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近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[25,85,127,62,60,61,30,128,69,129,65,130,7],"立轴","瀑布","岩石","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","绢本","纵185.8厘米，横106.8厘米",[],621,4,{"id":138,"slug":139,"title":140,"dynasty":18,"author":141,"museum":20,"description":142,"tags":143,"thumbUrl":144,"material":145,"size":146,"collection":77,"collections":147,"showCount":149,"zanCount":150,"manualWeight":11,"mainColor":51},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,25,85,26,86,28,62,105,69,66,103,7,29,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","绢本设色","纵55.6厘米，横323.2厘米",[77,148,91],"花鸟画精选",551,9,{"id":152,"slug":153,"title":154,"dynasty":98,"author":155,"museum":124,"description":156,"tags":157,"thumbUrl":159,"material":160,"size":161,"collection":75,"collections":162,"showCount":163,"zanCount":164,"manualWeight":11,"mainColor":165},218534,"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","仇英","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[25,29,28,86,102,62,103,105,69,111,158,7],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纸本,设色","纵 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公分",[75],501,5,"BDBDBD",{"id":167,"slug":168,"title":169,"dynasty":18,"author":170,"museum":171,"description":172,"tags":173,"thumbUrl":177,"material":113,"size":178,"collection":75,"collections":179,"showCount":180,"zanCount":164,"manualWeight":11,"mainColor":51},218620,"luo-shen-fu-tu-yi-ming-218620","洛神赋图","佚名","大英博物馆","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[23,26,29,28,39,62,174,175,176,69,105,7],"龙","舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daa44aeeabdd0261586d0876b40f8f4.jpg","53.7x832.8",[75,77],458,{"id":182,"slug":183,"title":184,"dynasty":98,"author":155,"museum":171,"description":185,"tags":186,"thumbUrl":197,"material":113,"size":198,"collection":90,"collections":199,"showCount":200,"zanCount":201,"manualWeight":11,"mainColor":51},219566,"xi-yuan-ya-ji-tu-chou-ying-219566","西园雅集图","层叠奇峰拔地而起，晕染出幽寂高远的山境，霜林点丹、佳木凝翠，清溪蜿蜒穿绕岩谷。林麓间亭台隐现，雅集之人或立谈论艺，或执卷沉吟，侧旁侍童恭谨随侍，右下角二童煎茶添趣，将文人林下雅聚的闲逸意趣尽数铺陈。\n画作工细妍雅，设色清丽古润，以院体精工勾勒人物神态衣袂，又以文人画的萧散意韵晕染山水林泉，复刻出雅集的风流意气，将古今文人心心念念的林下清欢，凝于绢素之上，尽显古雅悠然的中式意趣。",[23,25,24,28,29,62,187,188,189,190,7,191,192,193,194,195,196],"奇峰","霜林","佳木","清溪","文人雅集","侍童","煎茶","闲逸意趣","古雅悠然","林下雅聚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0809efd85a8a77ee96ecfd1cf70ae5e.jpg","纵127.90横54厘米",[90,91],273,2,{"id":203,"slug":204,"title":205,"dynasty":98,"author":155,"museum":57,"description":206,"tags":207,"thumbUrl":219,"material":47,"size":47,"collection":47,"collections":220,"showCount":221,"zanCount":136,"manualWeight":11,"mainColor":51},228453,"qing-ming-shang-he-tu-shou-juan-han-yin-shou-ti-ba-chou-ying-228453","清明上河图手卷含引首题跋","此作以精工院笔重绘旧题，将晚明江南的升平烟火铺陈于长卷之内。青绿设色妍雅清丽，线条秀劲灵动，亭台楼阁层叠错落，商铺酒肆鳞次栉比，行人车马往来穿梭，贩夫走卒、文人仕女神态各异，鲜活复刻出南都的富庶风华。它既承袭古本骨架，又暗合明代世情，把市肆喧闹、舟桥津渡的俗世温情藏进每一处细节，工致的笔触晕染出江南独有的雅致与鲜活，让观者如穿行旧巷，尽览晚明的人间盛景。",[23,24,25,26,208,29,209,102,103,7,210,211,212,213,214,215,39,216,217,218],"手卷","青绿设色","商铺","酒肆","舟桥","津渡","行人","车马","市井生活","富庶风华","俗世温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc788a28a455ea93496704656398401.jpg",[],240,{"id":223,"slug":224,"title":225,"dynasty":226,"author":227,"museum":124,"description":228,"tags":229,"thumbUrl":233,"material":113,"size":234,"collection":75,"collections":235,"showCount":236,"zanCount":237,"manualWeight":11,"mainColor":51},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","唐","李昭道","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[24,25,85,26,86,28,29,102,62,103,39,104,230,69,7,231,232],"船只","桥梁","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[75],208,1,{"id":239,"slug":240,"title":241,"dynasty":98,"author":170,"museum":242,"description":243,"tags":244,"thumbUrl":251,"material":160,"size":252,"collection":75,"collections":253,"showCount":254,"zanCount":237,"manualWeight":11,"mainColor":51},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[24,25,85,26,62,60,61,245,246,247,63,248,249,69,250,7,65],"临摹","松树","孤舟","近水","峭壁","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[75],175,{"id":256,"slug":257,"title":258,"dynasty":18,"author":259,"museum":260,"description":261,"tags":262,"thumbUrl":267,"material":268,"size":269,"collection":77,"collections":270,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":51},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","李成","辽宁省博物馆","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[23,25,24,85,26,62,61,28,263,63,69,105,65,264,132,265,266,130,7],"茂林","淡墨","层峦","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","绢本，淡设色","纵45.4厘米，横141.8厘米",[77,75,271],"水墨画精选",144,{"id":274,"slug":275,"title":276,"dynasty":277,"author":278,"museum":20,"description":279,"tags":280,"thumbUrl":282,"material":283,"size":284,"collection":75,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":165},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","清","王原祁","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[23,25,60,61,245,127,62,105,69,66,281,7,72],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纸本,水墨","纵141.7厘米，横51厘米",[75],136,{"id":288,"slug":289,"title":290,"dynasty":277,"author":170,"museum":20,"description":291,"tags":292,"thumbUrl":300,"material":45,"size":301,"collection":47,"collections":302,"showCount":303,"zanCount":11,"manualWeight":11,"mainColor":51},236169,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236169","雍正十二月行乐图轴","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[25,28,29,102,62,103,293,39,7,105,69,294,295,296,297,298,299],"园林","行乐图","宫廷生活","节令风俗","中式建筑","西式建筑","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff841a07266c24ab45bc115c2dd2f7821.jpg","纵188.2厘米，横102.2厘米",[],135,{"id":305,"slug":306,"title":307,"dynasty":98,"author":308,"museum":309,"description":310,"tags":311,"thumbUrl":317,"material":113,"size":318,"collection":75,"collections":319,"showCount":320,"zanCount":321,"manualWeight":11,"mainColor":165},219124,"jin-jiang-tu-juan-sun-zhi-219124","锦江图卷","孙枝","天津博物馆","孙枝，明，字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人，生卒年不详。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳",[23,25,26,86,28,62,61,30,66,312,230,69,7,88,313,314,315,316],"岛屿","水面","舟楫","远岫","近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c919032926458bb7688a31b9f9ffdb.jpg","37X595cm",[75],128,6,{"id":323,"slug":324,"title":325,"dynasty":326,"author":327,"museum":328,"description":329,"tags":330,"thumbUrl":332,"material":160,"size":333,"collection":75,"collections":334,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":165},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","元","王蒙","上海博物馆","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[25,85,26,60,61,62,331,69,70,247,65,72,105,7],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[75],119,{"id":337,"slug":338,"title":339,"dynasty":277,"author":340,"museum":20,"description":341,"tags":342,"thumbUrl":344,"material":113,"size":345,"collection":75,"collections":346,"showCount":347,"zanCount":237,"manualWeight":11,"mainColor":165},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","王鉴","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[23,25,85,26,86,28,62,61,30,69,130,343,65,7],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[75],109,{"id":349,"slug":350,"title":351,"dynasty":277,"author":352,"museum":124,"description":353,"tags":354,"thumbUrl":357,"material":145,"size":358,"collection":75,"collections":359,"showCount":360,"zanCount":237,"manualWeight":11,"mainColor":361},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,25,85,127,29,28,102,39,103,62,355,69,104,70,7,105,232,356],"船","游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg","188.2*102.2cm",[75,91],101,"F48FB1",{"id":363,"slug":364,"title":365,"dynasty":98,"author":366,"museum":328,"description":367,"tags":368,"thumbUrl":374,"material":160,"size":47,"collection":47,"collections":375,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":377},214658,"qiu-xing-ba-jing-tu-ce-1-dong-qi-chang-214658","秋兴八景图册-1","董其昌","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[369,60,28,62,370,69,371,61,372,105,373,7],"文人画","秋景","册","写意","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10dabbb12a6134bd0b3af4b7144fde3e.jpg",[],97,"37474F",{"id":379,"slug":380,"title":381,"dynasty":277,"author":382,"museum":260,"description":383,"tags":384,"thumbUrl":386,"material":387,"size":388,"collection":47,"collections":389,"showCount":390,"zanCount":237,"manualWeight":11,"mainColor":51},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法","王翚","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,25,85,62,385,61,28,127,30,69,70,104,65,7,158,39,129],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg","纸本 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从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[25,85,127,102,28,29,62,103,7,65,69,105,70,158,438],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg","纵266.2厘米，横163厘米",[],83,{"id":444,"slug":445,"title":446,"dynasty":277,"author":382,"museum":57,"description":447,"tags":448,"thumbUrl":458,"material":47,"size":47,"collection":47,"collections":459,"showCount":460,"zanCount":237,"manualWeight":11,"mainColor":165},237592,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237592","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[25,60,385,61,62,105,69,7,104,128,281,449,450,451,452,453,454,455,456,457],"册页","传统山水","水墨画","点染","山石皴擦","树木勾勒","山水意境","古典山水","水墨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f3e122c7aae29ed9eacddd5644f01b.jpg",[],82,{"id":462,"slug":463,"title":464,"dynasty":277,"author":465,"museum":466,"description":467,"tags":468,"thumbUrl":473,"material":113,"size":474,"collection":75,"collections":475,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":165},218708,"qian-long-nan-xun-tu-yue-shi-huang-huai-he-gong-xu-yang-218708","乾隆南巡图-阅视黄淮河工","徐扬","美国大都会艺术博物馆","本卷以“御制恭依皇祖揽黄淮诗韵”为文,描绘乾隆皇帝渡过黄河后,当日和次日视察黄河、淮河、运河和洪泽湖四大水系汇合处险要工程的场景.