[{"data":1,"prerenderedAt":467},["ShallowReactive",2],{"subject-ting-zi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},504,"ting-zi","亭子","亭子画高清赏析","精选中国历代亭子题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02562426f8fb57c9f025ddee7f7782e3.jpg",0,33,[14,47,66,83,101,122,133,146,159,172,191,205,219,236,251,265,278,294,305,316,327,342,352,362,373,383,392,403,412,425,436,445,455],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":44,"zanCount":45,"manualWeight":11,"mainColor":46},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","清","唐岱","台北故宫博物院","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37,38],"名画","国画","书画","立轴","设色","山水","皴法","临摹","印章","山峰","云雾","树木","松树","岩石","山峦","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","绢本,设色","287.2x155.2","山水画精选",[42],371,1,"BDBDBD",{"id":48,"slug":49,"title":50,"dynasty":51,"author":52,"museum":20,"description":53,"tags":54,"thumbUrl":61,"material":62,"size":63,"collection":42,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":46},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","元","倪瓒","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[55,24,25,26,56,29,28,35,7,57,58,59,60,34],"高清","水墨","竹子","远山","水域","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","绢本,水墨","纵83.4厘米，横52.9厘米",[42],118,{"id":67,"slug":68,"title":69,"dynasty":18,"author":70,"museum":71,"description":72,"tags":73,"thumbUrl":78,"material":79,"size":79,"collection":79,"collections":80,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":82},224496,"gu-mu-chui-yin-shi-tao-224496","古木垂荫","石涛","藏地不详","《古木垂阴图》是清朝的文物， 纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[55,23,24,25,26,56,29,28,74,75,76,7,34,77,31],"古木","山石","河流","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg","",[],69,"795548",{"id":84,"slug":85,"title":86,"dynasty":87,"author":88,"museum":20,"description":89,"tags":90,"thumbUrl":96,"material":27,"size":97,"collection":42,"collections":98,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","明","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,25,91,27,29,28,92,93,34,75,58,7,94,38,37,95],"长卷","小桥","楼阁","建筑","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[42,99],"水墨画精选",64,{"id":102,"slug":103,"title":104,"dynasty":105,"author":106,"museum":107,"description":108,"tags":109,"thumbUrl":115,"material":116,"size":117,"collection":118,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},223603,"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","宋","佚名","北京故宫博物院","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[55,24,23,25,26,27,28,110,111,112,92,113,7,36,34,32,114,29],"红树","秋山","瀑布","流水","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6349a3c7dd2d9bcdb8c6e7b79d431705.jpg","绢本","197.8x111.8","宋画精选",[118,42,99],55,"37474F",{"id":123,"slug":124,"title":125,"dynasty":87,"author":126,"museum":71,"description":127,"tags":128,"thumbUrl":130,"material":79,"size":79,"collection":79,"collections":131,"showCount":132,"zanCount":45,"manualWeight":11,"mainColor":82},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","蓝瑛","