密相生，时如惊风骤雨、字间缠绕密不透风，时似空山留白、疏朗自在。行与行错落呼应，如流泉奔涌一气呵成。墨色枯润浓淡交织，燥锋挺劲见筋骨，湿笔腴润藏温雅，起落提按间暗合夜集疏放的文人意气，尽显狂草抒情性与法度之美。",[51,165,54,59,24,60,26,28,7,166,31,193,281,684,2178,1878,2179],"兰","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c98dbb2e6557e349cc7e45226036aa3.jpg",[1406],{"id":2183,"slug":2184,"title":86,"dynasty":585,"author":1716,"museum":20,"description":2185,"tags":2186,"thumbUrl":2187,"material":35,"size":35,"collection":35,"collections":2188,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":41},238305,"shan-shui-ce-dong-bang-da-238305","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[52,23,53,90,24,27,26,563,91,28,338,7,31,107,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb970ef7d0b22f9ba3bbfe498288384c6.jpg",[],{"id":2190,"slug":2191,"title":2192,"dynasty":18,"author":2193,"museum":20,"description":2194,"tags":2195,"thumbUrl":2196,"material":35,"size":35,"collection":35,"collections":2197,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":41},233634,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233634","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。",[23,53,90,1783,217,24,122,92,789,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bde464b6f1a59ae5b31cc01b1a57c80.jpg",[],{"id":2199,"slug":2200,"title":2201,"dynasty":944,"author":320,"museum":20,"description":2020,"tags":2202,"thumbUrl":2203,"material":507,"size":508,"collection":35,"collections":2204,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":41},225563,"fu-shi-hui-37-yi-ming-225563","浮世绘37",[950,852,122,2022,7,853],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9977cbd0b3800d17d2cf9e9baf0a76fc.jpg",[],{"id":2206,"slug":2207,"title":2208,"dynasty":944,"author":320,"museum":20,"description":2209,"tags":2210,"thumbUrl":2212,"material":35,"size":35,"collection":35,"collections":2213,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":41},225365,"fu-shi-hui-121-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