本幅开卷的宽阔江面,全以细笔勾勒水波,缜密而不失丰富层次,其中江水因含沙量不同,一清一浑、泾渭分明,足称奇观.堤坝之上,皇帝立于华盖之下,心系社稷黎民；\n沿途群臣下跪翘首,感激皇威浩荡.卷前有词臣于敏中题诗：御碑亭畔汇清黄，仰溯涂山疏瀹方。端拱九重遑自逸，酬咨万姓切如伤。惟斯继述诚应勖，亦曰流连慎戒荒，高堰重蒙皇考建，千秋淮郡倚金汤。御制恭依皇祖览淮黄诗韵。臣于敏中奉敕敬书。",[23,25,85,26,29,28,102,66,469,30,313,111,39,230,69,7,470,108,471,472],"堤坝","旗帜","岸滩","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[75],79,{"id":478,"slug":479,"title":480,"dynasty":98,"author":481,"museum":57,"description":482,"tags":483,"thumbUrl":484,"material":47,"size":47,"collection":91,"collections":485,"showCount":486,"zanCount":237,"manualWeight":11,"mainColor":165},239038,"xian-shan-lou-ge-tu-sheng-mao-ye-239038","仙山楼阁图","盛懋烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[25,85,127,28,62,61,71,103,246,105,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab740f67c531848bac66c388d0ad2130.jpg",[91],77,{"id":488,"slug":489,"title":490,"dynasty":277,"author":340,"museum":124,"description":491,"tags":492,"thumbUrl":493,"material":132,"size":494,"collection":47,"collections":495,"showCount":496,"zanCount":11,"manualWeight":11,"mainColor":165},224479,"fang-zhao-meng-fu-shan-shui-zhou-wang-jian-224479","仿赵孟頫山水轴","王鉴最早从董源入手，1636年，39岁的王鉴结识了董其昌，由此开始深受董其昌影响，后承绪南宗正脉，并涉足擅长青绿山水的三赵 ( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[23,25,85,127,385,86,28,61,62,105,69,70,104,7,39,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],76,{"id":498,"slug":499,"title":500,"dynasty":98,"author":501,"museum":57,"description":502,"tags":503,"thumbUrl":506,"material":507,"size":47,"collection":90,"collections":508,"showCount":509,"zanCount":11,"manualWeight":11,"mainColor":51},237222,"chen-hong-shou-jin-jue-tu-juan-chen-hong-shou-237222","陈洪绶晋爵图卷","陈洪绶","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今 明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 其画手法简练，色彩沉着含蓄，其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[25,85,26,29,28,39,504,505,105,69,104,7],"美人","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddd38d94f0d83cb4ba3169e2191ffee.jpg","纸本",[90],75,{"id":511,"slug":512,"title":513,"dynasty":122,"author":514,"museum":124,"description":515,"tags":516,"thumbUrl":518,"material":519,"size":520,"collection":75,"collections":521,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":51},226700,"qiu-shan-tu-zhou-ju-ran-226700","秋山图轴","巨然","是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处",[25,517,127,60,28,61,370,105,69,130,7,65],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3ae1d313c4e7dd19956e57f3ea4884.jpg","绢","156.2x77.2公分、全幅 78.3公分",[75],67,{"id":524,"slug":525,"title":526,"dynasty":277,"author":382,"museum":466,"description":527,"tags":528,"thumbUrl":531,"material":160,"size":532,"collection":75,"collections":533,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":165},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[23,25,85,26,62,28,61,30,65,69,315,66,105,7,529,530],"平原","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[75],{"id":535,"slug":536,"title":537,"dynasty":18,"author":538,"museum":57,"description":539,"tags":540,"thumbUrl":541,"material":427,"size":428,"collection":47,"collections":542,"showCount":543,"zanCount":11,"manualWeight":11,"mainColor":165},288428,"xi-shan-qing-yuan-quan-juan-xia-gui-288428","溪山清远全卷","夏圭","描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地。",[23,25,26,60,517,61,62,105,69,7,104,70,71,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2e7ac0afedc23fcf6291490a68ee6a.jpg",[],65,{"id":545,"slug":546,"title":446,"dynasty":277,"author":382,"museum":57,"description":447,"tags":547,"thumbUrl":550,"material":47,"size":47,"collection":75,"collections":551,"showCount":543,"zanCount":11,"manualWeight":11,"mainColor":165},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581",[25,85,24,60,385,61,62,30,130,247,69,70,548,129,65,549,7],"渔翁","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[75,271],{"id":553,"slug":554,"title":555,"dynasty":18,"author":538,"museum":124,"description":556,"tags":557,"thumbUrl":560,"material":519,"size":561,"collection":47,"collections":562,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":51},288371,"chang-jiang-wan-li-tu-hou-juan-xia-gui-288371","长江万里图后卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[23,25,26,60,517,61,30,558,247,7,246,65,559,63],"江景","崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17ed61dd6a5972ee7a6aea3bd1ee1f2.jpg","该幅26.8x1115.3公分；隔水一 11.3公分；引首 26.8x75.7公分；隔水二 13.7公分；隔水三 11.3公分；拖尾 26.9x241公分",[],64,{"id":565,"slug":566,"title":567,"dynasty":277,"author":568,"museum":20,"description":569,"tags":570,"thumbUrl":571,"material":47,"size":47,"collection":75,"collections":572,"showCount":573,"zanCount":11,"manualWeight":11,"mainColor":165},239443,"fu-chun-shan-ju-tu-juan-huang-jun-239443","富春山居图卷","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,25,26,28,61,62,105,69,66,128,7,230,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[75,91],63,{"id":575,"slug":576,"title":577,"dynasty":98,"author":578,"museum":124,"description":579,"tags":580,"thumbUrl":582,"material":583,"size":47,"collection":75,"collections":584,"showCount":573,"zanCount":201,"manualWeight":11,"mainColor":51},222430,"dong-li-qiu-se-tu-li-xiang-222430","东篱秋色图","李相","画取材东晋诗人陶渊明归隐田园的故事。画面中，陶渊明悠闲地坐在室外床榻上观赏菊花，童仆和家人陪伴伺候，屋外有访客造访，山径间还可见到牧童与牛群，整幅画流露出高士隐逸生活的一种典型。 ​​​​",[23,24,25,85,62,60,61,105,69,7,104,128,281,63,581,28],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb340c3bf793e605358c2953c86e93e35.jpg","白纸本",[75,271],{"id":586,"slug":587,"title":588,"dynasty":18,"author":589,"museum":124,"description":590,"tags":591,"thumbUrl":594,"material":113,"size":595,"collection":77,"collections":596,"showCount":573,"zanCount":11,"manualWeight":11,"mainColor":377},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,25,24,85,127,60,28,61,62,592,69,105,231,230,7,593],"雪景","流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[77,75,271],{"id":598,"slug":599,"title":600,"dynasty":98,"author":155,"museum":20,"description":601,"tags":602,"thumbUrl":612,"material":45,"size":613,"collection":75,"collections":614,"showCount":615,"zanCount":237,"manualWeight":11,"mainColor":165},233754,"ren-wu-gu-shi-ce-chou-ying-233754","人物故事册","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[25,85,371,29,28,603,39,62,103,604,605,606,505,607,608,7,609,104,610,611],"重彩","仕女","文人","知音","花鸟","历史故事","松林","寓言传说","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","纵41.4厘米，横33.8厘米",[75,90,91],61,{"id":617,"slug":618,"title":619,"dynasty":277,"author":620,"museum":57,"description":621,"tags":622,"thumbUrl":628,"material":47,"size":47,"collection":47,"collections":629,"showCount":615,"zanCount":11,"manualWeight":11,"mainColor":165},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","袁江","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,24,25,85,102,29,28,62,103,592,623,69,111,107,105,624,625,626,627,7,293],"桥","长廊","古建","积雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":631,"slug":632,"title":633,"dynasty":326,"author":634,"museum":57,"description":635,"tags":636,"thumbUrl":637,"material":507,"size":638,"collection":75,"collections":639,"showCount":615,"zanCount":11,"manualWeight":11,"mainColor":51},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[23,25,85,102,29,60,103,7,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[75,271],{"id":641,"slug":642,"title":643,"dynasty":18,"author":170,"museum":57,"description":644,"tags":645,"thumbUrl":646,"material":427,"size":428,"collection":47,"collections":647,"showCount":648,"zanCount":649,"manualWeight":11,"mainColor":51},288461,"xi-shan-wu-jin-tu-yi-ming-288461","溪山无尽图","此作用全景长卷铺展丘壑，群峰层峦拔地而起，或雄峙崔嵬，或玲珑峭拔，烟云在峰林之间舒卷弥漫，晕染出远近山岫的虚实层次。\n\n笔墨苍劲古拙，以浑厚皴法写出山石嶙峋肌理，林木错落点染，蓊郁苍茂。澄澈水面留白托景，行舟、山居隐现于林泉，将山野的雄浑大气与村居野趣相融，于咫尺长卷中铺陈出千里江山的无尽意趣，尽显林泉高致的山水雅韵，藏着天地悠悠的静穆生机。",[23,25,26,60,517,105,69,104,247,70,7,65,61,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd2b09a208c3f6337ea5aa4bf8bcfd5.jpg",[],60,3,{"id":651,"slug":652,"title":653,"dynasty":98,"author":654,"museum":655,"description":656,"tags":657,"thumbUrl":658,"material":113,"size":659,"collection":75,"collections":660,"showCount":648,"zanCount":237,"manualWeight":11,"mainColor":51},219944,"jiang-shan-sheng-lan-tu-yan-zong-219944","江山胜览图","颜宗","香港中文大学文物馆","颜宗（1393—约1453）广东南海人，字学渊。