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[55,24,23,25,26,56,27,29,28,112,34,7,36,95,129],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],49,{"id":134,"slug":135,"title":136,"dynasty":87,"author":137,"museum":138,"description":139,"tags":140,"thumbUrl":142,"material":143,"size":79,"collection":79,"collections":144,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":46},217015,"fang-gu-shan-shui-ce-liu-kai-6-dong-qi-chang-217015","仿古山水册六开-6","董其昌","私人收藏","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[55,24,25,141,56,29,28,75,35,92,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6211ae8ca6eddfebd49ee0a2f4aec4.jpg","纸本,设色",[],37,{"id":147,"slug":148,"title":149,"dynasty":18,"author":150,"museum":71,"description":151,"tags":152,"thumbUrl":156,"material":79,"size":79,"collection":79,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":82},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","樊圻","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[55,24,25,23,26,27,28,112,92,113,153,7,75,154,155,29],"枯树","路径","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],30,{"id":160,"slug":161,"title":162,"dynasty":18,"author":70,"museum":71,"description":163,"tags":164,"thumbUrl":169,"material":79,"size":79,"collection":79,"collections":170,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":46},224512,"shan-shui-tu-ce-8-kai-2-zhang-da-qian-jiu-cang-shi-tao-224512","山水图册8开-2-张大千旧藏","这幅山水以留白铺就江天空寂，右侧危崖飞瀑直落，笔墨苍莽朴拙，尽显山石嶙峋质感。左侧崖巅孤松斜曳，茅舍孑立，归雁成阵掠过长空，远江帆影悠悠往来。\n\n简淡设色晕染山石松枝，寥寥数笔便勾勒出山野清寂之境。题款朱印错落于崖侧，与水墨相映成趣，以写意之笔铺陈出天人相融的幽远意趣，尽显简淡疏朗的林下之风，将江乡山居的空阔自在藏于尺幅之中。",[55,23,24,25,165,56,29,166,28,167,35,7,112,168,75,113],"册页","写意","孤舟","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcffdcba7a6958b40f93316c1d03b2b96.jpg",[],24,{"id":173,"slug":174,"title":175,"dynasty":176,"author":106,"museum":177,"description":178,"tags":179,"thumbUrl":188,"material":189,"size":79,"collection":79,"collections":190,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":82},217283,"jiang-mo-bian-dun-huang-tu-juan-6-yi-ming-217283","降魔变·敦煌图卷-6","唐","法国国家图书馆","画面如叙事长卷徐徐展开：左畔树下群贤毕集，衣袂轻扬间神态恭谨，似在凝神聆听；中段帐幔低垂，魔众袒腹鼓噪或蹙眉挣扎，张力暗涌；右方护法神金甲耀目，怒目圆睁，足下祥云与魔焰交织，威严毕露。线条行云流水，勾勒人物喜怒哀乐；设色古朴淡雅，赭墨交织着岁月痕迹。魔众狰狞、护法刚正、信徒虔诚，三者对比鲜明，将降魔典故的冲突与神圣感渲染得淋漓尽致，尽显敦煌艺术的灵动气韵与厚重底蕴。",[180,181,27,182,91,183,155,34,7,184,185,186,187,94],"敦煌","唐代","白描","宗教","僧侣","武士","鬼怪","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05415e527171ea8c27af2cf1bec6c77.jpg","设色,拓本",[],{"id":192,"slug":193,"title":194,"dynasty":18,"author":195,"museum":71,"description":196,"tags":197,"thumbUrl":202,"material":79,"size":79,"collection":79,"collections":203,"showCount":204,"zanCount":45,"manualWeight":11,"mainColor":82},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","王翚","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[55,24,25,198,26,29,56,27,28,35,75,112,199,200,34,7,95,201],"山水画","房屋","小径","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],23,{"id":206,"slug":207,"title":208,"dynasty":87,"author":209,"museum":107,"description":210,"tags":211,"thumbUrl":214,"material":215,"size":216,"collection":79,"collections":217,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":46},233819,"wen-zheng-ming-qu-gang-gui-zhou-tu-zhou-wen-zheng-ming-233819","文徵明曲港归舟图轴","文徴明","本幅自题五言诗并署：“雨绝树如沐，云空山欲浮。