永乐二十一年举人。授邵武知县，为政清明，以救荒悯旱为先。招抚邓茂七余部，全活甚众。景泰中擢兵部主事，署员外郎。奔母丧归，卒于途中。善画山水，时人有“颜老天趣不可及”之语，当时名画师如林良，视之尚有逊色。",[24,25,85,26,60,62,30,65,31,68,7,69,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F366483a10fdb6cde35d65da1131e8083.jpg","35.5x610厘米",[75],{"id":662,"slug":663,"title":664,"dynasty":277,"author":665,"museum":57,"description":666,"tags":667,"thumbUrl":669,"material":47,"size":47,"collection":75,"collections":670,"showCount":672,"zanCount":11,"manualWeight":11,"mainColor":165},237873,"shan-shui-tu-zhou-kun-can-237873","山水图轴","髡残","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[25,60,61,127,85,668,72,62,30,69,128,7,130,129,65],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[75,671],"书法精选",58,{"id":674,"slug":675,"title":676,"dynasty":98,"author":677,"museum":20,"description":678,"tags":679,"thumbUrl":680,"material":681,"size":682,"collection":75,"collections":683,"showCount":684,"zanCount":237,"manualWeight":11,"mainColor":51},236933,"qian-yan-wan-he-tu-zhou-wu-bin-236933","千岩万壑图轴","吴彬","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。\n《画史会要》称吴彬：“善山水，布置绝不摹古，皆对真景描写。”实际上，吴彬画中的山水仍受古画的影响，但其境界主要来自其云游各地之奇景，加之想象而得。作者的绘画能从古人窠臼中脱迈而出，又深受自然界山水之熏陶，因而在明末的山水画坛迥异时流，独树一帜。",[25,127,60,61,62,331,129,69,7,128,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e68b23f635d47b17a1c9a8d30178a5e.jpg","绫本，设色","纵170.5厘米，横46.7厘米",[75,271],56,{"id":686,"slug":687,"title":688,"dynasty":277,"author":689,"museum":20,"description":690,"tags":691,"thumbUrl":694,"material":45,"size":695,"collection":47,"collections":696,"showCount":697,"zanCount":11,"manualWeight":11,"mainColor":51},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","姚文瀚","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,25,26,28,29,102,39,103,62,69,692,314,107,105,7,693,158,111,293,549,356],"荷花","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],55,{"id":699,"slug":700,"title":701,"dynasty":18,"author":141,"museum":20,"description":702,"tags":703,"thumbUrl":705,"material":45,"size":146,"collection":47,"collections":706,"showCount":707,"zanCount":11,"manualWeight":11,"mainColor":51},233698,"jiang-shan-qiu-se-tu-juan-zhao-bo-ju-233698","江山秋色图卷","此图为青绿设色。画中有青山碧水、殿宇村舍，栈道、桥梁穿插其间，又有苍松翠柏，茂林修竹，移步换景，令人玩味不尽。山石用小斧劈皴法，再施以青绿重色；树木、建筑刻画细腻精谨，点景人物描绘细致入微。整幅作品布局宏大，细节丰富，色彩浓丽而不失清雅，刻画精细而不琐碎，带有宋代画院气派。",[24,25,85,26,86,28,29,61,62,331,66,69,7,103,70,104,105,88,68,704],"人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7938477d39bcc25b27dcddc14b743fa4.jpg",[],54,{"id":709,"slug":710,"title":711,"dynasty":18,"author":712,"museum":466,"description":713,"tags":714,"thumbUrl":715,"material":145,"size":716,"collection":77,"collections":717,"showCount":707,"zanCount":11,"manualWeight":11,"mainColor":51},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷","范宽","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,25,85,26,62,61,28,105,69,65,7,370,130,158,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c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70.6x30.3公分、全幅 44.5公分",[75,271],51,{"id":742,"slug":743,"title":744,"dynasty":277,"author":745,"museum":57,"description":746,"tags":747,"thumbUrl":750,"material":47,"size":47,"collection":47,"collections":751,"showCount":752,"zanCount":237,"manualWeight":11,"mainColor":165},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,25,85,26,60,748,61,62,105,69,7,66,30,315,581,749,246,249,68,65,70],"白描","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],50,{"id":754,"slug":755,"title":756,"dynasty":18,"author":757,"museum":260,"description":758,"tags":759,"thumbUrl":760,"material":507,"size":761,"collection":90,"collections":762,"showCount":752,"zanCount":237,"manualWeight":11,"mainColor":51},223398,"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","李公麟","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[23,25,85,26,748,28,39,62,105,69,7,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46ace2e8df223b406f8896937f90bac.jpg","30.7，横：238厘米",[90,271],{"id":764,"slug":765,"title":766,"dynasty":98,"author":732,"museum":767,"description":768,"tags":769,"thumbUrl":770,"material":160,"size":771,"collection":75,"collections":772,"showCount":773,"zanCount":11,"manualWeight":11,"mainColor":165},218089,"shan-shui-tu-lu-zhi-218089","山水图","金贝尔艺术博物馆","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[23,25,517,61,60,105,69,7,111,128,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[75],49,{"id":775,"slug":776,"title":777,"dynasty":98,"author":366,"museum":466,"description":778,"tags":779,"thumbUrl":782,"material":783,"size":784,"collection":671,"collections":785,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":165},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,25,85,26,60,62,61,369,71,668,72,30,69,7,70,104,65,68,780,105,781,42],"小径","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[671],48,{"id":788,"slug":789,"title":790,"dynasty":277,"author":170,"museum":57,"description":791,"tags":792,"thumbUrl":798,"material":427,"size":428,"collection":47,"collections":799,"showCount":800,"zanCount":237,"manualWeight":11,"mainColor":51},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,25,26,28,29,102,39,103,793,104,794,7,795,796,797,62],"龙舟","桃花","市井","节庆","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],47,{"id":802,"slug":803,"title":804,"dynasty":277,"author":382,"museum":57,"description":805,"tags":806,"thumbUrl":811,"material":47,"size":47,"collection":47,"collections":812,"showCount":813,"zanCount":237,"manualWeight":11,"mainColor":51},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,807,28,61,60,29,808,30,130,809,7,69,105,281,65,810,111,128],"清代山水画","传统山水技法","白云","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],45,{"id":815,"slug":816,"title":817,"dynasty":277,"author":818,"museum":819,"description":820,"tags":821,"thumbUrl":831,"material":132,"size":832,"collection":47,"collections":833,"showCount":813,"zanCount":11,"manualWeight":11,"mainColor":165},223071,"hong-lou-meng-57-sun-wen-223071","红楼梦57","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,25,29,28,26,39,398,111,69,107,822,823,824,825,7,826,246,827,828,829,830],"衣帽","场景画","古代服饰","户外场景","围墙","古典建筑","群像","鞍马","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7449b7a68c5da3b640620fef4f209e9.jpg","纵43.3厘米、横76.5厘米",[],{"id":835,"slug":836,"title":837,"dynasty":277,"author":435,"museum":20,"description":838,"tags":839,"thumbUrl":840,"material":45,"size":841,"collection":75,"collections":842,"showCount":843,"zanCount":11,"manualWeight":11,"mainColor":51},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,25,85,127,102,28,29,61,62,103,70,105,69,65,39,158,111,88,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[75,91],44,{"id":845,"slug":846,"title":847,"dynasty":326,"author":848,"museum":849,"description":850,"tags":851,"thumbUrl":852,"material":283,"size":853,"collection":75,"collections":854,"showCount":843,"zanCount":237,"manualWeight":11,"mainColor":165},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","方从义","私人收藏","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,24,25,85,26,60,62,61,72,668,30,65,69,7,130,63,248,249,88,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[75],{"id":856,"slug":857,"title":858,"dynasty":326,"author":859,"museum":20,"description":860,"tags":861,"thumbUrl":864,"material":737,"size":865,"collection":47,"collections":866,"showCount":867,"zanCount":237,"manualWeight":11,"mainColor":51},234039,"yao-cen-yu-shu-tu-zhou-jin-cheng-234039","瑶岑玉树图轴","金城","画雪景山林，水阁飞瀑，山脚泉水奔流湖中。阁内一人闲坐，其外山路崎岖蜿蜒，有数人或策蹇负囊，或骑驴行旅。图中画山石似卷云，树枝似鹿角、蟹爪，宗法李成、郭熙一派。全图笔法沉雄，缜密。",[25,127,60,28,62,61,105,69,626,128,7,39,398,104,862,863,627,780],"枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","97.4×41.2cm",[],43,{"id":869,"slug":870,"title":871,"dynasty":18,"author":712,"museum":124,"description":872,"tags":873,"thumbUrl":874,"material":132,"size":875,"collection":47,"collections":876,"showCount":867,"zanCount":11,"manualWeight":11,"mainColor":51},221387,"bao-shan-shi-jing-ce-fan-kuan-221387","包山十景册","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,24,25,85,371,28,62,105,69,7,39,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a3b1370dc9ee21fc24baeb7fb8ad8.jpg","30.2x31.8",[],{"id":878,"slug":879,"title":880,"dynasty":277,"author":881,"museum":882,"description":883,"tags":884,"thumbUrl":885,"material":283,"size":886,"collection":75,"collections":887,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":165},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","美国克利夫兰艺术博物馆","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[23,25,60,26,71,72,61,62,105,69,128,7,63,65,130,863],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[75],40,{"id":890,"slug":891,"title":892,"dynasty":18,"author":141,"museum":57,"description":893,"tags":894,"thumbUrl":897,"material":427,"size":428,"collection":47,"collections":898,"showCount":899,"zanCount":11,"manualWeight":11,"mainColor":51},287314,"han-gong-guan-chao-tu-juan-zhao-bo-ju-287314","汉宫观潮图卷","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,24,25,26,102,86,28,62,103,70,895,63,7,896,558],"古树","佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b19f8ced72c7f99b773244aa679fcfb.jpg",[],39,{"id":901,"slug":902,"title":903,"dynasty":18,"author":904,"museum":57,"description":905,"tags":906,"thumbUrl":907,"material":47,"size":47,"collection":47,"collections":908,"showCount":899,"zanCount":237,"manualWeight":11,"mainColor":51},227695,"chun-shan-tu-juan-zhao-bo-su-227695","春山图卷","赵伯骕","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,24,25,85,26,86,28,62,29,61,30,69,7,70,104,314,281,65,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":910,"slug":911,"title":184,"dynasty":18,"author":757,"museum":57,"description":912,"tags":913,"thumbUrl":915,"material":427,"size":428,"collection":47,"collections":916,"showCount":917,"zanCount":11,"manualWeight":11,"mainColor":165},289803,"xi-yuan-ya-ji-tu-li-gong-lin-289803","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,25,26,748,60,39,191,781,914,105,7,72,71],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f499452419406330dad616cf813d5bb.jpg",[],38,{"id":919,"slug":920,"title":921,"dynasty":98,"author":922,"museum":923,"description":924,"tags":925,"thumbUrl":926,"material":927,"size":928,"collection":75,"collections":929,"showCount":917,"zanCount":11,"manualWeight":11,"mainColor":51},221876,"shan-shui-tu-bi-geng-yuan-gao-ran-hui-221876","山水图(笔耕园）","高然晖","日本京都国立博物馆","《笔耕园》是将室町时代（1336年－1573年，当时倭寇开始在我国为祸，大量文物自此流失）及以后舶来的中国画汇集而成的手鉴。\n《笔耕园》收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有一些其他朝代品质极高的作品。",[23,25,85,60,61,62,70,104,247,105,65,69,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b47ef1948cd9cb76d6fe494279e3f24.jpg","纸本墨画","24.3×33.2",[75,271],{"id":931,"slug":932,"title":933,"dynasty":277,"author":278,"museum":20,"description":934,"tags":935,"thumbUrl":936,"material":113,"size":937,"collection":75,"collections":938,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":165},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[23,25,127,60,61,62,331,105,69,246,104,247,7,780],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[75],37,{"id":941,"slug":942,"title":943,"dynasty":326,"author":327,"museum":57,"description":944,"tags":945,"thumbUrl":946,"material":47,"size":47,"collection":47,"collections":947,"showCount":948,"zanCount":11,"manualWeight":11,"mainColor":51},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","溪山秋色图卷","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,25,85,26,62,61,28,69,105,130,370,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],35,{"id":950,"slug":951,"title":847,"dynasty":326,"author":848,"museum":242,"description":952,"tags":953,"thumbUrl":957,"material":283,"size":958,"collection":75,"collections":959,"showCount":948,"zanCount":237,"manualWeight":11,"mainColor":165},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[25,85,26,60,61,71,668,62,30,65,69,66,70,7,129,88,130,63,581,954,372,955,956,72],"留白","笔墨","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[75],{"id":961,"slug":962,"title":446,"dynasty":277,"author":382,"museum":57,"description":447,"tags":963,"thumbUrl":967,"material":47,"size":47,"collection":47,"collections":968,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":165},237583,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237583",[25,60,85,449,385,245,61,72,964,965,966,109,781,130,7],"山","石","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d20d5d72ffbd6c3dd89af475576be0.jpg",[],34,{"id":971,"slug":972,"title":973,"dynasty":277,"author":340,"museum":20,"description":974,"tags":975,"thumbUrl":977,"material":978,"size":979,"collection":75,"collections":980,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":165},236364,"fu-shui-yan-tu-zhou-wang-jian-236364","拂水岩图轴","本幅图的右上有王鉴题字：「癸巳二月访牧斋宗伯于虞山，放舟拂水岩写所见。」因此知道这幅画是在描绘虞山。虽然本图没有细致的描绘实景，但却有突出拂水岩幽静偏远的特点，是王鉴中年时的佳作。",[25,517,60,127,61,964,976,69,129,111,65,7,130,88],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纸本，墨笔","纵67.8厘米，横31.3厘米",[75,271,671],{"id":982,"slug":983,"title":984,"dynasty":326,"author":985,"museum":57,"description":986,"tags":987,"thumbUrl":988,"material":47,"size":47,"collection":47,"collections":989,"showCount":969,"zanCount":237,"manualWeight":11,"mainColor":165},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","李升","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,25,85,26,60,62,61,71,72,30,69,70,104,7,65,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":991,"slug":992,"title":993,"dynasty":98,"author":994,"museum":466,"description":995,"tags":996,"thumbUrl":1008,"material":507,"size":1009,"collection":75,"collections":1010,"showCount":969,"zanCount":237,"manualWeight":11,"mainColor":165},219987,"si-shi-fang-gu-shan-shui-tu-wei-zhi-ke-219987","四时仿古山水图","魏之克","此长卷以淡墨浅彩铺展四时景致，移步换景间尽显文人山水意趣。画家以细劲淡笔勾勒山峦脉络，皴擦出岩岫肌理，林木点染疏密有致，随季候变换枯荣：春山明润，新枝浅黛；夏木蓊郁，浓荫藏亭；秋林萧疏，霜色点染；冬岭清寂，寒石留白。屋舍田圃错落丘壑间，溪泉萦回穿绕林麓，将四时山光物候悄然串联。整体气韵淡逸简远，师古而不拘泥，把仿古山水的程式笔墨化为灵动的丘园胜境，藏着古人寄迹林泉的隐逸幽怀，尽显雅致空灵的山水风神。",[23,25,26,997,60,28,61,62,998,999,1000,1001,1002,1003,1004,7,1005,1006,1007],"仿古山水","春山","夏木","秋林","冬岭","屋舍","田圃","溪泉","文人山水","隐逸","淡逸空灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b366db58b957e2587f750331f4c4cf3.jpg","105.83×59.58cm",[75],{"id":1012,"slug":1013,"title":1014,"dynasty":98,"author":1015,"museum":57,"description":1016,"tags":1017,"thumbUrl":1019,"material":427,"size":428,"collection":47,"collections":1020,"showCount":1021,"zanCount":11,"manualWeight":11,"mainColor":51},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","宋旭","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,24,25,85,26,62,60,61,30,65,1018,103,7,71,72],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],33,{"id":1023,"slug":1024,"title":1025,"dynasty":277,"author":382,"museum":20,"description":1026,"tags":1027,"thumbUrl":1028,"material":1029,"size":1030,"collection":75,"collections":1031,"showCount":1021,"zanCount":11,"manualWeight":11,"mainColor":165},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[25,127,60,61,62,964,128,69,281,130,129,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纸本 ，设色","纵184.8cm，横79.4cm",[75,271],{"id":1033,"slug":1034,"title":1035,"dynasty":277,"author":278,"museum":20,"description":1036,"tags":1037,"thumbUrl":1040,"material":1041,"size":47,"collection":47,"collections":1042,"showCount":1043,"zanCount":11,"manualWeight":11,"mainColor":165},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","西湖图卷","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,25,26,60,61,62,30,1038,66,69,230,7,103,70,1039],"湖泊","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg","纸本，水墨",[],32,{"id":1045,"slug":1046,"title":1047,"dynasty":226,"author":170,"museum":1048,"description":1049,"tags":1050,"thumbUrl":1062,"material":427,"size":428,"collection":47,"collections":1063,"showCount":1043,"zanCount":237,"manualWeight":11,"mainColor":165},226183,"ku-zhu-shi-nan-pi-yi-ming-226183","窟主室南披","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1051,1052,1053,28,29,1054,39,62,103,69,7,1055,1056,111,1057,1058,828,86,1059,1060,1061],"唐代","壁画","宗教","线描","云纹","波浪纹","供养人","佛像","彩绘","勾勒","填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aa03b4a0dba7372ea34789086e63b7d.jpg",[],{"id":1065,"slug":1066,"title":1067,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1068,"thumbUrl":1073,"material":132,"size":832,"collection":47,"collections":1074,"showCount":1043,"zanCount":11,"manualWeight":11,"mainColor":165},223062,"hong-lou-meng-48-sun-wen-223062","红楼梦48",[23,25,29,28,604,103,7,107,1069,1070,69,1071,1072],"古典园林","假山","古装人物","红楼梦题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342b8d24c402247d8df67d162ba5ffd.jpg",[],{"id":1076,"slug":1077,"title":1078,"dynasty":277,"author":382,"museum":124,"description":1079,"tags":1080,"thumbUrl":1081,"material":507,"size":47,"collection":75,"collections":1082,"showCount":1083,"zanCount":11,"manualWeight":11,"mainColor":165},237384,"shan-shui-ce-shen-cang-xiao-shan-tu-ye-wang-hui-237384","山水册-沈苍晓山图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[25,85,24,449,60,61,62,39,895,105,7,780],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd532bf4da8d2cb00da43608a79fe3d0.jpg",[75],31,{"id":1085,"slug":1086,"title":1087,"dynasty":277,"author":1088,"museum":57,"description":1089,"tags":1090,"thumbUrl":1091,"material":47,"size":47,"collection":47,"collections":1092,"showCount":1083,"zanCount":11,"manualWeight":11,"mainColor":165},230176,"fang-gu-ce-ye-wang-shi-min-230176","仿古册页","王时敏","此作以青绿设色追摹古意，山峦层叠起伏，皴法苍润松秀，勾勒间尽显山石肌理。飞瀑穿林越谷，循着山涧蜿蜒汇入澄澈清溪，屋舍错落隐于葱茏林木间，山脚水畔嘉木繁荫，淡赭与石青石绿晕染出温润雅致的色调。\n\n笔墨间既承袭山水的萧散淡远，又自有安和静谧的意趣，将山居丘壑的幽寂清远铺陈开来。