草分波动处，曲港有归舟。徵明。”钤“徵仲父印”（白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[24,25,26,56,29,31,28,34,112,75,95,7,212,153,213],"孤石","常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纸本，墨笔","纵115厘米，横33.6厘米",[],22,{"id":220,"slug":221,"title":222,"dynasty":18,"author":223,"museum":224,"description":225,"tags":226,"thumbUrl":232,"material":116,"size":233,"collection":79,"collections":234,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":46},223002,"hong-lou-meng-127-sun-wen-223002","红楼梦127","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",[55,23,24,25,227,27,155,93,57,75,34,7,228,229,230,231],"工笔","庭院","古装","绿植","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65073529e1df02d44b96a2c97cf655a5.jpg","纵43.3厘米、横76.5厘米",[],20,{"id":237,"slug":238,"title":239,"dynasty":18,"author":223,"museum":224,"description":225,"tags":240,"thumbUrl":249,"material":116,"size":233,"collection":79,"collections":250,"showCount":235,"zanCount":11,"manualWeight":11,"mainColor":46},222961,"hong-lou-meng-86-sun-wen-222961","红楼梦86",[55,227,27,241,28,93,92,155,242,243,244,7,245,34,246,94,153,229,75,228,247,248],"界画","美人","雪景","栏杆","伞","桃花","雪地","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face67c130a7ac403f4b975c7af2da2cf.jpg",[],{"id":252,"slug":253,"title":254,"dynasty":87,"author":106,"museum":71,"description":255,"tags":256,"thumbUrl":260,"material":261,"size":262,"collection":79,"collections":263,"showCount":264,"zanCount":11,"manualWeight":11,"mainColor":46},234970,"qian-gu-hou-chi-bi-tu-shan-ye-yi-ming-234970","钱穀后赤壁图扇页","此作用泥金扇面为底，左畔危岩崚嶒，以硬朗线条勾勒山石轮廓，淡墨皴擦出嶙峋肌理，枯木虬枝错杂，苍劲尽显萧索秋意。右方留白作平湖，汀渚隐现，淡墨晕染远山，空濛悠远，暗合赤壁夜游的清旷之境。边角小字题款，书画相映，笔墨简澹却意韵悠长，将初冬泛舟的幽寂旷达，凝缩在咫尺扇面间，尽显文人山水的隐逸意趣，古雅沉静，余味悠然。",[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出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[55,24,25,257,27,28,259,323,58,35,7,324,75],"江水","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":328,"slug":329,"title":330,"dynasty":18,"author":70,"museum":107,"description":331,"tags":332,"thumbUrl":338,"material":291,"size":339,"collection":79,"collections":340,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":46},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[24,25,141,56,27,28,333,7,334,155,335,336,337,259,166,29],"柳树","菊花","夕阳","云","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg","纵27厘米，横21.3厘米",[],12,{"id":343,"slug":344,"title":345,"dynasty":18,"author":346,"museum":71,"description":347,"tags":348,"thumbUrl":350,"material":79,"size":79,"collection":79,"collections":351,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":82},224417,"shu-hua-shi-liu-kai-3-wang-shi-min-224417","书画十六开-3","王时敏","此作以青绿设色晕染山峦，层峰叠嶂间烟云流荡，虚实相生将山林晕染得空灵缥缈，仿若世外幽境。苍松虬枝盘错、蓊郁葱茏，山隅水榭临波而建，一叶扁舟载着幽人泛于湖上，晕开山居雅趣。