摹古之际亦融入己心，把文人林泉高致的隐逸情怀藏入每一处丘泉林木中，尽显古雅沉静的山水意境。",[25,28,62,61,371,105,69,128,281,7,104,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e500db2b9360583507b90d46b9f3.jpg",[],{"id":1094,"slug":1095,"title":1096,"dynasty":277,"author":1097,"museum":57,"description":1098,"tags":1099,"thumbUrl":1102,"material":427,"size":428,"collection":47,"collections":1103,"showCount":1104,"zanCount":237,"manualWeight":11,"mainColor":165},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","董邦达","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,25,85,26,517,28,62,1038,30,65,69,70,7,103,1100,68,1101,247,71,72],"古塔","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],30,{"id":1106,"slug":1107,"title":1108,"dynasty":98,"author":1109,"museum":171,"description":1110,"tags":1111,"thumbUrl":1115,"material":113,"size":1116,"collection":75,"collections":1117,"showCount":1104,"zanCount":11,"manualWeight":11,"mainColor":51},218505,"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,25,85,127,60,61,62,1112,1113,105,69,1114,128,70,104,7,281],"栈道","行旅","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[75],{"id":1119,"slug":1120,"title":1121,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1122,"thumbUrl":1125,"material":132,"size":832,"collection":47,"collections":1126,"showCount":1127,"zanCount":11,"manualWeight":11,"mainColor":165},223039,"hong-lou-meng-164-sun-wen-223039","红楼梦164",[23,25,29,28,26,39,504,604,103,70,1101,1123,293,62,7,1124],"风筝","红楼故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723c41928dddb37a89147153dd533a62.jpg",[],28,{"id":1129,"slug":1130,"title":1131,"dynasty":98,"author":1132,"museum":819,"description":1133,"tags":1134,"thumbUrl":1135,"material":283,"size":1136,"collection":75,"collections":1137,"showCount":1127,"zanCount":11,"manualWeight":11,"mainColor":361},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","沈士充","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[23,25,517,245,60,61,105,69,7,281,65,247,104,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[75],{"id":1139,"slug":1140,"title":1141,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1142,"thumbUrl":1150,"material":132,"size":832,"collection":47,"collections":1151,"showCount":1152,"zanCount":11,"manualWeight":11,"mainColor":165},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,24,25,85,29,28,7,103,39,976,692,1143,1144,69,1145,63,111,107,36,1146,105,1147,1148,1149],"荷叶","湖面","栏杆","柳树","围栏","平台","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],26,{"id":1154,"slug":1155,"title":1156,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1157,"thumbUrl":1160,"material":132,"size":832,"collection":47,"collections":1161,"showCount":1162,"zanCount":11,"manualWeight":11,"mainColor":51},223021,"hong-lou-meng-146-sun-wen-223021","红楼梦146",[23,25,29,28,26,1158,1071,103,7,293,107,398,69,1159,62],"红楼梦","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62c76177cac49c4471790bae375b2831.jpg",[],24,{"id":1164,"slug":1165,"title":1166,"dynasty":18,"author":538,"museum":57,"description":1167,"tags":1168,"thumbUrl":1171,"material":427,"size":428,"collection":47,"collections":1172,"showCount":1173,"zanCount":11,"manualWeight":11,"mainColor":51},289945,"yao-cen-yan-ai-tu-xia-gui-289945","遥岑烟霭图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,1169,25,24,60,61,62,30,69,7,1170],"扇面","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf728f7b38a208795cc80156bf7dc13e.jpg",[],23,{"id":1175,"slug":1176,"title":1177,"dynasty":18,"author":170,"museum":124,"description":1178,"tags":1179,"thumbUrl":1181,"material":1182,"size":1183,"collection":47,"collections":1184,"showCount":1185,"zanCount":11,"manualWeight":11,"mainColor":165},223422,"song-ren-qian-yan-wan-he-zhou-yi-ming-223422","宋人千岩万壑轴","此幅绘千山万水，长松巨壑，中有村落楼阁掩映，一老者倒骑毛驴刚过溪桥，更有渔樵者出没。此图全用郭熙笔意，然细察之宋画气息不足，当是元人学郭熙，而深得其髓者。",[23,25,127,60,61,62,30,129,69,65,130,780,7,1180],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","纸本 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横29.2厘米",[],{"id":1228,"slug":1229,"title":633,"dynasty":18,"author":170,"museum":57,"description":1230,"tags":1231,"thumbUrl":1233,"material":47,"size":47,"collection":47,"collections":1234,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":51},227362,"lou-ge-ting-tai-tu-yi-ming-227362","炎炎夏日，你是否在渴望在假期逃离都市的燥热，去自然中寻觅清凉？是否在幻想有一处完美庭台别墅，让你忘却烦扰、暂歇身心？今天，时尚芭莎艺术带你进入中国传统界画的理想庭院之中，到好山好水间纳个凉。",[25,29,102,28,103,7,1145,1232],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a587f5812fa8779b254d194f2390d8.jpg",[],{"id":1236,"slug":1237,"title":1238,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1239,"thumbUrl":1242,"material":132,"size":832,"collection":47,"collections":1243,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":165},223058,"hong-lou-meng-44-sun-wen-223058","红楼梦44",[23,25,29,28,604,103,7,293,1240,69,1241,1072],"竹","人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d7b61c262d39a8b3e6a4af1b59c7fc.jpg",[],{"id":1245,"slug":1246,"title":1247,"dynasty":1248,"author":99,"museum":57,"description":1249,"tags":1250,"thumbUrl":1252,"material":47,"size":47,"collection":47,"collections":1253,"showCount":1254,"zanCount":11,"manualWeight":11,"mainColor":51},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","不详","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,25,26,28,29,102,39,103,62,69,1251,70,7,106,470,87,232,105],"火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],20,{"id":1256,"slug":1257,"title":1258,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1259,"thumbUrl":1260,"material":132,"size":832,"collection":47,"collections":1261,"showCount":1254,"zanCount":11,"manualWeight":11,"mainColor":51},222995,"hong-lou-meng-120-sun-wen-222995","红楼梦120",[23,24,25,85,26,29,28,39,103,107,105,69,504,1072,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bd87b1e071819f65016754b77cc305.jpg",[],{"id":1263,"slug":1264,"title":1265,"dynasty":98,"author":1266,"museum":57,"description":1267,"tags":1268,"thumbUrl":1270,"material":427,"size":428,"collection":47,"collections":1271,"showCount":1272,"zanCount":11,"manualWeight":11,"mainColor":51},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,24,25,85,127,517,60,28,61,109,105,104,7,39,69,63,65,1269],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],19,{"id":1274,"slug":1275,"title":1276,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1277,"thumbUrl":1280,"material":132,"size":832,"collection":47,"collections":1281,"showCount":1282,"zanCount":11,"manualWeight":11,"mainColor":165},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[23,25,29,28,86,26,1158,39,504,103,70,1278,914,293,7,104,102,1279],"仙鹤","珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],18,{"id":1284,"slug":1285,"title":1286,"dynasty":18,"author":1287,"museum":57,"description":1288,"tags":1289,"thumbUrl":1291,"material":427,"size":428,"collection":47,"collections":1292,"showCount":1293,"zanCount":11,"manualWeight":11,"mainColor":51},288944,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-288944","潇湘八景-江天暮雪","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[25,26,517,60,61,592,31,627,105,247,1101,7,1290],"水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6cad3d138a2f588d7e6ddb399c2267.jpg",[],17,{"id":1295,"slug":1296,"title":1297,"dynasty":277,"author":1298,"museum":57,"description":1299,"tags":1300,"thumbUrl":1303,"material":507,"size":47,"collection":75,"collections":1304,"showCount":1293,"zanCount":11,"manualWeight":11,"mainColor":51},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图","查士标","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,25,85,28,62,61,964,966,1301,70,104,158,105,130,7,69,1302],"亭","山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[75],{"id":1306,"slug":1307,"title":1308,"dynasty":18,"author":170,"museum":57,"description":1309,"tags":1310,"thumbUrl":1312,"material":47,"size":47,"collection":47,"collections":1313,"showCount":1293,"zanCount":11,"manualWeight":11,"mainColor":51},223657,"jin-ming-chi-zheng-biao-tu-yi-ming-223657","金明池争标图","此作用精工界画描摹池苑盛景，朱红飞檐沿水铺展，虹桥凌波串联洲屿，殿台廊榭的斗拱榫卯分毫毕现。\n\n水面之上楼船列阵、彩旗微漾，竞渡健儿挥棹如飞，争标嬉水的喧闹仿佛冲破古绢。城垣垂柳轻拂水岸，往来小艇点缀烟波，将皇家游赏的闲逸与赛事的紧张相融，定格下汴京春日的鲜活盛景。\n\n设色调和古雅，笔致细腻写实，带着宋画特有的雅致沉静，让千年前的升平跃然眼前，将彼时的游观雅趣与竞技热络尽数藏在绢素方寸间，尽显入微观察力与写实传神的宋画魅力。",[23,25,24,102,28,29,103,70,104,314,39,1101,69,7,111,1311,230],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85e658915ce503fbd031386625d9a8.jpg",[],{"id":1315,"slug":1316,"title":1317,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1318,"thumbUrl":1319,"material":132,"size":832,"collection":47,"collections":1320,"showCount":1293,"zanCount":11,"manualWeight":11,"mainColor":165},223004,"hong-lou-meng-129-sun-wen-223004","红楼梦129",[23,25,29,28,26,39,103,107,69,105,70,104,914,246,1311,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e8af6fbf9804e896431718aac1927.jpg",[],{"id":1322,"slug":1323,"title":1324,"dynasty":98,"author":1325,"museum":57,"description":1326,"tags":1327,"thumbUrl":1328,"material":427,"size":428,"collection":47,"collections":1329,"showCount":1330,"zanCount":11,"manualWeight":11,"mainColor":51},290619,"sui-shan-tao-shi-zhou-zhang-hong-290619","绥山桃实轴","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[25,85,24,127,86,28,62,103,246,794,70,128,39,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff69830017c4619fdc8ecbb0cf78341.jpg",[],16,{"id":1332,"slug":1333,"title":1334,"dynasty":98,"author":170,"museum":57,"description":1335,"tags":1336,"thumbUrl":1338,"material":427,"size":428,"collection":47,"collections":1339,"showCount":1330,"zanCount":11,"manualWeight":11,"mainColor":51},287835,"fang-xia-gui-qian-yan-jing-xiu-yi-ming-287835","仿夏圭千岩竞秀","此作以长卷铺展江天丘壑，取夏氏边角山水意趣。斧劈皴斫出崖嶂硬峭骨相，苍松杂树偃仰生姿，江岸逶迤，浅渚渔舟隐于烟岚淡墨之间，平远景致虚实相生，将江南山水的清旷空濛揉入简劲笔意。\n\n引首行书笔势跌宕，与山水萧散野逸相映成趣，书画合璧复刻宋韵雅逸，将千里烟景收揽尺幅，观之如乘舟泛江，岩岫秀色次第展开，幽寂旷远的林下风致扑面而来，尽得复古追宋的山水意趣。",[23,25,26,517,28,61,30,31,247,69,7,68,245,71,1337],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49d08c69238c36956940a1b8dc4a08d.jpg",[],{"id":1341,"slug":1342,"title":1343,"dynasty":226,"author":170,"museum":57,"description":1344,"tags":1345,"thumbUrl":1346,"material":47,"size":47,"collection":47,"collections":1347,"showCount":1330,"zanCount":11,"manualWeight":11,"mainColor":51},227129,"gong-yuan-tu-juan-yi-ming-227129","宫苑图卷","《宫苑图》绘青山碧水之间，殿宇壮丽巍峨、行人络绎不绝的繁华盛景。画面以潺潺流水串联起星罗棋布的亭台楼阁，营造出一座精致华美的山水之城。该图“青绿为质，金碧为文”的笔法特色，以及在处理景物关系时的娴熟技巧，都是了解中国古代宫苑画如何走向成熟的重要参考。",[23,25,85,26,28,102,29,62,103,70,104,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb131de98f8b7428d587a3235aa38356b.jpg",[],{"id":1349,"slug":1350,"title":1308,"dynasty":18,"author":170,"museum":57,"description":1351,"tags":1352,"thumbUrl":1355,"material":427,"size":428,"collection":47,"collections":1356,"showCount":1357,"zanCount":11,"manualWeight":11,"mainColor":51},288364,"jin-ming-chi-zheng-biao-tu-yi-ming-288364","《金明池争标图》绘金明池及岸边的景物和人物。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。\n《金明池争标图》上众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。\n《金明池争标图》中描绘的景物、活动与宋孟元老所撰《东京梦华录》等史料中相关的记载吻合，因此又具有较高的历史文献价值。",[24,25,102,29,28,103,70,104,87,1353,7,1146,1354],"池苑","龙舟争标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599da7a1c7e07ac0c449915bde4d91c3.jpg",[],15,{"id":1359,"slug":1360,"title":1361,"dynasty":18,"author":170,"museum":57,"description":1362,"tags":1363,"thumbUrl":1366,"material":427,"size":428,"collection":47,"collections":1367,"showCount":1357,"zanCount":11,"manualWeight":11,"mainColor":51},287316,"shang-shan-si-hao-hui-chang-jiu-lao-tu-juan-se-qian-yi-ming-287316","商山四皓会昌九老图卷（色浅）","此作用淡墨白描写就园林雅集之景，亭台水榭错落于茂林修竹间，层岩清波衬出幽旷意境。卷中文人或围坐清谈、展卷观画，或凭栏听琴、临水闲步，笔致细劲秀雅，将士林林下风流尽数铺陈。\n\n画面简澹空灵，以极简笔墨晕染出古雅沉静的氛围，尽显以琴棋书画为伴的雅致日常。拖尾题跋虽有墨损，却更添岁月摩挲的沧桑古意，整卷文气四溢，将宋人的清逸意趣凝于尺幅，自带沉静拙朴的书卷余韵。",[23,24,25,85,26,60,748,39,103,109,1240,293,7,71,72,1364,1365],"雅集","历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3d3921be16f9a6d9a093994019d1f5.jpg",[],{"id":1369,"slug":1370,"title":1371,"dynasty":98,"author":170,"museum":57,"description":1372,"tags":1373,"thumbUrl":1375,"material":427,"size":428,"collection":47,"collections":1376,"showCount":1357,"zanCount":11,"manualWeight":11,"mainColor":165},237926,"yuan-shang-tong-sui-chao-tu-zhou-yi-ming-237926","袁尚统岁朝图轴","烟霭笼着远山如浅黛晕开，古松虬劲拔起，撑开一片冬日清寂。枯木错落在庭院之间，屋舍内宾主围坐叙谈暖意融融，院外孩童嬉闹穿梭，将年节的鲜活烟火揉进冬景里。石桥横卧水畔，把远岫寒水和热闹院舍牵作一处。\n\n笔墨轻淡晕染山水空濛，枯枝干皴细致苍劲，人物衣色清雅鲜亮，将冬日萧寒与岁朝团圆的温情相融。静穆淡远的山水意趣，揉进俗世年关的鲜活意态，冷色调的冬景晕开融融年味，雅致文气与人间烟火相映成趣。",[25,85,127,28,29,61,62,39,103,69,107,63,65,281,314,1374,1114,246,7],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],{"id":1378,"slug":1379,"title":1380,"dynasty":277,"author":382,"museum":57,"description":1381,"tags":1382,"thumbUrl":1384,"material":47,"size":47,"collection":47,"collections":1385,"showCount":1357,"zanCount":237,"manualWeight":11,"mainColor":165},235606,"fan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—1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。\n吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。\n传世作品有康熙五年（1666）作《山水》册页、《江山行旅图》卷，均藏北京故宫博物院；十一年（1672）作《松溪草堂图》轴、《竹石图》轴，藏南京博物院；《山村樵牧图》轴，藏天津市艺术博物馆。《国(清)朝画征录、读画录、桐阴论画、安雅堂集、江宁志、清画家诗史》",[23,24,25,26,60,517,30,558,68,1424,1425,7,38,1426,1427],"帆船","民居","苍郁","生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2193f9b4953e0d1929de82ac13992b.jpg",[],{"id":1431,"slug":1432,"title":1433,"dynasty":98,"author":732,"museum":20,"description":1413,"tags":1434,"thumbUrl":1437,"material":507,"size":47,"collection":47,"collections":1438,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":165},234143,"jiang-nan-bie-yi-juan-lu-zhi-234143","江南别意卷",[23,1435,26,60,28,668,1436,62,7,69,70,104,39],"吴门画派","书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7318ab2ac09bf9c15a1e91c7c9ced007.jpg",[],{"id":1440,"slug":1441,"title":1442,"dynasty":98,"author":1443,"museum":57,"description":1444,"tags":1445,"thumbUrl":1446,"material":47,"size":47,"collection":47,"collections":1447,"showCount":1408,"zanCount":237,"manualWeight":11,"mainColor":377},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","魏之璜","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,25,85,127,60,62,61,105,69,104,7,39,246,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":1449,"slug":1450,"title":1451,"dynasty":18,"author":170,"museum":20,"description":1452,"tags":1453,"thumbUrl":1456,"material":132,"size":1457,"collection":47,"collections":1458,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":165},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,24,25,85,26,60,28,62,61,29,668,1337,1213,71,72,1454,104,69,7,70,1101,1455],"溪山","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":1460,"slug":1461,"title":1462,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1463,"thumbUrl":1465,"material":132,"size":832,"collection":47,"collections":1466,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":165},222959,"hong-lou-meng-84-sun-wen-222959","红楼梦84",[23,25,29,28,26,1158,39,604,103,293,62,1464,7],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4dcee8d1028a3fdc8e07e5b4417573.jpg",[],{"id":1468,"slug":1469,"title":1470,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1471,"thumbUrl":1474,"material":132,"size":832,"collection":47,"collections":1475,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":51},222911,"hong-lou-meng-36-sun-wen-222911","红楼梦36",[23,25,29,28,1158,604,39,103,107,62,1472,7,1473],"植物","大观园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff63de5f5f8ace7b918c931c621ae807f.jpg",[],{"id":1477,"slug":1478,"title":1479,"dynasty":277,"author":1480,"museum":57,"description":1481,"tags":1482,"thumbUrl":1484,"material":427,"size":428,"collection":47,"collections":1485,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":165},289916,"du-fu-shi-yi-tu-quan-juan-ding-guan-peng-289916","杜甫诗意图全卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,25,26,60,62,39,247,7,1159,69,105,71,72,1483],"诗意图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853d9da5c5ea3102b3bf5f6ad2f01a39.jpg",[],{"id":1487,"slug":1488,"title":1489,"dynasty":98,"author":170,"museum":57,"description":1490,"tags":1491,"thumbUrl":1493,"material":47,"size":47,"collection":47,"collections":1494,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":165},239529,"wen-jia-shan-shui-tu-juan-yi-ming-239529","文嘉山水图卷","此作用浅绛淡色晕染江南丘壑，以披麻皴写山石肌理，笔致清隽秀雅。长卷铺展平远山水，峰峦缓叠，林麓葱郁，溪谷间云气漫漶，将山居村舍、林塔梵宇轻轻托在烟岚之间。咫尺卷内藏万千丘壑，时而见飞泉漱石，时而见幽居临流，处处皆是文雅意趣。\n\n引首篆书古雅端凝，尾跋笔意萧散，书画相映，尽显文人卧游林泉的隐逸襟怀。整体气息淡和清远，将江南山水的温润灵秀，与文人寄情丘园的闲逸，揉作一卷可游可居的幽境，观之如入桃源尘外。",[23,25,85,26,28,62,61,29,71,1492,668,72,69,105,65,111,7,70,104],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719d03c4d265eba22cd51a1d7c1095f8.jpg",[],{"id":1496,"slug":1497,"title":1498,"dynasty":98,"author":1499,"museum":57,"description":1500,"tags":1501,"thumbUrl":1506,"material":1507,"size":47,"collection":47,"collections":1508,"showCount":117,"zanCount":237,"manualWeight":11,"mainColor":165},234183,"shan-shui-juan-chen-lian-234183","山水卷","陈廉","陈廉（？－？），字威如，直隶大名府元城县人，民籍，明朝政治人物\n顺天府乡试第八十二名，万历十一年（1583年）癸未科会试第二百八名，登二甲第四十四名进士\n曾祖陈绶，曾任知府；祖父陈鸿雷，曾任镇抚；父陈秉忠，曾任王府审理正。母刘氏",[23,25,85,26,60,62,61,964,976,69,65,331,129,315,266,130,1502,780,1503,88,1504,1170,1114,1505,68,7],"丘壑","坡地","层峦叠嶂","平畴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg","纸本，设色",[],{"id":1510,"slug":1511,"title":1512,"dynasty":277,"author":1097,"museum":124,"description":1513,"tags":1514,"thumbUrl":1515,"material":1516,"size":1517,"collection":75,"collections":1518,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":165},223113,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","柳浪闻莺御题轴","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[23,25,127,60,61,62,1146,7,247,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","轴 纸本 