\n画作追仿赵千里笔意，师法北宋青绿山水的精工古雅，设色妍丽厚重却不俗艳，又糅合文人画的萧散淡远气韵，仿古而不泥古，在青绿华彩间铺陈出静穆悠远的山林意致，将江南丘壑的清润雅致与古典青绿的美学意蕴相融，尽显笔墨才情。",[55,24,25,141,349,27,29,28,34,7,75,33,76,199],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be366e0ee1a3e750582496bd677f229.jpg",[],{"id":353,"slug":354,"title":355,"dynasty":87,"author":126,"museum":71,"description":356,"tags":357,"thumbUrl":359,"material":79,"size":79,"collection":79,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":46},234633,"fang-wang-shu-ming-qiu-jiang-shi-si-shan-ye-lan-ying-234633","仿王叔明秋江诗思扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[257,56,27,29,28,167,34,7,323,75,358,31],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b9e0bcf75000775f2e827ede181c39.jpg",[],11,{"id":363,"slug":364,"title":365,"dynasty":18,"author":195,"museum":20,"description":366,"tags":367,"thumbUrl":368,"material":369,"size":79,"collection":79,"collections":370,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":372},237385,"jiu-jia-shan-shui-ce-shen-cang-ping-lin-tu-ye-wang-hui-237385","九家山水册-沈苍平林图页","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。",[24,25,141,27,56,29,28,34,7,75,76,200,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0f98556e4a5d46c511b0791eec412b2.jpg","纸本",[],8,"F48FB1",{"id":374,"slug":375,"title":376,"dynasty":18,"author":377,"museum":71,"description":378,"tags":379,"thumbUrl":380,"material":261,"size":262,"collection":79,"collections":381,"showCount":382,"zanCount":11,"manualWeight":11,"mainColor":46},237481,"shan-shui-tu-ce-yao-song-237481","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,141,259,56,28,199,34,7,324,155,113,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67170ba59ffaae6f0e74b8fbcae0fc5.jpg",[],7,{"id":384,"slug":385,"title":386,"dynasty":18,"author":19,"museum":71,"description":387,"tags":388,"thumbUrl":389,"material":79,"size":79,"collection":79,"collections":390,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":46},238207,"shan-shui-ce-tang-dai-238207","山水册","此作笔墨清润苍秀，远景峰峦层叠，以淡墨晕染出空蒙烟岚，近处长松老干虬曲，扎根苔石，尽显深秋古拙清刚之态，林麓间隐见山居茅舍，幽寂淡远。左侧题诗与画境相契，将长峰翠色、云鹤幽踪合而为一，把空山岑寂、物我两忘的林下意趣铺展开来。整作兼工带写，糅合了端严与清远，于尺幅之间营造出阔大杳渺的天地，尽显静穆萧散的秋日山居雅韵。",[24,56,29,141,28,75,34,35,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F568f093383921e07a28efe0183908c7f.jpg",[],6,{"id":393,"slug":394,"title":395,"dynasty":18,"author":396,"museum":71,"description":397,"tags":398,"thumbUrl":401,"material":79,"size":79,"collection":79,"collections":402,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":46},237733,"wu-sheng-shi-yi-tu-ce-huang-yi-237733","无声诗意图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,25,141,56,27,399,75,400,7,31],"树","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95bac49caddd00e2fb78b656357d0a3a.jpg",[],{"id":404,"slug":405,"title":386,"dynasty":18,"author":406,"museum":71,"description":407,"tags":408,"thumbUrl":409,"material":79,"size":79,"collection":79,"collections":410,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":46},239362,"shan-shui-ce-wang-san-xi-239362","王三锡","此作取景分两重溪山，上部峡谷溪流宛转，矶渚错落排布，淡墨晕染山石，线条松秀灵动，间杂几株清瘦林木，幽寂空阔之意扑面而来。下半段以险峻崖嶂为主体，双松虬曲扎根危石，古拙苍劲，姿态奇崛。下方汀岸平缓，茅舍隐现一角，与上部深远山水形成疏密对照。