设色","290x58厘米",[75,271],{"id":1520,"slug":1521,"title":1522,"dynasty":277,"author":818,"museum":819,"description":820,"tags":1523,"thumbUrl":1525,"material":132,"size":832,"collection":47,"collections":1526,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":51},222999,"hong-lou-meng-124-sun-wen-222999","红楼梦124",[23,25,29,28,1158,1524,604,103,107,1241,7,830],"古代人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe634b8a2479a7facb164cebb0f2fb17c.jpg",[],{"id":1528,"slug":1529,"title":1530,"dynasty":98,"author":170,"museum":1531,"description":1532,"tags":1533,"thumbUrl":1535,"material":1052,"size":47,"collection":47,"collections":1536,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":51},222149,"fu-hui-dong-yi-ming-222149","赴会东","法海寺","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,1052,28,29,39,1534,62,692,174,69,66,1464,7],"祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969e04e58a9a76dbc8e73e19f7ef5a5b.jpg",[],{"id":1538,"slug":1539,"title":1540,"dynasty":277,"author":170,"museum":57,"description":1541,"tags":1542,"thumbUrl":1545,"material":427,"size":428,"collection":47,"collections":1546,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},248410,"hei-qi-miao-jin-shan-shui-tu-hai-tang-shi-pan-yi-ming-248410","黑漆描金山水图海棠式盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[1543,1544,62,70,69,1101,7],"漆器","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b833f69cc1ddd420721b935c05f16.jpg",[],{"id":1548,"slug":1549,"title":1550,"dynasty":277,"author":382,"museum":1551,"description":1026,"tags":1552,"thumbUrl":1554,"material":507,"size":1555,"collection":47,"collections":1556,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":165},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图","南京博物院",[23,25,24,517,60,28,61,30,34,780,68,281,247,7,66,1553],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":1558,"slug":1559,"title":1560,"dynasty":98,"author":170,"museum":57,"description":1561,"tags":1562,"thumbUrl":1563,"material":47,"size":47,"collection":47,"collections":1564,"showCount":1565,"zanCount":11,"manualWeight":11,"mainColor":51},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","仿董源夏山图","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,25,85,26,62,245,28,61,30,69,66,529,70,104,7,1101,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],11,{"id":1567,"slug":1568,"title":1569,"dynasty":277,"author":1570,"museum":57,"description":1571,"tags":1572,"thumbUrl":1573,"material":47,"size":47,"collection":47,"collections":1574,"showCount":1565,"zanCount":11,"manualWeight":11,"mainColor":165},224264,"hua-wan-hu-chao-tian-zhou-zhang-zong-cang-224264","画万笏朝天轴","张宗苍","群峰如笏攒立，拔地参天，以干笔皴擦勾勒山石肌理，苍浑厚重，尽显雄奇壮阔之势。山坳溪畔，林舍错落，浅滩回溪萦绕村居，杂木疏密有致，枯荣相映，晕染出江南山野的温润清宁。\n\n整幅笔墨兼具精整法度与文人雅致，皴擦点染层次分明，将峰岳的沉雄高旷与乡居的悠然意趣相融，左上题诗呼应画境，把自然山川的形神与林泉雅怀合为一体，勾勒点染间尽显山水清旷高华之态。",[25,85,127,60,61,62,105,69,7,104,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66bff8c39fbab376a96a62831c8d9ff4.jpg",[],{"id":1576,"slug":1577,"title":721,"dynasty":277,"author":722,"museum":57,"description":1578,"tags":1579,"thumbUrl":1581,"material":47,"size":47,"collection":47,"collections":1582,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":165},238229,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238229","此作用笔苍秀老辣，以披麻皴晕染山峦肌理，石骨硬朗不失温润质感。近溪错落排布屋舍林木，寥寥数笔点染出山居清寂之趣，远山晕以浅黛，虚实相映，晕染出空濛淡远的秋山氛围。\n\n整幅追摹古贤笔意，将林下幽居的静穆诗意融于尺幅之间，题跋诗文与绘景相得益彰，尽显文人画诗画交融的雅致意趣。笔墨间浸透着内敛沉静的古雅格调，铺陈出秋日山居萧散淡远的悠悠意境，观之如临其境，仿若可闻溪声林籁，沉潜于幽寂山居的澹泊况味中。",[25,85,62,371,60,61,105,69,66,65,63,581,7,71,1580,450],"浅设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a306cc9ec5feefb9c0dd7065e0a00b.jpg",[],{"id":1584,"slug":1585,"title":1586,"dynasty":277,"author":170,"museum":20,"description":1587,"tags":1588,"thumbUrl":1589,"material":145,"size":1590,"collection":47,"collections":1591,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":51},234902,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234902","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。",[25,85,371,28,86,29,668,72,62,103,70,104,105,69,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad5383086c2addf23d56ecae8eba42a.jpg","25.7×33厘米",[],{"id":1593,"slug":1594,"title":1595,"dynasty":1248,"author":170,"museum":57,"description":1596,"tags":1597,"thumbUrl":1604,"material":47,"size":47,"collection":47,"colle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将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[25,28,62,61,371,105,69,281,63,248,65,107,780,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3cb5bba0e6f35eeb191e169400c6aa.jpg",[],{"id":1653,"slug":1654,"title":1655,"dynasty":277,"author":278,"museum":57,"description":1656,"tags":1657,"thumbUrl":1658,"material":427,"size":428,"collection":47,"collections":1659,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":165},236861,"shan-shui-ce-wang-yuan-qi-236861","山水册","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」",[25,85,371,60,28,62,61,69,105,130,70,7,1101,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9941d5d26c596ea3953f0b0f34a6302f.jpg",[],{"id":1661,"slug":1662,"title":1663,"dynasty":226,"author":170,"museum":20,"description":1664,"tags":1665,"thumbUrl":1667,"material":145,"size":1668,"collection":47,"collections":1669,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":51},234037,"gong-yuan-tu-yi-ming-234037","宫苑图","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[25,85,1051,28,102,29,103,106,62,69,107,7,111,1666],"宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656bb14724eeca487c029c4fb834fec9.jpg","纵23.9厘米，横77.2厘米",[],{"id":1671,"slug":1672,"title":1673,"dynasty":98,"author":1325,"museum":328,"description":1674,"tags":1675,"thumbUrl":1677,"material":47,"size":47,"collection":75,"collections":1678,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":1679},201777,"shou-lie-tu-juan-zhang-hong-201777","狩猎图卷","画面铺展山水间的狩猎意趣，峰峦叠嶂间林木葱郁，山石以皴法勾勒肌理，笔墨兼具苍劲与灵动。林间小径上，猎手携犬穿行，或挽弓待发，或策骑前行，人物动态鲜活。远处亭台隐于松涛，溪流萦绕山脚，山水与人文场景相融，尽显明代文人对自然与生活的细腻观察。设色淡雅，青蓝点染树木，赭石晕染山石，层次分明。整卷既有山水画的悠远意境，又有风俗场景的生动鲜活，是明代山水人物画的典型佳作。",[62,61,28,39,1676,7,130,60,26,29,23],"松涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a266b8cc938fd52acff7ca323f8468.jpg",[75],"c5beb6",{"id":1681,"slug":1682,"title":1683,"dynasty":326,"author":170,"museum":20,"description":1684,"tags":1685,"thumbUrl":1686,"material":737,"size":1687,"collection":47,"collections":1688,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":51},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 附近树木高大翠绿，溪水汇成池，凸显奇石怪状，顺着扶手爬上楼梯，几座临水亭映入眼帘。亭中一人坐在窗前， 写了一部漫画。 此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[23,25,60,61,127,62,592,128,7,69,105,104,39,130,627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],{"id":1690,"slug":1691,"title":1692,"dynasty":277,"author":170,"museum":57,"description":1693,"tags":1694,"thumbUrl":1709,"material":47,"size":47,"collection":47,"collections":1710,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":165},223489,"ming-shi-san-ling-tu-yi-ming-223489","明十三陵图","《明十三陵手绘图(珍藏版)》中的明十三陵位于北京市昌平区，是明朝13位皇帝的陵墓群，并葬有23个皇后和1个贵妃。它是中国现存规模最大、帝后陵寝最多的皇陵建筑群。明十三陵于永乐七年（1409年）开始营建，至崇祯十七年（1644年）明朝灭亡建成。陵区三面环山，中间是盆地，南接北京平原，入口左右有两座山——龙山和卧虎山。十三座陵墓分布在东、北、西三面，各以一座山峰为背景，规模大小不一，形制却基本相同，主要建筑依次为陵门、棱恩门、裬恩殿、棂星门、石五供、明楼和宝城。宝城下面为地下宫殿。2003年，联合国教科文组织世界遗产委员会将明十三陵和南京明孝陵列入《世界遗产名录》，作为“明、清皇家陵寝”的附属项目。",[23,25,26,29,28,102,62,103,1695,69,1696,1697,1698,105,1699,1700,1701,7,1702,1703,1704,30,88,1705,1706,1707,1708],"陵墓","石碑","牌坊","宫殿建筑","道路","拱桥","松柏","神道","石象生","门楼","古建筑群","石牌坊","殿堂","碑亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123aa13e4f3c2f815d482dd3e89104ba.jpg",[],{"id":1712,"slug":1713,"title":1714,"dynasty":326,"author":1715,"museum":57,"description":1716,"tags":1717,"thumbUrl":1722,"material":427,"size":428,"collection":47,"collections":1723,"showCount":1724,"zanCount":11,"manualWeight":11,"mainColor":377},283622,"xing-shu-tie-xian-yu-shu-283622","行书帖","鲜于枢","鲜于枢（1246年—1302年），字伯机，号困学山民、直寄老人，晚年营室名“困学之斋”，祖籍金代德兴府（今张家口涿鹿县），生于汴梁（今河南开封），汉族，大都（今北京）人，一说渔阳（今津蓟州区）人，元代著名书法家，寓居扬州、杭州。大德六年（1302年）任太常典薄。元世祖至元年间以才选为浙东宣慰司经历，后改浙东省都事。\n鲜于枢晚年任太常典簿。好诗歌与古董，文名显于世，书法成就最著。明朱权《太和正音谱》将其列于“词林英杰”一百五十人之中。《新元史》有传。鲜于枢善诗文，工书画。尤工草书，酒酣吟诗作字，奇态横生，赵孟頫极推重之。有《困学斋杂录》、《困学斋诗集》。",[23,71,668,1718,1719,26,956,1720,62,7,1721],"拓本","字帖","诗文","寺院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e84c1a53ca1baf82a25aee1b9826c7a.jpg",[],7,{"id":1726,"slug":1727,"title":1498,"dynasty":98,"author":308,"museum":57,"description":1728,"tags":1729,"thumbUrl":1730,"material":47,"size":47,"collection":47,"collections":1731,"showCount":1724,"zanCount":11,"manualWeight":11,"mainColor":165},234222,"shan-shui-juan-sun-zhi-234222","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,25,85,26,62,60,28,61,30,69,66,230,281,7,312,246,71,668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":1733,"slug":1734,"title":1735,"dynasty":277,"author":278,"museum":57,"description":1736,"tags":1737,"thumbUrl":1738,"material":47,"size":47,"collection":47,"collections":1739,"showCount":1724,"zanCount":11,"manualWeight":11,"mainColor":165},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,25,85,62,127,28,61,964,976,69,246,129,70,130,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":1741,"slug":1742,"title":1743,"dynasty":277,"author":278,"museum":57,"description":1744,"tags":1745,"thumbUrl":1746,"material":47,"size":47,"collection":47,"collections":1747,"showCount":1724,"zanCount":11,"manualWeight":11,"mainColor":165},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[23,24,25,85,127,28,62,105,69,7,104,65,61,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":1749,"slug":1750,"title":1751,"dynasty":1752,"author":1753,"museum":328,"description":1754,"tags":1755,"thumbUrl":10,"material":47,"size":47,"collection":75,"collections":1756,"showCount":1724,"zanCount":11,"manualWeight":11,"mainColor":1757},203205,"fang-yan-wen-gui-shan-shui-tu-zhou-wu-hu-fan-203205","仿燕文贵山水图轴","近代","吴湖帆","云雾如纱轻笼层叠山峦，青绿设色晕染出岩岫灵秀，苍松盘根危石，枝干虬劲松针如簇；瀑流漱玉而下，烟岚间隐现亭台一角，添得幽寂。画作糅合古法峭拔与今韵雅致，皴染相济，线条灵动，既见山石雄浑质感，又显林木清逸之姿，将山水悠远意境与笔墨精妙韵味融于尺幅，尽显传统山水的诗意神韵。",[25,62,86,28,61,246,128,65,7,127,23],[75],"d3c5ad",{"id":1759,"slug":1760,"title":1655,"dynasty":277,"author":278,"museum":57,"description":1761,"tags":1762,"thumbUrl":1763,"material":47,"size":47,"collection":47,"collections":1764,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":165},236049,"shan-shui-ce-wang-yuan-qi-236049","这幅画作以层峦叠嶂铺展章法，高远、深远兼具，山势开合藏露，尽显山川的浑茫厚重。以干笔积墨皴擦山峦，墨色干湿浓淡层次丰富，笔力苍劲浑厚，带着醇厚的古拙意趣。山径蜿蜒穿梭岩岫之间，水渚回环、村居掩映林麓，野木错落点染，将江南山水的清润含蓄融于笔墨法度之中，萧散淡远的文人雅趣跃然纸上，于规整的笔墨程式里，流露平淡天真的林下风致，尽显正统山水画的沉郁苍润之美。",[25,85,371,60,61,62,331,130,69,7,1374,1455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73d6255fbd42c680ae4c75448644853.jpg",[],{"id":1766,"slug":1767,"title":1586,"dynasty":277,"author":170,"museum":20,"description":1587,"tags":1768,"thumbUrl":1769,"material":145,"size":1590,"collection":47,"collections":1770,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":51},234905,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234905",[25,85,371,28,62,71,668,72,61,105,69,7,104,65,794,780,39,281,129,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc038be5466895a672399e0b9fd52138e.jpg",[],{"id":1772,"slug":1773,"title":766,"dynasty":98,"author":1774,"museum":57,"description":1775,"tags":1776,"thumbUrl":1777,"material":427,"size":428,"collection":47,"collections":1778,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":165},287955,"shan-shui-tu-wen-zheng-ming-287955","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,85,26,60,62,31,30,69,7,247,68,65,956,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4f3e980274033cbc75ab347d4b58af.jpg",[],{"id":1780,"slug":1781,"title":1782,"dynasty":277,"author":170,"museum":57,"description":1783,"tags":1784,"thumbUrl":1791,"material":427,"size":428,"collection":47,"collections":1792,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":51},273654,"zi-tan-mu-ke-jin-xian-shan-zhuang-guo-yuan-tu-gua-ping-yi-ming-273654","紫檀木缂金线山庄果园图挂屏","以深色底料托举金线缂织，晕染出一幅悠然山居图景。丹枫环伺的堂舍内，宾主围坐清谈，木桥之上渔人负薪缓步而归，远山如黛，静卧烟波湖畔。\n\n整幅挂屏缂金走线匀细流畅，将山石皴理、林木枝叶的层次一一勾勒，把江南闲居的恬淡意趣融入丝缕之间。既得文人山水画的雅致意境，又尽显缂金工艺的华贵精巧，织绣之工与山水意境相融无间，将山居岁月的雅逸日常定格，尽显清代织艺与画韵合璧之美。",[1785,1786,1787,25,62,1788,1789,7,70,69,30,1311,39,1790],"挂屏","木质","缂金工艺","山庄","果园","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc44da3486a08bbd1bfda55225e44f5.jpg",[],{"id":1794,"slug":1795,"title":1796,"dynasty":277,"author":170,"museum":57,"description":1797,"tags":1798,"thumbUrl":1804,"material":427,"size":428,"collection":47,"collections":1805,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":377},268769,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268769","缂丝群仙庆寿图轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[1799,127,28,39,1800,1801,103,1534,246,1802,7,1464,105,1803],"缂丝","群仙","庆寿","毛驴","神话题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48314f41436de32f7c78728cab970e3.jpg",[],{"id":1807,"slug":1808,"title":1796,"dynasty":277,"author":170,"museum":57,"description":1797,"tags":1809,"thumbUrl":1812,"material":427,"size":428,"collection":47,"collections":1813,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":377},268768,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268768",[1799,127,28,29,39,1800,1810,103,1278,70,246,1811,7,1534,105],"祝寿","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c98b1f84701fe1f2b6606debe51a96.jpg",[],{"id":1815,"slug":1816,"title":1817,"dynasty":226,"author":170,"museum":57,"description":1818,"tags":1819,"thumbUrl":1821,"material":427,"size":428,"collection":47,"collections":1822,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":51},227117,"hai-shou-pu-tao-wen-jing-zhi-fu-jian-1-yi-ming-227117","海兽葡萄纹镜之附件-1","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[28,62,29,964,976,69,7,1820],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6d8d9f78003218873fad34b454f55c.jpg",[],{"id":1824,"slug":1825,"title":1618,"dynasty":277,"author":1826,"museum":57,"description":1827,"tags":1828,"thumbUrl":1835,"material":160,"size":47,"collection":47,"collections":1836,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":165},217202,"fa-jie-yuan-liu-tu-juan-5-li-ming-217202","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,25,85,26,28,29,1053,39,1829,1830,1831,1832,1055,1833,62,7,1628,1834,65],"神佛","飞天","虎","象","莲花座","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305682d8ab114fd612934456e79ed579.jpg",[],{"id":1838,"slug":1839,"title":1840,"dynasty":277,"author":1841,"museum":1842,"description":1843,"tags":1844,"thumbUrl":1845,"material":113,"size":47,"collection":47,"collections":1846,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":165},216891,"qian-long-nan-xun-zhu-bi-tu-ye-15-qian-wei-cheng-216891","乾隆南巡驻跸图页-15","钱维城","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,25,28,102,29,449,103,69,107,105,1699,111,1311,7,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040221e77f6672396b9b57dafa050765.jpg",[],{"id":1848,"slug":1849,"title":1850,"dynasty":277,"author":382,"museum":328,"description":1851,"tags":1852,"thumbUrl":1855,"material":47,"size":47,"collection":47,"collections":1856,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":1857},202376,"qun-feng-chun-ai-tu-juan-wang-hui-202376","群峰春霭图卷","春霭氤氲，漫过山峦叠嶂，晕染出朦胧诗意。群峰错落，或浓墨勾勒，或淡彩晕染，皴法细腻处见山石肌理，设色清雅间显草木生机。林木扶疏，枝干虬劲，新芽初绽；溪流蜿蜒，小桥横跨，亭台隐现于林麓间，一派春日山乡的静谧悠远。笔墨兼具南北宗之长，融古意于自然，既得山川雄浑之态，又含江南秀润之韵，尽显春日山水的灵动与生机。",[25,517,26,28,61,1853,1854,34,130,7,964],"群峰","春霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7573718e4085c673aa362d42b452111.jpg",[],"967f51",{"id":1859,"slug":1860,"title":1861,"dynasty":277,"author":170,"museum":57,"description":1862,"tags":1863,"thumbUrl":1868,"material":427,"size":428,"collection":47,"collections":1869,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":51},288186,"xia-ri-na-liang-tu-juan-ben-yi-ming-288186","夏日纳凉图绢本","这幅小品以青绿设色写就，晕染出幽然消暑意趣。水岸垂柳柔条拂波，汀岸浅绿晕开暑夏水汽，将溽热轻轻揉碎在烟水间。山畔高阁凭渊藏于林麓，不见纳凉之人，却自有一种幽闲空寂的松弛意韵。\n\n远山以石青石绿勾染，淡赭铺底衬出峰峦温润古雅，奇峰错落淡溶于朦胧暮色里，将天地晕染出沉静古拙的氛围感。水面空阔留白，扁舟缓行，似载着闲客趁晚风消暑。\n\n全图以景托情，把文人寄情山水、寻幽纳凉的隐逸雅趣藏在湖山烟柳间，带着唐宋青绿小品的遗韵，清寂雅致，尽显消暑闲情。",[23,25,517,86,28,103,247,104,1864,7,30,1865,1866,1867],"垂柳","夏日","纳凉","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39017a063b82ab63adc2028fc6edc752.jpg",[],{"id":1871,"slug":1872,"title":1873,"dynasty":277,"author":170,"museum":57,"description":1874,"tags":1875,"thumbUrl":1886,"material":427,"size":428,"collection":47,"collections":1887,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":165},238881,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238881","清人善巴拉王菩萨像轴","主尊宝冠严饰，安坐须弥宝座，身着织锦华服，璎珞珠宝遍覆周身，右手擎摩尼宝珠，左手托举吐宝鼠，神态雍容祥和，尽显福泽充盈的尊荣气度。\n\n画面上方胁侍圣众安坐云端，下方眷属部众环绕簇拥，亭台瑞兽、灵花佳木点缀其间，构图饱满富丽。设色浓妍厚重，朱砂、石青、石黄撞色鲜明热烈，尽显藏地唐卡标志性的装饰美学。\n\n线条精细流畅，纹样繁密却不失章法，诸佛仪轨细节严谨完备，将宗教神性与求财纳福的世俗祈愿融于丹青，兼具庄严感与装饰性，尽显清代藏传造像唐卡的独特艺术风貌。",[1876,127,1053,28,29,39,1625,1877,1878,7,1879,1880,189,1881,1882,1883,1884,1885],"唐卡","胁侍","眷属","瑞兽","灵花","摩尼宝珠","吐宝鼠","求财纳福","庄严","装饰性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9010ab7b96c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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[1169,25,62,61,28,69,281,247,72,70,104,105,1114,315,7,314,1894],"题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96b2ed25eb13c72ff22e242312452c49.jpg",[],{"id":1898,"slug":1899,"title":1900,"dynasty":277,"author":1570,"museum":57,"description":1901,"tags":1902,"thumbUrl":1903,"material":47,"size":47,"collection":47,"collections":1904,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":165},234488,"zhang-zong-cang-shan-shui-shan-zhang-zong-cang-234488","张宗苍山水扇","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[25,85,1169,62,60,61,105,69,7,281,70,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4de2c8cd77fb71aafb12dc46de73bdbe.jpg",[],{"id":1906,"slug":1907,"title":664,"dynasty":277,"author":1908,"museum":57,"description":1909,"tags":1910,"thumbUrl":1912,"material":427,"size":428,"collection":47,"collections":1913,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":1914},290076,"shan-shui-tu-zhou-wu-zheng-290076","吴徵","吴徵（1878—1949）字待秋，名徵，以字行。别号抱鋗（xuán）居士、疏林仲子、春晖外史、鹭丝湾人、栝苍亭长、晚署老鋗。浙江崇德（今桐乡）人。",[23,25,127,85,60,28,61,62,103,70,104,7,895,105,1911,71,72],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c021396dcb8125857cf8d0c83a5324.jpg",[],"FFFFFF",{"id":1916,"slug":1917,"title":1918,"dynasty":277,"author":170,"museum":57,"description":1919,"tags":1920,"thumbUrl":1923,"material":427,"size":428,"collection":47,"collections":1924,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":51},273649,"ke-jin-jia-xiu-shan-zhuang-ren-wu-tu-gua-ping-yi-ming-273649","缂金加绣山庄人物图挂屏","绀蓝地色如浸过暮色，金丝织就湖山胜景。近旁水榭敞轩中，文人围坐清谈，板桥之上行人信步缓行。林石隐现间，临水亭台宛然天成，远岫轻描晕开空濛水色。\n\n缂金走线匀净挺括，绣缀补足细节肌理，山石皴擦苍劲古拙，林木枝叶俯仰生姿，将江南山庄的闲雅意趣凝于尺幅。整体简淡清和，把林下雅集的悠然与湖山烟景相融，织绣与画意合二为一，尽显旧时文人隐逸林泉的澹然情怀。",[25,1785,1921,1922,62,1788,7,70,39,69,104,29],"缂金","刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77195dc9cf9066a01bf8ea59eb215c0.jpg",[],{"id":1926,"slug":1927,"title":1928,"dynasty":277,"author":170,"museum":57,"description":1929,"tags":1930,"thumbUrl":1938,"material":427,"size":428,"collection":47,"collections":1939,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":165},246865,"ti-hong-zhu-lin-qi-xian-tu-bi-tong-yi-ming-246865","剔红竹林七贤图笔筒","笔筒： 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