\n\n全作用浅绛淡设色，笔墨简淡秀雅，意境清远冷寂，尽显文人画萧散淡远之致，将江南溪山的清旷之美，以极简笔墨勾勒晕染，淡而不薄，简中见雅，寄寓着画者林泉高致的隐逸襟怀。",[24,56,29,141,28,201,34,324,7,168,113,212,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d082822abb6054ae8bb023d4baaba3.jpg",[],5,{"id":413,"slug":414,"title":415,"dynasty":87,"author":416,"museum":417,"description":418,"tags":419,"thumbUrl":422,"material":143,"size":423,"collection":79,"collections":424,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":46},217876,"zhou-li-yuan-shang-kuan-shen-ce-san-hu-yu-kun-217876","周栎园上款什册(三)","胡玉昆","大英博物馆","画面分左右两帧，右帧绘山水清境：林木错落间隐现茅舍，远山含烟，近水漾波，墨色淡雅却藏生机；左帧以行书题跋，笔势流畅，文字与画意相契，尽显文人雅趣。整幅作品诗画一体，意境清幽，笔墨简淡却韵味悠长，于疏朗间见细腻，传递出古代文人对自然与生活的诗意观照，尽显雅致脱俗的审美意趣。",[24,25,165,56,27,259,29,420,28,34,7,199,92,113,421],"文人画","笔墨写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a87ed8dc6c04dc387d956147aeb76ea.jpg","24.7x32.3cm",[],{"id":426,"slug":427,"title":428,"dynasty":18,"author":429,"museum":71,"description":430,"tags":431,"thumbUrl":433,"material":79,"size":79,"collection":79,"collections":434,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":46},239166,"shan-shui-hua-hui-ce-chen-heng-ke-239166","山水花卉册","陈衡恪","陈衡恪(1876-1923) ，中国民国初年天才横溢的画家，美术教育家。字师曾，号槐堂、朽道人，祖籍江西义宁(今修水)，1876年3月12日出生于湖南凤凰县。著名诗人陈三立长子，陈寅恪之兄。曾留学日本，攻读博物学。归国后从事美术教育与研究。擅山水花鸟人物，其花鸟画浑厚绮丽，山水画钩多皴少，人物画带速写情趣。又工篆刻、书法，能诗，出奇造意，矫柔为刚。由于陈师曾的人品、学问及诗、书、画、印“四全”，因此被公认为民国初年北京画坛最有名望的画家。梁启超称他为“现代美术界具有艺术天才、高人恪、不朽价值的第一人”。著有《中国绘画史》、《中国文人画之研究》。",[24,56,141,29,28,432,399,7,33,75],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d6d3b1021fc74e183b7371dc5a4dc3.jpg",[],2,{"id":437,"slug":438,"title":439,"dynasty":18,"author":440,"museum":71,"description":441,"tags":442,"thumbUrl":443,"material":79,"size":79,"collection":79,"collections":444,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":46},238516,"shan-shui-xiao-ce-qian-wei-cheng-238516","山水小册","钱维城","此作用笔秀润温和，以浅淡设色晕染出江南暮春晚景。近岸垂柳疏朗，柔丝轻拂水面，孤舍静立水滨，愈显清寂闲淡。对岸烟树错落，人家隐现于淡赭烟岚之间，远山以淡墨轻勾，和空濛水色相融一体，晕开黄昏暖意。\n\n行书题诗与画境相映，将水乡暮色里的慵懒诗意娓娓道来，没有繁复皴擦，以极简笔墨营造出悠远空静的文人意趣，将平淡天真的水乡烟景与清雅襟怀相融，尽显雅致恬淡的山水意韵。",[24,25,141,27,28,333,7,58,301,75,34,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ee62f6b8cf88564b2a2077dd093ace.jpg",[],{"id":446,"slug":447,"title":448,"dynasty":18,"author":449,"museum":107,"description":450,"tags":451,"thumbUrl":453,"material":291,"size":79,"collection":79,"collections":454,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":82},236823,"fang-gu-shan-shui-ce-zhao-cheng-236823","仿古山水册","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[25,141,27,28,34,7,199,75,154,452,29],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd01f5c0a964f04118ae439f153f3622.jpg",[],{"id":456,"slug":457,"title":458,"dynasty":18,"author":459,"museum":107,"description":460,"tags":461,"thumbUrl":463,"material":464,"size":465,"collection":79,"collections":466,"showCount":435,"zanCount":11,"manualWeight":11,"mainColor":46},233813,"shan-shui-ce-2-fu-shan-233813","山水册2","傅山","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,25,141,27,349,28,462,29,93,92,113,34,7,75,112],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220efb4562ed1b81e99dc1d77f38e22b.jpg","绢本设色","纵36.5厘米，横37厘米",[],1777535713927]